 From Hollywood, California, the Lux Radio Theater presents Edward G. Robinson and Joan Bennett with Wayne Morris and Andrea Leeds in Kid Gallowhead. Lux presents Hollywood. Our play, based on the original story by Francis Wallace, is the drama of a boxers manager and of the two girls who love the boxer, starring our Edward G. Robinson and Joan Bennett with Wayne Morris and Andrea Leeds. While between the acts, we'll hear two of the most spectacular champions the ring is ever known, Jack Dempsey and Gene Tunney. Lois Silvers conducts our music. We present the producer of the Lux Radio Theater. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. I think the Good St. Nicholas must have dropped the Lux Radio Theater one of its Christmas gifts a little early. Because tonight we have Edward G. Robinson, Joan Bennett, Wayne Morris and Andrea Leeds in that invigorating saga of flying fists, Kid Gallowhead. Mr. Robinson is a collector and a fight fan. He's collected the choicest adjectives of the critics for years. While his favorite collections nowadays are his pipes, his first editions, some magnificent paintings and the remarks of his young son. His enthusiasm for boxing gives him the background for his polished portrayal of a fighter's manager. The role he played on the screen in Kid Gallowhead and repeats tonight as Nick Donate. Nick's particular friend in the play is called Fluff. Out of the play, she's called Joan Bennett and one of Hollywood's loveliest ladies. Her five feet three inches are topped by blue eyes and blonde hair and her constant companion is a spaniel named Lux, believe it or not. Mr. Wayne Morris, you may recall, exploded on the Hollywood horizon like a charge of dynamite when he slipped his fists into a pair of boxing gloves and became Kid Gallowhead on the screen. Among Wayne's ancestors was King Olaf of Norway, who lived some 10 centuries ago, while Abraham Lincoln, Jefferson Davis and Zachary Taylor figure in his American background. Tonight he plays Kid Gallowhead. Andrea Leeds is the beautiful, beautiful Montana girl who spent her younger years in Mexico and came to Los Angeles originally when an outlaw galloped up to her father's lonely ranch and informed him that Andrea would be missing unless 150,000 pesos were paid in 24 hours. Her father saved his daughter and the money by flying her hair. Andrea, born Antoinette, becomes Marie in our play. And that's the dramatic menu for our pre-Christmas feast. The curtain rises and the Lux Radio Theater presents Edward G. Robinson and Joan Bennett with Wayne Morris and Andrea Leeds in Kid Gallowhead. It's the main event at the Miami Fight Club. Chuck McGraw versus Danny Burke, 10 rounds to a decision. The two young heavyweights stand toe to toe in the center of the ring. The thud of their punches echoing duly above the roar of the crowd. And Danny Burke's corner, Nick Donati, the fighter's manager, glares savagery up into the ring. In vain he signals Burke to slow down and stop carrying the fight. Then he turns to the trainer with a snarl of fury. He saw that signal. He's seen all of them. When did he start thinking he grouts like McGraw? I don't know what's happened to him, Nick. Maybe he's dazed. Oh, dazed nothing. He's had his orders for weeks. Look at him in there. Hey, what are you trying to pull? Stay away from him. Do you hear me? Burke, use that left. Slow down. When he wakes up, tell him he's through. You can't mean that, Nick. I'm not a plenty. Where's Fluff? Hey! Oh, Fluff. Here, Nick. Come on, let's get out of here. We can swim out after that splash. Oh, wait, you're crazy to dump him, Nick. You're throwing away a million dollars. He's still good for the title. Now, that wouldn't make any difference to me if he was a champ now. When a guy I handle starts thinking he has the brains and stops taking orders from me, he's out. But, Nick, he's out. No use arguing, Silver. We'll see you later at the hotel. Oh, I suppose we start looking around for another fighter. Yeah. It's sort of getting to be a routine, Nick. Yeah, that's the way it goes. Every time you bring a guy up above his own level, he gets thinking he knows it all and gets late flattered on the piece of gold leaf. Hmm, well, that's flat. That's some day I'm going to find a guy that can go the whole distance and listen to orders all the way. I'm going to make him a champ. That is, unless that choice bunch of gangsters in McGraw's corner make McGraw the champ. Oh, don't worry. They won't stop me. Ah, that gun of turkey, Morgan's will stop anything, Nick. I get gray-headed when you're tangled with him. Oh, forget it. If Berkett listened to me, it'd have been champion. Morgan or no Morgan. Nicky, did it ever occur to you that maybe Berk didn't want to be champion? Where'd you get that idea? He's fallen for a girl. Maybe he wants to quit and get married. How do you know? Just watching him develop the symptoms. I didn't notice anything. You don't see a lot of things, Nick. You get so wrapped up in the game you forget that people are human and have feelings. Well, there isn't any room for feelings in this racket. Fight is a machine, not a violin player. Hey, maybe I forget you once in a while. Or do I? Yes, quite often. Now, I'm a mug for treating you that way, Fluff. That's right. Am I in the doghouse? No. Well, well, I am thinking about it. Now, you're swell, Fluff. And I know all you do for me, even if I don't say it. You put up with a lot, keeping me in line. It's like riding head on a skyrocket. I'm happy. So am I. Let's you keep slapping my ears now. I will. I just wasn't close enough tonight. But when I can that, Peluca? That's right. Oh, forget it. How much dough do we lose? 17,300. How much have we got left? 1,800. 1,800. Well, might as well shoot that on a party and start over. Don't we always? Where's that bellhop? Anybody seen a bellhop around here? There he is, Nick. Oh, well, about time. Mr. Donati? Yeah, hi, Mr. Donati. Would you come up on the freight elevator? I got here as soon as I could, sir. Oh, and you were out here, huh? Yes, sir. Hey, I'll bet you're the Oscars with the names. The what, sir? Well, it might skip it. What's your name? Ward Geesenberry. What? Ward Geesenberry? Hey! Hey! Listen to me! Go on, I'll tell him your name, kid. Ward Geesenberry. Look at that! How about letting him do some work? All right. All right, Gooseberry. Start mixing drinks. You'll find the stuff in the other room. Yes, sir. Come on, kid. I'll show you. Over this way. Start off with two gin rickies, a gin sling, four scotchins. What's the matter with you? Well, I don't know how to mix those fancy drinks. Fancy? Are you kidding? No, ma'am. Don't you drink? No, ma'am. You don't smoke either, I suppose. No, I don't. Hmm. I didn't know there were any of your kind left. Why didn't you tell Nick you couldn't mix them? Well, they told me that he'd get me fired if I didn't give good service. Now, if you'd just show me how I'll be able to do