Lux Radio Theater: Bullets or Ballots (Encore) (A0048)

Summary

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Podcast Summary

Podcast & Episode Information

• Podcast: The Great Detectives of Old Time Radio
• Host: Adam Graham
• Episode: Lux Radio Theater: Bullets or Ballots (Encore) (A0048)
• Release Date: December 27, 2025

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Episode Overview

This episode is a special presentation from the "Amazing World of Radio" series during the host’s "Summer of Bogart" miniseries. It features an encore broadcast of the Lux Radio Theater adaptation of the 1936 Warner Brothers film Bullets or Ballots, starring Edward G. Robinson, Humphrey Bogart, Mary Astor, and Otto Kruger. The episode is both a showcase of Golden Age detective fiction and a chance to appreciate Humphrey Bogart’s early roles as a gangster, prior to his more heroic turns.

After the drama, Adam Graham offers thoughtful commentary on the story’s characters, themes, and its place in 1930s crime fiction.

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Key Segments & Discussion Points

1. Host Introduction & Context (01:50–04:12)

• Adam Graham welcomes listeners to the "Summer of Bogart."
• Explains the context: featuring adaptations of classic Bogart films and radio appearances.
  • "We’re going to start with a gangster picture he did with Edward G. Robinson. And it was adapted to the Lux Radio Theater..." (03:18)

2. Lux Radio Theater Adaptation of "Bullets or Ballots"

(Show begins at 04:12 and runs until 59:42)

A. Opening & Setting the Stakes (04:12–10:30)

• Radio journalist Ward Bryant delivers an impassioned broadcast against racketeering, naming Al Kruger as a crime boss.

• Bryant, defiant against threats, is gunned down – establishing the brutality and reach of organized crime.

  Quote:

  "I've been ordered by the crime combine to discontinue these broadcasts. The gentleman who phoned added or else...For his information, I shall continue to broadcast regularly..."
  – Ward Bryant, (08:21)

B. The Numbers Game & Character Introductions (10:30–15:27)

• Lee Morgan runs a burgeoning numbers racket.

• Detective Johnny Blake, formerly respectable, is relegated to small cases after political shakeups.

• Blake’s deep personal code and his ties to both law and the world of racketeers are established.

• Tense exchanges with criminals and former colleagues unfold, drawing clear lines between loyalty and corruption.

  Quote:

  "If I'd gone in with you, Al, I'd have done it to nail you."
  – Johnny Blake to Al Kruger, (15:00)

C. Shift in Power & Undercover Work (20:22–36:25)

• Blake is fired from the police, battered by the shifting tides of departmental politics.

• Officially ousted, he is invited to join Kruger’s organization—ostensibly as a disgraced cop, but in reality, he is collaborating secretly with Commissioner McLaren to bring down the organization from within.

• The dangers and temptations of going undercover in such a setting are made clear.

  Quote:

  "From now on, I'm going to see what it's like looking out for number one."
  – Johnny Blake, turning point, (23:38)

D. Racket Expansion & Power Plays (36:25–48:11)

• Blake engineers a plan to consolidate the numbers racket, which spreads rapidly and brings in massive profits, impressing Kruger and positioning Blake to learn the identities of the shadowy bosses.
• Tensions within the criminal organization mount as Bugs Brenner grows suspicious of Blake.

E. The Final Gambit: Exposure and Showdown (48:11–59:42)

• With Kruger dead and Brenner seizing control, Blake maneuvers to expose the real bosses of the syndicate, culminating in a high-stakes meeting and coordinated police raid.

• In a climactic confrontation, Blake is mortally wounded by Bugs Brenner but ensures evidence ties Brenner to several murders, closing the case but at great personal cost.

  Quote:

  "I'd like to think that when the mugs see a policeman, they'll keep on tipping their hats."
  – Johnny Blake’s dying words to McLaren, (58:23)

3. Forensic Science Segment (Intermission, ~44:10–48:11)

• Real-life criminologist Frank B. Gompert is interviewed about the evolving role of forensic science in crime-solving.

• Entertaining demonstration of forensic deduction using Cecil B. DeMille’s coat draws laughs and illustrates the science’s power.

  Quote:

  "You win, Mr. Gumpert. But who was the girl? ...It happened to be my daughter, Catherine."
  – Cecil B. DeMille and Frank B. Gompert, (47:00)

4. Closing Bows & Light Banter (59:42–61:17)

• After the curtain, the actors return in character for witty exchanges about dying on screen and the virtues of Lux soap.
• Ends with Mary Astor praising Lux and teasing Edward G. Robinson about his many on-screen deaths.

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Host’s Commentary & Analysis (64:20–68:30)

Adam Graham reflects on the episode, highlighting:

• Bogart’s Role:

  • "Bugsy was probably the most interesting character in the film. He was the one guy you couldn't necessarily predict what he was going to do." (64:27)
  • Discusses the appeal for actors in playing villains, especially in early Bogart roles.

• Crime as War Theme:

  • "The overall approach of the story is that of crime as war. When you're dealing with racketeers, you're at war..." (66:08)
  • Notes the lack of sentimentality; the narrative draws a stark line against organized crime.

• Era and Genre Placement:

  • Explains how Bullets or Ballots fits with 1930s crime cinema, embracing a harder, more action-oriented tone soon to change post-1940.

• Forensics Highlight:

  • Praises the segment with the criminologist as both entertaining and educational, showing early radio’s interest in crime science.

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Notable Quotes & Timestamps

• Implacable Stand Against Crime:

  "These rackets must be stopped...I'll continue to broadcast regularly..."
  – Ward Bryant (08:21)

• Code of Honor:

  "If I'd gone in with you, Al, I'd have done it to nail you."
  – Johnny Blake (15:00)

• Undercover Motive:

  "From now on, I'm going to see what it's like looking out for number one."
  – Johnny Blake (23:38)

• Dramatic Dying Words:

  "I'd like to think that when the mugs see a policeman, they'll keep on tipping their hats."
  – Johnny Blake (58:23)

• Forensics in Action:

  "From that single hair, we can usually learn a man's approximate age, his environment, the places he visited recently..."
  – Frank B. Gompert (intermission, ~45:22)

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Memorable Moments

• The tense, emotionally charged showdown between Blake and Brenner, in which both suffer fatal wounds (54:47–58:23).
• The intermission interview with criminologist Frank Gompert, who reveals impressive forensic deductions from DeMille’s coat, blending humor and science.
• The bittersweet final exchange between Blake and Lee Morgan, ending on a note of rueful camaraderie and sacrifice (56:09–57:13).

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Structure & Flow

• The episode maintains a determined, hard-boiled tone typical of 1930s crime dramas, peppered with moments of wry humor and underlying sentiment—especially in the relationships between Blake, Lee Morgan, and the criminals.
• The drama segues smoothly into commentary and analysis, providing historical context and drawing thematic connections for modern listeners.

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Summary for New Listeners

Even if you missed the actual broadcast, this episode delivers a thorough and engaging audio drama—complete with top-tier Golden Age voice acting, period music, and sharp writing. Adam Graham’s commentary enriches the experience, inviting you into the history and ongoing appeal of classic radio mysteries. The focus on Humphrey Bogart’s gangster persona provides extra depth, making this a highlight of the "Summer of Bogart" series.

