 Lux presents Hollywood. Leverbrothers Company, the makers of Lux Toilets Hope, bring you the Lux Radio Theatre, starring Lucille Ball and Mark Stevens in The Dark Corner. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. The other day at the studio, Fred Colmar, a prominent 20th century Fox producer, was telling me how a few years ago, when he was a young film executive, he chanced to see a Titian-haired young model whom he thought had great screen possibilities, Lucille Ball. Little did he dream that some years later he'd be starring that same Titian-haired beauty in his production and our play tonight, The Dark Corner, thereby vindicating his judgment. Co-starred with Miss Ball is another player who's risen rapidly to well-deserved eminence on the screen. Mark Stevens. Both superbly cast, I think you'll agree, in a hard-hitting melodrama of murder, mystery and romance. And that reminds me of another mystery story, one concerning Lux Toilets Hope. It's from Mrs. Vivian Gardner of Santa Barbara, who discovered that for some weeks, Lux Hope was mysteriously disappearing from her cupboard. After a competent detective work, she finally traced it to her teenage daughter. That young lady said, Why, mother, I thought you knew. I just took the soap to put in my bureau as sachets because I just love the Lux Toilets soap fragrance. Well, I'm sure Mrs. Gardner needed out to her daughter no more punishment than a compliment for her ingenuity and good taste. It's playtime and star time. And here they are. A little ball as Kathleen and Mark Stevens as Bradford Galt in Act One of the Dark Corner. York City, a sultry summer afternoon. In an old-fashioned office building, Detective Lieutenant Reeves is making a routine visit. Good afternoon. It says on the door Bradford Galt private investigator. You're his secretary? Yes, may I help you? Lieutenant Reeves Police Department. Yes, you can help me. If you know anything I want to know. Well, I wouldn't know anything you couldn't find out by asking Mr. Galt. He'll be back in a minute. Nice quality, loyalty. How long have you been working for Galt? Several weeks. What do you know about him? I like him. Does he keep you busy? I sharpen pencils, do the typing, answer the phone and mine my own business. Well, look who's here. Hello, Reeves. Hello, Galt. How have you been these days? My income tax, why? Nothing special. Last time I called on you, you were on 6th Avenue. Why didn't you tell me you were moving your office over here? Why should I? I notified the commissioner of licenses. But you didn't notify me. I like to know these things, too. I've taken a professional and personal interest in you. I promised my friends in San Francisco to see that you didn't get into mischief. You're an impulsive youth, you know. Look, I got a fair shuffle out west. I'm asking you a fair chance to work up a legitimate business. I'm playing this by the book, and I won't even trip over a comma. I hope not. Okay, Galt. I'll see you around, I guess. It's nearly six o'clock, Mr. Galt. I'll leave, too, if there's nothing else. There is something else. Oh? Would you mind having dinner with me? Is this part of the job? It is tonight. Working conditions are certainly looking up around here. And party a nose, honey, and let's go. Oh, dinner was lovely, Mr. Galt. Thank you. You're welcome. Say, how'd you like to go dancing? We've got some great playgrounds up around 52nd Street. Among them, your apartment? Oh, well, that's just a coincidence. I haven't worked for you very long, but I know when you're pitching a curve at me, and I always carry a catcher's mitt. No offense. You guys got a try, doesn't it? Not in my league, Mr. Galt. In my league, we play for keeps, said she with a smile. Oh. Or maybe out of fire, you then. You do, I ought to tell you something. We're being followed. I know. Guy in a white suit, about 5'10", brown hair, sports shoes. I, uh... I've never been followed before. Hey, that's a terrible reflection on American manhood. It's been tailing us since we left the office. Why? I don't know. Maybe likes your big blue eyes. Do we just keep walking? No. There's a cab at the corner. Take it, go around the block, then park the cross from our office. Wait there till he comes out. And you? I'll invite the white suit up to the office for choir practice. After he sings, you follow him. Let me know where he goes. Okay, but what have you been doing lately? What do you think I've been doing? Well, I think you could have been doing a lot of things, because you're stubborn and impulsive and you think you're tough. You've got some blind spots, too. Yeah? Name one. Sentiment about women, for instance. You're afraid of emotion. You keep your heart in a steel safe. I, uh, suppose you're the blowtorch type. I can be warm. Well, good. Here's the cab. Be careful, Brad. I'll see you later. All right, Buster. Huh? Let's take a walk. Why? Because there's a gun in my pocket that says you're better. Come on. My office is just around the block. I don't like this, mister. I don't like this at all. Just stay in the chair. You travel like, don't you? Nothing in your pockets but a roll of nickels, some keys and your wallet. That a roll of nickels will do for brass knuckles any day. Brass knuck's ain't legal. I just carry my change the hard way. What's in the wallet? Five berks. Oh, no, no. More than that, Buster. An identification card. Fred Fars, huh? Seven, 2080s, 23rd Street. All right, Freddie, let's play 20 questions. You give me the right answers. Maybe I won't knock your teeth out. What's your racket? Same as yours, Private Dick. That's the wrong answer. We don't go on a job without a license. Where's yours? I left it home. Okay. Let me coax you. I can do it the hard way, too. How long you been shagging me? Two days. I was climbing in your pocket all the time. Who pays the fare? A client. You know I can't tell you his name. It ain't ethical. Yeah, sure. You and me both. We're up to our ears in ethics. Hey, they offer me... What's his name? Who's paying you? What do you have to slug me for? All right, all right, take it easy. His name's Jardine. Come again. Anthony Jardine. Tall guy, fancy dresser, thinks he's class. Where do you live? You saw my address, 23rd Street, with my brother-in-law. What's his phone number? Chelsea 0-435-10. There, go on. Phone him. See if I'm lying. Just stand where you are, Foss. What's the matter? No answer. Hello? Fred Foss there. He ain't here. Only be back. I don't know. You want to