it. Well, the general idea is to mix rye with ginger ale, scotch with soda, and gin with anything. I see. How much do you use of each? With that crowd, it doesn't make any difference. Come on, I'll help you. What's going on in here? I've started the education of a nice boy, Nick. Yeah? Well, let the hotel educate him. That's what they're paid for. Well, it's my fault, Mr. Donati. Nobody asked you to sound out. Come on, get those drinks going. Yes, sir. Jealous, Nick? Yeah. Am I behind the head ball? No. Someday that temper is going to throw you for a loss. Oh, no. Not while you're around flagged down. That's the trouble. I might not be around sometime. Well, thinking you're Morgan's mob again, huh? Oh, a lot of things. What did you worry about before you met me? Oh, I give up. Nick, you're such a fool. Well, I sort of like you, too. Oh, Nick, oh, come on. Come on in, Silver. What's up? Say, I just found out why Burke went haywire last night. Yeah, what? Well, he got 25 grand to double-cross you and take a dive. Who paid him? Turkey Morgan. He was afraid of Burke's long-range fighting, and he wasn't taking any chances. Burke got the dough on the train. Yeah? Nick, what are you going to do? Well, I'm going to pay that punch-strong gunman off. You're going to get yourself filled full of holes. You think I'm going to let him get away with a double-cross? You drive me crazy. Are you going to throw the whole works out of the window because that temper of yours breaks out in a rash? Don't let him know. Sit back and keep him off guard. You can outsmart him out of his shirt. I wouldn't start anything with him now, boss. He'd just come in. What, Morgan here? Yeah, him and McGraw with a couple of blondes. Take it easy, Nick, for my sake. OK, OK. I'll go and make him feel at home. Well, well, hello. Hiya, Morgan. Thought we'd drop in and tell you we were sorry you and your fighter busted up? Yeah. Well, glad you came. More the merrier. Hello, Nick. Hello, McGraw. Glad to see me, Nick. Hi, certainly. No hard feelings because you polished off my fighter. If all your scraps were as easy as that one, he would be championing you. Is that a crack? Now, why would it be a crack? Quit sounding off, Chuck. This is a party. Oh, I certainly am. Go on, now. Make yourself at home. Hello there, Lamy Park. Will you have a drink, Miss? Look, girls, he blushes. Who's that guy over there? Oh, him? Just the bellhop. Hey, looks as if your blonde might be going for him, Morgan. Yeah? I'll see you later. Come on, Mr. Gooseberry. Dance with me. I'm sorry, Miss. I don't dance. What do you do? Not much of anything, I guess. But you're all for cute. Come here. What's the matter, Morgan? Did you call me, sir? Yeah, I called you. Hey, that's pretty high class monkey suit you got on, kid. But the pants are kind of long for Boy Scout. Maybe we ought to cut him down a little bit, huh? Look at that. Right off at the knees. Boy, that Morgan's a riot. Wait a minute, Morgan. Why didn't you leave the kid alone? He wasn't doing anything cute. Keep out of this, you. Don't you push her out while you dig the lot. And if you touch her again, I'll... Yeah, what is this? What goes on here? It's all right, Nick. McGraw made a little pass at me, and the kid nailed him. That's all. That's all? Where is the old murderer? I'm sorry, Mr. Donalian. Get out of here. You caused enough trouble. Well, I only wanted to... Go on. I'll beat it. I said beat it. Yes, sir. Nick, are you going to make that kid have to pay for a ruined uniform? I'll forget it. All right? If you won't pay for it, I will. Hey, what's the idea, Nick? Trying to frame my fighter into breaking his hands? I never saw that bellhop before. McGraw hadn't been ringing. That kid never would've got one started. I'll fix him up. What, and get yourself thrown in the can? Now, wait a minute. I'm going to McGraw. Why don't you let your brother take it out of his hide in the ring? It's OK with me, just so he gets a paste. What's the matter, Nick? Sore because Fluff took out after him. Yeah. Yeah. What makes you think you can get him to fight McGraw's brother? Would you ever see a bellhop that didn't want to be a fighter? I'll speak to him in the morning. Well, I'll stand over there, kid, and let's get a good look at you. And where did you learn to punch like that? We had sort of a boxing club. You know, the fullest had worked in the different farms. Oh, yeah. Well, how would you like to be a fighter? Why, I never thought much about it. Well, let me do the thinking. You know who you stepped in last night? Yeah, fighter, I guess. But I didn't know what I was doing. Boy, I'll say you didn't. You flattened the next heavyweight champion of the world. He was drunk, though. Oh, yeah, son. But the main thing is you dropped him with one punch. You got dynamite in that, right, kid? And it's worth plenty of dough. Hello, Gallowhead. Hello, Miss. Hello, Nick. Yeah, what is this Gallowhead business? It means clean of heart. He was a knight in armor who used to go around rescuing ladies. Yeah? Well, it must have been an interesting racket. Hey, what are you working here for, Gooseberry? Well, it's the best job I could get, sir. I want to earn enough money to buy a farm. Farm? You string with me, and in a year, you'll have enough to buy 10 farms. Why, with me behind you, you'll go places. Now, how about it? I don't know. Oh, I'd like to earn the money, all right. Nick, if you're going to the racetrack with McFallon, you'd better stop fighting and talking fight and get underway. He's waiting for you in the lobby. I've kept him waiting plenty of times. That was when you had a fighter. Oh, yeah, that's right. Always keeping the count, aren't you? Well, now, think it over, kid. If you want to fight, I'll drop you in a soft spot on Tuesday's card against some preliminary boy. You know, kind of a tryout. If you don't like it, you can quit 100 bucks to the good, so what have you got to lose, huh? Well, meet you here for dinner, Fluff, and no more of that education stuff. So he wants you to be a fighter? Yeah. You think I should take a chance? Do you? Well, I don't know. It sounds good. If I could make enough money to buy a farm, I think I could stand a few pokes in the nose. I guess you're big enough to take them. Then you think I should, huh? No, I don't, Gallowhead. You got mixed up in this on account of me, and the least I can do is to tell you what you're walking into. You'll get thrown in the middle of a rotten life that'll knock those clean-cut illusions of yours higher than a kite and what's still sweeter. You'll be in the middle of a war between Nick and that gangster Morgan. He'd as soon kill Nick, or you, or me, as take a drink. You're too decent to get mixed up in that kind of life. Well, it hasn't hurt you, any. Thanks, Gallowhead. I got in at a long time ago. Nick's one of the grandest fellows in the world when he likes someone. He's been swell to me. Oh, but don't you see, if he likes me, I'd