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For further episodes and commentary, visit:
greatdetectives.net
Feedback: [e-mail]

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(End of Summary)

Transcript

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[B]

Hello, this is your host, Adam Graham. The great adventurers of Old Time Radio is taking a break from posting new episodes, but we are sharing some adventure themed episodes of other podcasts I've done over the years until we return on January 11th for the premiere of Tarzan. In the meantime, please enjoy this episode which was originally released as part of the Amazing World of Radio. If you'd like to listen to more episodes of that series, please check it [e-mail] but now on with today's show. Welcome to the Amazing World of Radio from Boise, Idaho, this is your host, Adam Graham. If you have a comment, email it to me. Box Thirteenreatetectives.net and welcome to our Summer of Bogart. That's right, every Wednesday between now and September 6th, we'll be bringing you a radio program featuring the legendary Humphrey Bogart. In the course of this, we're going to cover his great and classic films that were adapted to radio Treasure of the Sierra Madre, Casablanca, the Maltese Falcon and many more. And we'll also throw in a couple episodes of his radio series Bold Venture. At the end of the miniseries, we'll mix it up with a few episodes that wouldn't necessarily be considered typical Bogey, but which he nevertheless did over radio. But we begin with where Bogart began his career, and that was by playing tough guys and gangsters. This predated his more heroic work, but was really an important part of making him known to the public. Kind of like Alan Ladd would later follow the same path. And so we're going to start with a gangster picture he did with Edward G. Robinson. And it was adapted to the Lux Radio Theater. The original air date was April 17th of 1939 and the title is Bullets or Ballots.

[A]

Everyone deserves to be connected. That's why T Mobile and US Cellular are joining forces. Switch to T Mobile and save up to 20% versus Verizon by getting built in benefits they leave out. Check the math@t mobile.com Switch and now T Mobile is in US cellular stores. Savings versus Comparable Verizon plans, plus the cost of optional benefits plan features and taxes and fees vary. Savings with three plus lines include third line free via monthly bill credits. Credits stop if you cancel any lines. Qualifying credit required. From hollywood, california, the lux radio theater presents edward g. Robinson in bullets or ballots. With mary astor, humphrey bogart and otto krueger. Lux presents Hollywood Bullets or Ballots. This is the question answered in tonight's play, the vivid drama of a battle against racketeers. Screened by Warner Brothers. You'll hear it starring Edward G. Robinson, Mary Aster, Humphrey Bogart and Otto Krueger. While our special guest is Frank B. Gumpert. Nationally known criminologist Louis Silvers conducts our music. Just a word before hearing from our producer. Your complexion and the care you give it is mighty important to you, isn't it? Then of course, you don't want to take chances with inferior soaps. You want to be sure the soap you use is non irritating, really mild. It's nice to know that every ingredient that goes into gentle Lux toilet soap is tested for extra fine quality for purity. For now you know why 9 out of 10 screen stars use luxe toilet soap for their million dollar complexions. They can depend on its gentleness and mildness. You can too. And that's so important to your good looks, to your happiness. So I hope you're making luxe toilet soap, your regular complexion care. If you haven't a generous supply on hand, put it on your shopping list now. And now, the producer of the Lux Radio Theatre. Ladies and gentlemen, Mr. Cecil B. DeMill. Greetings from Hollywood, ladies and gentlemen. Racketeering is a comparatively new word in the American language, but an old bugbear in American history. Following the Revolution, American vessels in the Mediterranean were plundered and their crews thrown into slavery so frequently that the United States, to continue commerce in those waters, signed a treaty with the pirates ruler, the Sultan of Algiers. Uncle Sam paid $800,000 for the ransom of imprisoned sailors and for years paid an additional $23,000 annually as a guarantee for future safety until our navy under Stephen Decatur, forever ended this racket of the Barbary pirates. Today's racketeers dealing in millions of dollars would scorn the modest sums involved in historical racketeering. And only by militant public resistance such as that shown in tonight's play, Bullets or Ballots, can America purge herself of these internal parasites. In his screen characterizations, Edward G. Robinson has often lived outside the law. But tonight he walks a straight and narrow path as he pins a badge inside his coat and becomes, as he did in the picture, Detective Johnny Blake, an established air personality because of his own program, Big Town. This fast talking, fist swinging favorite is from Warner Brothers studio and will soon appear in Confessions of a Nazi Spy. In Bullets or Ballots, you saw another brilliant performance by one of the screen's best bad men, Humphrey Bogart, who likes playing villains and tonight resumes the part of Bugs Brenner in our glamour division. There's Mary Astor, who brings her loveliness and talent to the role of Lee Morgan. Otto Kruger displays his genius for the sinister and changes only his first name in playing Al Kruger. We raise the curtain now and the Lux Radio Theatre presents Edward G. Robinson in Bullets or Ballots with Mary Astor, Humphrey Bogart and Otto Kruger. A radio station in a large eastern city. At a table in one of the smaller studios, a man reads earnestly from a typewritten page behind the glass enclosure. The radio engineer sends the speaker's voice out across the city into the homes of listening millions. The man nears the end of his speech. So, ladies and gentlemen of the radio audience, there are a thousand rackets, rackets which are forcing prices beyond the reach of the poor, looting business. Food, laundry, poultry, dry cleaning. And still the American people let the racketeer go free. Men like Al Krueger, protected against the law, return from mock trials to collect their share of the 200 million dollar plunder taken each year from this city alone. And again I say these rackets must be stopped. Ladies and gentlemen, I've been ordered by the crime combine to discontinue these broadcasts. The gentleman who phoned added or else for his information, I shall continue to broadcast regularly and my papers will continue their present policy of open attack on racketeers and directors of organized crime who are the really dangerous enemies of society. Ladies and gentlemen, you have been listening to Mr. Ward Bryant and his March Against Crime. Mr. Bryant will be heard again at this same time. Right, Mr. Bryant. Good night, Joe. That was a fine speech tonight, Mr. Bryant. I heard it here on the speaker down the hall. Oh, glad you like it. Get me a cab, will you, Joan? Sure. Yes, sir. You sure have the right angle on this racketeer business. I. Hey, look out. Look out. Mr. Bryant. Look out. Mr. Bryant. Help. Here. Take my ward Bryant kill editor. Shot down crusading editor. My gang. Bullets. Cat Brian or Brian kill gang of the time.

[B]

Cigars.

[A]

Cigarettes.

[C]

Cigars.

[A]

Cigarettes. Cigars. Cigarettes.

[C]

Who is it?

[A]

It's me, Ms. Lee Hooman. Can I come in?

[C]

Come on.

[A]

Good evening, Ms. Lee.

[C]

How are you, Herman?

[A]

They said you was in your office.

[C]

So why are you surprised? How are the collections today, Herman?

[A]

Oh, just fine, Ms. Lee. You really got something in this numbers game. It's gonna catch on up here in the Bronx even better than in Harlem. Here. Here's one day's collections.

[C]

Did you have to bring it all in, Nichols, Herman?

[A]

No, ma'. Am. There's two other bags, too. Green money.

[C]

That's very nice.

[A]

Yes, ma'. Am. You know, if it keeps coming in like this, you can sell this cabaret and move right into Park Avenue.

[C]

Thanks. We'll stick to the cabaret in the Bronx. Bye, Herman. See you tomorrow.

[A]

Oh, say, there was something else I wanted to tell you.

[C]

Never mind. It'll come.

[A]

Oh, I remember. Yeah, I saw Mr. Blake when I come in. Blake? Yeah, that detective fella.

[C]

Where was he?

[A]

In the bar.

[C]

The bar? Is he drinking?

[A]

Yeah.

[C]

What's happened downtown? Any extras out?

[A]

Oh, yeah, yeah. That publisher was murdered.

[C]

The one name that explains it.

[A]

Oh, the name.

[C]

Never mind, Herman. Sit down and rest.

[A]

I got it, Brian.

[C]

Thanks. Hello, Johnny.

[A]

Oh, hello, Lee. Sit down a while.

[C]

Don't mind if I do. Guess it's all right for the boss to chin with a guy she hasn't seen in months. How have you been, Johnny?

[A]

Okay.

[C]

Why don't you let me know you were here?

[A]

I was busy reading this about Brian.