tell me something? No message. All right. Take your keys and your nickels. And if I get you tailing me again, I'll ram that roll right down your throat. Oh, oh. Oh, now look what you're done. Knock my ink over. Yeah. Well, maybe I'm nervous or something. All over your nice white suit. Here's your five bucks. Get it cleaned. Jardine's fussy about neatness. What you doing with my wallet? This I keep. I got a poor memory for names and addresses. I may want to look you up again sometime. All right, Buster, blow. Well? This time you will fire me. You lost him. Uh-huh. That's fine. He got in another cab. I followed him. Except when the other cab stopped, he wasn't in it. How'd you know? He told me that's what he'd do. I'm sorry, Brad. It doesn't matter to me. Who was he? Just hired Muscle. Who hired him? Forget it. You'll be better off. Come on, open up that steel safe. I want to know and I want to help. That's all for good talk, baby. But why? Because I happen to be very fond of my boss, even if he is stubborn. Look, get going while the door's still open. Stick around here and you'll get grafters, sheisters, two-bit thugs, maybe worse. Maybe me. I like those odds. I'll take them and I'm staying. I like your style, too. Thanks. Having said my piece, I think it's time for me to go home now. I'll see you in the morning. Sure, okay. Good night, Brad. Good night. Jardine. Jardine again. Jardine. Beat it. Can't you see I'm phoning? It's dark in the hall. I'll turn on the light. Thanks. You're the man who rented the room, aren't you? Yeah, yeah, yeah. Here, here's a nickel. Come on, go to bed, it's late. Thank you. You got ink all over your suit. Wicked residents. Let me talk to Mr. Wicked. Who's calling, please? Tell him it's the man from San Francisco. Yes, sir. I told you to go to bed. Good night, Mr. Wicked. Yes. I'm back at my room and house. Well, it worked just like you said. Gal took me up to his office, pushed some muscle at me. I played softy. You mentioned the name? Jardine, yeah. And when he heard it, it hit him right where he lived. I just thought I'd let you know. Well, I'll be in touch with you. Is that all? I said I'd be in touch with you. I'm entertaining guests. I'm very busy now. Good night. Well, looking for me, Jardine? That's a matter of fact for your wife. Where is she? Wasting a charm on those dullards in there. Shall we go in? I think it's a wonderful party. But then you don't give any other kind, do you, Ralph? Ah, there's Marie now. The woman who brightens my declining years. I heard that, darling. Aren't you exaggerating? This is only our third anniversary. You're not the crap-a-jet, old boy. Then why do I detect a rather tactless emphasis on that old boy? Yes, Marie and I, I rather think we present the perfect picture of beauty and the beast. You can be a beast at times, Mr. Wicked. But as long as I'm amusing Mrs. Kingsley, you'll forgive me. Sinality, though, is unforgivable. You're the most attractive man in the room and you know it. Oh, I adore you. I hope so. Well, Miss Wilding? I need advice, legal advice. I was wondering if I might borrow Mr. Jardine for a moment. Oh, of course, Miss Wilding. Shall we go out on the terrace? I think we'd better. It's really very confidential. What's Jardine trying to do, drum up business at my party? Isn't that what you're doing, celebrating your anniversary? And at the same time, entertaining some very likely customers for your art gallery? I never confuse business with sentiment, unless it's extremely profitable, of course. But there is an exhibition at the gallery tomorrow. Now that happens to be a coincidence. I took great pains to arrange, Mrs. Kingsley. And if you come, I may have that Turner landscape. The landscape? Oh, how wonderful. I give anything for that painting. Well, you'll give plenty if you buy it through me. Excuse me. Oh, I must tell my husband the good news. Ralph, what would that Miss Wilding want of Tony Jardine? What's the matter, darling? You jealous? You know you don't mean that. No. I'm the jealous one, Mary. You're beautiful. I never want you to grow one day older. You should remain ageless like a Madonna who lives and breathes and smiles and belongs to me. That's very sweet, Ralph. But you haven't answered my question. I haven't the slightest idea what Miss Wilding wants of Jardine. Come along. It's beautiful on the terrace, isn't it, Lucy? Oh, stop it, Tony. Did you receive my painting? I sent it to your apartment. Good afternoon. I would have preferred cash, but if you're short, the painting will have to do. I imagine I can always dispose of it. Now, may I have my letters, please? Certainly. They're all in this envelope. Oh, I'm a heel, Lucy, but I'm not greedy. I promise not to trouble you anymore. Who's next on your list, Tony? Wicked or perhaps Mrs. Wicked? That's a dangerous remark to make. Yes, isn't it? You know something, Brad? I've just decided I don't like this restaurant. What's the matter with it? It does things to you. You just sit there staring. It couldn't be the company, so it must be the restaurant. I'm sorry, baby. Still worried about the man in white? Yeah, in a way. That was two nights ago. And I don't know any more about it now, than I did then. And every time I've mentioned the subject, you told me to shut up. Oh, very politely, of course, but, Brad, what is it? Please tell me. I got a feeling something's closing in. I don't know what it is. Maybe it's only me. It's very so jumpy, just about you. Oh, yes, you would. Because I'm playing for keeps, remember? I thought you were sharp. I am sharp. Then you got out fast. Stay with me and you'll wind up in a corner. Nothing but a lot of grief. I'm serious, Kathleen. Get out now. You're a poor salesman, Brad. Even I... Look, look who just walked in. Detective Lieutenant Reeves. Yeah. Excuse me. I think I'll have a word with Lieutenant Reeves. Go right ahead. I'll be back in a minute. I'd be smart if you're not here. I was gonna look you up in the morning. Fine. What have you got? Not much. I shiced a lawyer in town with a swank office, but no clients. I shiced his name as Anthony Jardine. He put a tail on me. I think he wants to finish where he left off. I figured after San Francisco he'd leave you alone. I'll see that he does. Don't play too close, Gordon. I won't. I'm still working by the book. Jardine is definitely not the bookish type. Yeah. I know. I just thought I'd keep you posted. Why? You barraged the maternal instinct in me. I want to look out for you. You