 Hollywood, California, Monday, June 28th. The Lux Radio Theatre presents Walter Winschel and Josephine Hutchinson in the front page with James Gleason. Lux presents Hollywood. We appreciate your enthusiasm for Lux Flakes. It is your regular purchase of Lux which enables us to bring you this program sponsored by Cecil B. DeMille with Lewis Silver's conducting. Tonight's stars are Walter Winschel, Josephine Hutchinson and James Gleason. We had hoped at this time to bring you Miss Amelia Earhart. However, she has not yet completed her sensational round-the-world flight, so will be heard instead next Monday evening from the Lux Radio Theatre if she will have arrived by that time. Our guest tonight are Miss Kathleen Howard, fashion editor of Photoclay Magazine and John Nexu, fabric expert and motion picture technical advisor. From our stage on Hollywood Boulevard, we welcome you to another hour in the Lux Radio Theatre. Before we start our play, I'd like you to hear a letter we received from Miss Miriam Kent who lives in eastern Pennsylvania. Here's what she says. I can never thank you enough for your fine products and your equally fine entertainment. I'd miss both of them very much if I ever had to do without them. I never get tired of them. I'm a radio fan, a movie fan and a Lux fan. I couldn't keep house without it. Well, Mrs. Kent and others will agree that one thing which makes housekeeping much easier is washing dishes in Lux. Lux flakes dissolve instantly into rich, creamy suds, which mean easier dishwashing and softer, prettier hands. And no wonder, for Lux is free from harmful alkali that roughens and cracks your skin. Lux for all your dishwashing costs only a trifle a day. And now, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. His mother named him Walter Winchell. But they call him the man who owns Broadway, the Burbank of the printed page. He made a halo of an orchid and turned a scallion from a vegetable to a stinging rebuke. He's the most original, most highly paid, most copied and most widely known among reporters. When at a loss for words, Walter simply makes up new ones. To him, people don't get married, they're middle-isle. They don't talk on the radio, they're radio rate. They're not glamorous picture personalities, but cinema actors. He's found that news walks at night, so he chases it in a car with a radio and a police siren. He's left-handed and does not carry a gun. Born in New York in 1897, he knew that a good education was essential to success. So instead of quitting school at the fourth grade, he patiently plotted through till the sixth. At 14, he was singing in a newsboy's sextet produced by Gus Edwards. His teacher was our musical conductor, Lou Silvers, who had to re-score the music every day because Walter's voice changed every two minutes, like a woman's mind. Walter got his first smell of printer's ink by publishing a small theatrical sheet called News Sense. It was the spark that set off the journalistic skyrocket, which has carried him along to his present birth on the New York Mirror and 136 newspapers from New York to London, Paris and Honolulu. Stard currently and wake up and live, Walter reverts to type tonight in playing the part of Hildy Johnson in the front page. In the role of Peggy Grant is Josephine Hutchinson, called upon at the last moment to play the part due to the illness of Joan Bennett. Ms. Hutchinson brings to our theatre the same spirit and talent that flavoured her acting on Broadway. From Eva Legallion's celebrated civic repertoire, Ms. Hutchinson came to Hollywood as a member of Warner Brothers as a Warner Brothers star. Just a few days ago, she signed a long-term contract with Metro-Goldwyn-Mayer. James Gleason, after a notable career as actor, writer and producer, also came to Hollywood from Broadway. Now at RKO Studios, he makes his third appearance on our stage in the role of Walter Burns, managing editor. Our deadline has arrived and we send it tonight's edition to press as the curtain rises on the Lux Radio Theatre presentation of the front page starring Walter Winchell and Josephine Hutchinson with James Gleason. A newspaper office in the city of Chicago. At his desk in the inner sanctum, Walter Burns, the managing editor, talks to one of his staff