probably get along all right too. It wouldn't hurt to try for a while anyway. Well, at least I've got it off my chest. Maybe I'm feeling a little too girl-scouty today, huh? Would you come and see my first fight? Yes. Seems I'm always ringside for the first fight and the last. Cody, do it, Nick. You shouldn't have sent him in there. Listen, he came out OK, didn't he? You won, didn't he? You aren't any more surprised than I am. What? You mean you sent him in hoping he'd get licked? Now, forget it. We've got to work fast. We've got to get that kid out of Miami. Why? Now, look, honey, that was Chuck McGraw's brother he knocked out, get it? If Morgan and McGraw get hold of him, they'll kill him. That kid's dynamite. He's got the makings of a champion. Now, you've got to get him out of here. Grab a train from New York and keep him there. I'll be up next week. Nick, we can't leave you holding the bag like this. Morgan will say you crossed him up. We've got to stay and prove that you didn't. Get that kid knocked off. Now, forget it. I'm going to make him heavyweight champion of the world. Now, go on now. I'm going around and stall off more. Open up. It's Nick Donati. Hello, Nick. Hiya, bud. Morgan here? Yeah, he's waiting for you. Oh, good. Come on in, Nick. You're waiting for me, boys. Where's the bellhop? Man, that's funny. I was just looking for myself. Must have been afraid of you guys and taking the powder. Yeah. Did you sign him up before the fight, Nick? What? Use Mac's brother for his first knockout and give him a big publicity break? Oh, no, not me. That would have been double-crossing you. When did you double-cross your mother list? Come here, you. Keep your hands off. One of this game matches my family. See, I keep them out of it. I remember that. OK. OK. Trying to crawl out from under, Nick? Oh, no. When I start paying you back, it won't be on Sam. I'll take a fall out of your champion. Paying me back for what? Hand and burk, 25 grand, a dive. When I have to get it that way, I'll quit the game. You may quit sooner than that if that kid was signed up. Well, why don't you ask him? Yeah. Maybe we will. Well, well, I'm sorry to leave you, boys, but I've got an important date. See you around New York, maybe. Well, how are you? Gee, I'm glad to see you. I thought my wire would bring you to New York on the run. Why, I didn't get any wire. See, I heard Morgan flew up here. Yes, he was waiting right here for us with a gun and a contract. Oh, yeah? What happened? Ward knocked him cold, one punch. He did? What a guy. Wouldn't have been so funny if we hadn't got him out of town. Oh, yeah, maybe. We can bring him back. Say, I know how to handcuff Morgan and this down. Oh, all right, Cap. Check that bag. Yes, sir. Nick? Yeah? Why don't you stop before you get started? And what? The kid. There's plenty of mugs you can turn into fighters. Why don't you send him back home where he belongs? Now listen, I'm going to knock Morgan and McGraw off their perch if it's the last thing I do. I got the right guy to use, and I'm going to use them. Even if it wrecks him? Oh, forget it. Well, once he started, he'd lead it up. Where is he? At your mother's farm. What? The farm? What are you trying to pull? Nothing, Nick. I just figured it was the best spot. There's just your mother there. You know, I keep my sister away from mugs and leave this kind of line. But Marie's at the convent. No, she's been home for two months. Oh, I didn't know. All right, all right, forget it. Got the car here? Right outside. All right, I'll be using it. What are you going to do? What do you think I'm going to do? I'm going up to the farm. Get that guy out of there. And I suppose she isn't interested in you. Well, what did you say, Marie? Well, that girl you're always talking about. Oh, what do you mean, Louise? I thought you said her name was Fluff. Oh, that's what they call her. But her name's really Louise. She told me coming up on the train. I see. You certainly have a way with women. Even mother thinks you're wonderful. Now look, Marie, did you come out here to gather eggs or start another argument? Am I annoying you? Yes. You'd probably have a much better time with Louise. Now look, Marie, I think you've got the wrong idea about Louise. Oh, maybe you have. Well, no matter what you say or anybody else says, I think she's swell. And what makes you think so? Well, she's helped me a lot and given me some good advice. Oh, a big sister, too. How sweet. Well, a mother like yours, I don't know how you could turn out the way you have. Oh, you don't like me? I think you're a spoiled brat. Now will you get out of here and leave me alone? Of course, Mr. Giesenberry. Goodbye. Nikki. Hello, Marie. Oh, I'm so glad to see you. Well, how have you been? Just fine. Where's Mom? In the kitchen. Yeah, it's growing up there. You know, you get prettier every time I see you. That's not very often. I know. You finished Combin, huh? Oh, yes, Nick. And why didn't you come for graduation? You promised you would. Yes, I know. You see, I was busy with a fighter. Where's the kid? Your fighter? Oh, he's out in the barn. Hey, tell me, do you like him? Not in the least. Oh, that's good. I remember what I told you, huh? Now, I don't want you ever getting mixed up with mugs. You can take him away anytime you want to. I'm going to, right now. Hey, uh, Gooseberry. Hello, Mr. Garnati. Well, get your stuff together. We're going back to town. Well, I bet Mom's cooking, huh? I'm going in surprisingly. Come on, come on. Uh, I'll stay out here, Nick. Oh, it's a matter. Why won't you? Well, I don't want to be there when he goes. Oh, yeah, yeah. That's good, too. Well, I'll see you next time I'm up, huh? Of course. Goodbye, Nicky. That's the lawn, Bandina. Take good care of yourself, here, huh? I will. Certainly wasn't nice up here, Mr. Garnati. I like farms. Oh, I kept in condition, too, you know? Swinging those bales of hay and everything. Anything wrong? Not with me. Oh. Well, I just thought that, well, anyway, it was great. I hated to say goodbye to your mother. She was swallowing me, and so was Maria. Well, you better forget about them both from now on. Why? I don't like people hanging around them, especially guys in the racket. Oh. All right, that's the way you want it. Yeah, that's the way I want it. Now on, you keep your mind on fighting. Stick with me and do as I say, and we'll get along fine. Cross me up and... Well, it may not be so hot. Understand? Yes. I guess so. OK. Up to you, kid. Dirty falls on Act 1 of Kid Gallowhead. During our brief intermission, we present from New York City a guest who not only has played leading dramatic roles in Broadway successes such as Julius Caesar and Shoemaker's Holiday last season, but whose sympathetic portrayal has made her the beloved star of that very popular radio daytime serial Big Sister, which is heard over most of these stations each weekday morning. I refer, of course, to Miss Alice Frost. Miss