From Hollywood, California, the Lux Radio Theater presents James Cagney and Pat O'Brien with Gloria Dixon in Angels with Dirty Faces. Lux presents Hollywood. It's melodrama we bring you tonight in the gripping chapters of Angels with Dirty Faces. The story of an obscure priest and a front-page lawbreaker enacted by Pat O'Brien and James Cagney with Gloria Dixon. Our drama is an adaptation of the great screened success filmed by Warner Brothers. Our orchestra is under the direction of Louis Silver's and as special guest you'll hear the celebrated writer and authority on crime Courtney Raleigh Cooper. And now a word about our product. Have you ever heard a woman say this about another woman? She certainly isn't a bit pretty and yet she's so attractive. Usually it's very hard to say just what it is that makes one woman more attractive than another. So many things may be part of a woman's charm. Here's what Ginger Rogers says. Naturally, every woman wants romance, admiration, yet many a woman who could be attractive loses out because she neglects daintiness. I always use Lux Toilet soap as a bath soap too. It makes a wonderful beauty bath. This nice soap has active lather that leaves skin fresh, delicately fragrant. Try it for your daily beauty bath. It leaves skin sweet, protects daintiness. And now the producer of the Lux Radio Theatre. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. You don't have to consult an atlas for the map of Ireland if either of tonight's stars happen to be handy. For in the honest faces of both James Cagney and William Joseph Patrick O'Brien are indelibly sketched the rugged contours of the Emerald Isle. There's a striking similarity too in the careers they've led. Both came to Hollywood from Broadway, both at about the same time. Both broke into big time show business as chorus boys. Both can sing you a tune in the traditional tenor of the Irish. Or if you prefer, both can play it for you on a piano. Both are stars at Warner Brothers Studio, through whose courtesy both are here tonight. And their most successful collaboration is tonight's drama, Angels with Dirty Faces. Michael Brown's training for our play started at the age of nine when he attempted his first dramatic part and played an angel. Mr. Cagney's early years were spent in practically the same tough precincts that you'll hear about in Angels with Dirty Faces. Jimmy used to dive off docks for a swim in New York's East River, and the boy who taught him how was later signed up for an extended engagement at the Big House. When our Bantam star came to pictures, he required no instruction in fist swinging. The story is that between the ages of 11 and 17, Jimmy could never go to sleep at night unless he'd taken part during the day in at least one fight. Later he used his right hand to play semi-professional baseball, and hoped that someday it would hold the brush of a portrait painter, an ambition that has never been fulfilled. Pat O'Brien came to the Footlights by way of Marquette University under United States Navy. In New York, he shared a boarding house room with Spencer Tracy and the desperate responsibility of raising five dollars a week for the rent. Off the screen, he's famous for his fond of anecdotes and his love of sports. Pat tonight plays Jerry Connolly. Mr. Cagney is Rocky Sullivan, and a very lovely young lady, Miss Gloria Dixon, is heard as Laurie. Her new starring role for Warner Bros. is in Waterfront. She ring up the curtain now, and the Lux Radio Theatre presents Angels with Dirty Faces, starring James Cagney and Pat O'Brien with Gloria Dixon, a dead-end street in the slum district of a great American city. On the corner, weaving in and out of the maze of push-carts, a newsboy calls the headlines of the afternoon edition. Rocky Sullivan Green, Rocky Sullivan and Inkster Green today, three-year time ended, Rocky Sullivan. Further down the dark canyon of tenements stands a church. In the soft light streaming through the stained glass windows, Father Connolly leads the afternoon rehearsal of the boys' choir. Very good boys. You can go now. Next week at the same time. Hey, who do you think you're pushing? When I get you outside, I'll marbleize you. Well, son, what's troubling you? Oh, nothing much, father. Only couldn't bother me for about 15 years. Ah, why'd you ever do those fountain pens to be snatched in that freight car at night? What? Rocky! Rocky, Sullivan, Rocky, you all... Hiya, Jerry. What are you here for? What do you say? Oh, I'm fine. How are you, Rocky? All right. All of this pain is for you. Well, same old place, huh? 15 years, and it hasn't changed a bit. Remember old Father Boy's vestry, Rocky? Remember it. He used to stand right where you are and bore a tsar out of me. Well, I'm not going to bore you out. All I'm going to kick about is why'd you stop writing to me? I'll be reasonable, Jerry. You know what happens a lot as you're right in prison. Everybody in a warden down to the screws reads them. What did I have to write about? Nothing happened while I was inside and when I was outside? Well, I figured you could always read the newspapers. It was always on the front page. Yes. Yes, I read all the newspapers, Rocky.  What gave you the idea? Oh, I don't know, Rocky. I was just riding along on top of a bus one day and passing St. Patrick's Cathedral, looking down. It's got the idea, I guess. I got an idea on top of a bus once, got me six years. Come in. Say, Father, you're supposed to be down at the store. The fellas were all waiting for you. Oh, yes. Run along. Tell them I'll be right over. Tell them to get started in the meantime. Okay, Father. Say, you want this store, right, Jerry? You got the kids? You want a bit of parish? No. No, it's a pet scheme of my own. I rented a store, Rocky. You're kind of a recreation center for the kids. Oh, it's sort of a kindergarten place, huh? No, no. The older fellas, too. Oh, you know what's helped tremendously to keep a lot of those kids from becoming, you mean, becoming mugs like, uh, mugs like me, for instance? Uh, would you be staying here for some time, Rocky? Oh, I don't know. I don't know, Jerry. It depends on little business. I got to take care of. Anyway, I got to find a room. Uh, why not around here, right in the parish? Well, why not? No place like home, is there? All right. Come on. I'll walk down the street with you. All right. Good. Slap your ears down. Come on. Well, 15 years. Same old smell. I bet they ain't cleanest alley since I left it. Hey, Jerry, remember to tell me swipe those pens? We beat it up that alley and right over the fence, huh? Yeah. Yes, I got away. You got caught. I never got run as fast as you. You know, I've often wondered, Rocky, what if I'd been the boy who'd been caught that day? Well, you wasn't. No. No, I wasn't. Uh, Rocky, why don't you drop in here at Mrs. Magione? She's got some furnished rooms. Mrs. Magione? I remember, huh? We took a lot of good lead pipe at our basement. Well, I'll drop around a more if you want me to. I swear. Oh, gee, Rocky, it's great to see you. You too. You too. Father. Well, so long. So long, Jerry. So long. Yes, what is it? I want to find out about it.  No, she's out. Just taking over till she gets back.  I, uh, I want a room. Oh, well, there's one right down the hall this way. Oh, thanks.  It's kind of familiar. Nah, you're just reading a funny paper. No, I mean that... Listen, Sister, all I want is a room. Well, no, that's fine with me. Here it is. Mrs. Magione, you'll give it a good cleaning. That's all right. I've seen wise places. Yeah, I guess you have. How'd you happen to come to this house?  