hate him an awful lot, don't you? Who? The man who hired White Suit. He makes hating easy. Brad, what has he got on you? Nothing. Nobody has. Nobody's going to. Come on, I'll take you home. I don't want to go home. I may have to work tonight. I can help you. No. Stop looking at me like that. Like what? As if I belong in a test tube. Look, a guy named Jardine's afraid of me. He put a tail on me. Tonight he tried to kill me. You what? Yeah, in front of your apartment. A car came around the corner. I would miss hitting me. I don't know. Anyway, it did. So you go on trying. Are you satisfied? No. I want to know why. Okay. I had a private agency in San Francisco. This guy, Jardine, was my partner. A lawyer, swift cookie with a woman. Worked his charm. Then he worked little blackmail on the side. I called him on it. We were driving out to his house. Somewhere along the road he slugged me. Put me down with a bottle of scotch. Set me behind the wheel for a take-off. I hit a truck and killed the driver. Brad, I... Manslaughter. Two years in prison. Jardine had a fixed alibi. It wouldn't break and it wouldn't bend. It's the last I heard of him until a white suit showed up two nights ago. Then the business tonight with a car. Why didn't you tell me before? I like to hold his head up. I don't look like a chump. That's not the real reason. Come on, say it. You're not so tough, Brad. You just like to think you are. I've cracked you wide open and you know it. Yeah, I know it. You still have to work tonight? That car almost clipped me. A fellow runs a newsstand on your corner side. You got a description, part of the license number. Is that what you told Lieutenant Reeves? I didn't tell Reeves anything. You got other contacts on the police force. There's a sergeant downtown who's checking the license plate for me. Tell me to call him at nine o'clock. That still leaves 30 minutes. Okay, baby. You win. Come on. Let's have that. Thanks. Come in, darling. It seems ages since you've kissed me. It is ages. Murray, aren't you taking quite a chance of me coming to my apartment this time of night? You don't have to worry about Ralph. He's gone to Scarsdale. Scarsdale? He sold Mrs. Kingsley that Turner landscape. He's got to settle the deal with the man who owned it. At least that's what he said. You don't doubt him. Of course not, darling. Anyway, I don't care anymore. I'm glad. I do want to talk to you. So strange, Tony. Ralph Wicked. He loves me. He gives me everything I could wish for. But still, it isn't enough. I know, dearest. I know. For three years I've tried to stick it out with him, but I just keep sitting, listening to his paintings crack with age. I want you to take me away, Tony. Tony, please. Look, Mary, Ralph Wicked can afford you. I can't. I love you, but I have no money. It doesn't matter. I've already borrowed money from you. Do you think I want to go through life just... Darling, we have my jewels. They're yours. You'll take them for me for my sake. Just tell me when we can go away. Yeah. Yeah, it'll be soon, Mary. I promise you. Well, Brad, what about the license number? Jardine's car, all right. I've got his address. I'm taking you home now. And then? Then I'm dropping by Jardine's apartment. I've got something to settle with him once and for all. In a moment, we'll return with Act Two of the Dark Corner. Meanwhile, here's Libby Collins, our Hollywood reporter. What's new and exciting, Libby? I saw a picture today, Mr. Keely, that brought back a thrilling experience I had not long ago. Universal International invited me to see Walter Wayne's new production, The Lost Moment. Oh, yes. Starring Robert Cummings and Susan Hayward. You know that terrific fire scene in The Lost Moment, Mr. Keely? Yeah. Well, I was on the set at the time it was filmed. How exciting. Weren't you a little nervous, Libby? I certainly was. It was the biggest fire sequence ever attempted on a soundstage. The entire studio fire department was standing by in case it got out of control. That's where Robert Cummings does his thrilling rescue scene. While the flames got so high, he had to rush in before his scheduled entrance. And then the fireman went into action. I was watching the scene with Susan Hayward, and we had to move fast to avoid being drenched. Well, I hope you succeeded, Libby. Yes, but you should have seen us. Our faces were smudged with soot. And Mr. Kennedy, you'll be interested in this. Susan Hayward asked me to come back to her dressing room with her to freshen up. Ah, Lux's toilet soap to the rescue this time. Right you are, John. After an active lather facial, both of us looked and felt much better. Lux's soap care never fails, Libby, even in an emergency. And for regular day-to-day care, there's nothing finer. Susan Hayward certainly thinks so. She's so lovely with her gorgeous red hair and flower-fresh skin. Nine out of ten famous stars use Lux's toilet soap for million-dollar complexions. That's quite a recommendation, Libby. Well, it's a beauty care that really works. Skin specialists made tests that proved it. For three out of four women... Skin actually became lovelier in a short time. No wonder fragrant white Lux's toilet soap is Hollywood's own complexion soap. Now, isn't that a beauty tip for women everywhere, Libby? Yes. Here's all you do. Smooth the fragrant lather in thoroughly, rinse, and pat dry. Screen stars find these Lux soap facials give skin fresh new loveliness. Why not try this gentle care and see? Back now to our producer, William Keely. Our theater lights are lowered once again, and here's the second act of the Dark Corner, starring Lucille Ball as Kathleen and Mark Stevens as Galt. An hour ago, a Marie Wicket, beautiful young wife of a rich and celebrated art dealer, entered the apartment of Anthony Jardine. But now at Jardine's door is a second visitor, Bradford Galt. What's the idea, Galt? What do you want here? Take it easy, Tony, and keep away from that desk drawer. There might be a gun in there. I said what do you want? We'll get to that. Who else is here? No one. Whoever it is, I like her perfume. Surprise to see me? Certainly I'm surprised to see her. I had an idea you were in New York, but... And I intend to stay in New York. Alive. I got a message to deliver. From me to you. Just two words. Lay off. I don't know what you're talking about. The guy in the white suit. Keep that mug away from me. The next time you loaned me a car, tell him he'd better use phony license plates. Loan who, my