[C]

Yeah. That was real brave killing, wasn't it? Did you know him?

[A]

Yeah, a little swell fellow. We had a swell wife and kid. Gonna be plenty tough on them.

[C]

Wife and kid, huh?

[A]

Yeah.

[C]

You're a funny person, Johnny. When you come out of your shell, you're really human.

[A]

Well, I don't like to see decent people pushed around.

[C]

And something big breaks down there in your old Stampin ground. It gets under your skin, doesn't it?

[A]

What makes you think so?

[C]

It's the only time I ever see you take a drink.

[A]

Oh, no. This is just a celebration. I found out who stole Mrs. Blousmeyer's laundry.

[C]

Ah, that must have been something.

[A]

It was.

[C]

You aren't on the level.

[A]

Oh, sure. I've been transferred up here now. Regular.

[C]

Well, for. That's a fine finish for a great police career, isn't it? Trying to find stolen laundry in the Bronx.

[A]

Well, it's better than being benching off at the fire horses. I'm not kidding myself. I'm no use to them downtown anymore.

[C]

Oh, but things. With things like this Bryant killing going on, it looks like they need you plenty. They ought to have your whole flying squad back in action.

[A]

Now they don't believe in kicking the rats in line anymore. Nowadays you're supposed to kiss them and tuck them in.

[C]

Your friend McLaren doesn't think so.

[A]

Oh, McLaren's only a captain. He takes orders, too.

[C]

So you just go on staying loyal to McLaren and the police department, huh?

[A]

That's about it.

[C]

And looking for laundry.

[A]

Sure. Someday Mac will be back up on top. Then you won't have to worry about me anymore.

[C]

Johnny, who killed Bryant?

[A]

Al Krueger.

[C]

You're sure of.

[A]

Wasn't Al himself one of his stooges? Bugs Brenner, maybe.

[C]

How do you know?

[A]

Well, Kruger had the most to lose. By cleanup, he controls every racket in town.

[C]

Yeah, not the numbers, the numbers.

[A]

Save that small time. If it ever gets big enough, he'll grab it just like he's grabbed everything else. Yeah, he's got an organization, that guy. Crime Incorporated. Protected right down the line. We can't lay a finger on him until we find out who's behind him. The higher ups, you know, who. See to it that he gets away with anything he wants. Including murder.

[C]

I wish they'd let you take a crack at this job.

[A]

Why Feeling sorry for me?

[C]

Maybe. Or maybe just because I hate to see a swell guy eating his heart out.

[A]

Oh, forget it. Well, see you around.

[C]

When, Johnny? It's a long time between your visits, you know.

[A]

Oh, I'll make it soon.

[C]

Swell.

[A]

Hey, I thought you didn't let mugs into this place.

[C]

I don't when I know him.

[A]

Well, look who's coming in. Who is he? Crail. I sent him up to Sing Sing a couple of years ago. Well, well, well, if it ain't Detective Blake. Now the parole board turns you loose on the public again, eh? Yeah, no thanks to you. Well, I hear they cut the big shot detective down to size. Gee, it must be tough not to be able to kick the boys around anymore and make them tip their hats to you and. Yeah, but they still do. To a Bronx flat foot. Yeah, and as long as I'm part of the force, they'll keep on tipping the hats. Remember it next time.

[C]

All right, everybody, it's all over. Moggsy, throw that guy out. Music, Harry.

[A]

Well, I guess I'll go downtown, see what's going on.

[C]

You haven't lost your gentle touch, have you, Johnny?

[A]

I'll see you soon.

[C]

Don't hurt your knuckles.

[A]

What do you want? I want to see Al Kruger. Yeah, Blake's the name. Detective Blake. Oh, wait a minute. Hey, Al. Guy named Blake. Dick. Johnny Blake. Oh, come in, Johnny. All right, Vinci, get out. Hello, Al. How are you, Johnny? Sit down. Big night for you, huh? Working overtime. Yeah, that happens a lot. Your rackets must be doing all right. Yeah, about 5,000 last week. 500,000, you mean? Maybe. I can't count that high. Cigar? Thanks. I thought you were homesteading in the Bronx. What are you doing down this neck of the woods? Oh, just poking around the old hangouts. What do you think of Brian's death? Yeah, I was just reading about it. Too bad. He was a fine fellow. Now they'll probably blame it on you, Al. You're telling me. A couple of the boys are up here from headquarters a half hour ago. They were very nice about it, though. Yeah, that's the trouble. They have to be. You'd have taken me around the corner and rolled up a newspaper. Yeah, I guess I would. But I didn't get much out of you the last time I gave you going over. You came close to it. I wish I'd known it at the time. You'd have got some more. I wanted to get you on that rap. Yeah, good old days. Yeah, You've traveled a long way since then. Well, you'd have gone a long way too if you'd thrown in with me the first time I asked you. Maybe I would. You'd have been a great help to this business, Johnny. You know more about the inside of this town than any bird that ever lived in it. If I'd gone in with you, Al, I'd have done it to nail you. No, no, you wouldn't. You never double crossed anyone in your life, even a crook. If he told you something in confidence. You rode the pants off all of us. But you always let us know where you stood. Yes, you always known what I thought of you. Yeah, and you're the only fellow that I take it from. Well, I still want you to throw in with me, Johnny. Well, I'll stick with the department. After all the kicking around they've given you, you're a chump. All you'll get out of it is a petty larceny pension. I could do more for you in a year than you learn in a lifetime on the force. Well, maybe I like to make my money the hard way. Yeah, I'll probably still be asking you 10 years from now. If you live that long. Hey, Al, you see the papers about? Hey, what's he doing here? Well, if it isn't Bugs Brenner. How's for getting out of here, Blake? Hold your horses, Bugs. I asked Johnny. Oh, never mind. Al Buggs hasn't been able to forget the week he spent in the hospital after he took that swing at me. I don't think much of him either. See you around. Oh, I forgot to compliment you, Bugs. Nice clean job you did on Bryant. What are you talking about? Nothing yet. Good night, Al. Hey, what's he talking about? As if you didn't know. Your 10 cent thug. I told you to leave Bryant alone. I didn't know nothing about him. It's a matter what a minute. He. Is he dead? Yes, he's dead. And you did it. I pull you off a truck and you pay me back by taking a chance on ruining a million dollar gold mine. Someday you'll get wise to the fact that the strong arm stuff went out with Prohibition. You're not running liquor anymore. You're in big business. Sit down. Hello. Plaza 95472. That's right. We've just seen the extra. Mr. Krueger, please come to see us at once tonight. Yes, sir. Right away. That ought to satisfy you. Who was it? The big fellas. The first time they've called in six months. When they call at this time of night, it Means they're going to rake me over plenty of. They're liable to pull the props out from under me for this Bryant mess. And if they do, it'll be the last thing that'll happen to me. Hey, Al, who are these fellows? Who are they, Al? If you knew, you wouldn't sleep much tonight. Now beat it. The killing of one leader, Mr. Ward Bryan, cannot stop these broadcasts. The march against crime will continue faithful to the memory of one who died in the service of the people. The first step had already been taken. A new police commissioner was recommended by the grand jury last week. A man with a splendid record and fine reputation for honesty and integrity. We are pleased at this time to inform our listeners that. That the appointment was ratified today. The new police commissioner of this city is Mr. Franklin McLaren. Mr. McLaren.

[C]

Herman.

[A]

Yes, ma'?

[B]

Am.

[C]

Get Mr. Blake on the phone. Circle 0461.

[A]

Yes, ma'. Am. C. I see. That's what I've been meaning to tell you about Mr. Blake.

[C]

Well, what?

[A]

Well, Mr. Blake got fired from the police force this morning.

[C]

Fired? Someone's kidding you.

[A]

No, no, it's true. You ask him. This Mr. McLaren started a big shakeup and I fired a lot of fellows.