Frost now gives her impressions of a young mother who, at the end of a long day, accompanied by her small son, Junior, is shopping in a department store. No, Junior, you may not pull Santa Claus whiskers. Why? Because Santa Claus doesn't like you to pull his whiskers. Oh, wait till we get home and you can pull grandpas. Oh, I want six cakes of Luxe Toilet, so please. Junior, come back here. Yes, six cakes, please. Who, Junior? Where? Oh, no, that's not cousin Lily. Her cousin Lily always wears black. Because poor Uncle Charlie went on a long, long journey. No, not to Newark, dear. He went to heaven. Junior, you mustn't point. No, that lady isn't freckle. She just doesn't have a nice complexion. Oh, shh, it's a friend of mother's. Oh, hello, Eleanor. Merry Christmas. Junior, say Merry Christmas to Mrs. Edwards. I'm buying myself a Christmas present, Eleanor. Luxe Toilet, so I always use it. Yes, just like the screen stars. It has active lather, you know. Junior, don't undo that package. I use it for bath soap, too. It leaves your skin so nice and fragrant. Quiet, Junior. It's none of your business why Mrs. Edwards doesn't use Luxe soap. Oh, here's my package. Well, goodbye, Eleanor. We'll run along now. Oh, no, Junior. You can't have those for Christmas. Yes, of course they're pretty, but only ladies wear those. Yes, of course mother does. No, Junior, you may not run the elevator. No, Junior, no! Thank you, Alice Frost. No matter how busy they are, clever women never forget Luxe Toilet soap for their complexions. For complexions are important, and it pays to be careful of them. Now, Mr. DeMille. Edward G. Robinson and Joan Bennett with Wayne Morris and Andrea Leeds return for round two of Kid Gallahad. Several weeks have passed. After a period of intensive training, Ward is ready for his New York debut. In the office of the boxing commission, Nick Donati faces a crowd of reporters. Huh, there's your bell, now, boys. Gallahad, clean of heart. Gallon, the rescuer of ladies, but no woman in his life. The strength of ten men because no dame could get close enough to give him a haircut. Roman gladiator, spot. What do you mean, Roman gladiator? What was he, a Greek? He was an English knight of the round table. What's the difference? Gentlemen of the press, I give you Kid Gallahad. Gallahad knocks out Mullins. Kid Gallahad chaos Gorelli. Kid Gallahad ninth straight win. Kid Gallahad mob by women at theater. Look at that press book, Silver. It's getting so thick I can't turn the pages. You spend a lot of time cutting out the kids' notices, don't you? It gives me something to do. Where's Nick, do you know? Search me, probably in a huddle with O'Brien and his manager. They've been in his hair trying to get an early fight. Silver, could O'Brien beat Ward now? His grandmother could beat him if he had one, and if she could stand on her feet. What's happened to him? I don't know, he's been off his feet for a week. Oh, he isn't hurt. Maybe he's home sick. He acts more like he's in love than not getting anywhere. Hey, have you been seeing much of him lately? Me? Oh, he wouldn't fall in love with me. Uh, don't you kid yourself, Fluff. They don't come any better than you. Well, tell Nick to call me when he gets the phone at the hotel with him. I will. Hey! Oh, sorry, Silver. Oh, that's okay. How are you feeling, kid? Hope pretty good. Say, I'm sorry I walked out on you this morning. I'll snap out of it. Sure. I'll see you at the gym. Hello, Louise. Looks like Nick's doing all right with his papers. A little more of his doing all right, and we'll have to enlarge the office. I see that the women lost control again. The theater business? Yeah, it wasn't much fun. Oh, you're just suffering from an acute case of publicity. Silver says it's got you down. No, it isn't that. I, uh... I came up to talk to you about it, Louise. You know, ever since we met in Florida, you kind of always told me where I stood. Yes, what is it, Ward? Go on. Well, there's no use talking to Nick about it, and I guess you're the only one to tell me it's, uh... It's about that time I went up to Mrs. Donati's farm. Oh. I met Marie up there as sister. Yes. Well, I haven't seen her since. Nick told me to keep away from her, and I guess he's got to say about his own family. But I've never been able to forget her. I'm in love with her, Louise, and you know how Nick feels about that. Does she love you? I don't know. Maybe not. But I'd like to see her again. If I did, it would be the first time I ever double-crossed Nick, and, well, I owe everything I have to him. What do you think? All right. I'd go to see her, Ward. Nick hasn't any right to take away people's happiness, and you've been on the level with him all the way. Well, that's swell. Oh, I'm glad you think it's okay. I'll go and see her tomorrow. Sure. Good luck, Ward. If I can find the same happiness that you and Nick have, that's all the luck I want. You've been swallowed, Louise. Thanks. Hey, Flop, where are you? Here, Nick. Oh, well, dig out a party dress and get it on. We're in for a celebration. You'll find fight, signed, and sealed. Oh, boy, that I give those cute guys a muscling. 45% and stall them until October. We won't have to meet McGraw till next year. Hey, what are you doing? What's that grip for? You packing? Yes. What's the idea? I'm leaving, Nick. Leaving? What do you mean? A trip? Where? Not a trip. I'm quitting, Nick. I'm washed up. What are you talking about quitting? After all, we've been through. We're sitting on top of the world. It doesn't matter with you anyway if you're gone crazy. No, not crazy. I've never lied to you, Nick, and I'm not going to know. I'm in love. What? Like a dizzy fool, I've fallen in love. That finishes us, Nick. I'm licked and I want to get away. Who is he? Ward. The kid? Why? Has he been crossing me up with you? I'll break it. No, Nick, listen. He hasn't done anything. He doesn't know anything about it. I've never even told him. He's square with you. He always will. Why are you lying? He felt for you the first time you saw him in Florida. You two started this coming up on my train. Nick, that isn't true, and you know it. Nick, they've been swellies. Let's not spoil them now. It's the brakes, and we can't beat them. You or me, either. Yeah. Yeah, well, we've gone a long way together. And you've been swell. I'll never forget that, Nick. No matter where I am. What are you going to do? Go back to work for Tony. He's opening up a new nightclub downtown. Singy? Yes. Would you be at the fight? I guess that's all. Goodbye, Nick. See you around, Fluff. If ever I can help. Oh, yeah, sure. Thanks. Can we get them hands taped? Sure. Shut that door for a minute. How's that? Too tight? No, swell. What's the matter, Nick? What do you mean? I don't know. Whatever's eating you. This is the first time I've gone into a fight feeling you're not behind me. Ah, you've got the chops, that's all. No, no. Look, Nick, you've had something against