on a telephone. He's just received a disquieting bit of news and he pounds the desk violently, sending a shower of papers onto the floor. Don't give me that. He can't quit. When did he walk out? Why didn't you stop him? Well, you're a help. Well, stop him now. I don't care if he's getting married to the Empress of China. Hilly Johnson works for this sheet and is going to keep on working for it. Listen, Duffy. There's a hanging schedule for tomorrow morning at seven o'clock. They're hanging Earl Williams at the Cook County Jail. Hilly Johnson has got to cover that hanging for us. And if he doesn't buy heaven, I'll hang you. Forget the work, find out what he is. Stop the wedding ceremony. Do anything you want. But get Hilly Johnson where I'll kick you from here to Michigan Boulevard and back again. He said a point to ask for me. Tell him to go dunk his head in the lake. I'm finished through and then I've walked out. Oh, Hilly, you really quit. I promised I would, didn't I? Yes, darling, but it's almost too good to be true. Hilly Johnson, ex-newspaper man. That's me, honey. From now on I'm going to eat my dinners at home. And afterwards I'm going to curl up on the radiator with a good book. I'm going to let the other guys hustle for the news. I'll be reading it and it better be good. Boy, what a life. Oh, Hilly, we will be happy, won't we? We can't miss, honey. We'll be married in New York, darling, just as soon as we get there. Can't be too soon for me. Jeez, I almost forgot. Hey, driver. Stop the criminal courts building. Cook County Jail. Okay. Hilly, what for? I've got to say goodbye to the boys, honey. What boys? The so-called gentlemen of the press. They'll all be up there covering the hanging and wishing they were home in bed. I've got to give them the horseradish. But Hilly was supposed to be at cousin Emma's at seven shops. And the train leaves at 11.15. It's all right, baby. Don't you worry about me. You run along to Emma's. I'll be up right away. Hilly, you'll never get away from them. When you get talking with those friends of yours, you... Emma will be furious if you don't get there and soul mother. Listen, Peggy, I know what this means to you. You don't think I'd let you down at a time like this, do you? I'll be up at cousin Emma's before she drags out the cake. And what's more, I'll eat her, too. But I've got to see the boys, Peggy. You understand, don't you? I may never see them again, I hope. Well, all right, but... Got her, girl. Give us a kiss. Hildy. Come on, driver. He'll be out of town. I was ahead a minute ago. All right. Hello? Pressroom? Hildy Johnson? No, I ain't here. I said he ain't here. Okay. Hey, who was that, Wilson? Burns again, Flannery Hildy Johnson. Hello, Jimmy Sheridan 2000. Hey, Murphy, what is the idea? Is that the only telephone in the place? The only one with a mouthpiece on it. How many times have I got to tell you fellows to leave my phone alone? If you've got to talk to your mouthpiece, go buy one, like I did. Ah, shut up. Jimmy Sheridan 2000. I won't shut up. I'm trying to keep this phone clean of germs. Hey, Benzinger, what is this? A hospital or something? Oh, look at this draw. Who put that pie in there? I did, but don't eat it, Benzinger. It's rotten. I don't intend to eat it. But I don't intend to let you fellows use my desk as a garbage can. It's too big a desk anyhow. It takes out too much room. Okay. LaSalle, 3, 400. Hey, Benzinger, did you see the sheriff? Oh, I don't get your own news. All right, all right. Oh, hello, Jake. This is Benzinger. Yes. Here's a new lead on the Earl Williams hanging. Yes. I just saw the sheriff. Yes. He won't move the hanging up a minute. I don't care who he promised. All right. All right, I'll talk to him again, but it's no use. The execution is set for 7 o'clock in the morning. And get this. The condemned man eat a hearty dinner. Yes. Uh-huh. Mock turtle soup, chicken pot pie, hash brown potatoes, combination salad, and pie all the more. Make mine the same. No, no, I don't know what kind of pie. Hello. Welcome. Give me a rewrite, ma'am. I said I don't know what kind of pie. Ready, Charlie? I don't know. Get there. Very hot stuff. A hearty dinner. As follows. Noodle soup, roasted beef, chicken potatoes, cranberry sauce, and pie all