[C]

But he was depending on McLaren.

[A]

Well, you ask him, Ms. Lee. Oh, now, where was I? Oh, yeah, yeah. See?

[C]

Wait. Never mind calling. I'll run over and see him. Oh, hello, Johnny.

[A]

Well, how are you, Lee? I never thought you'd get over this way.

[C]

Well, shall we just stand here and swing on the door?

[A]

No, no. Come on in. Well, what are you in an uproar about?

[C]

Herman said you were fired.

[A]

That's right. Yeah. Sit down. Make yourself comfortable.

[C]

Who did it?

[A]

McLaren.

[C]

And you're the one that was telling me that when McLaren got on top, everything would be just fine and dandy.

[A]

I was wrong.

[C]

Sure. It's about time you got wise to yourself. Around this town, the only reason friends pat you on the back is to find an easy place to break it.

[A]

You're a friend, aren't you?

[C]

I guess you're dumb enough to think so.

[A]

Oh, no, I'm not dumb, Lee. You like me pretty. Well, that goes both ways. You know, if women and home life had been in my line, I'd have fallen for you a long time ago.

[C]

Been sort of nice, wouldn't it?

[A]

Yeah. It wasn't in the cards, Lee.

[C]

You can't beat the cards, can you?

[A]

No.

[C]

You didn't get enough salary to save much, did you, Johnny?

[A]

Oh, I'll get along.

[C]

I suppose you'll be looking for A job? I thought you might like to come in with me and help me run the numbers game.

[A]

What? You got all the help you need.

[C]

Oh, I won't have. It's getting bigger all the time. Some weeks it brings in 10 to 12,000.

[A]

Boy, 12,000. And that penny anti game.

[C]

Mm.

[A]

Well, the last time you told me about it, you were only getting a few hundred.

[C]

I know, but they're crazy about it in Harlem. And now it's going over in the Bronx. Oh, please come in and help me run it, Johnny. You could do a swell job of building it up. You'd make a lot of money for both of us.

[A]

Pretty regularly you'll do it? No, not a chance. Any money I made would be just coming out of your pocket. I don't take money away from women.

[C]

Well, I thought I'd tell you about it.

[A]

Well, thanks just the same.

[C]

I'm sorry you got kicked out. It's gonna be tough for you to break into something new after all these years.

[A]

Yeah, I guess so.

[C]

What do you think you'll do?

[A]

Well, I was just leaving to take in the fights. I've got a good card on tonight.

[C]

Don't hurt your knuckles. So long, Johnny.

[A]

Hiya, Johnny. Hi, Louie. You missed a sweet battle, Johnny. Yeah, well, that's too bad. Yeah, your pal McLaren liked it.

[B]

What's that?

[A]

McLaren. Is he here? Yeah, right over there. See? Oh, yeah. Thanks. See you later. Oh, hello, Mr. McLaren. Oh, hello, John. Congratulations on your new job. Thanks, John. They told me you were trying to see me today. Sorry, I was busy. Oh, it's okay. I can say it now. I just wanted to thank you for the kick in the teeth.

[B]

What?

[A]

What? Come here. You can't suck the commissioner and expect to get away with it. Let go of me, will you? Prefer charges, Commissioner? No, just throw him out in the street. You want another drink, Johnny? Mr. Blake, to you. Ah, sure. Sorry. I'll freshen this one up. Hello, Johnny. Oh, hello. Alright. Mind if I said that I just came from the fights? Oh, yeah, I saw you when I went in. You don't miss much, do you? It's a habit. How was the main event? They oughta had you in the ring. That was a sweet punch, Johnny. Now McLaren had it coming to him. Oh, yeah. Finally washed up. Yes, plenty. A lot of thanks you got from McLaren and the public. It's not even that petty larceny pension you were talking about. From now on, I'm going to see what it's like looking out for number one. That offer is still open, Johnny. And I'd like to have you in with me. Doing what? Well, I get a hunch we're in for some trouble with McLaren and that grand jury on it here. If there's any weak spots in the organization, I've got to find them now. And you'll be the first one to spot them. I want you to look over the whole setup, and the only one you answer to is me. You've got a lot of confidence in me. Yeah? Well, I've heard fellas you've sent to prison say that if you ever made a deal, you'd see yourself dead before you'd back on it. Well, how about it? Okay, Al, it's a deal. We have come to the end of the first act of Bullets or Ballots, starring Edward G. Robinson, Mary Oster, Humphrey Bogart and Otto Kruger. The curtain will go up on Act 2 after our short intermission. But now, here's something that happened recently which I would like to have you hear. Better hurry, Mary. We're gonna be late. All right. Just a moment. Gosh, you've been pimping for an hour.

[C]

Now, don't exaggerate. I'm coming. Don't be cross, dear.

[A]

Well, helloa. I thought you'd never show up. Oh, say, you look wonderful.

[C]

You like it?

[A]

Like what?

[C]

The hat, of course.

[A]