car? When? I'm getting mad, Tony. He tried to flatten me with your car late this afternoon. Nobody had my car? It was in the parking lot all day. Yeah, sure. But just remember, I spent two years in Hock with nothing to think about but that pretty face of yours. And if you're not sharp, you're not going to have that pretty face. You're not going to have any face at all. Now you listen. I don't know any mugs and I haven't been after you. I didn't even know for sure you were in New York. And that's on the level. You on the level? Why, for six bits, you'd push your own mother out the window. I'm glad you swung on me, Tony. Even the cops would say I had a right to defend myself. Oh, darling, are you all right? I'm all right. But who was here? Who came here to fight with you? Just forget about it, Murray. He won't bother me anymore. Well, I had to let him hit me. If I fought back, the neighbors might have heard. Murray, you better go now. Just tell me one thing. Can we leave tomorrow night? Can we, darling? Yeah, yes, Murray. We're expected at Mrs. Kingsley's, you know. We'll invent some sort of excuse. Wait for me here, Tony. I'll come tomorrow night as soon as I can. Hello, boss. Kathleen, what are you doing here? Waiting for you. We should speak to your landlord. What this corridor needs is a nice, comfortable chair. Oh, you've been worried about me, huh? I'm deeply touched. From the looks of you, I'm not the only one who's touched you. You should see Jardine. Well, come on in. Thanks. What happened? We talked. One thing led to another, and he led with his right. After that, he stopped talking. Here I am. And where did all that get you? Nowhere, but I feel a lot better. Come on over here, baby, where you belong. No, thank you. If you're feeling that much better, I think I'll go home. Hey, wait a minute. What about that maternal instinct you talked about? That doesn't work after sundown. Brad, what about Jardine? You didn't find out anything about him, what he's doing? Yeah, he's a lawyer. You told me that before, but he has no clients. I heard him talking to someone when I got to his apartment. Who? A girl. Didn't see her. She must have used the back door. What does it all add up to, Brad? As far as I'm concerned, nothing. But I'm pretty sure Jardine's got to lay off me for a while. Oh, good morning, Mr. Wicked. Oh, good morning, Mr. Stewart. Any messages? Nothing special, sir. Mr. Barstow will be in at noon about the Raphael portrait. And those people confirmed their appointment to see the Donatello statue this afternoon. Oh, thank you. Oh, Mrs. Kingsley should call. Tell her Mrs. Wicked and I look forward to seeing her this evening. I've been in my office for a while, and I wish to be disturbed. Yes. Greatness. Oh. I must say you make a neater appearance without the white suit. No one saw you come in. I came through the side door as per instructions. Good. Well, what happened last night? Ah, it didn't work. No, Crustow. What? A flop, a flop. Oh, I borrowed Jardine's car, all right, and brushed off. Well, certainly Galt must have suspected Jardine. Oh, he suspected fine. He went over to Jardine's place last night and pushed him around some, but that's all. Jardine is very much alive. Yes, I know. Now, look, if you want my opinion, I think you're wasting your time. This guy Galt is a smart cookie. He ain't going to let himself get shoved into a noose. You know he saw a Jardine. He needed him to knock Jardine off, but nothing happens. You have a better idea? Yeah. Let me take care of Jardine. Get Galt on the telephone. Try his office. Now? Yes. Yes. And stop flicking your ashes on my rug. That's a genuine cash add. Oh. Now tell Galt you're through with Jardine. Sell him a bill of goods. Tell him that you're going to... Hello. Let me speak to Galt. Who's calling, please? Tell him the name's Foss. Fred Foss. Yes, Mr. Foss, just a moment. Brad, the suit's on the phone. The man in the white suit. Hello. Maybe. What are you selling? I'm selling Jardine short. He's slow-pay and I like to keep moving. Well, you want to know what he's up to, don't you? For how much? I need 200 bucks to get out of town. Suppose we talk it over here in my office. Nothing to it. My apartment then? What time? 8 o'clock. I'll be tied up until 8. 904 West 52nd. Apartment 307. Eighth tonight. And I'll tip you off. If I can't show. Alone, Galt. Just you and me. Well, that's that. Is it? How are you going to get Jardine to go to Galt's apartment? After last night he ain't going to pay no social call on Galt just to get pushed around some more. For one thing, he won't know it's a Galt apartment. I'll tell him it's a legal matter. I want him to handle for me. How do you know he ain't busy tonight? I've been very kind to Mr. Jardine. I've asked him to do me a favor. He'll do it. But you'll have to find some way of getting into Galt's apartment. That won't be tough. Have Jardine there by 7.30. I got a date with Galt at 8. Jardine will be there. You call me in the morning. This meal show starts in five minutes. Brad, I don't want to see a newsreel. Look, honey, the show takes an hour. It's half past 7. I'll be right here waiting for you at half past 8. I want to go home with you. I know this farce guy. He won't talk if anyone else is around. Please? No. All right, but you'll be sorry. I'll look for you here at 8.30. Right. And I'll tell you all about it then. Brad, open the door. Go away. What's happened, Brad? Why didn't you meet me at the theater like you said you would? Brad, what's the matter? Nothing. Nothing. Go home, please. I'll see you later at your place. I won't go home. I'm going to stay right here until you open this door. Brad. All right. Come in. What's happened? Come in. Take a look. They're in front of the fireplace. Meet my ex-partner. Meet Tony Jardine when he's dead. Oh, no. Don't start crowding me. I haven't got the answers. The police will find them. They're laid out like road markers running right up my alley. You've called them? The police? No. What could I tell them? Whatever you know. Brad, you... you didn't do this. No, honey. I didn't do it. So I called the cops. Should I tell them the truth? I left you at a newsreel theater and came straight here. And when I opened the door, somebody was waiting for me. Who? I don't know. I went out like that, with a face full of ether. Ether? Yeah, ether. And it sounds as screwy to you as it does to me. What do you suppose the cops will think? That's what happened. I woke up a few minutes ago and