Well, an old friend of mine sent me. Jerry Conley. Father Jerry? Wait a minute, I get it now. You're Rocky Sullivan. Yeah, that's me. You remember me? I'm Laurie Martin. Laurie Martin? That fresh, you with the long pigtails. Well, for crying out loud. Hiya, Laurie. Yeah, remember the time about 15 years ago when you pulled my hat down over my eyes and I said I'd get even? No, I don't remember that. Well, I do. Hey, what? Hey, come back here. Cigars, cigarettes? I'm sorry, sir. But you must dress in El Toro. These clothes will do. But only people in the evening dress, so I'd be sorry. What goes on here for years? This gentleman wants to... This gentleman wants to see Jim Frazier. Who? Jim Frazier, boys. The guy who owns this joint. Where is he? Who are you? Rocky Sullivan. Me and him to you. Yeah, come on. Hey boys, Rocky Sullivan's here. Tell him I'm not in. Tell him... Hello, Frazier. Oh, Rocky. Well, all right, Steve, get back to the job. Well, this is a surprise, Rocky. Yeah. I had the date on my calendar, but I thought you got out next month. Otherwise, I'd have been down to meet you. Oh, that's all right. Nice looking place you got here. Looks like you're into money. You know my keeper? No, I heard of him. Got the town tied up. Can buy it and sell it, huh? Well, we don't buy it. We just sell it. Sit down. Thanks. Got that dough, Frazier? Dough? Yeah, dough. When I took the rap for you three years ago, you had 100 grand on mine. Oh, yeah, yeah, sure. It'll be a matter of only a few days. The end of the week, you don't have to worry about it, Rocky. I'm not worried about it. I'll take a few days getting settled. I'll give you a time to get that dough together and figure out where I come in. Where you come in? What do you mean? Which racket you want me to take care of? Which section of town and how much my cut is? Your cut? Yeah, we're partners, ain't we? You and me. That was the idea, wasn't it? I take the rap, you take the dough, use it to make connections for both of us. Wasn't that it? Oh, yeah. Yeah, of course. But you've got things a little mixed up, Rocky. You see, Mac Kieffer is the boss. If you want a spot in the business, you've got to take it up with him. No, no. I don't take it up with nobody but you, Frazier.  That was the idea, and we're going to stick to it.  Well, of course, but... What? Oh, come in, Mac. Thanks. This is Mac Kieffer, Rocky. Mac, I want you to meet Rocky Sullivan. Well, I'm pleased to meet you, Sullivan. I know all about you. You're okay. When did you get out? This morning. Fine. What are you doing? Looking around. Well, maybe I might have a spot for you. Yeah, that's what we were just talking about. Where are you stopping, Rocky? I got a room over at my old neighborhood on Dark Street, number 24. Well, I'll beat it now. I'll be up, say, first thing Monday. Okay. Monday? Yeah, yeah, that'll be fine, Rocky. All right. Night, Mr. Kieffer. Good night. Good night. Wait a minute. What is this, Fraser? That guy looking for a cut? He's looking for something, but it's okay. Don't worry. Hello. Get me Steve. Hey, what are you going to do? Leave it to me, will you? Yeah. But don't trip. Hello, Steve. Listen, that Sullivan guy just left. Put a couple of the boys on him. Tell them to watch their chance. Well, what else would I mean? We don't want that guy around. Come on, come on. Walk over that two cents. That wasn't 07. Oh, it was so. Give me the two cents.  Now listen, Bim, give me that two cents or I'll take it out of your hide. See? Yeah, you better. Hey. Hey, look who's coming. Hey, Johnny. Ain't that guy the new tenant upstairs? Yeah, that's him. Start playing with the ball, Bim. We'll give him the weight. What weight, Solby? Yeah, you don't bump into him. Keep him busy for a second. I'll frisk him. Oh, okay. Okay, Bim. Give him the rush.  Don't go pushing hours. You what? You what? Tough guy, huh? Yeah. Hey, Bim, give me that ball.  Why, what's the matter, Mr. Sullivan? Those kids just rolled me. Made me wallet. The greatness to Sullivan. Well, that's too bad. Oh, no, it ain't.  Hey, Bim, give me that ball. How much, Solby? How much? 20, 25, 35. Gee, what a roll. There must be more than 100 bucks there. Yeah, 100, nothing. We're in a big dough now.  Six ways. Don't forget. Six ways. Six ways. Don't forget. Six ways. Now, where are you?  All right, get them up. Hey, what is that? Hey, dear Tim, look out. Say your prayers, mugs. Hey, Mr. Give us a break. I wouldn't even dare. Hey, hey.  Stop your squealing. All right, you chumps. I'm not going to know, Rod. But next time you try to hook a poke, make sure the guy doesn't know your hideout. Yeah. Yeah, wise guy, how did you know? Come here, sucker. You see that door? See those initials carved in the middle, RS? That's me. Say, wait a minute.  Rocky Sullivan? Can you imagine? I was trying to hook you. What a boner. Yeah, I guess the minute you saw us duck in the alley, you knew we were heading for the hideout. Yeah, I took the shortcut. What'd I call you? Soaping. This squirt here is BIM. This is swing. This polluca is hunky. I'm glad this is crev face. Crab face. Sure, glad to meet you, Rocky.  I want you to meet Rocky Sullivan. Hey, you took the room above us, didn't you? Number 24? Yeah, and you knew all the time I was living there? Sure. And you took a chance like that? Look, kids, never bother anybody living in your own neighborhood. You got an awful lot to learn. Well, you ought to be able to dish it out. Yeah, sure, sure. Hey, who's that? Where is it? Hiya, Jerry. Hello, Rocky. What do you hear? What do you say? Oh, Laurie told me you were heading this way. Yeah. You know these kids, Jerry? Sure. Sure I do. Hello, Suppy. Hiya, father. Well, then take your boys and Rocky along to get acquainted there. It looks like you and the father are old pals, huh, Rocky? Take a look at that door again. Right next to my name is the initial JC. That's Jerry Conley. No kidding. Hey, you mean father used to hang out down here with Rocky? Oh, he certainly did. Of course, just now, we all hang out at the store, you know. I kind of hoped your boys would be down at the store today for the basketball game, maybe get into the block team. Nah, we're pretty busy today. What's the matter, Suppy? Why don't you want to get down to the game? Sounds like it ought to be good. Ah, for Pete's sake, why don't we look like cream puffs or something, playing around with a basketball all of a sudden? Well, I'll tell you what. Tell you what. I'll bet you a buck to a plug. Nickel, none of you can get the ball past the other team, and I haven't even seen him. Go on, we've run him into the crime room. Hey, will you come down, Rocky? Yeah, sure. Okay, I got a nickel, and we'll take you up on that bet, Rocky. You're on. Sure, yeah, we'll all split the win. Hey, wait a minute. We ought to at least have a chance to practice up first. All right, all right, boys. That's fine. The store's opening. Go over right now. Okay, fellas, let's go. See you down there.  See you there. Well, the young devils, I've worked on them for over a year, and I got nowhere. After 10 minutes with you, I guess they'd jump through a hoop if you told them that. Maybe it's because I wear my collar frontwards. Maybe. Well, since you've been sponsoring my store, I suppose we could go over and see it. I want to show you my library, too. Lori takes care of that. Lori, you say, what's she doing down there? What is she, a social awakening? No, not exactly, but she's worked awfully hard helping me run things. You ready? Yeah, sure. Let's go. Come on. It's a well game, isn't it? Yeah.  Yeah, you didn't turn out to be such a bad-looking dish. Thanks. We're a social awakening.  What do you mean? Some smart guy who's been in all the headlines? Yeah. Sure. Well, I got to be today. You going by the house? Yeah. Okay, come on. I'll walk down with you.  They put her last guy six feet under. What? Yeah, no kidding. They laid him out. Oh!  Come on, Lori. Say, what does soapy mean by that crack about you? You and some guy. Oh, he meant Dan, my husband. He got it, huh? Yeah, four years ago. What happened?  You ought to know. What kind of guy was he? He was a swell guy. When we were first married. But he wanted more than he could get driving a cab. There was a lot of easy money to be picked up using the cab on some jobs, so we got in deeper. One night, they tried to shoot it out with the cops. That's what always happens, isn't it? Yeah, maybe, but people who don't know their business in a small time as such. Hey. What's the matter?  