Oh, gosh, the hat. Sure, I like it. But I like what's under it better. How about a little kiss? Come on, let's get going. I'm gonna be proud. There's nothing like a soft, smooth complexion to make a new spring hat do its best. And as a matter of fact, the best looking hat in the world can't do much for a woman who's been careless about her skin. The woman who's let cosmetic skin develop dullness, little blemishes, enlarged pores. That's why clever women everywhere take the screen star's tip. They use cosmetics all they like, but they're always careful to remove them thoroughly with luxe toilet soap. This mild white soap that 9 out of 10 screen stars use has active lather. Let it help you keep skin smooth and soft. Lovely to look at, nice to touch, Mr. DeMille. Act two of bullets or Ballots, starring Edward G. Robinson. With Mary Astor, Humphrey Bogart and Otto Kruger. Fired from the police force, Johnny Blake has gone over to the racketeers as a working part of Al Krueger's crime caban. But now an outraged citizenry demands action. Swiftly and without warning, the new police Commissioner cracks down. McLaren Dynamite Racketeers. Loan shark. Cronies laundry rackets match. McLaren Raids, jewelry fancy. One by one, the rackets fold and thousands of dollars are turned back to the taxpayers. In a hotel room, Joe Vinci, the latest racketeer to feel the lashes, savagely reads the headlines. Police raid jewelry fences. 200,000 in diamonds recovered. 200 grand. Well, that fixes my business plenty. Ah, you ain't getting it any harder than the others. It's phony to me. The cops couldn't have found out hideout without somebody tipping them off. And I'm going to find out who's doing it. You don't have to look far. All this has happened since Blake got in. What are you talking about, Bugs? I'm talking about Blake. I'm going to ask him a few questions. Hello? Hello, Louie. This is Bugs. Let me speak to Blake. Well, he ain't here, Bugs. He just drove over to the bank with Al. Oh, yeah. Now, when he gets back, I want to see him right away. Sorry, this is a no parking zone. Forget it, copper. This car belongs to Al Krueger, Tax one to put your name or his on the ticket. You write a ticket for Al Kroeger and he'll tire that nag of yours upside down. Yeah, what goes on? What's the idea of the ticket, darling? What's it to you, Mr. Blake? What's the matter? Afraid McLaren will fire you if you don't get rid of all those parking tags? Oh, he's already weeded the rats out of the department. You wouldn't like to climb down off that horse of yours for a minute, would you, darling? I'd be glad to. Now, wait a minute. Take it easy, Johnny. I'm off. What do you want to make of it, Johnny? Cutting the cop. How's that, darling? Need a horse to be a cop, do you? You're too fat. This is where the whole rocks, huh? Give it to him. Well, if it ain't Johnny Blake. Come on, Johnny. You've had enough work for your fist today. It took two of you to do it, as usual. Shut up, you. All right, darling? Yeah, call the wagon. Yeah, call the wagon. Get a whole squad to take me in. Joe, tell Al if he wants me at that meeting on time, better rush a lawyer down for me. In here, you. Thanks. Now, someday, McCoy, I'll run into one of you boys. When you're alone, I'll mark off the days on my calendar. How are you, Johnny? Well, hello, Mr. McLaren. How'd you get in here ahead of me? They sent me word that you were on the way, that I socked Donlon too hard. Well, you didn't do him any good, or me either. That night at the fights. You know, Johnny, you ought to learn to pull those punches. Well, if I pull them, they'd look phony. How's your jaw? Still in the sling. What do you thought the fuss for this time? I had to see alone. This was the only way I could manage it. Well, what happens next? I wish I knew. Here. Here's another report. A whole poultry racket down through names and addresses here. This is a plane of a garage, a business headquarters, so forth. Afraid it won't do much good, though, except for raids. That's good enough for the time being. We've been doing pretty well on your information, Johnny. So I've been reading in the papers. Did you find out who bosses Krueger? All I know is that there is somebody higher up and he controls everything. Now, if we can nail that bird, the whole works will fold up from the inside. Does Brenner know who it is? Nobody, except. Except Kruger. Do you think you'll ever get it out of him? No, not a chance. Well, well, how are you working it? We've got to know. Now, look, Brenner is Kruger's number one man. If anything happens to Kruger, and I'm going to see that it does, Brenner steps up, but I'm not going to let him. Because I'm going to step into Mr. Brenner's part. How? Well, I don't know yet. Is that all you got to tell me? That's all for now, except keep on smashing him as fast as you get my instructions. When the break comes, I'll know what to do. Until then, you got to play the cards the way I deal them. There's only one thing tough about it, though. What's that? Al Kruger. He's just as much of a rat as the rest of them. He'd knock me off in a minute if you found out. But then I'll hate to cross him because you haven't given him an even break. Yeah, well, I haven't given you one either. We had another man on the force who tried to smash that mob. They threw acid in his face. His headlights don't burn anymore. I handed you a rotten job, Johnny. Oh, I asked for it. Hey, all I know is handling mugs. I'd have come back to work for you if I had to ride a horse or hand out traffic tickets. Yeah? Kruger's lawyer's in the office. The rich for you. All right, come on. So long, Mac. Take Care of yourself, Johnny? Sure. And as soon as I'm set, you'll hear from me. In the meantime, make them tip their hats. You heard me, Al. Blake. Nobody else but Blake. I tell you, the guy's double crossing. Shut up. Now, wait a minute. I said shut up. That means you too, Bugs. I'm running this outfit. Well, thanks for the fast legal service, Al. What's the matter? What is this, a wake? It might be. Seeing the papers. New racket raids. Net 21H. Nice picture of McLaren. Yeah, the boys think you're working for him. I'm wandering. I'm not. Bug, shut up. What have you got to say, Johnny? Oh, sure, sure, Al. I just sold you right down the river. The cops said they were sorry they kicked me off the forest. Why? McLaren sent me a basket of flowers for hitting him on the jaw. Said if I want to come back, he'd give me the whole Bronx to wander around in. I wouldn't clown, Johnny. Ah, we're wise to you, Blake. You're true. Oh, no, I'm just starting. Hey, now, listen. Take your hands off. I don't like guys that put their hands on me. Let's keep this a business meeting. All right, start talking. Al, I went to work for you because you wanted help. I didn't come to you. You came to me. Now, you think I crossed you? I couldn't get a dime a dozen if I handed this whole mob over to the cops, and you know it. You see now why you need help, and you need plenty of it. Hey, Al, are you gonna let this guy talk his way out? Shut up. Keep talking, Johnny. Never fails, does it? When mugs get in the jam, they always start off by knifing each other. Hey, I thought you were smart, Al. What would you suggest? Well, let McLaren have his fun. You can't stop him. As soon as he's made a showing, the grand jury will fold up right under him. They always do. You know that. Sure, and meanwhile we sit back and wind up broke. No, spend your time building up new rackets so that when McLaren comes up for air, he'll find a dozen more going. Just pull them right out of the hat, huh? No, you just go to work. Quit playing cops. Stop knifing each other. I suppose you've got a good record in mind. Well, name it. Sure, I've got one. Numbers. Go ahead. Now, what's the odds against picking the right number out of from one to a thousand? Well, a thousand to one, that's it. Now, we take the last three numbers of the Racetrack payoff. Every day the suckers try to guess it. The payoff is 600 to 1. That is, if anybody picks the right number. A lot of people will try to pick that every day. If $1 would win them 600. Oh, what are you trying to sell us? That Penny Andy game Lee Morgan's running up in the Bron? Well, it's so penny addy that she's picking up 12,000 a week out of a few neighborhood stores. Most of the bets are nickels and dimes. Now, 7 million people in this town and all of them looking for easy money. You just offer them 600 for one and watch this thing spread like a four alarm fire. And they won't be playing one number apiece. They'll be picking four or five. Now, if you want to control the winning number, you can pay off on racetrack bets and manipulate the totals. All it needs is organization. You get a million people buying numbers every day, and this one racket will clean up $300 million a year. Why, it's easy. It's a cinch. 300 million. That's right. Did somebody say something about Penny Andy? All right, you fellas, beat it. Mr. Blake and me want to talk business. I said beat it. Okay, Mr. Kruger. Nice talking, Blake. Now sit down, Johnny. You know, you're a pretty smart guy. Yeah. My mother used to say I was going to be president. Miss Lee. Miss Lee, I gotta see you right away.

[C]

What's the matter, Herman? Where'd you get that shiner?

[A]

Ms. Lee, it's important.

[C]

Come inside. Well, Herman, spill it.

[A]

They took the money away from me. The numbers money, the bag and everything.

[C]

Who did?

[A]

I don't know. Some men. They stopped me on the street. They told me to keep my face out of there. They said I couldn't even make collections no more.

[C]

Oh, they did, did they? All right, sit tight, Herman.

[A]

What are you gonna do? They're mugs, miss.

[C]

I'm gonna tell Johnny Blake about it. He'll run those chiselers right off the end of the 93rd street dock. Wait here. I'll be right back.

[A]

Yes, miss?

[C]

I was told that Mr. John Blake had moved here.

[A]

That's correct.

[C]

I'd like to see him, please. My name is Lee Morgan.

[A]

I'm sorry, but Mr. Blake isn't in his room. He left just a moment ago.

[C]

No, thanks.

[A]

You're very welcome. Evening. Hey, you looking for Johnny Blake?

[C]

Why, yes, I am.

[A]

My name's Brenner. Maybe I can help you.

[C]

I gotta find him right away.

[A]

Ain't you the Lee Morgan that runs the numbers game in the Bronx.

[C]

Yeah.

[A]

I hear they started running you out of it tonight.

[C]

Well, they won't get away with it.

[A]

Yeah, I know it's a dirty trick. I don't blame you for gunning for Blake.

[C]

Gunning for him?

[A]

Yeah, he's the one that's taking it over Blake.

[C]

You're a liar.

[A]

He's grabbing it to put himself in strong with Al Kruger. Why don't you go in and ask him? He's in the coffee shop.

[C]

Yeah. Thanks. Hello, Johnny.

[A]

Oh, Lee. Well, sit down, Lee.

[C]

Thanks, but I may not be staying long.

[A]

No? What's on your mind?

[C]

Just one thing. Are you taking over the numbers game, Johnny? Well, are you?

[A]

Yes.

[C]

Why?

[A]

I can't tell you. I see.

[C]

I tried to take you in with me. Sort of worked out better to toss it to the wolves, didn't it?

[A]

Well, I. Well, I thought they'd let you keep on running your end.