there was Jardine dead. Shot? No, the poker from the fireplace. And it was in my hand. Should I tell that to the homicide squad? They'll still be laughing when they strap me into the chair. I'll get out of here. But, Brad, you can't handle anything like this by yourself. Look, don't give me that law and justice routine. The cops operate on facts. The facts are phony from here to the death cell. I'll get out of here. Let me try to dope this out. Brad, all I meant was that I wanted to help you. I know you do. Thanks, baby. But you can't. Now beat it, please. I've got to stall for time. I've got to start thinking. Brad, listen. This may sound silly, but... I think the man in the white suit wanted you to spot him that very first night. Yeah, of course he did. No guy in his right mind wears a white suit on a shag jar. Why'd that car almost hit me? No, Jardine wasn't out to get me. I should have known that from the start. But somebody is out to get me. Somebody who knew about Jardine and me back in Frisco. Somebody who wanted me to think that Jardine was after me. However that is, he's the one who killed Jardine. And he's pinning it right on me. But who, Brad? Who? I don't know. There isn't a thing to latch on to. Well, think, Brad. Think back. I have, and I'm clean as a peeled egg. No debts, no payoffs, no angry husbands, nothing. But people just don't go around committing murder and frame-ups for the fun of it. All right, so it doesn't add up. What do you want me to do? Well, for one thing, find white suit. You've got his address, maybe you can get a lead. Yeah. Yeah, I thought of that. It's the only thing I can do. Wait, what about him, Jardine? He stays where he is. Look, go on downstairs. Find the janitor. Tell him you've been ringing my bell, he'll say if I'm not here, he doesn't know where I am. It may help me frame an alibi. Where'll I meet you? Go straight to your apartment. I'll find Foss and meet you there later. Come in, Brad. Oh, you don't have to say it, I can tell by your face. No dice. Oh, I found him all right. Only Fred Foss wasn't the man in the white suit. But you had his wallet. I had a wallet. A man by the name of Fred Foss lost it a week ago. He was very grateful to me for bringing it back. Let me get you a drink. I get standard drink. That was my last lead, baby. I'm all dead inside. I'm backed up in a dark corner and I don't know who's hitting me. Hello? Yes, this is Wicked. Well, no one saw you leave Galt's apartment. You're sure? Oh, that's good. We'll get in touch with me tomorrow. Same place, same time. It's I, darling. Well, Maury, have you forgotten we're expected at the Kingsley's tonight? I simply can't go real. Well, I've such a headache. Oh, well, I'm sorry, my dear. I'm going straight to bed. You run along without me. Well, I wouldn't think of it, darling. But Mrs. Kingsley will be so upset. Oh, yes. And I did promise to meet Tony Jardine there. I had a rather delicate matter to discuss with him. Well, well, hadn't you better go then? I imagine it can wait. It's a problem that Jardine is eminently qualified to handle, a man of his experience with the law and all its tawdry aspects. You make it sound very mysterious. No, it's the oldest situation in the world. One of my friends, who deluded himself that his was the ideal marriage, has recently discovered there's another man. Well, Tony doesn't handle divorce cases, does he? Well, the husband doesn't want a divorce. You mean he wants her back? Yes. And as the lost and found ad say, he offers a suitable reward for her return. You mean the other man would take money and just go away? When an impoverished character, unendowed with any appreciable virtues, it comes to a rich man's wife. It must be suspected that his interest is less passionate than pecuniary. But how could she be taken in by such a man? Well, take Tony, for instance. Now, I never imagined him to be interested in Lucy Wilding, but he is. It's not true. He couldn't... I mean, she's too old for him. Love is not the exclusive province of adolescence, my dear. It's an ailment that strikes all age groups. Like my love for you. My love for you is the only malady I've contracted since the usual childhood diseases. And it's incurable. Ralph, about the Kingsley's... And leave you alone? Oh, no, Mary. I wouldn't think of such a thing. We'll both remain at home tonight. Who is it, Kathleen? At the door. Someone was just at the door. The milkman. Milkman? What... What time is it? Seven. I told you to wake me. All I needed was a little nap. You needed a night's sleep, even more than your suit needs a pressing. And what could you've done last night that you can't do now? If I only knew who was after me, it wouldn't be so bad. But how can you fight back when you don't know who you're fighting? You're licked before you start. No, I know you, Brad. You're not letting anybody get away with this. Oh, don't be too sure. I could be framed easier than Whistler's mother. All right. Then we'll just sit down and feel sorry for you. Okay, okay, but don't give me that polyanoroutine either. But how everything's gonna be fine? I'm no miracle man. When that cleaning woman comes to my apartment and hits bingo, I'm as good as cooked. Here, you'll feel better after some coffee. Thanks. Look at me. Tower of strength, nerves of steel. I'm sorry, baby, I just... Don't worry about the tablecloth. The stain will come out. What'd you say? I said the stain will come out. The stain. The ink, baby. The ink. He spilled ink on his white suit that night at my office. What of it? He'd have to have the suit cleaned, wouldn't he? The cleaners would have his address, wouldn't they? Well, cleaning places grow on every street like mushrooms. Yeah, I know. But most of them don't do their own cleaning. They farm it out at the big cleaning and dyeing plants. Where's the classified phone book? Right in back of you. There can't be too many of them. What if he didn't have the suit cleaned? He wouldn't run around town in an ink stain suit, I hope. That's a pretty long list, Brad. Yeah, I know, but the odds are even longer. But give me a better idea. Okay, where do we start? Just grab your coat, baby. We'll start up now. A white suit, I have one that's very early in the season for white suits. If we have one, we'll find it all right. There's a five spot in a four if you do. Get moving. Sorry, lady, we've got three white suits, but none of them with ink spots. You sure are positive, thanks all the same. A linen suit, Mr. Seersucker? We