me for the last couple of weeks. Now, why don't you get it off your chest? All right. Did you fluff everything you were in love with each other? Louise? Yeah. Certainly not. Where'd you get that idea? Well, you left town the day after she walked out. You think I had anything to do with her leaving? Well, wasn't she with you? No, she wasn't. She isn't that type. She's been a swell friend and that's all. Where'd you go? Well, I... I, uh, I drove off to the country. I didn't even know she'd gone until I got back. Okay. Forget it. Keep your mind on tonight. I'll be in there back when you are. He's a very tired boy right now. Yalla had steps in with a short left. He follows through with a beautiful right cross. That shakes a brand right down to the toes. Another right. A left. A right. A brand's down on one knee. A free step in and... Wait a minute! Now, here's the whole story. You can quote me. A fight tonight was only a long-range workout. We're getting the kid into shape. We don't want that stuff, Nick. What's the matter? What about the fight with McGraw? McGraw? Sure, Morgan wants to give you a fight for the championship next month. Who said he does? He did. We just saw him outside. What are you saying? Yeah, come on. Wait, wait, wait, wait. Well, you're out of luck, boys. There'll be no signing until next year. Oh, come on. Well, you guys are just as wise to Morgan's frame-up as I am. He knows that as soon as Yalla had his reach this peak, he'll take McGraw. They're trying to knock him off now. Sure, but they're going to have the mob yelling for another match. You better let us print something. Okay, okay. Now, let me see. Well, tell them that Nick Donati appeals to the sportsmanship of the American public for fair play. To wait and give kid Yalla had a chance. I chuck right now as in the class by himself. Yalla had just a kid, and he's a lot of work and training before meeting such a magnificent fighter as the champion. I don't want to hold him. Oh, sorry, boys, but that's it. Fight with McGraw. Pretty smart. The kid won't be in McGraw's class for another year yet. He's grown murderous. Now, where's the kid, Silver? I don't know. He beat it right after he got dressed. He did? Where, too? Well, he didn't say. Some guy came in and slipped on my note. And he scrambled into his pants like a fireman. Yeah? Well, get on his tail. Find out what he is, and you ain't come back to the hotel. Who does he think he is running out on me? Go on out. Get him. Okay, on my way, Nick. Gee, this is swell, Marie. When I got your note, I almost got it. Your note, I almost keeled over. How do you get here? Mother, let me come down. Do you see the fight? Oh, yes. Are you hurt? No. Oh, you were wonderful, Ward. Yeah? You think differently about fighting now, huh? I guess so. Well, listen, let's go someplace where we can talk. Well, I just wanted to see you. I've got to take the 1230 train back. Oh, no, no, Marie. I'll drive you home. You've never been here before. Let's take a look around. All right. Um, Ward, I wanted to ask you something. Sure, what, Marie? Um, was it true when you said that Louise told you to come up to the farm that time? That's right. I was wrong about her, I guess. I'd like to meet her, Ward. Well, sure, she's singing at Tony's. I'll take you there. Come on. There she is. See, she's coming over this way. Oh, she's lovely, isn't she? Yeah. Louise? Hey, Louise. Hello, Ward. I saw you come in. You're Nick's sister, aren't you? Yes, I am. I've known your brother a long time. Will you sit with us, Louise? I'd love to. Does Nick know you're in New York? No. Don't tell him, will you? I should say not. Well, Ward, I hear you made short work of a bride. Yeah. Marie saw our first fight tonight. Did you enjoy it, Marie? A lot that I was worried. The next thing she wanted to do was meet you. I'm glad. Are you? A few months ago, I didn't think I'd like you. But I do very much. Same with me. You know, don't you? Yes. No what? Oh, you wouldn't understand. There he is, the heel. Come on, lay off. Ah, let me alone. Ward, there's two men. All right, Marie. Ward, it's McGraw and Morgan. Maybe you'd better get out of here. Get out, Ward. Listen, you don't want any trouble. Get out now. Hello, Mr. Gallagher. Hello, McGraw. I hear you yell at Mr. Gallagher. Yeah? Ward, please. Trying to crawl out of a fight, huh? Stand up, Yeller. Take a load of it now. McGraw, I've had enough of you. Ward. You'd better leave now, Ward. You're late. You really shouldn't have brought me home. That's all right, honey. Ward, when we came out of that place, there was a photographer standing there. What of it? Well, I think he got our picture. Oh, don't worry about it, Marie. I'll see what I can do, though. Maybe if I can get to one of the boys, I can... Ward, look. It's Nick. Oh, Ward. Oh, you're here, huh? I brought Marie home, Nick. You're not satisfied with messing yourselves up in New York? You have to come out here and wall each other. Don't say that. Nick, if you followed us out here... I haven't done enough of you two. You have to sneak around my back to double-cross me. There's no double-crossing, Nick. I told you to stay away from her. He's not going to stay away from me, Nicky. You might as well get us straight, Nick. Marie and I are in love. Oh, love. What does she know about love? She's a kid. She's too young. Oh, you don't know anything about me. You're going to stay away from God. I'll do as I like. What business is it of yours? You're never here. You've never lived at home, chasing around everywhere. You do anything you want. By the way, I live. I haven't got anything to do with it. You're different. I'm not different. I have as much right to be happy as you. If you think you're going to keep me cooped up and run my life, you're crazy. We love each other, Nicky. You can't keep us apart. You haven't any reason to. No. Well, how do I know what's been going on between you two? Sneaking into the city. How many times have you been there with him? Huh? I've tried to keep you decent. Kept you away from guys, sent you to common, and where do you end up? Go into nightclubs and getting yourself smeared all over the front pages of the smudges like a common rat. Oh, don't! Oh, war. You shouldn't have done that. I'm sorry I hit you, Nick, but you can't call her that whether she's your sister or not. I owe you a lot. I've always obeyed your orders in the ring, and I'll keep on obeying them. But outside the ring, you're not going to get away with pushing me around. Or, Marie, either. I'm sorry, Nick. Honest I am. What's the dope, Nick? You're going to give us a story, Nick? All right, all right. Shut up. Shut up now. What's the idea of all the phones, Nick? I said that when you guys hear this announcement, you'd all want to get to a phone fast. Well, here it is. I'll tell you Morgan's been shooting off his face, trying to get Kid Gallaghert into an early match. Oh, yeah, Nick, we know that. Sure, but you said