[C]

I guess that wasn't poetry about friends finding an easy place to break the back. So long, Johnny. Good luck to you.

[A]

20, 30, 40,001 makes 41,000. That's your cut, Johnny. Thanks. Hey, that's not so bad. Yeah, you earned it. That was a great idea, taking over the numbers. Guess what? By the way, you better sink that cash in a safety deposit box. Don't put it in a regular account. No, no. Oh, sure. Safe deposit. Oh, I get it. Is that what you do, Al? Yeah, it's easier to get at it and they can't trace it. Well, you and the bosses must have had to take over a vault. I don't know where they put theirs, but they're plenty happy. Hey, how about meeting him sometimes? Not a chance. I'm the only one that knows who they are, and I guess they want it to stay that way. I suppose you can't blame them. Well, good night, Al. Oh, say, what would happen to him if you got lost? Pick someone else and keep on going. Renner, huh? No, it would probably be you. Me? Yeah. They think you're the best man I've got. You wouldn't want it, Johnny. The top job, but it's the last one a guy ever holds. There's only one way out. That's the payoff for helping them, huh? Yeah, but don't worry about getting it. I don't intend to get lost. Oh, sure. Well, good night. Good night. Hello? Hello, McLaren? Yeah, this Johnny Blake. I'm ready to go. Mac. Grab Kruger right away. Wait a minute. I can't cover an arrest like that. You've got to. And put him where nobody can get at him. What are you going to do, Johnny? Well, I've got no time to answer questions. I know, but wait. That's not all. Crack down on Brenda's milk racket. Break it up. Smash it, you hear? Whatever you say. Thanks, Mac. You'll hear from me later. This is the last move. We pause for station identification. This is the Columbia Broadcasting System. We've ended the second act of bullets or ballots. And our stars bring us Act 3 shortly. It's intermission and guest time now. But first, a suggestion. Screen stars use luxe toilet soap to help care for Million dollar Complexions. They use it as a bath soap too, because it has active lather that leaves skin fresh and fragrant. Here's what Joan Blondell says. Use luxe toilet soap as a beauty bath. It's the best way I know to protect daintiness. You'll love it. Are you enjoying the luxury of a daily beauty bath with this white, gentle soap screen stars use? You'll love the delicate, clinging fragrance it leaves on your skin. You'll be sure of daintiness. Now, our producer. The battle that Johnny Blake is fighting in our play against racketeering and terrorism is being fought throughout the country by men like tonight's guest, Mr. Frank B. Gompert, who matched the brawn and daring of gangsters with the relentless weapons of science. Mr. Gompers is the criminologist in charge of the research laboratory of the Sheriff's office of Los Angeles County. He's a policeman who fights not with machine guns, but with microscopes, has a degree in law, is a master of sciences and a doctor of philosophy. He's been technical director of several movies dealing with crime and has worked on some 8,000 cases, hundreds of them murders. As a 20th century Sherlock Holmes. Mr. Gompert, tell us, just how do you do it? Well, we have to deal in chemistry, ballistics, physics, toxicology and handwriting. Mr. DeMille, no one man can be outstanding in all fields. But a laboratory combining experts in each field can come pretty close to solving any crime. To me, one of the outstanding values of our laboratory is not its power to convict the guilty, but to free the innocent. Hundreds of times evidence that might have otherwise convicted a perfectly innocent man when examined in our laboratory has freed him of every suspicion. I know that you are perhaps the nation's greatest expert in solving crime with the evidence of human hair. While you might have some difficulties with me, what can you learn from those whose cresses are a bit more abundant? You'll do fine, Mr. DeMille, as long as you have a single hair left on your head. From that single hair, we can usually learn a man's approximate age, his environment, the places he visited recently, his type of employment, his personal habits, and frequently his race. We can also learn a dozen things from a cigarette. A cigarette? Yes. Anybody who smokes a cigarette reveals secrets through the saliva that remain on the end even though many months have elapsed since it was smoked. Saliva tells us to what blood group the man who smoked the cigarette belongs. There are 20 blood groups with which we deal, and often we can eliminate 19 out of 20 suspects by a blood grouping test. I can see it's getting harder and harder to commit murder. Not to commit it, but to get away with it. But while we solve crimes, the public can do far more than we can do in preventing them. Don't be intimidated by the threats and boasts of racketeers. Every time you surrender, you betray not only yourself, but your neighbors and your community. At the first sign of a threat, get in touch with your local authorities. And now, ladies and gentlemen, just to prove what an ordinary piece of evidence may reveal, I gave Mr. Gompert a coat which I wore sometime yesterday. He examined it and is now going to tell exactly what he found out about me from that coat. You sure you want me to go through with it? Yes, of course I do. We really don't have to, Mr. DeMille. Backing out, are you? Okay, Mr. DeMille? You asked for it. I took your coat and last night beat out all the dust. Here's what it told me. Yesterday morning, you took a walk with a brunette between the ages of 20 and 25. An actress, probably a star. You stopped at Halchester's flower shop, bought an orchid, had lunch at the Brown Derby and ate, among other things, a shrimp cocktail. Later, you went from there. No, no, no. Thank you. That's plenty. But. But don't try to tell me you learned that from my coat. You probably followed me. Sorry, you're wrong. Here's how it was done. A few black hairs on the coat told me the lady's age and a preparation on the hair revealed she had something to do with acting under powerful lights. I guessed she was a star instead of an extra because the face powder also found on the coat was very expensive. You were walking because if you had been riding, the powder would have been differently placed. It was in the morning because that particular powder will not look well on a brunette. At night you went to Halchester's because I found pollen from A cymbidian. That's a terrestrial orchid. And Holchester's is one of the few shops carrying it. You went to the derby? Because I found a tiny spot of sauce used for a seafood cocktail. And it contained a trace of herb which I won't name because the chef at the Derby claims that it's part of his secret shrimp recipe. You win, Mr. Gumpert. But who was the girl? Well, that's for you to reveal. It happened to be my daughter, Catherine. I have only one suggestion to make. The next time you go to the derby for lunch, how about asking me along? And thanks for the invitation. Here tonight. Great detective. Great detective. Mr. Garfield, that's a date. Edward g. Robinson and bullets or ballots with mary astor, humphrey bogart and otto kruger. Confident that the higher ups will choose him to replace Al Kruger, Johnny Blake has ordered the gangster's arrest. The trap is ready to spring. But Bugs Brenner arrives at Kruger's apartment first. He faces the leader, a revolver in his hand. Well, hello, Berg. What are you doing over here? The cops just smashed my milk racket. So? So I'm starting to take over a numbers game.

[C]

Al Krueger Slain Racketeer Found Dead in Hotel Room. Who is it?

[A]

Good morning, Miss Morgan.

[C]

Oh, come in. Mr. Brenner, wasn't it?

[A]

Yeah, that's right. A lot of news in that paper.

[C]

Yeah. Who did it?

[A]

I don't know. We're trying to find out.

[C]

Thought he was your friend.

[A]

Yeah, he was.

[C]

You don't seem very upset about it.

[A]

Ain't no use crying if the dice fall that way.

[C]

Well, what do you want?

[A]

Do you want to go back in a numbers game?

[C]

What are you trying to do, kid me?

[A]

Ah, you started a game. You ought to have a share in it.

[C]

And I suppose Mr. Blake will let me have it.

[A]

He'll have nothing to say about it. I'm running tanks from now on. If you want the Bronx and Harlem districts, they're yours. If you need protection, you'll get it.

[C]

Yeah, that sounds good. Too good.

[A]

You don't trust me, huh?

[C]

I don't trust anybody.

[A]

Neither do I. Now, we ought to work fine together. How about it?

[C]

You're gonna take it away from Blake?

[A]

Yeah.

[C]

All right, go ahead and take it.