the mud. Yeah. Beat your pie. Beat your pie. Ha-ha. It's a scope bar. Yes. Beat your pie. Oh, shut up, will you? Oh, all right, Jake. Yes. Yes. Oh, yes. And one thing more. Dr. Max J. Igelhoffer. Yes. Max J. Igelhoffer from Vienna. Well, he's going to examine Williams to see if he's sane. No. I don't know him. He's an hour or so. I'll let you know. Hold it, Charlie. I've just seen the sheriff again. They're going to look for screws in Williams' dome. Yes, psychologist. Dr. Igelhoffer. Wait a minute. Hey, Benzinger. How do you spell that doctor's name? Oh. Go and find out. All right, sir, first. I don't know, Charlie. Tell it any way you want. Get over there real quick, as you can. Hello, young lazy train. Hello, hilly hilly. Look at him. Kiss me. Let go. Now, let go. He's even got a shave and a haircut. Hey, hilly. It's Walter Burns on the phone. Tell that phone that he knows where he can go. Will you do me a favor and talk to him? He's caused you 9 million times. What's the matter? Scared of him? He'll eat you. I'll talk to that maniac with pleasure. Give me the phone. Hello, Mr. Burns. What's that, Mr. Burns? Why, your language is shocking, Mr. Burns. Now listen, you big baboon. Get a pencil and paper and take this down. And get it straight, because this is important. It's the Hildy Johnson Curse. Yeah, the Hildy Johnson Curse. The next time I see you, I'm going to walk right up to you and hammer in that monkey skull of yours until it rings like a Chinese gun. Oh, boy. Now, I ain't going to cover any hanging. I wouldn't cover it for you if they held it in the middle of Clark Street. Never mind the oil, Jacko. It won't do you any good this time because I'm going to New York and I'm going to get married. And if you know what's good for you, stay West of Gary, Indiana. A Johnson never forgets. And that boys is what they call telling the managing editor. Goodbye, Hildy. Goodbye, forever. Oh, shut up. What did you quit for, Hildy? Yeah, we hear you're going to get married. I'm getting married, all right. See these three tickets to New York. What do you mean, three? Me and my girl and a row lady. What do you want to get married for? Maybe he's in love. He's in love, too. Hey, when's the wedding, Hildy? It's in New York, so you guys ain't going to have any fun with it. None of them fake warrants are kidnapping the bride with me. Everybody's getting that New York bug. It's a rubed town for mine. If that was on a New York paper once, say you might as well work in a bay. Which one of them journals are you going to work for? None of them. Who wants to work on a newspaper? What are you going in for, the movies? I am not. Publishing office. 150 smackers a week. Yeah? Here's the contract. I was just waiting to get it down to black and white before I took a pot around Blaine. And it's burned sore. That rotten snake brain. The ungrateful ape. Call me a traitor. A traitor? After 10 years of sweating my pants off for practically nothing. Trader to what? What did he or anybody else in the newspaper business ever do for me? Except try to make a bum out of me. Says you can't quit without notice. What does he think I am? A hired girl? Why one more waiting at a gun over there and busting them right on us deranthies? Hey, why didn't you tell a fellow you were going to quit? And have brains here about it? I've always wanted to quit. Just like that. I've been planning this for two months. Packed up everything yesterday. Set him a girl, furniture and everything. You're going to miss a small hang on Heldie. Yeah, you can have it. I'm a businessman now. I got a dumb brother went in for business. He's got seven kids and a mortgage. And belongs to a country club. And if he gets worse every year, he's just a fathead. Listen to who's talking. Journalists. Peaking through keyholes. Running after fire engines like a lot of coach dogs. Waking people up in the middle of the night to ask him what they think of me, Salini. A lot of daffy but inskies barring nickels from Orpiz boys. And for what? So a million nitwits and their wives will know what's going on. What's that? They're stretching the rope for our William. Yeah, making it nice and sore. I don't believe that guy ever did shoot that cop. He don't look like he's got enough brains to pull a