Well, oh, I don't know. Nobody around here. Yeah, that's what I thought. Lori, is that old stone wall still up between these two houses? Well, yeah, but... Now, good luck. Look, make out this is your house and say good night to me and beat it in. Well, Rocky... Don't ask any questions.  Good night. Kids, see you tomorrow. Rocky, that car's moving. It's coming this way. Oh, really? Go on. Beat it. Rocky! It's all right, you rats. It's all right. You don't have to... Rocky. Move back, Frazier. That's right. One funny move and I'm going to let you have it. Rocky. Yeah, I ain't dead yet. I knew what I could get behind. It was kind of handy. Lucky me, huh? I didn't have anything to do with it, Rocky. It's the truth, Rocky. I swear to heaven. I ought to give it in now, Frazier. Rocky, you can't, you can't. Stop crawling. You got me hooked for a hundred grand. I'm going to get that for you. Sure, of course. It's yours. I'll get it for you. All right, go ahead. Well, I haven't got it here yet. You don't think I keep that much around. I'll prove it to you, Rocky. I got a few thousand here in the safe here. You're welcome to that. Now get you the rest.  Hey, you can see for yourself. Sit down. There isn't very much. Get over there and sit down. Two grand. Yeah, yeah, that's all. Those securities. I own some bonds. I don't forward bonds. What's in this book? Oh, that's just it. Oh, collect nautographs, huh? Oh, some pretty important... some very important people. Well, that's nothing, Rocky. It's just a few receipts, that's all. Yeah, quite a few. I've been a couple of city officials. They might be interested no more about.  And you made him a sign. That's how you held a club over them, huh, Fraser? Well, maybe I'd better hold a club. I'll keep this little book. Make things easier all the way around. Well, now listen, you... What's keeper's number? His private number. Come on. Circle 0500. Now, look, I'll put you on. And you tell him I'll be up in the morning, and if you want him to pay me that hundred grand. You got it? Yeah. All right, and one wrong crack. Just one. And you won't have to do any more talking. Hello, keeper? This is Rocky Sullivan. Yeah. Surprise, surprise. Now, I ain't no morgue. Wait a minute. Fraser wants to talk to you. Here. Hello, Mike. Rocky Sullivan will be at the El Toro in the morning. 11 o'clock. That'll give him time to get to the bank. At 11 o'clock. I want you to give him $100,000 on my account. Mike, you'll do it. Won't you? You've got to. Okay, and no slip-ups, Mike. Tell him it's important, important to you. It's important, important to me. Well, you're all set. Not yet, I ain't. I'll be set when I get that dough. Well, you'll get it in the morning. Yeah, but just in case I don't, I want to know where I can reach you. I'll be here. No, no, I don't think so. I got a spot oil picked off of you. A little apartment over on 8th Street. You're staying right there till I collect. Well, you can't do that. Get your hat, Frazier. I don't know whether you know it, but this is kidnapping, Rocky. No kidding. Get your hat. The curtain falls on the first act of Angels with Dirty Faces. Our stars James Cagney and Pat O'Brien with Gloria Dixon will be back shortly. Now in our brief intermission before act two. In the little white bungalow where the Smiths live, there's a family argument going on.  No, I haven't. And what's more, I won't be finished for a whole half hour. You're just being mean and you know it. You know I'm expecting Bill and Guy... Yeah, and I know you're in love and I know he's in love and I know he's always hanging around. And I know... Oh, Bobby, please don't tease me. Oh, Jesus. Now, don't cry. I'm sorry, honest I am. I'm glad I got a sister that's beautiful and the people fall in love with. Honest I am. Yes, Bobby's secretly proud of his sister. She's one of those girls who knows it's important to make the most of her good looks. Important to take wise, regular care of her complexion. She uses Luxe Toilet soap because its active lather does a thorough job of cleansing. Carries away every trace of dust, dirt, stale cosmetics.  So use cosmetics all you like, but use Luxe Toilet soap regularly. It's worthwhile to care wisely for complexion beauty. Nine out of ten screen stars use Luxe Toilet soap. Here's Mr. DeMille. We continue Angels with Dirty Faces, starring James Cagney and Pat O'Brien with Gloria Dixon. With Frazier hidden away, Rocky Sullivan collected his ransom. $100,000 from Mack Keefer. But then Keefer acted quickly. After being assured that Frazier was freed, he called in the police and Rocky was picked up for kidnapping. Morning, paper! Morning, paper! Rocky Sullivan arrested for kidnapping! Rocky Sullivan questioned on abduction charge! Paper! Paper! In Keefer's office, Frazier just returned from the apartment, seized the headlines for the first time. Two gun Rocky captured, held under special guard, speedy trial assured. Mike, what is this? We're gonna get that dough back, that's all. It's a kidnapping charge. But we can't do that. No, no, I've already done it. But you don't understand, Sullivan picked me up at my home. He's got everything that was in my safety. Account books, receipts, names, addresses, everything. What's that? If he's prosecuted for the kidnapping, you'll talk. And he's got evidence to back it up the whole town to be blown wide open. Are you dumb? All right. What are you waiting for? Get an order for his release and withdraw the charges.  Rocky Sullivan had been in that district only a few days before he kidnapped James Frazier, prominent attorney and playboy. $100,000 was the amount. Oh, jeez! Hey, maybe that's what he gave you, Sobie. What? That envelope he gave you just before the cops grabbed him. Maybe that dough is in that envelope.  Rocky, hey, what is this? Rocky, what'd you do? Break out? No, walk down. Yeah, but it's us in the papers. I don't believe what you're reading the papers, kid. The first you're in, then you're out. Boy, they certainly can't hold you, Rocky. How about an envelope, Sobie? Yeah, yeah, sure, I got it. All right, let's have it. Okay. Here you are, just like you give it to me, Rocky. Is that the hundred grand of papers said you got? Listen, kids, you don't know nothing about this, see? No, no, I don't know nothing. And you know what happens, the guy's a talk. Huh? Oh, yeah, yeah, sure, Rocky. You know me, you know me. All right, all right, all right. Here you are, Sobie. His little chunk of his dough.  Gee, Rocky, thanks. All right, so long. I'll see you in a couple of days, kids. Okay, Rocky, take the carry yourself. There you go, Bim, here's your cut. $50 bucks, why? Yeah, and the same for the rest of you. $50, some millions.  Hey, what are we going through with it? Hey, this is burning a hole right through me hand. Hold it up. I'm your pair, call me and play the brass.  Come on, let's go. Where is it? Me, Jerry. Come on in. Hi, Jerry. Huh, buddy, what do you say? Well, it certainly gave me a terrific scare, Rocky. Before I finished reading you were arrested, there were new headlines and you were out. Ah, there was nothing to it. Any guy with a record gets hold in now and then, you know that. Just because you got nothing better to think of. Huh, looks like the kids are right. Said no jail could hold you. Oh, Sophie and his mom. No, no, no. Some of the other kids down at the store. Ah, Sophie and his team were supposed to play that return game today. They haven't showed up. Rocky, you wouldn't happen to know where they might be, would you? What am I, Jerry, that nice maid? Oh, Rocky, I didn't mean that. Well, I just thought they might be over here sort of celebrating your release. After all, Rocky, it's almost a hero worship with them. Oh, not the one with that, is there? Oh, I hope not, Rocky. Come in. Well, hello, Lori. It's getting me a big day. Yeah, well, I don't mind admitting I was pretty worried. You were? See, I ain't had nobody take that much interest in me in a long time. Well, Father, I've finally located your precious angels for you. Well, where? Over at Murphy's pool room. What? Yeah, a soapy in his gang. Passing out beard all the kids in the neighborhood and throwing dollar bills around like in FETI. I wonder where they got the money. I don't know, you. You might ask them. Well, I'll run along, Rocky. Mm-hmm. You coming, Lori? No, Father. I want to talk to Rocky for a minute. All right, I'll see you later. Will I, Lori? Yeah. Rocky. Now, wait a minute. Look, kid.  