got a sort of white Seersucker, but now that's got fruit stain. You can always tell the difference. Sorry, no white suits. Yeah, we had one, but the guy picked it up yesterday. Not a white suit in the plant. Why don't you try Gordonson's, as for a guy named Elle? He knows it was anyone. I want to speak to Mr. Wicket. Who's calling, please? Uh, Mr. Smith from San Francisco. One moment. Oh, you here again? Go on, kid, beat it. Your mama wants you. My mama's out. She don't want me. Hello? When am I going to see you? A protest is not a word about it in any of them. I told you the deal went through. Can I help it if they ain't found the shipment yet? I don't believe you. What do you want me to do? Take out an ad? Listen, Wicket, we better get this deal settled or I'm coming down to the galleries and right through the front door. All right, all right. Don't get excited. I have a dental appointment at three o'clock in the grand building. You meet me there. Grand building? What floor? That 31st floor. I'll be waiting at the fire escape. Okay. What you mad about, mister? Me? I ain't mad at nothing, sister. All of a sudden, I feel kind of good. Yeah, here. Here's a nickel. Buy yourself a phone call. Well, Brad, where's that list of the cleaning plants? Which one do we go to next? As far as I'm concerned, the one we just walked out of is the last. It's no use, Kathleen. We've been to a million places I can't even think anymore. Let's get in the car. We can go to the park. Maybe when we've cooled off a little bit. Hey, lady. Lady. What is it? I made a mistake. Yeah, suit dye. No, no. I mean about that suit. We do have a white suit. All over ink. I don't guarantee we removed the stain. But get the stain. You know, left the suit. Suddenly, the name and address. Here's ten bucks, mister. Just give me that address. In the orbits, come. I'll show you. This is it, baby. A rooming house. Now, if the landlady's only home. Ring the bell, Brad. Ring it. We, uh, we're looking for a man named Starfer. Our Starfer's sort of a heavy-set fella. He lives here? No, he don't. But we did live here. He left half an hour ago. Bags and all. Where'd he go? You police or something? No, please, lady. Where'd he go? It's important. If Katie's rent, why should I ask him where he went? I know, mama. You keep quiet. Don't mind her, mister. She don't know nothing. But I do. I do. I heard him on the telephone. Well, tell him then. Where, honey? Where did Mr. Starfer go? I heard him on the telephone. He went to a building. What building? Same as the president. The one with the tomb on Riverside Drive. Grant building. Uh-huh. And he said he was going to get his ticket at the gallery. Can he get tickets at a gallery? I... I don't know, honey. Here. Here's a quarter. Thanks. Everybody gives me money. Good thing I'm so friendly. Brad, Brad, it doesn't make sense. Where are we going? The grand building. We'll try to figure out the rest of it when we get there. We pause now for station identification. This is CBS, the Columbia Broadcasting System. In a moment, we'll return with Act 3 of the Dark Corner. Our guest tonight, Miss Betty Ann Lynn, began her training for Hollywood in a rather unusual school. Did you ever think, Betty Ann, while you were entertaining the GIs in far off Burma, that one day you'd be a starlet at 20th Century Fox? Well, I'd always dreamed of being in pictures, Mr. Keely, but now that I am, I find I have much to learn. My USO experience helped me, but picture technique is quite different. You have excellent inspiration in the stars at 20th Century Fox. It's a great privilege to be able to watch our finest stars at work on the sets. I saw the filming of Darrell F. Zanuck's Gentleman's Agreement, and what a grand piece of casting that is. Yes, with Gregory Peck and Dorothy Maguire as the stars of that very unusual picture. You know their interpretation of a serious, modern problem is both sensitive and honest. Yes, and Mr. Keely, I love to watch the filming of a costume picture, too. The sets for the Foxes of Hell were simply gorgeous, romantic old New Orleans. I've seldom seen more lavish costumes than Rex Harrison and Marino Harroware. Twenty-six beautiful period costumes were made especially for Marino Harrow, and she's just the one to wear them, too, with her flame-colored hair and lovely complexion, and I happen to know it's a luxe complexion, Mr. Kennedy. Well, you're not surprised at that, are you, Betty? No, indeed. So many famous and beautiful stars are luxe girls. Actually, nine out of ten Hollywood stars have made luxe toilets hope their regular complexion care. As well as hundreds of ambitious starlets like me. You know, Mr. Kennedy, when I was overseas, I used to hoard my supply of luxe toilet soap. I didn't want to skip my beauty care a single day. With Hollywood in mind, that was wise. Soft, smooth complexions certainly help in a screen test. I think any girl would be wise in using luxe toilet soap regularly, Mr. Kennedy. It's a complexion care that really works. Thank you, Miss Betty Ann Lynn. You've just given women everywhere a very practical beauty tip. Here's what tests by skin specialists showed. Daily care with fragrant white luxe toilet soap improved three out of four complexions in a short time. Why not let Hollywood's own beauty soap help your skin to be lovelier, too? Here's Mr. Keely at the microphone. We conclude our play with a final act of the dark corner, starring Lucille Ball as Kathleen and Mark Stevens as Brad Galt. It's three o'clock. Armed with the knowledge that the man they're looking for has gone to the grant building, Kathleen and Brad Galt are rushing up town. Meanwhile, high up in the grant building, unobserved on the platform of a fire escape, Ralph Wicked is about to settle an account for services rendered. Hello, Mr. Wicked. Oh, well, I haven't much time. I told you I have a dental appointment and he's waiting for me. You don't need much time. Say, why'd you pick the fire escape? Do you think I want to be seen with you? I'm a rather well-known figure. Well, don't the heith bother you none? We're sure a long ways up from the street. Not in the least, but something else does. If Jardine is dead, why is it such a profound secret? You ain't up to date, are you, Mr. Wicked? Well, when I do a job, I do a job. Here, here, I bought a late newspaper. Well, look at it. Anthony Jardine found murdered. Well, well, that's different. The body of Anthony Jardine, handsome, young... Yeah, yeah, yeah, yeah, you