trigger. Whether he did or not, he's hanging high in the morning. Well, I got to beat it. So long, young man. Oh, no, no, no. Oh, wait a minute. It's your last night, Heldie. We got to celebrate. Nothing. Listen, listen, don't be a hill. Don't be a hill? I'm not a hill. You are so a hill. Sure. Walking out on us and us the losers. What are you talking about? I'm talking about all the door you lifted around here playing poker. That's right. You've got to give us a chance to get it back. Yeah. Are you kidding? You want it, didn't you? Sure. But what's the idea? Then sit down. Don't let him out, sugar. Yeah. Well, all right. Just dirty tramps. I'll play it only for a half an hour. That's all. Only a half an hour and a half an hour. Only a half an hour and a half an hour. I hope I trim the pants off you. Any up, boys? I'm out seven bucks. Hey, where are those sandwiches? Hey, come on, Heldie. Come on. Stop looking at your watch. Listen, fellas, I got to go. No fooling. Hey, sandwiches. Oh, come on. Well, hello, Sheriff. Hi. I'm yelling out here. That was me, Sheriff. Sit down and take a hand. You can have my place, Pinky. Oh, no, you don't, Heldie. Sit down. Now, listen, boys, listen. You've got to be quiet. There's a man over there in the death house. How do you suppose he feels listening to all this revelry? A lot you care how he feels. Keep your shirt on, Pinky. Wait a minute, you. I don't want to hear any more of that Pinky stuff. I got a name. See? Peter B. Hartman. What's the matter with Pinky? He's all right. Honest, boys. What's the idea hanging a name like that on me? Pinky Hartman. How's that going to look to the voters? Now, never mind the voters. What about moving the execution up to five o'clock so we can all make the city a dish? That's the whole idea. How about it, Pinky? Come on, dear. Good guy. Now, now, now, that's kind of raw. You can't hang a fellow in his sleep just to please a newspaper. No, but you can reprieve him twice so the hanging will count three days before election so he can run the law on all a ticket. You can do that all right. I had nothing whatsoever to do with these reprieves. That was entirely up to the governor. Oh, yeah? Well, how do we know there won't be another reprieve tonight? There won't be. No? What about that doctor? Suppose he finds William's insane or something. He won't find he's insane because he isn't. Even if it was, you'd hang him to get the vote. Boys, boys, boys. Easy now. Now, he's going to look him over in my office in a couple of minutes, and then you'll know all about it. Besides, there's nothing he can find out. Williams is just as sane as I am. Sane of Pinky. Oh, there's no use of talking to you, boys. Yeah, I wondered how long it would take you to find that out, Pinky. Hello? Oh, yes, ma'am. Hey, Hilda, it's your girl. Holy. Give me that. Here's girl. Hello, Peggy. Ain't it romantic? What's the matter, honey? I know, but I couldn't help it. Here's your sandwich. Oh, come on, baby. How many? What's the matter? Sweetheart, there's nothing to cry about. Come on, lay off those potatoes. Oh, honey, it's the boys. They're all yelling, of course, darling. Of course I'll be there. I'm leaving now. Oh, Peggy, if you talk like that, I'm going to write out and jump in the lake. I swear I will. I can't stand it. Listen. We're listening. Go ahead. Darling, I love you. I said I love you. Wait a minute, fellas. Give them a break. Well, yeah. That's the stuff. That's better. I'll be right there, honey. Now, don't take it easy. Right away. I'll be right over. Honey, baby, you'll be right over. Did you hear that? Oh, yeah. Hey, Hilly, that's Burns again. Tell him to give us a rest, will you? Yeah. Come on. Hello. Listen, Burns, you're making a nuisance of yourself. What's the idea of calling up all the time? No, I'm through with newspapers. I don't give a hoot what you think of me. I'm leaving for New York tonight, right now, this minute. Well, goodbye, you rotten weight slaves. When you're crawling a fire escapes and getting kicked out of front doors and eating a Christmas dinner in a one-arm joint, don't forget your old pal, Hildy Johnson. Well, goodbye. Well, we see you again, Hildy. The next time you see me, I'll be riding in a 16-cylinder wagon giving out interviews on