And we're going to get along and you're not going to ask too many questions. Don't worry. I know all the rules. I know them backwards. All right, swell. Now, sit down a minute. We did. Maybe I had a couple of questions to be solved.  All right, sit right down here. Come on. Sit down. Come on, come on.  Hey, the eight-ball and a corner pocket.    What, Lori? Hey, hey, Suppy, where'd you guys get on the go? We wrote this anti-claws. And when we woke up this morning, we found it in our shop. Wow. Hey, hey, hey, Jesus, Jesus, Father Jerry. Hello, boys. Giving a party, Suppy? Uh, yeah, yeah. Sure. Everybody invited? Why don't you have it over the store? Well, because we're having it here. Mm-hmm. How about the game today?  How about it, Suppy? Nine-ball and a corner. Come here a minute. Look at me. Why'd you get all this money you've been spending? You didn't come by it honestly. I know that. Hasn't anything I've said to you in the past few years meant anything to you?  What do you say, boys? Come out along with me and cut out this stuff and let's get together at the store and figure the whole thing out. Look, Father, there's nothing to figure out. We're staying here. Well, all right. So long, boys. Ha-ha-ha-ha. What's the matter, Father? Can you get the kids to have them with you? I don't often have to do this. Ooh. That might help you along, Mr. That's what I want to talk to you about. Look, you got the wrong slam, Laurie. You've been listening to a lot of junk about crime. Don't pay.  That stuff's for yaps and shoestring. It's not for people like us.  Well, get it now. We'll step out and do a little celebrating tonight, huh? What'll we be celebrating? Oh, this whole business. After all, you don't get on a front page every day, do you? No. You don't get away from cops every day, either. Ah, you're doing your smart. Come on, kid. Come on, Laurie. It's uptown for us. Up you see those nice white lights. That's where we belong. You and me, Laurie. You and me. Come on. 32. On the red. Oh, my God. Give the lady a stack of blows. Yes, sir. Hey. Don't be sullen. Yeah, why? My keeper says you'll see her now. Where is he? In the office with Fraser. Yeah, Laurie, try your luck. I got some business to do. I'll be right back. This is how Jim owed you the dough and all being a misunderstanding, we decided to call it Square Rocky. Square all around with no hard feelings. You guys want to talk business? Yeah. All right, let's talk. Look here, Rocky. What about those accounts you took from my safe? I figured out as a kind of insurance. You know, just in case you guys change your mind. Okay. And what do you want, Rocky? Not them from you, Mac. Not them. Just the original agreement between Fraser and myself. 50% of his share and everything. Well, all right. And I'll take good care of those accounts. And I wouldn't try any more tricks, Fraser. Be kind of foolish. Because I'm giving those books some very special attention. Having a good time, honey? Yeah, fine. You like this place? Why wouldn't I? Well, I own a piece of it now. You... Rocky. Rocky, maybe you are smart enough. Look, baby, how's that to give up that trooper-nickle job of yours and moving here? But doing what? Oh, be a sort of hostess in the gambling room. Walk around the nifty dress. Play a little. Get the swings playing. Give you a hundred a week and expense it. Rocky, it's... Well, it's... I know, I know. Jerry's been giving you an earful, but he don't need you down there anymore. I sent him 10 grand this afternoon. He can start a real social joint now. You're $10,000. Yeah, but don't tell him, will you? Don't tell him. I mean, don't tell him I sent it. I signed it a friend. Oh, Rocky. Yeah, yeah, yeah. I know. Now, what about the job? It's waiting for you. Okay, Rocky. Well, besides... I need at least one friend in this place. Come in, Jerry. Hiya, kid. What do you say? They told me he was outside. So what's your idea? Come up to try your luck? Mm-hmm. I haven't got any money except this, and it isn't mine. 10 grand? Where'd you get a hold of all that? What did you? Huh? Take it, Rocky, and thanks, but I'm afraid I can't accept it. Say, what's the matter?  What's all this about? That ain't my money. I know that, Rocky. That's why I can't take it. Oh, now come down right, will you? You blow in here, flash that roll on me. You almost knocked me over with it. And then tell me it's my dough, and you don't want it. Rocky, you've got a great poker face. Well, don't forget I've known that face for a long time. Oh, what's the use of pretending, Rocky? You force Fraser to get you $100,000. Everybody knows it, Rocky. All right, so what? What's the difference where the dough came from? First of all, it's mine. Fraser owed it to me. Second, it's better you should have a chunk of it than him or me. All right, it's hot, but nobody's going to know that. Only you and me. That's just it, Rocky.  You want to build that center? You're so bad.  I want to build it very badly, Rocky. But I don't want to build it on rotten foundations. Inside the center, my boys would be clean, but on the outside they'd be surrounded by the same smelly corruption, crime, and criminals. Yes, criminals, Rocky, yourself included. Criminals on all sides for my boys to look up to and worship and mire and imitate. What earthly good is there for me to teach that honesty is the best policy when they see all around that dishonesty is the better policy? But the racketeer and gangster are respected and treated just like successful businessmen, like a popular hero.  Yes, and you've got my boys, too.  You show them the easiest way, the quickest way to succeed is to do it with a gun or a racket. Well, I thought I could cure this thing from the bottom up, but I can't. So now I'm going to do it from the top down. Yeah? How? Rocky, I'm going to use your case as a crowbar to pry open and uncover this cesspool. I'm going to force the law, corrupt or not, to indict and prosecute and bring this mess into the clear light of day. There's going to be a lot of people step down, fellow. And if you're in the way, Rocky, I'll be sorry. But you're going to be stepped down just as hard. All right, by me, Jerry, you go to it. But you've got about as much chance of getting indictment as I have of getting into the Bible Society. You'll find nobody gives a hoot about the whole thing. You'll hear them laughing at you. But go ahead, go to it. If I'm in the way, why do you step in just as hard as you like? I will. Rocky, shall we shake hands? You know, just for being honest and for old times' sake. Sure. Good luck, Jerry. Happy hunting, kid. Thanks for special identification. This is the Columbia Broadcasting System. In a few moments, we'll hear Act 3 of Angels with Dirty Faces starring James Cagney and Pat O'Brien with Gloria Dixon. Now, it's intermission time. But before we introduce our guest of the evening, I want to ask the women in our audience a question. Have you ever really studied the lather of a complexion soap you use? Is it a rich, close-textured lather? Is it the kind of lather that will remove every bit of dust and dirt from your skin? Lovely skin is too important for you to risk choked pores. Because that's what brings the dullness and little blemishes that mean cosmetic skin. Follow the advice of lovely women everywhere and use the soap with active lather, lux toilet soap. This gentle white soap removes dust and dirt thoroughly and helps keep your skin smooth and soft. Use cosmetics all you like, but use lux toilet soap regularly. And now, our guest is presented by Mr. DeMille. On the subject of