can read it later. See, I got a cab downstairs waiting for me. So, where's my dough? Oh, yes, of course. It's here in this envelope. I came directly from the bank. I didn't have a chance to count it. Let's see now, there's one hundred, two... Oh, I'm sorry. Throwing your money away, huh? It's okay, I'll pick it up. Hey, what are you trying to do? Let go of me! Sorry, Mr. Stoffer, but after all, it's only justice. You did kill Jardine. All right, everybody, stand back, please, stand back. He jumped out of the grand building. What a way to commit suicide. Keep moving, stand back there. What do you think this is? Keep that traffic moving. Brad, it couldn't be. It isn't... It's him, Kathleen. It's Stoffer all right. No, don't look. Where's that cab driver? Right here. Here I am, officer. Are you sure he came here in your cab? Yeah, sure, that's the guy all right. That's my cab right over there. He seemed okay. He asked me to wait for him. I still got his bags there on my hack. Kathleen, come on. What are you going to do? Never mind what I'm going to do. Hey, hey, my cab, he's stealing my cab. Come back, you! I care what the guy's bags are, and he's driving over my cab. I steal a cab, drive five miles with the cops chasing me for what? Two bags, full of clothes. Not a letter, not a card, nothing. What do you care, Brad? They'll find it in the park. Now the trail stops cold on a Fifth Avenue sidewalk. You'll never even be identified. But you've got to keep pitching. You'll get a break. What more break can I ask for? Cleaner found the suit, gave a staff his name and address. The kid tells us the staff has gone to the grand building. Look, I may be stupid, but I know when I'm licked. Well, I'm not licked. Nobody asked you to be. You're not either if you use your head. Think hard. What else did that child tell us? Nothing. Nothing that made sense. Well, what was it? Oh, something about tickets at the galleries. Okay, figure that one. Tickets at the galleries. Tickets for what? For a train? Maybe. He really was leaving town. What would that have to do with galleries? You tell me, baby. I give up. Tickets for a show? Tickets, tickets. Gall-Galleries. Brad, art galleries. I've got it. I've seen their ads in the newspapers. Fifth Avenue, the Wicked Galleries. Wicked Galleries. What would a mug-like staffer be doing in an art gallery? Maybe that's the point. He wouldn't. Unless there was some connection. Hey, wait a minute. Up in Jardine's apartment, I... I remember now there was a painting. Just unwrapped. I wondered why... What's the matter? Look, out the window. Lieutenant Reeves. Brad. I'll get down the back way, hide stuff as bags. Where do you think you can hide? Who's hiding? I'll be absorbing culture at the ticket galleries. I don't want to die ignorant. Good afternoon, sir. Oh, good afternoon. You got a lot of nice paintings here. Is there anything in particular you'd like to see? No, not especially. Just looking around. Well, it's almost closing time. I just thought if I could be of any assistance... Well, maybe you can. I'd like to ask you some questions. Of course. I was wondering if Mr. Johnson had been in lately. Johnson? Yeah, he works for an insurance company. You know, they specialize in ensuring works of art. Things like that. I don't believe I know him. A big beefy fella. Broken nose. Where's the white suit even though it's early in the season? You sure you haven't seen him? I'm afraid I haven't. Now about these paintings. If you step down this quarter, there are several watercolors that may interest you. Come in. Yes, what is it, Drummond? Should I close the vault, Mr. Wicked? Everyone gone? Just one customer, sir. Miss Stewart's with him now. All right, you can leave, Drummond. I'll go down and lock the vault myself. Good night. Good night, Mr. Wicked. Now, there's something I like. This, uh, c-picture. That's an Alex Barrow. One of his finest. How much is it? $1,500. Okay, I'll take it. By the way, who owns this place? Mr. Ralph Wicked. Ian? Yes, I believe he's still here. And I realize this small sale doesn't entitle me to any special consideration, but, uh, I'd like to see him. Oh, certainly. If you'll wait here just a moment, please. Mr. Wicked? Yes? There's a gentleman who wishes to purchase the Barrow's seascape. Well? I believe he wants to take it with him. Who is he? I don't know. He said he'd like to talk to you. I'm just closing the vault. I'll be up in a moment. You can go, Miss Stewart. Or lock the front door on your way out. I'll take care of the gentleman. There's the vault, sir. He'll be with you right away. Oh, thanks. Well, if you'll excuse me then, I'll run along. Sure, go right ahead. Good night. What? Uh, Mr. Wicked's downstairs. Oh, I'm terribly sorry. I thought you were my husband. I just came in the side door and I... Mrs. Wicked? Well, I, uh... I believe we have a mutual acquaintance. Yes? Anthony Jardine. Oh. Oh, he's a friend of my husband's. Have you seen him lately? No. Not for several days. But who are you? Why do you ask me that? It's obvious you haven't seen the afternoon papers. Jardine's dead. He's been murdered. Murdered? Oh, no. That's what I came to see your husband about, you see. He killed him. Oh. Oh. Hey, Mr. Wicked. Oh, I'd like a light. Okay, sister, suppose you just... Bench... Out here on this bench. How dare you touch her? Keep your hands off her. Oh, Wicked, huh? It's good to see you out in the open at last. Cut you down to size. Way down. I don't think you've ever met me, but you've certainly been using me. My name's Galt. Strange, Mr. Galt, but seeing you here causes me to revise my opinion of you. It's gone up. I suppose your hands go up, too. You heard me, Mr. Galt. That's better. Now shall we go downstairs? What for? For our little chat. I prefer privacy. Murray will be all right, I'm sure. You came to see me, Mr. Galt, about a seascape, Mr. Stewart said, and Alex borrows. Well, actually, I'm more interested in a piece of modern art. A Tony Jardine? I never handled anything as worthless as a Jardine. I know, you mishandled it. Did I? It was found in your apartment. Perhaps it was delivered to the wrong collector. You sure you can't claim it? Positive. Actually, this Jardine really belongs to you. You commissioned an artist to have it done. Did I, Mr. Galt? Somebody had to pay that muscle artist to kill him. Or didn't you ever pay off? Maybe you just launched staffer off the fire escape so he'd get what was coming to him. An imagination like yours