success. Goodbye, Hildy. Goodbye. Take care of yourself. Holy! What is it? It's a jail break. Get out of the window. Hey, what's the matter? What's happened? Give me Waller, boy. Quick! Hello, Waller. This is Hildy Johnson. Forget that. Forget it, I tell you. Listen, Earl Williams just rammed out of the county jail. Yeah! Yeah! Just this minute. Don't worry. I said don't worry. Ah! We continue with the front page presentation. But for the moment, I'd like to take you into the famous Laurel Canyon in Hollywood. There on a vine-covered porch, sitting in a swing hammock are a boy and a girl, very much in love and trying hard to be practical. Just now, Dick is doing the talking. I wish we could get married soon, Anne. But I don't know how I'm going to buy your dresses like that new one you got on. I bet that cost a weak salary. Darling, this dress isn't new and it cost practically nothing. Well, it certainly looks expensive. That's because I know how to get things at bargain prices. Yeah. And say it. It is well-looking. And I know how to keep them nice, too. I only buy dresses that are luxible. What do you mean, luxible? You can keep them nice in lux, darling. Lux flakes. Oh! It hardly costs anything to take care of things that way, and they look like new so much longer. Yes, Anne. You're one of the millions of girls who know that lux brings down the cost of looking smart and well-dressed. This year especially, stores everywhere are showing so many smart, inexpensive clothes that are luxible. Cotton, silks and linens, all kinds of summer fabrics will stay new looking much longer if you care for them with lux. These gentle flakes are safe for anything that's safe in water alone. Lux cuts down expensive upkeep and makes your things look like new all season long. Once again, Mr. DeMille. We continue with the front page, starring Walter Winchell and Josephine Hutchinson with James Gleason. With a condemned man roaming free somewhere in the city, things are happening fast around the Criminal Court's building. The press room is deserted for the moment when suddenly Hildy Johnson rounds through the door and grabs a telephone. Hello. Hello. Give me a wall of burns. Hello. Listen. Keep this wire open every second. Do you understand? Hello, burns. Burn! Now listen, I got the whole story from Jacobi the Assistant Warden, and I got it exclusive. That's right, and it's a pit. Only listen. It cost me 260 bucks, see? But I'll give you the story. I'm telling you first I had to give him all the money I had and it wasn't exactly mine. 260 bucks and I want it back. Well, what did you hear? Did you hear what I said about the money? All right, then here's your story. It's a jailbreakier dreams. Dr. Max J. Eggelhofer, a profound thinker from Vienna was giving Williams a final sanity test in the Sheriff's Office. You know, sticking a lot of pins in him to get his reflexes, then he decided to reenact the crime. So was to study Williams' powers of coordination. Well, I'm coming to it. Will you shut up? Of course he had to have a gun to reenact it. And who do you suppose supplied it? Peter B. Hartman. B for brains. I tell you, I'm not kidding. Hartman gave his gun to the professor. The professor gave it to Earl and Earl and shot the professor right in the stomach. Ain't it pipe, Mick? Eggelhofer? No, not bad. They spirited him away to Passivon Hospital. No, we got it exclusive. Now listen, listen, burns. It cost me 260 bucks for the story and I want it back. I had to give it to Jacobi. I had to give it on before he spill it. $260 the money I'm going to get married on. Never mind about my fine work. I want my money. No, I tell you, I'm not going to cover anything else. I'm going away. Listen, you big stiff. I just did this as a personal favor. Now I'm leaving town and I haven't got a dime. When will you send it over? We'll see that you do or I can't get married. I'll be waiting right here in the press room. Hildy! Well, hello, Peggy. I was just talking about that over the telephone. Nothing. I was just telling Walter Burns I was all through. That's all. How are you, darling? You haven't done something foolish with that money. No, no. You still have it. Of course, gee, darling. You don't think for a minute. I think I'd better take care of it from now