crime, Courtney Riley Cooper is probably the most widely read and most vigorous writer in America today. A close friend of J. Edgar Hoover, our nation's head G-man, he's also acquainted with people on the other side of the law and has known scores of the country's most notorious criminals. His latest book, Designs in Scarlet, is the result of a personal, country-wide investigation into activities that tempt young people to go wrong, an investigation for which we all must assume responsibility. When Mr. Cooper and I were writing on one of my pictures several years ago, we discussed many times the problems of youth in crime. He's a straight talker, and there's none better equipped than he to talk to us on that most vital problem, crime. We go to New York City and welcome Courtney Riley Cooper. I have happy memories of that association, Mr. DeMille. I have just come up from my home in the Deep South, where they have a very descriptive saying. Down there, they believe that one of the worst things that can happen to a youngster is to be born with what they call a mouthful of want. If you could have only have walked through as many prison cells as I had, you would realize how many young people have possessed this mouthful of want and taken the wrong way to gain their ambitions, and the age limit in crime is steadily becoming lower. When I first became a police reporter a good many years ago, it was unusual to see a man go to prison who was less than 35 or 40 years of age. But today, nearly 19% of all our crime is committed by youngsters. They steal half the automobiles and commit nearly a third of the robberies, hold-ups, burglaries, and larcenies, and they pay for it. In one prison, the hard-boiled guards no longer refer to the condemned cells as death row. They call them the kindergarten because so many young boys are there. Incidentally, most of these young people are underfed and undernourished, either physically or mentally. They come from homes or neighborhoods where there's been a lack of guidance and proper discipline. And no matter whether they are from the biggest of cities or the smallest of towns, they are from a type of slums which should be eliminated. We was all engaged in a nation fight against ignorance. Wrong thinking, lack of guidance, hero worship for the fellow who gets what he wants, no matter how he does it. Hundreds of thousands of youngsters are being fed on a wrong mental diet because of this somewhere in America, tonight, right now, right this minute, boys and girls are committing major crimes at the rate of one every two minutes.  Somebody will stop this, and that somebody is every decent citizen in America. Clean living, honesty, integrity should be as great a basis of education as reading and writing. Hatred for criminals and disgust for crime should be as necessary a mental attitude as patriotism. This cannot happen as long as street corner gangs of dirty-faced angels worship the Rocky Sullivan's of their block. Sure, it would be great if we could only clean up our slums, the physical ones for poverty and hunger stock, and the mental ones which are even more dangerous. It would be wonderful if we could put in their place a love of honesty, of earnest endeavor, of eagerness to get ahead by decent, honorable means. To do this, we must all work together to achieve certain results. Now for instance, I believe we should make murder a federal offense. We should take all police work out of politics. And we should dedicate ourselves to more good homes and fewer bewildered ones. But above all, we must stop glorifying crime and tell the truth about it. That it is cheap, cowardly, miserable. We can do these things, and we must do them. Thank you, Mr. DeMille. Keep up your fight, Mr. Cooper. Back now in Hollywood, we hear the third act of angels with dirty faces, starring James Cagney and Pat O'Brien with Gloria Dixon. Several weeks have passed, and Father Jerry has carried out his threat. With the aid of a public-spirited editor, he's placed the problem directly before the people, an organized war against crime and corruption. Gloria's frightened. Desperately she pleads with Rocky to give up his share in the rackets. You see what's happening, Rocky. This thing's gonna grow. I know, I know. Jerry means it this time, and there's no holding him back. What am I gonna do about it? Come down to earth, Rocky.  Look, look, Rocky, you've got all the money you can spend in five years. Let's get out. What for? Well, Jerry's going on the radio tonight to demand a grand jury indictment. They'll have a warrant out before the week's over, and you on the witness stand grilling you on this kidnapping business. You'll be nailed. You know, baby, you're getting a lot of gray hairs over nothing at all. Oh, Rocky, snap out of it, will you? I'm afraid. I don't want to lose you, Rocky. Don't worry, kid. You won't. You've got to listen to me, Father Jerry. Why, they'd give you money to build a model center here near the church. They're influenced to help you pull down the tenements and build decent apartments in their places. Oh, I know, Lori. I know. Well, aren't those the things you want? Isn't that why you started all this trouble? No, Lori. I don't want bribes. Well, then what do you want? What are you hounding him for? What are you trying to send him to prison for life for? You can't do that to Rocky. I won't let you. It isn't Rocky's fault, Father. He was just a kid who made a mistake and got sent up to a reform school. But he isn't bad. Not really bad. You know that. And no matter what he is now, or no matter whether he's right or wrong, we both love him, Father. Yes, Lori. We love him. I've loved him since we were kids, six years old. We worked together, fought together, and we stole together. Oh, I don't blame Rocky for what he is today. But for the grace of God, there walk I. Oh, I'd do anything in his world to help him. I'd give my life for him if it had helped. But it wouldn't, Lori. It wouldn't. It'd still be these other boys I don't want to see grow up like Rocky did. They have lives too, Lori. I can't throw them away. I can't. Thousands are listening to this program tonight. It's proof to fling in the teeth of those cynics and skeptics that the public does care and does propose to do something about the appalling conditions I have tried to describe. Guy's going strong, Mac. We won't be demoralized. We're going to take care of him tonight. Yeah, I'd talk until you're out of hat. He's not one of your mugs. You can push around. Forget it. Oh, yeah? Yeah. Tonight we have on our power to ask definitely incriminating questions of these officials and the power to demand satisfactory answers. What really is the truth in the case of the racketeer and gunman, Rocky Sullivan? Why did the police release him so suddenly with all the evidence they had piled up against him? Why does the prosecutor's office refuse to investigate? Tomorrow the new grand jury will meet and tomorrow these questions must be answered. Turn it off, Fraser. He ain't going to appear at no grand jury tomorrow shooting off his mouth. I say he gets it tonight. Not while I'm around. I'll wait, both of you. There's no sense in running ahead of ourselves. Maybe we don't have to go that far. Don't forget there's all kinds of grand juries and there's all kinds of ways to handle them. There's no sense going off the handle, Mac. Sure, sure, Ronnie. I want to see some action. Please stop that guy. Only I want him stopped. All right. Fix it any way you like. But lay you off the rough, Stalk, Mac. That's out. I'll, uh... I'll see you later. So long, Fraser. So long, Rocky. I hope you were stalling just now, Fraser. Because I meant what I said. Of course I was stalling. But look, you can't just bump this priest off. They won't stand for it. It's got to look like an accident. Yeah? I couldn't beat a murder rap now for any of us, I could beat it for a hit-and-run driver. Hmm? Yeah, yeah, I get it. Call Stephen, tell him.  Rocky!  