[A]

Ah, that's the girl. Hey, come over here. Now we'll get along swell, you and me, huh?

[C]

Yeah. In the numbers game.

[A]

Okay. Okay. I call the boys for a meeting tonight. They don't know it yet, but they got a new boss. We'll find out who got Al Sooner or later. But we ain't got any time to waste worrying about it. Now, the question is, do I run this business from now on or don't I? It's all right with us, but the bosses may have something to say about it if we ever hear from them. I'll take care of that. Why didn't you ask Blake in on this here meeting? Because he ain't gonna be so important from now on. He's the one that sold Al on sitting back waiting for McLaren to run down. Well, it ain't worked out that way. I'm gonna put the rackets back in full swing whether there's trouble with McLaren or not. Sorry I'm late. Are you holding an election, boys? It's already been held. And you're it, I suppose. Yeah, yeah. You got any objections? Few. Now, what's the first one? Well, the job was given to me. Why you? The bosses called me in two hours after the news broke. Do you expect us to believe that? I told him you might have a few doubts, but I couldn't persuade them to come down here and prove it. Hey, who are they? Did Kruger tell you? No, but I think I'll keep sitting in this seat till I hear from them. Oh, I. Sit anywhere you want to, but don't try and stop me from carrying out orders. I have to take charge of the week's collection and have it to him by 10 o'clock tomorrow night. I'll meet you boys at the garage at 6. Oh, no, you won't. How do we know they called you? Yeah, how do we know? Because I'm telling you. Is that enough? No, I'll answer that. Get away from that, Blake. Hello? Who? Yeah, he's here. Who's this? Okay. It's for you, Blake. Who is it? They wouldn't say. Now, excuse me, gentlemen. Hello. Hello. Is this John Blake? That's right. We'd like to see you, Mr. Blake. Al Kruger told us you could be trusted. When would it be convenient for you to come one? Name your time. Shall we say seven this evening? Sure. Where? At the oceanic bank and Trust Company. I see. Ask for Mr. Thornback, the president. Oh, yes. Well, thanks. I'll do that. Goodbye. Well, I'm sorry I have to run, boys, but I know you'll excuse me. I've got an appointment with the bosses. So long. Sit down. Sit down. Mr. Blake, my name is Thorndike. Oh, yes, the president, huh? That's right. This is Mr. Hollister. How are you, Mr. Hollister? How do you do? And Mr. Caldwell. Mr. Caldwell of the. The Caldwells. So you're the heads? Yes. No wonder the organization has been so well protected. Why did you try to take Krueger's job over? No, I didn't try to take it over. I took it over. Well, didn't you think we might object? Well, why should you? I've proved that I can rent it better than anyone else. Renner isn't any good. Yes, you have given us quite a bit of revenue. I've given you more than any four of them put together. Now keep on doing it. Provided you give me a few breaks. You know, I'm not in this for fun. You satisfied, gentlemen? The job's yours, Blake. Thanks. You're not making any mistake. Oh, incidentally, Mr. Blake, you're the only one who know who we are. I understand that. Now, the first thing we want you to do is collect our receipts from the garage tonight and bring them here. Yeah, Well, I already arranged to collect them. Oh, it'll be all right if I get here 10. Quite all right. Now, before we get into detailed instructions, I suggest we have a drink to Mr. Blake's success. How about it, Mr. Blake? Thanks. It'll taste pretty good. Hello. Hello, McLaren? Yeah, Johnny. We're all set, Mac. I'm in with a big shot. Who are they? Well, what's the difference? You can't pick them up yet. You'll have to catch them with the dough to make it stick. Well, go on. Now, look, I'm meeting the boys at 6 o' clock tomorrow night at that garage I told you about. When you see me leave there with the dough, pull up fast and raid the joint. Go on. They'll send your men to 24 and wall. I'll pass that 10 o' clock shop to meet the big shots in their office. When I give the word, you can make the pinch. Nice work, Johnny. Now remember, a few minutes after 6 at the garage and come in shooting. That's all, Mac. All right. In the garage.

[C]

Just a minute. Hold your horses.

[A]

Hey, let me in.

[C]

The idea coming in the back way. Bugs.

[A]

The cops are after me. Has Blake been here?

[C]

No. What's happened?

[A]

Nothing, except that he's done what I always said he was going to do. Put the whole crowd in the spot for McLaren. I got everybody except me and Joe raided the garage.

[C]

Wait a minute, Johnny. Was he worked with the police?

[A]

I've been working for them the whole way. And now I'm going to pay him off. I'll get him if it's the last thing I do. I'LL Hello?

[C]

Lee Morgan, Ms. Bugs.

[A]

Better there.

[C]

Who's calling?

[A]

Tell him it's Joe.

[C]

Oh, I'm sorry, I haven't seen him.

[A]

He said I could reach him there.

[C]

I'm sorry, but he's not.

[A]

Wait a minute. Give me that phone.

[C]

What's the matter with me?

[A]

Hello? Hello, Bucks? This is Joe. Yeah, go ahead. I found him, Bugs. Blake. Where? He's hiding out. 1124 East 18th. 1124 East 18th? Yeah, it's an old private house. There's a back stairs, leads right to the door of his room. Okay. Okay. Thanks, Joe.

[C]

Bugs, what are you gonna do?

[A]

I'm gonna pay Mr. Blake a visit.

[C]

Wait. Now, listen, Bugs.

[A]

Get away from that door.

[C]

Bugs, please.

[A]

Wait a minute, Bugs.

[C]

Oh, Jo. Hello? Hello, Information? Listen, I want the number of a house at 1124 East 18th Street.

[A]

Yes.

[C]

Hurry, please.

[A]

All right, Blake, you can stop right now. Who's that? Who's down there, Bugs? Your old friend Bugs. Yeah. I hear you're making a trip out to see the big fellas, Johnny. Yeah. Yeah, in a hearse. Well, too bad, Bugs. You only hit me once out of four shots. I guess I did better with only two. Yeah. Yeah.

[C]

Johnny.

[A]

Oh, hello, Lee.

[C]

Johnny, I tried to call you. There was no phone here.

[A]

Yes, I know.

[C]

Has Brenner been here?

[A]

Yes, he's in there on the floor.

[C]

Oh, are you all right?

[A]

Oh, sure. Drive me over to wall on 24th, will you, Lee?

[C]

All right.

[A]

Got some business?

[C]

Sure. Johnny. I was afraid he'd kill you. He told me you were working for the police.

[A]

Yeah, on and off.

[C]

I've been a heel, Johnny. The things I said that night at the hotel.

[A]

Well, you didn't know. Forget it.

[C]

I tried to stay sore, but it seemed sort of funny not seeing you around. You're all through with it now, aren't you?

[A]

Yeah.

[C]

I'm glad you can go back on the force. Maybe the Broadway district.

[A]

Yeah, maybe. Oh, here's where I get off. Thanks, Lee. Thanks.

[C]

You sure you're all right, John?

[A]

Oh, sure. Run along.

[C]

I'll wait for you.

[A]

Oh, no, no. You'd have to wait too long. Thanks for the lift, Your racist, Lee.

[C]

I'll remember that, will you?

[A]

Good night.

[C]

Good night, Johnny.