the kid wasn't ready. Oh, did I? Well, I've changed my mind. Gallaghert fights McGraw next month. Oh, no! Get me a phone! We pause for station identification. This is the Columbia Broadcasting System. We've heard Edward G. Robinson and Joan Bennett with Wayne Morriff and Andrea Leeds in the second act of Kid Gallaghert. In a few moments, they'll bring us Act 3. And now, in our intermission, Mr. DeMille is about to introduce the evening special guests. But first, a special tip to the men in our audience. Have you found out what a fine bath soap Lux Toilet soap makes? Gives instant lather, the rich, quick lather a man likes. An active lather that removes perspiration every trace of dust and dirt from the pores. Leaves skin really clean. Leaves you feeling great. And now, Mr. DeMille. One rainy night in September, 1926, 102,000 people watch Jack's show watch Jack Dempsey and Jean Tunney fight for the heavyweight championship of the world. Just a year later, 104,000 people saw another Dempsey-Tunney battle. These records have not yet been surpassed. Most experts predict they never will be. Tonight, we have the exciting pleasure of hearing two men who held with high honor that championship on which Kid Gallaghert has set his heart. Jack Dempsey, who is in Buffalo, and Jean Tunney, who is in New York City. Hear microphones, gentlemen, and come out talking. This is Jean Tunney in New York. And just to make sure that Mr. DeMille isn't fooling us, I'll ask Jack Dempsey to come in from Buffalo right away. Did you hear the bell, Jack? Coming up, Jean. I understand. You've got a very promising fighter up there in Buffalo, Jack. Yes, Jean. I'm handling a boy named Bill Boyd, who's got a fighter tonight. And he looks like a comer. If that boy Wayne Morris was playing a part of Kid Gallaghert in the Lux Radio Theory tonight, ever wants to give up movie acting and become a fighter, I certainly wish he'd let me know. Is he that good, Jack? Well, Jean, I've seen him in person, and I've seen his pictures. And I think he's got a great future in the ring, that is, if he wants it. He's got a good natural style, a good left hand, and he's fast on his feet. Makes me feel homesick for the old times. Yes, it does seem a long time ago that we were in there punching ourselves. Anyway, Jack, I'd like to tell you that you're a much-pleasant fellow on the sending in of a microphone than on the sending in of a left hook. And I'm speaking from experience. You know, Jean, every once in a while, just to see how it feels, I throw a left hook at myself. The kind that you would throw at me, except that I make it a soft one and step out of the way real fast. Fleetness of foot, Jack, was ever more desirable for the gladiator. Is that from Shakespeare, Jean? No, Jack. To duck or not to duck? That is the question. I like it better your way. Well, Jack, when anybody gives me the edge on Shakespeare, I'll take it. Just between two ex-champions, when did you get the biggest kick out of boxing? Jean, I got a kick out of it all the time, but I guess the biggest thrill was that two or three seconds waiting for the bell to start a fight. Any fight. After referee gave his instructions in the center of the ring, turning around, walking back to my corner and waiting for the bell. Oh, boy, I know that feeling. I never already saw him those two seconds, Jean. I never saw anything, but the fellow who was across the ring from me, and I guess he wasn't seeing anything but me. That was the big thrill for me. Now, what do you miss the most, Jean? Well, Jack, I'll tell you what I miss the least. It's those left hooks to the solar plexus and those rights behind the ear. Also, those meals you got when you were training for a big fight and the trainer thought you were a few pounds overweight. After eight or nine miles of road work, a round piece with four or five sparring partners, a session with the light and heavy bags. After all that, there's nothing like a nice thin lamb chop and a large helping of spinach to make a heavyweight prospect cry like a baby. And then the trainer says it's healthy. But it's still spinach. But 10 or 15 years later, I still remember how hungry I was. Jean, there's one thing I'd like to say to you now. 11 years after the second Dempsey Tunney fight, what I lost, I'm glad I lost to a square shooter, a great fighter like you, and that's from the heart. Jack, thanks a great deal. Coming from probably the greatest champion of them all, that means a lot to me. And I know you'll join with me, Jack, in what I'm about to say. To any young listeners, let me say that if you want to be an athlete, a champion tennis player, a baseball player, football player, wrestler or boxer, the way to start is by developing a strong, healthy body. And that comes from temperate habits. Don't try to do any of these things strenuously unless you've laid the foundation. I certainly agree, Jean, and I don't think that any boy should take on sports without his parents or doctors' advice. Take it easy. In the fight game, we call it bringing a boy along slowly. That's right, Jack. Now to Mr. DeMille and the makers of Lux soap for this opportunity to speak publicly with you. And it's been a very pleasant mood. Let me say good night, Jack. I want to say good night to a great champion. And of Jean Tunney, I also say good night, champ. And we say champions both. We leave Jack Dempsey and Jean Tunney, and once again in Hollywood with Edward G. Robinson and Joan Bennett, Wayne Morris and Andrea Leeds, we ring the bell for round three of Kid Gallowhead. In cold rage, Nick Donati has laid his plans. Bent on revenge, he's scheduled the championship fight for the following month, knowing that Ward is not ready. In his office, Nick is seated at the desk. He leans back, looking up calmly at Ward and Silver. Where'd you start this for, Nick? To pay me back for sucking you? Oh, forget the other knife. Personal brawls have nothing to do with the fight game. But you wanted to hold off till next year. Yeah, until I find out how much McGraw has been drinking. His feud breaking in the paper is good for a million-dollar gate. Oh, I had an idea you wanted to get rid of me. Now, look, if I wanted to get rid of you, I'm giving you a chance now, big one. Yeah, but what's the idea of telling the papers you're going to send the kid in slugging? Because that's what he's going to do. McGraw's right for it. You can punch better than he can, kid, in your perfect shape. Well, I don't like to argue with you, Nick. Now, you're not going to where I get someone else to train him. Now, look, I never did you wrong yet, did I, kid? No. No, you haven't, Nick. All right, we signed this afternoon. We'll meet you there at two. Hello, Barney. This is Nick. How are the odds going? Okay, well, now, wait, uh, no, hold off, yeah. Hold off until the night, just before the fight, and then plunk it. Well, you know how. I'll call you later. Now, come in, Morgan. Yeah. They tell me