Except you should have made sure I left. Get over there. Rocky, don't. Don't do it. I'll do anything. No, you won't. It's your last double-cross, Rat. No! I told you it was hands-off that priest at night. Don't shoot! Don't! You wouldn't believe me. Drop that gun, Rocky. Make me drop it. Nice shooting, Keeper. You almost hit me. Steve. Steve. Steve, this is Keeper. Get the cops. Sullivan. Rocky... Sullivan... Two! Rocky Sullivan captured after the gunplay! Take back! Rocky Sullivan captured! Speedy trial assured! Rocky Sullivan found guilty! Fraser, guilty! Guilty! Guilty. Please, Sophie. Do you think they'll point him in a chair?  They can't build it that hot. There's a whole Rocky. You mean it won't make a getaway? Just wait. That's all. Just wait. Steve Sullivan sentence! Sullivan, to get chairs!  Boy, I bet Rocky shows them mugs how to die. Sure he will. Remember what he said at the trial? He said he'd spit in their eye. Yeah, and he'll do it, too. Ha! Rocky'll laugh at those guys. Rocky Sullivan dies in, Mark! Rocky Sullivan dies next week! Rocky Sullivan dies tomorrow! Rocky Sullivan dies today! Hey, Sullivan, that priest probably yours is here. All right. Get out. Listen, Big Shot. You got only five minutes, so don't stall around. Five minutes to let hot seat. And I'm going to tell the electrician to give it to you slow and easy. Get out of here! Somebody get this screw heel out of here! Get him out of here! Hello, Rocky. Hi, Gary. How do you hear what you say? Uh, how do you feel? Oh, like a million. And it wasn't for just one screw around here that keeps putting the needles on me. How's Lori? Taking it kind of hard? Naturally. She loves you, Rocky. Poor kid. Never did get a decent break. I'd try to give her one, but all I gave her was a heartache. You don't want me to administer extreme oxygen, Rocky? No, no, Gary. We'll skip that. Well, listen, Rocky, there isn't much time, and I want to ask you a last favor. Ain't much left I can do, Gary? Yes, there is. Perhaps more than you could do under any other circumstances. Go ahead and spill it. If you have the courage for it, the kind I know you have. Oh, it ain't going to mean much to walk in there, don't you mean? Oh, I know that, Rocky. You'll be like sitting down in a barber's chair. They're going to ask me if you've got anything to say, and I'll say, yeah, sure. Air-cut, shaving a massage. You're not afraid, Rocky? Yeah, they'd like me to be, wouldn't they? I wish I could oblige them, Gary, but I can't. You've got to have a heart for us to be scared, and I don't think I've got one. I left that ad to me a little chunk of the time and all the jail they've been in. But, Rocky, suppose I asked you to have the heart to be scared. What do you mean? Suppose, at the last minute, those guards had a draggy to the chair, screaming and begging for mercy. Suppose you turned yellow. Turn yellow? See, what's got into you? Gary, you were just worried about me having courage. I know, Rocky, I did. But I mean a different kind of courage. The kind of courage was born in heaven. I still don't know what you mean. Rocky, when I came up here across, the boys saw me off the station. Sophie, Ben, Johnny, and all the rest of the kids. You know what they said to me when I left? They said, father, tell Rocky to show them up there how to take it. Down to show the whole world the stuff a real guy has made of. Tell Rocky we're pulling for him and go out laughing. So what do you want? I ain't gonna let him down if that's what's bothering you. I want you to let him down, Rocky. You've been a hero to those kids and do a lot of other kids all over the country, all through your life.  That's what I want to prevent, Rocky. Just a minute, Jerry. You want me to pull an act? Turn yellow, sir? So those kids will think I'm no good? Yes. Yes, I want them to despise you, memory, Rocky, and to remember you as a yellow coward rather than as a glorified hero. To be forever ashamed of you.  Oh, you ain't asking much, Jerry. Oh, yes, I know what I'm asking, Rocky, but I thought maybe... well, on account of being kids together, you might want to join hands with me and save in some of those boys from ending up here. Oh, that's a great idea. A great idea, but you asked me to throw away the only thing I got left in the world. The only thing they haven't been able to take away from me. You want me to give them newspapers, stop sisters out there, a chance to tell the whole world and not a rat turn yellow. Well, you're asking a little too much. You won't do it, Jerry. You work it out those kids some other way. Oh, but I can't reach all the kids, Rocky. Thousands of hero-worshipping kids in a thousand slums in a thousand cities. Oh, don't give me that humanity stuff again, Jerry. I did enough of that in the courtroom. I opened up on everything. Name names, gave the load down on the whole dirty mess. Now I'm up. What more do you want? Oh, God knows I haven't the right task for anything more for myself, but for... Well, Joe! All right, Rocky, you ready? Yeah, yeah. Uh, Jerry, you, uh, you figured on going in with me. You want me to, Rocky? Yeah, sure. It's gonna be kind of lonesome walking down that last mile. But, uh, look, kid, give me a favor, will you? Just one. Don't let me hear you pray. Promise me that, Jerry. I promise. And, uh, you'll say goodbye to Lloyd for me? Yes. Come on, wise guy. Get away from me.   And it'll be a laughin' at ya. Don't come near me in there, screw. I'll beat your brains out. All right. Step back, Edwards. You take his arm, Thompson. Ah, boy, Rocky, take your own company. So long, fellas. I'll be waitin' for you all. Come on, Rocky. Come on, Rocky. Yeah. This is what they call a last mile, Jerry. But it's, uh, it's kind of a short one. Rocky. What I said before, no. Rocky, please. No, I tell you. No one will ever know, Rocky. No.  Stop here. Go ahead, Rocky. Rocky, please. Okay, Jerry. Okay. Go ahead. No. No, no, don't kill me. I don't wanna die. Oh, please.  I can't. I can't. Don't let me go. Please, please. I don't want it.   May God have mercy on you. Rocky dies, yellow. Rocky dies, yellow. College, death. Say what this is. Rocky dies, yellow. Rocky dies, yellow. At the fatal stroke of 11 p.m. Rocky was led through to little green door of debt. No sooner had he entered the debt chamber and he tore himself from the guards' grass and flung himself on the floor, screaming for mercy. As they dragged him to the electric chair, he clawed wildly at the concrete floor with agonized shrieks. Here are a lot of contempt. Rocky Sullivan died at college, death. I don't believe it. I don't believe it. I wasn't rotten word of it. It's the same in the other papers, too, Sophie. They said it over the radio. I don't care what they said. He didn't die that way. Oh, not Rocky. Couldn't I tell you? It's a lot of lies. Hello, boys. Who's Father Jerry? Hey, let's ask him. He ought to know. He'll tell us what happened. Father Jerry, you were there. You saw it. What happened? Did Rocky die like they say here in the paper? Like a yellow rat? It's all true, boys. Every word of it. He died like they said. Then, then, Rocky, he was a rat.  I thought all the time. I thought that... Sophie, you're going to have choir practice tonight. I don't expect to see you all there. I hope all of it. Yeah. Yeah, sure, Father. We'll be there. Okay, Father. Okay. Father Jerry. Yes, Laurie? I know about Rocky. I knew you would. And now, let's say a prayer for a boy. A boy who couldn't run as fast as I could. Our play has an epilogue, starring James Cagney, Pat O'Brien, and Gloria Dixon as themselves. And here they are. You know, Mr. DeMille, there's quite a shock test to think that the Lux Radio Theater would do this play with just finished. Shock? Well, if there's anything wrong with the play, don't you think you're a little bit late in bringing it up? Oh, don't get us wrong, CB. There's nothing to matter with the play.  