should be confined. Get in there, Mr. Galt. Get in the vault. You sure you know what you're doing? You're a criminal. I've apprehended you. What about your wife? She knows now that you had a boyfriend bumped off. Do you think she's gonna keep quiet? What my wife thinks or does is no concern of yours. Leave her out of it. Jardine's body was found in your apartment, and that ends it. Oh, no, it doesn't. It nowhere near ends it. You pin the evidence on me, but when the police finish digging, they'll find you had a much better motive. Now, that's the only sensible thing you've said. Brought to trial, our respective motives would make an interesting case, but, unfortunately, you won't be around to hear the decision. Ralph. Murray. Murray, put down that gun. Are you insane? You better kill me first, Ralph. Because if you don't, I'm going to kill you. Murray, darling, you don't know what you're doing. Evil. You're all evil, Ralph. You should die. Murray! The district attorney's on the phone, Lieutenant Reeves. Thanks. Hello, Miss Reeves, sir. Well, we're about finished at the art gallery. Cleary and Anderson just left with Mrs. Wicked. They'll take her right to your office. What? I think we can. Yes, sir. Well? You know the facts, galt? Okay, but you're not holding Kathleen. She didn't have any part in any of this. I wouldn't say that. She's the one who tipped me off to get down here. Brad, I had to. Wicked would have killed you, you big lug. I can take care of myself. No, you were doing fine, just fine. You knew Wicked's wife would show up, of course. Okay, Reeves, are you booking me or not? Sure, I'm booking you. But you told me that you... You can't go around New York stealing taxi cabs. Well, maybe I can square that rap. Thanks, Reeves. You better drop around my office in the morning, though. Both of you, say nine o'clock. Could you make it a little later, Lieutenant? Brad and I have a date in the morning at the city hall. We have? See, he hasn't asked me yet, Lieutenant. But I told him from the beginning I was playing for keeps. Well, Reeves, they have it. And I promised my friends in San Francisco I'd keep you out of trouble. Go on home. As the curtain falls on Act 3, we bring our stars out from the dark corner where they have quitted themselves so brilliantly and invite them to the footlice for a curtain call. Lucille Ball and Mark Stevens. Lucille, while I have the chance, I congratulate you on the wonderful reviews that you received for your recent stage success back east. Well, thank you, Bill. I've always been crazy about the theater, and I love my part in Dream Girl. I hear you're doing that play in San Francisco pretty soon, Lucille. That's right, Mark. I'm leaving right after tonight's performance to start rehearsals for the opening next Monday. That shaving engagement's rather close. I'll say. And tell me something, Lucille, as the wife of a popular orchestra conductor. Yes. Do you have any time to spend together? You arrange to play the same towns at the same time. Desi will be playing in San Francisco all the time I'm there. That's a very smart arrangement. And I'm sure that when you put in an appearance, Lucille, theatergoers will be properly envious of that lovely luxe complexion. Thank you, Bill. I hope so, because luxe soap and I spend plenty of time together. I wouldn't be a day without it. Seems to me I've heard a lot of screen stars say that same thing. Mark, I understand you're going to be an FBI man Yes, and as you probably know, Bill here is doing the directing. I've heard a lot of interesting things about the picture. Well, we have great hopes for it, since it's being made at the suggestion of the FBI and with their full cooperation. Hey, speaking of screenplays, Bill, what are you doing next week in this theater? Next Monday night from Warner Brothers, we present that violent and romantic drama so many of our listeners have thrilled to on the screen. Nobody lives forever. And our stars are Jane Wyman and Ronald Reagan. It's the tense, suspenseful story of a man who falls in love with a girl he planned to victimize, and thereby involves them both in a perilous and mounting crisis. Nobody lives forever was a thrilling picture, Bill. And it ought to make a great play, Bill. Good night. Good night and sincere thanks. Leave a brother's company, the makers of luxe toilet soap. Join me in inviting you to be with us again this Monday evening when the Lux Radio Theatre presents Ronald Reagan and Jane Wyman in Nobody Lives Forever. This is William Keely saying good night to you from Hollywood. Here's news for thrifty housewives. Dealers now pay much more for used kitchen fats. So save and turn in every pound you can. You'll help yourself, you'll help your country, too. Here's what government officials say. It is still necessary to conserve every pound of fat since the overall fat supply situation is little better now than it was last year. Yes, the worldwide supply of fats and oils is still critically short. Your salvaged kitchen fats are needed to make thousands of essential articles we use in our daily lives. So keep on saving. Remember, your butcher now pays you more for every pound you turn in. Mark Stevens appeared by arrangement with 20th Century Fox, producers of Forever Amber. Heard in our cast tonight were Joseph Kearns as Wicket, Wally Mayer as Foss, Dan O'Hurley as Jardine, Faye Baker as Mari, and Bill Johnstone, Truda Marson, Janet Scott, Lois Corbett, Norma Jean Nielsen, Noreen Gamil, Eddie Maher, Stan McFarrar, Herbert Butterfield and Cliff Clark. Our music was directed by Louis Silvers. This program is rebroadcast to our men and women overseas through the worldwide facilities of the Armed Forces Radio Service. Our Lux Radio Theatre production of The Dark Corner has come to you with the good wishes of the makers of Lux Toilet soap, Hollywood's own beauty soap, the complexion care used regularly by 9 out of 10 lovely screen stars. They depend on this fine white soap for the gentle, beautifying care million-dollar complexions must have. This is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear Nobody Lives Forever with Jane Wyman and Ronald Reagan. Yes, with families who made comparison tests, Pepsidon won by three to one. Be sure to listen next Monday night to the Lux Radio Theatre presentation of Nobody Lives Forever with Ronald Reagan and Jane Wyman. Stay tuned for my friend Irma, which follows immediately over most of these stations. This is CBS, the Columbia Broadcasting System.