you're still going to send the kid in slugging. Yeah. Yeah, that's a good way to lose. Sure. I just learned you're betting 50 grand under cover on McGraw to win. That's right. What are you trying to do? Pull another fast one? Now, when I want to take the title from you guys, I won't spend 50 grand to do it. I'm dumping my fire. The more McGraw cracks them up, the better I'll like it. Now, the old ways that he double-crossed you, huh? No, you saw it in the papers. Yeah. Uh, your sister, huh? Now, you ask me. Take it or leave it. Okay. I'll take it. Certainly. You want to be smart, Morgan. Like me. Yeah, I will. Oh, Bill, take him, Morgan. Bet another 150 grand on McGraw to win. No, I'm not crazy. Turn out he's backing it. He better win. He will. If he doesn't, you won't be around to talk about it. Thanks for the tip. Louise, I'm scared. He'll be all right. Don't worry. At the longest, it'll be over in an hour. I know, but I'm still afraid that Nicky will try to get back at him some way. Not while there's a chance of taking that title from McGraw and Morgan. Oh, I don't know. I'm glad it's his last fight. Who? Wards. He's going to quit after this. Does Nick know that? No. The first fight in the last. What did you say? Nothing. I just remembered something. We expect you to go slow and feel him out. Will you get him coming out of his corner and give him the works? Oh, you're wrong, Nick. He can go the distance. McGraw's in better shape than you think. I know what I'm doing. Go in there swinging. Yeah, and keep on swinging. Now, go on. Gellahead came out of his corner like a shot out of a cannon. They meet in the center of the ring. Gellahead lets go with a long right that was dressed to kill, but McGraw backs up and shoots a light left. Gellahead leads with another long right, and a left and a right, but they're all wild. And he takes a hard right jolt to the chin that really hurt. Gellahead's making the fight again. Flowing in there with everything he's got, leads again with a long right, and he takes a stiff jolt to the side of the head that swings and player around. McGraw, let's go with the right cross, and Gellahead's down. He's down on his knees. Keep swinging. Nick, it's crazy. McGraw's killing him. It's murder, Nick. Shut up. Get out of here. You can't do it, Nick. Huh? So what do you want here? You can't go on with it. I know what I'm doing. We know what you're doing, too. You're murdering that kid because of him and Marie. You're tossing him to Morgan and those dirty wolves to satisfy a grudge. Rotten temper. Throw you off the deep end just like I said it would. Selling out their kid's trust and loyalty. And he's up there fighting his heart out for you, keeping faith with you because you helped him. And you told me once that someday you'd find a fellow that could go the whole distance and listen to orders all the way. You were gonna make him champ. Please, Nick. Please. Don't do this to him because he loves me. You can't keep me a kid always. I've got a right to love to get married. Oh, I love him, Nick. He can't you understand? I'll always love him. He'll always be that way, and you can't change it. Oh, please, Nick. Please don't let him get hurt anymore. Okay, okay. Go on, get back here. All right, Nick. You'll be all right. Go on now. Oh, Silver. Yeah? Got 20 cops right there. Get us back in the ring door and dressing room. Okay. Oh, Barney. Barney, come here. Yeah, yeah, Nick. Get outside and try to cover all bets. 50 grand on gala half. Have you got it? Get as much extra down on it as you can. Okay. Oh, wait a minute. Let me have your rod. Yeah. Here you are. You may need it. Well, thanks. Eat it. All right. Get him on. Get him down over here. Now, quick. I don't know. Come on now. Wake up. Wake up. What round is it? Eight coming up. I thought we just got started. That's better. Now, what day is it, kid? Tuesday. Know me? Yeah, Nick. That's it. Now, look. Look, we're changing now. Changing, understand? I shot his bow. He's on his heels and breathing through his mouth. Now, stall. Stay away from him. Run him off his feet. Rest up, understand? Sure. Now, that's the boy. Now, go to it, kid. Nine crown even. And 12 gala hats. 11 even. 12 gala hats. It's a whole new fight, folks. A complete change of pace. Gala hats boxing. He's shooting him at long range. Staying away, counter-punching. He's making McGraw force the fight. And now he's in there again with that left. One, two, three, four left to McGraw's head. McGraw's groggy. He tries to come into a clinch, but Gala hats keeps him away. Again, that left and now a right and McGraw's staggering. He's out on his feet. And now he's down. Here we are back in Gala hats dressing room where you're about to hear Nick Donati get Gala hats manager who coached him through to the championship. All right, Nick. Come on in. Hello, folks. Now we had a great fight here tonight. Maybe you thought the kid was in that shape, Willie, but we knew what we were doing. You see how it worked out. You know, I've worked for years with one hope to manage the heavyweight champion of the world and get Gala hats crashed through tonight and handed it to me. He's a great fighter and I'm proud of him. That's all, Mike. Thank you, Nick. Ladies and gentlemen, we'll return you now to Harry Spears. Hey, where's the kid in silver? They're both in the shower room, Miss Nick. Okay. Clear out this place. Don't let anybody in. Oh, kid. Silver. Right here, Nick. Come on in and join them. Watch it, Nick. And keep your hands where they are. He was waiting for someone to come in. Yeah? Hey, better put up that rod. Put that rod away before it hurts you, Morgan. Don't worry. It won't be me that gets hurt. Just a couple of double-crossing rats. You can't take it out on silver. He hasn't done anything. Shut up! I've been aching to feel you full of sludge, Nick. Come on. Use your head, Morgan. You won't get away with it in here. There's cops all over the place. I'll square it with you. Yeah, like you always have. Starting to crawl, eh? Anything you say. Settle it with me any way you want it. But leave these two out. So they can put the tag on me, or no? Now, look, you're too used to a machine gun, Morgan. You might miss somebody with that Roscoe. Now, if we rush you... I'm saving you to last you cheap two-time rat. Oh! Oh! Ah. You see? Hey, Morgan. You shouldn't have thrown away that machine gun. Nick. Nick, you all right? Yeah. I guess so. Oh, Nick. Silver, get a doctor, will you? He's bleeding bad. Don't stand there. Hurry up. Will you get a doctor? Nick. It's me. Me and Fluff. Hello, kid. We've got an ambulance coming, Nick. You're gonna be all right. Oh, no. No, he wasn't that bad a shot. You've got to get well, Nick, for all of it. You know, I... I was wrong, Marie, about the kid. I guess I've been wrong about a lot of things. Swell guy. You... you two keep on being... in love. Being happy. Oh, all right, Nick. Fluff. Am I out of the doghouse? Yes, Nick. Oh, I