Unbelievable. We're not out of here yet, Jimmy. Wouldn't surprise me at all if Mr. DeMille suddenly produces one of his bath tubs and throws us all into it. I'll overlook this feeble effort to twit me on my bath tubs, Mr. O'Brien. After all, I must remember that we're temporarily neighbors now at Paramount. Yes, that's right, but I noticed that Paramount is courting Warner Brothers. And Warner, as I work with Jimmy and Angels with Dirty Faces, then I go to the other extreme and do a picture for them called The Devil on Wheels. Now Paramount wants me to disguise again a little number called Heaven on a Shoestring.  Now, wait a minute. We started off by talking about Lux soap, and before we're completely sidetracked, there's something I really want to say to Mr. DeMille. It's just that I think that Lux soap is about the grandest care under the sun for any girl who wants to keep her complexion looking its best. I use it, and that's what I think about it, Mr. DeMille. Coming from one so lovely. That's doubly appreciated, Gloria. But about this play we've done, it seems a long time since a play has brought home so forceful a moral in such dramatic fashion. What do you all think about it? Well, it seems that pictures really are beginning to educate instead of simply amuse. Maybe Angels with Dirty Faces helped some kid somewhere to get the right kind of a start, and maybe you'd also help people to remember the really great and unselfish work that's going on without publicity, without fanfare by men like the one called Father Jerry. Yes, and I was just thinking that it's rather a coincidence that we should have done this play on this particular night. It comes between two anniversaries, both commemorating men who set a kid's imagination on fire. Yesterday was the anniversary of Lindbergh's landing in Paris. Tomorrow was the anniversary of the death of Captain Kidd on a scaffold. Daring men, both of them, but one happened to be on the wrong side, like Rocky Sullivan. When boys learn that there's just as much excitement in doing the right thing, that piece of furniture called the Electric Chair will soon go out of style. Good night, CB. It's a well-coming back. So long, CB. Bye, Mr. DeMille. See you back soon again. A particularly important announcement about the play in Stars coming to you next Monday will be given presently by Mr. DeMille. Heard in tonight's play were Frank Nelson as Frazier, Lou Merrill as Mack Keaton, Frankie Darrow as Sophie, Psy Kendall as a guard, Ross Forrester as Steve, James Eagles as Hunky, Frank Villan as Crabb, Joe Brown Jr. as Johnny, Harris Burger as Bim, Jackie Morrow as Red, and Forrest Taylor as Kennedy. Gloria Dixon appeared through courtesy of Warner Brothers Studio, where James Cagney has just completed Each Dawn I Die. Harris Burger is from Universal Studio and Lewis Silvers from 20th Century Fox Studio. He directed music there for young Mr. Lincoln. Be sure to listen to the new Lux Daytime Radio program, The Life and Love of Dr. Susan. The makers of Lux Toilets will 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. Here's Mr. DeMille. It's an unusual program we bring you next Monday night, not only because of the importance of our stars, but because our play is one which has only just been released. It's our adaptation of the new Columbia Pictures Corporation film Only Angels Have Wings, which incidentally has no connection with angels with dirty faces. They're different angels. The story is a highly dramatic romance, a thrilling adventure on land and in the air, played against a colorful South American background, and our stars playing the same roles they do in the picture. Our Cary Grant, Gene Arthur, Thomas Mitchell, Richard Barthalmas, and Rita Hayworth. Our sponsors are making the Lux Toilets Hope. Join me in inviting you to play with us again next Monday night when the Lux Radio Theater presents Gene Arthur and Cary Grant in Only Angels Have Wings with Thomas Mitchell, Richard Barthalmas, and Rita Hayworth. Mrs. Cecil B. DeMille saying good night to you from Hollywood. The renouncer has been Melville Rui. This is the Columbia Broadcasting System.


So I was interested in the fact that literature and the cinema and the theatre told stories about people who hadn't turned up before in stories. And so when I did my beautiful lawn-drat, it was a similar kind of revolution, you might say, that these people hadn't been portrayed before. You'd never seen Asian characters really, um, on the telly or in literature. And so one of the things that you can do as a writer is bring in new news, you know. These people are here too. This country is changing and and hello, you know, that's how creativity develops by people opening the door to new voices. And around that time there were a lot of teacup empire films, like the Raj Quartet or Passage to India that David Lean had made. People under thaturism were really fascinated by the master race. You know, there were the whites under colonialism having a really good time and the Indians were rushing around making their tea, you know, and making courage for them. But actually, you know, the the reality was much more like my beautiful lawn-drat. So that's what artists, if you're lucky, you can do that. It's new at the time. Yeah, there was a lot of casual racism that we faced.    Racism and the racism, let's say, of exclusion. Or the racism of superiority. But certainly after the war, I still have those empire attitudes and they thought they were the master race. They looked down on Indians and thought you were inferior and uneducated and basically born to be their servants. But it's really interesting to be at the if you can survive it, to be on the receiving end of it, actually. Because it's very shocking to suddenly find yourself the victim of other people's attitudes. And in a sense that made me want to be a writer as it will wiggle out of being shoved into that hole, into that position, I guess. But at the time, certainly in the suburbs, it was very, very traumatic for me. Very, very oppressive. Really horrific and I thought the only way out of this is to try and be an artist, otherwise I'll just disappear. Well, I grew up at a time when the idea of having a sort of fixed identity was beginning to decline.  You didn't suddenly become a transvestite halfway through, you know. You really were destined to be that person in the civil service, indeed, as my father was. And then in the 60s, of course, was the idea of social mobility and then the idea of dressing up with more clothes, a bigger pop star, changing your hair, wearing a different jacket, wearing velvet trousers. You became, you know, a signifier for other people of difference, as they put it. And obviously, Bowie was very important to that, but also pop was very important.  And you could see that in the book of Superbius. I mean, you can be so oppressed by your identity. So if you are, as it were, a packy for other people, then you are always their victim. You know, you are always, as it were, fixed by their language, by their words.   Well, I wanted to write about the neighbours, the streets, what you wore, the furniture you had. It was really, I grew up at the beginning of consumerism, you know, and you'd spend a lot of time thinking about carpets, and everything became sort of disposable. And it was really the consumer revolution, and you buy stuff and chuck it away. So we in the suburbs were the guinea pigs of consumerism. It's not the dullness of the place, I think that bothers me really, it's the idea that the expectations of those who have surrounded us, and you might say it was quite difficult to be involved in culture.  