[A]

Oh, hello, Blake. How are you, gentlemen? Well, ten o' clock on the dot. You'll keep your appointment? Yeah. I wanted to make the first job perfect. Here's the money. All right, open it up. You have any difficulty with Brenner? Oh, no, no, we got along fine. Well, how does it feel to be head of the organization I've been waiting for a night like this for 15 years. You deserve it. Thanks. Will you gentlemen need me anymore tonight? No, we'll contact you next week. Well, that's fine. Fine. Wait a moment. What's the matter with you? With me? For nothing. Why? You're hurt. Oh, no, no, no. Everything satisfactory, gentlemen? Yes, of course, but I think. Well, good night then, gentlemen. Good night. Johnny. Johnny, are you all right? Hello, Mac. Did you. Did you nail him with a dough? Yeah. Well, that's that. Who got you? Brenner? Yeah. Where is he? He's. He's washed up. Check the bullet he put into me with the ones that killed Brian and Kruger. They're all from his gun. You didn't miss a bet, did you? I try not to pull the punches this time. I guess Brenna didn't either. Oh, don't worry, Johnny. I'm taking you to the hospital. Oh, no, no. Won't do any good. So long, Mac. Just keep. Keep kicking him in the line, Mac. I would have, Johnny. Yeah. I'd like to think that when the mugs see a policeman, they'll keep on tipping their hats. A life and a play end together. And now the late Johnny Blake becomes Edward G. Robinson. And Lee Morgan is once again Mary Aster.

[C]

And Here's a question, Mr. DeMille, that I've been waiting for a long time to toss at Mr. Robinson.

[A]

Yeah?

[C]

Don't you ever get tired of dying, Eddie, being Hollywood's favorite bull tie?

[A]

Well, I don't mind being bored by a bullet, Mary, if the results don't bore the audience. But I'll admit it's a distinct relief to be able to die occasionally on sight of law and order as I do tonight and bullets of ballots. That's. How did you like the story?

[C]

Speaking as Lee Morgan? Not so much. You just about ruined my life by dying. But speaking as Mary Aster. Well, Eddie, I've learned that anything connected with the name Lux must be good. I found that out years ago when I started using Lux soap. Anyone who's at all fussy about her looks knows that Lux soap is about the nicest, most dependable complexion care there is. I guess I'm like most actresses in Hollywood because I'm never without it. Incidentally, Mr. DeMille, the last time Eddie was on this show, didn't I hear him promise you a job on his own program? Big Tom?

[A]

He certainly did. He even gave me a name. I was to play Benny the Bomber. That's the last I've heard about it. Well, the truth is I haven't had a spot lately for a torpedo. Besides, I don't think you'd be much of a pineapple juggler, Mr. DeMille. Well, then, couldn't I play a detective sometime? No. Sorry. No experience. Well, couldn't I take some lessons from Mr. Gompert? Say, I might have an opening on Big Town at that. Oh, thanks, Eddie. Thanks. Hey, do you mean it? Why, of course. You send that Mr. Gompert around sometime. He sounds like a great bet. Oh, and remember, keep tipping your hat.

[C]

Good night, Mr. DeMillin. Don't give up. I'm sure you'd make a perfectly lovely Benny the Bomber.

[A]

Thanks, Mary, and good night. Go on, Pap. Foreign. You'll hear from Mr. DeMille again in just a moment when he brings you great news about next Monday's program. Our stars were assisted tonight by Edward Mar as Joe Vincy, Wallace Clark as Franklin McLaren, Chester Clute as Herman, Lou Merrill as Thorndike, ted bliss as McCoy, Wally Mayer as Crail, Lindsay McCarry as Ward Bryant, Galen Gault as Doorman, Ross Forester as Louis, Earl Ross as Donlin and Frank Nelson as Hollister. Mary Aster's new film is Paramount's Midnight. Humphrey Bogart is from Warner Brothers Studio and is now appearing in Dark Victory, which stars Bette Davis and also features George Brent. Louis Silvers is from 20th Century Fox Studio. He directed music there for the story of Alexander Graham Bell. Here's news for our Canadian listeners. Beginning this week, 28 Canadian stations are joining our network for the broadcast of the Life and love of Dr. Susan. The makers of Lux Toilet Soap bring you this enthralling story about the love and problems of a young, attractive woman doctor. Every afternoon, Monday through Friday, look in your newspapers for the time and station. The life and love of Dr. Susan comes to you. In addition to the Lux Radio theater, our producer, Mr. DeMille. An average young man marries into a wealthy family, only to find that neither big business nor a glittering social life can alter his affection and ambition for a racehorse named Broadway Bill. Bill's adventures on the racetrack and our hero's experiences with his wife's relatives provide the gay and romantic play you'll hear next Monday night. And leading Broadway Bill to our barrier will be four Hollywood stars who are favorites at heavy odds. Robert Taylor, Francis D, Gail Patrick and Raymond Walburn. Our sponsors, the makers of Luxe Toilet Soap. Join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Robert Taylor and Francis Dee in Broadway Bill with Gail Patrick and Raymond Walburn. This is Cecil B. DeMille saying good night to you from Hollywood. Your announcer has been Melville Royk. This is the Columbia Broadcasting System.

[B]

Welcome back. Since this is the summer of Bogart, probably the first thing we should talk about is Bogart's role in this. And really, in terms of characters. Bugsy was probably the most interesting character in the film. He was the one guy you couldn't necessarily predict what he was going to do. And indeed, he did actually end up killing off the hero. Though, as our hero pointed out, not very efficiently. In fact, that brings up the villain's main flaws. Bugsy has the bad habit of talking out loud while on the phone. Giving information to the, I guess, love interest in the story. And also having to announce himself before doing the shooting. Which turned out to be a very fatal mistake. Still, he was smarter than the bosses. And really having the instinct and smarts to know that there was something going on. And he does save our hero from having to do something he doesn't like by turning in the criminal who had befriended him. You can really see from this adaptation why Humphrey Bogart enjoyed these sort of roles. And why many actors enjoy playing villains on screen or on audio. So really great performance there. Edward G. Robinson was good in this as well. This story takes one of a couple of different ways the 1930s approach crime pictures. One way that they approach it is sometimes there is a sentimental mythology about criminals and crime and criminal codes of honor. This one takes the opposite approach. A few dashes of sentiment, such as a hero turning a blind eye to a numbers racket being run out of Harlem and Brooklyn. Because it's a friend running it. And it's not that big of a racket to actually bust. And being hesitant about turning in his friend. The overall approach of the story is that of crime as war. When you're dealing with racketeers, you're at war. This isn't just normal police enforcement action. The film says this is war. So, of course, you go in shooting without giving opportunity. Surrender. It's a war. And of course, Blake is the type of cop who's used to demanding respect. And getting really physical with the criminals to get what he wants. This is the type of portrayal that films would really start to move away from once you get into the 1940s. By the way, though the radio version of this was released in 1939. The film was actually set in 1936, was when it was released in theaters. This was written at the height of the 1930s crime pictures. And fits really well to the way this genre has operated. I did really like the segment with the forensic expert coming in. Was really interesting to hear the beginning of the use of physical evidence as it was still a developing science. And I thought the whole scene where they were able to deduce where DeMille had been based on his coat was just really funny and enjoyable. So I like this. I hope you enjoyed it as well. I'll have another bogey gangster story next week, so join us back there for our next installment of the Summer of Bogart. In the meantime, send your comments to Box 13@Great Detectives.net From Boise, Idaho, this is your host, Adam Graham signing off.

[A]

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[B]

This is Julian Edelman from Dudes on.

[A]

Dudes with Gronk and Jewels. Sunday mornings I've got my game day ritual, coffee, lucky socks and now new Morning Uncrustable Sandwiches.

[B]

It's all about that 12 gram protein boost with the new Uncrustables Bright Eyed Berry or Up and Apple flavors.

[A]

Bright Eye Berries got a feisty receiver energy up an apple.

[B]

Your classic do it all tight end.

[A]

Soft, pillowy, packed with protein and easy enough for Gronk to grab from the freezer.

[B]

Whether you're on the couch, driving to the tailgate or heading to the locker room, New Morning Uncrustable Sandwiches are the MVP of snacks.

[A]

Your new Sunday kickoff ritual starts here with new Morning Uncrustable sandwiches packed with 12 grams of protein.