shouldn't have gone away. Oh, well, it's just the brakes. Forget it, Fluff. You were always swell. The kid put up a great fight, didn't he? Took you and me a long time, but... we did what we set out to do. He got a champ. He did get ahead, hangs up his gloves. Our play is over. But out of their corners for a final round of personalities, come Joan Bennett, Wayne Morris, Andrea Leeds, and Edward G. Robinson. Well, here I am. Your agent was just taking a slug between the slacks, don't you think? I wish you'd save all your quick comebacks for the Lux Radio Theatre. This is the first time you've come back here in nearly two years. I was beginning to think you didn't like us anymore. And now you've got me all wrong, Mr. DeMille. It's just that I can't listen to your show and be here, too. Now that you've put Mr. Robinson on your program, Mr. DeMille, wouldn't it be nice if he let you act on his? Oh, does Eddie have a program? What? Oh, yes, yes. A little weekly chit-chat on the airlines? What do they call the program? Now, don't tell me. Don't tell me. It's a Hamlet. A little Hamlet. Or is it a small village? I don't suppose you're trying to say big town. Of course not. Everybody knows that's Steve Wilson's show. Oh, I see. Wise guy, huh? Hey, champ. Yeah, Nick? Will you take this fellow out? Will you slap his ears down? Okay, Nick. I'm only trying to prove that I can act. Uh, do you think you can be a tough guy? What I think Mr. Robinson need, Mr. DeMille, is a good heavy. Oh, it's no use for him to even try, Andrea. His name's all wrong. Sure it is. Whoever heard of a gorilla called Cecil? Well, uh... I, uh, I could be the first, you know, Cecil the turbulent torpedo. Oh, Cecil the turbulent. Oh, no, that's terrible. Oh, no, that'll never do. I got the name for you, pal. You're Benny the bomber. The first chance I get, I'll let you be a big town, big shot. There you are, Mr. DeMille. I guess I put that little deal over in a hurry. Oh, now just a minute, Wayne. It was Miss Bennet who started all this. Oh, I shouldn't. I helped Mr. DeMille. He's a good friend of mine. Seriously, I'm indebted to Mr. DeMille on several scores. First of all, I like to listen to the Lux Radio Theatre, and besides that, I like Lux Soap. I've been using it, Mr. DeMille, since the days when the Bennet sisters had their little theatre in the backyard. I certainly agree with you, Joan. I'm a Lux fan too. And now, Mr. DeMille, this Bennet sister will say goodnight. Yeah, me too. I gotta get to bed early. That's right, Wayne. Come to think of it, you're a prize fighter in Broadway Cavalier, your next picture, aren't you? Yeah, that's right, and I have to keep in training. Oh, well, in case you need a manager, Wayne, look me up. Well, so long, Benny DeMille. Well, I'll be seeing you. So long, Eddie. I mean, Steve Wilson. Good night. Good night. Good night, Miss Bennet, Miss Reed, Miss Canary. Let's have a return night scene. Don't miss the important announcement Mr. DeMille brings you in a moment about our special Christmas program next Monday. In Kid Gallowhead, you heard Psy Kendall as Turkey Morgan, Edwin Max as Chuck McGraw, Chester Plute as Silver, Ross Forrester as Buzz, Frank Nelson as Radio announcer, and Joe Cunningham as a reporter. Mr. Robinson's new Warner Brothers picture is Brother Orchard. Joan Bennet is seen shortly in the Walter Wanger production, Trade Wins, and Andrea Leeds is a Samuel L. Goldman star. Lewis Silvers appeared through courtesy of 20th Century Fox Studio, where he directed music for Thanks for Everything. Kid Gallowhead was screened by Warner Brothers, who will soon release an epic of wartime aviation, Dawn Patrol. Mr. DeMille, the motion picture that created the greatest sensation of 1938, comes to the stage of the Lux Radio Theatre next Monday night. Walt Disney's Snow White and the Seven Dwarfs. All the characters will be here, Snow White and Doc, Grumpy and Sneezy, Happy, Bashful and Sleepy, the Wicked Queen and the Handsome Prince, and that close mouthed little gentleman known as Dopey. This is our Christmas present to you, a classic of folk tales with all the charm that made the film one of the grandest achievements in the history of the screen. And our guest of honor will be the man who made that great picture possible, Mr. Walt Disney. Before we meet again, old father time will have led us to the joys of the year's happiest day, Christmas. You and I may be far apart, but in the week to come, there's a day when distance is suddenly without meaning. Here in the Lux Radio Theatre, we feel a bond of sympathy and friendship between you and ourselves. A sentiment we hope is shared by all of you. For in this Christmas season, we feel the full strength of those ties. I can't deny the pleasure that comes to me as producer of this theater, but infinitely more, I treasure the thought that I can come to your homes as a friend. You're not strangers, but my neighbors, and bring me Christmas in its truest and happiest form. With deep gratitude, I wish you all the blessings and happiness of the season. And joining me in these greetings are the staff of the Lux Radio Theatre, and our sponsors, the makers of Lux Toilets Open, Lux Flakes. This is Cecil B. DeMille, saying good night to you from Hollywood, and wishing you all a merry, merry Christmas. Be sure and tune in next Monday night to Snow White in the Seven Dwarfs. And now may I give you a parting thought apropos of Christmas. You've got to think of trimming that tree of yours pretty soon. Why don't you do something really different this year, something that'll start all your friends talking about how original you are. Here's an idea that will make a really beautiful tree decoration. First, get a large box of Lux Flakes. Yes, that's right, Lux Flakes. Pour them into a big bowl or dishpan, add two scant cups of lukewarm water, and then whip up the mixture with an egg beater. In a few moments, you have a pan full of Snow White suds that stand up like stiffly whipped cream. Now that's what you decorate your tree with, those thick white suds. Put them in handfuls and spread them with your fingers along the branches of your tree. Go on doing it till the tree is covered with suds. Now, if you want your tree to sparkle a whole lot, take some of that artificial Christmas snow you can buy in the stores and sprinkle it all over the suds while they're still moist. And there's your tree. All white and gristening as though it had been caught in a real snowstorm. Why don't you try it? It's so easy, anyone can do it. And it's inexpensive too. And another thing, this kind of decoration makes your tree last longer. You see the suds cling to the needles so they don't dry quickly and fall off. And of course, suds last too. They stay attractive throughout the holiday season. Now remember, all you need is a large box of luxe flakes and two scant cups of lukewarm water to whip up a big bowl full of snow. This is the Columbia Broadcasting System.