The world was much narrower, you couldn't dream very high, you know, if you're lucky you might move to Beckham, which was considered to be the local apogee of class. So I'm quite interested in the limitations, and how if you're lucky you can overcome them. Those days, you know, people really believed in social mobility. So when I went to the Royal Court when I was 18, it was amazing to me that to meet people who spent their whole lives working as actors, or as writers, or as directors, or movie directors, or whatever, because I'd never met anybody who spent their whole life doing culture. Culture seemed so extraordinary, and so outside of our experience, the people who did it seemed to me to be like sort of all of them were geniuses. Well, he's had a big trip, Kareem. He's come from the suburbs, and at the end I think he goes to New York with Charlie, and they start to become quite disillusioned. And really that's a picture of the 60s, as it turned into the 70s, as it turned into punk. It all turned from, you know, people smoking dope to people taking heroin by the end of the 70s, dying in hotel rooms in New York. The idea that you can just have pleasure, pleasure, pleasure, the hedonistic idea of escaping from the sort of Victorianism of Britain in the beginning of the 60s, by the 70s, the hedonism has become rather tiresome. It was a party, but of course parties have to end, and it becomes decadent and cruel and empty. This is really the beginning by the end of the Buddha, of neoliberalism, of the idea of constant consumption, and the thought of thatcherite Reagan idea that you have to go shopping, of compulsive enjoyment, you know. So we really move from the period of prohibition, you know, you can only have sex if you're married and under certain circumstances, and blah blah blah and all of that. By the end, people are exhausted with the horror of having to have a good time all the time, and that was really the story of that period. Jamila's a really interesting figure because, I mean, she's much more serious than him. He's much more like me in some sense, and she also has my seriousness too there. I mean, she's quite serious about her politics, and her father wants her to have an arranged marriage. It's really much rougher for her, and she becomes a feminist. But there's something really important about it, that people were really doing serious stuff. They really wanted to find new ways to live. You know, could you live with three people? Could you experiment with your sexuality? Could you bring up children in a new way? And certainly the feminists, the women, were doing that. So I was thinking about my childhood, about growing up with kids who were, who all became skinheads, represented in the film by the working class actor Daniel Delos, and I'd had an uncle who'd taken me around Laundrette's because I think he thought the writing business was probably not going to work out, although I've been working in the theatre for quite a long time, I don't know. This is the early 80s. So I had the Laundrette's stuff. I had some friends who were kind of semi-gangsters, I guess. I had the skinheads. I had really the Thatcherite theme, really, of enterprise, of setting up your own businesses. And also, of course, the white working class who were sort of represented by the skinhead and his gang, Genghis and Moose and so on, who were sort of excluded, I guess, or beginning to be excluded and would later be represented by people like Nigel Farage because they were really on the margins. Well, I'd been very interested in, as indeed many people have the fat wire against my pal, Zalman Risti, but so interested in it that I started to research these kids in the 90s and who got involved in it. And out of my research at the mosque, the college isn't actually just down the road from here, not far from here, and then going to the east end and et cetera, et cetera, hanging around with those kids, I developed the Black Album and later the story of my son the Fanatic and later, of course, the movie, my son the Fanatic, that in those days, even after the fat wire, the people were not particularly interested in fundamentalism as a thing.  They didn't realise it was the beginning of a worldwide revolutionary movement. But I just wanted to talk to these kids who were like me and not like me. I mean, they were mixed-race kids, mostly, like me and Muslim background, who had grown up in the west and suddenly they were on their knees and they were peddling a version of religion that we had never seen before and now had turned up in London and it turned up in the mosques and the colleges. And at the same time, I'd become very interested in ecstasy and dance culture and the new music because I'd always been interested in music and drugs and fashion. So they slammed together in the Black Album where I posited a kid, Shahid, I think his name is, who was interested in both and really likes fundamentalism because it's, as it were, comes out of his family. They're Muslim kids like him from the Muslim background and they believe in stuff and they're busy and they have values and the other stuff seems quite decadent. The west is getting really decadent, mostly fascinated by shopping by Madonna, by drugs. They're just fascinated by narcotics and synthetics and consumerism and plastic rubbish and suddenly he finds an ideology that really stands for something that he thinks is important, I guess, that there are real values here, but of course these values are coming to cost, you might say, of a certain idea of women, of what literature should do, of morality and so on. So he's hypnotised by it and he's torn apart by it. At the end of the book, Shahid, it was quite half a meter right because you have to find a way through and he gives up his friendships and so you say he betrays them which is a really important betrayal. He betrays the ideology for pleasure, for love and he sees that these are really important values. But by then and obviously now, it's really hard for the west to justify itself. What are the values that we actually stand for? Is it just shopping and fucking? As Mark Ravenhill put it rather well. What actually are our values? Do we just want to go shopping? Do we have anything? This democracy? What does it actually mean, this free speech? What does it actually mean? This equality? This feminism? What does it actually mean? What are these values for us? Or are they really just a bit of icing and the rest is basically this capitalism making money for people who are creating a super-rich elite class that we have now created. It's interesting how we got rid of authority in the 60s and broke it all down. Then it comes back with the swing in the 90s with fundamentalism that really introduces the most virulent form of authority that we've had for a long time actually and absolutism that has really been absent from the social realm you might say. So that was really interesting to me because in the 60s and 70s we spent decades smashing everything up, breaking everything down, getting rid of all that obsolete, hopeless authority. Then it swings back in this terrible new form, what Freud calls the return of the repressed with a new form of, you might say, neo-fascistic religion. It's very shocking because nobody expected that. We thought we'd got rid of that form of old-fashioned paternalistic authority and it comes back with a bang as you might say.


He just pulled out his gun and started shooting. The scene utterly hurt wrenching. Hundreds of parents and kids, some shaking uncontrollably. An 11-year-old boy appeared in court today after bringing several nods, a gun, and 400 rounds of ammunition to school. Shooting in a school cafeteria, one student wounding two others. Early morning shooting at a school in Champaign County, Ohio has one student fighting for his life, another behind bars. There are serious consequences for threats and even jokes that we say and post online and you will be arrested. As of October 2016, students have been arrested and charged with a felony after posting school threats online or speaking a school threat. And a felony on your record will affect your future.  It's not a joke because it creates fear. Students with their hands up could be seen running out of Marysville Pilchuck High. It's not a joke because people have actually gone through with it. Everyone ran into our class and I heard them gunshots. It's not a joke because lives have been taken. Someone has a gun, someone has a gun, so we just ran into a classroom. It's not a joke because loved ones are still grieving. I don't know why someone would do this to someone that's so nice. Speak up and stop it.