on. Now, listen, honey, I can look after a couple of hundred bucks all right. Now, Hildy, if you still got that money, I want you to give it to me. Now, sweetheart, it's going to be perfectly all right. No, you haven't got it. No, not this minute, but it's... You did do something with it. No, he's sending it right over. He's sending it out to the world. But it's going to be all right. Now, here's what happened. I was just standing out to the house to get you when this guy, Williams, breaks out of jail. You know, the fellow they were going to hang in the morning. Yes, I know. Oh, sweetheart, I had to do what I did. I had to give him the money so he wouldn't give the story to anybody else. Jacoby, I mean. That's the assistant warden. I got the story exclusive. The biggest scoop in years. Do you know how long, mother, and I waited out there at the house? Oh, Peggy, listen, you ain't going to be mad at me for this. I couldn't help it. You'd have done the same thing yourself. The story of the world busting and nobody on the job. I might have known it would happen again. Oh, listen. Every time I ever wanted you for something, on my birthday and New Year's Eve, when I waited till five in the morning. But a big story broke. Don't you remember? It's always a big story. The biggest story in the world. And the next day, everybody's forgotten that even you... What do you mean forgotten? That was the Clara Hammond murder on your birthday. Oh, Peggy, it wouldn't hurt to wait five more minutes. The boy's on his way with the money now. You know that mother sitting downstairs waiting in a taxi cab? If she knew about that money. It's all we've got in the world, Hilda. We haven't even got a place to sleep in except the train. Oh, gee, I wouldn't do anything in the world to hurt you, Peg. You make me feel like a criminal. It's all that water burns. Oh, I'll be so glad when you get away from him. You simply can't resist him. Peggy, I told you what I think of him. I wouldn't raise a finger if he was dying. Then why did you loan him the money? I didn't. You see, you won't listen to me or you'd know I didn't. Now look, I had to give the money to Jacoby, the assistant lawyer. Here you go, ma'am. Thank you. You were just explaining to Peggy. Mother, I thought you were going to wait in the cab. Well, I just came up to tell you the meter's gone to $2. Yeah, sure, but that's going to be all right. I had a terrible time finding you. First I went into a room where a lot of policemen were playing cards. Yeah, I'll tell you what we'll do. Then I met that policeman and asked him where Mr. Johnson's office was and he brought me here. Now listen, mother, I think you'd better go downstairs and we'll come just as soon as we can. You've got a big room, haven't you? Where do you sit, Hilda? Now I'll tell you what you'll do. I'll be along in 15 minutes, maybe sooner. What do you mean? That you aren't going? Of course I am. Now I'll meet you at the information booth. Come on, mother. Hilda has to wait a few minutes. It's something about the office. He's getting some money. Money? Yeah, they're sending it over. It's my salary. They're sending over my salary. Your salary? At this hour? They were all for busy and I couldn't disturb them very well. Well, the trouble is you're too easy with people. Letting them wait till this hour before paying you your salary. How do you know they're going to give you to you at all? Mother, now we'll go on over. Hilda, you'll be along. Do you know what I'm beginning to think? What? I think you must be a sort of irresponsible type where you wouldn't do things this way. It just occurred to me you didn't do one pleasant thing about our getting away. Now you stop picking on Hilda, mother. Well, I have to sublet the apartment, pack all the wedding presents. That's a man's work. You weren't even there to put the things in the taxi. And I had to give the man 50 cents, too. And now here you stand with the train leaving any minute. Now, mother, I never miss the train of my life. Well, now go ahead. Go ahead. You'd better be there, Hilda. Don't worry about me. I'll be there. Goodbye. Sheriff's office. Hard from speaking. Well... Yes, yes. Where? What's around him? Put a hundred men around the house. And if he gets away, I'll break every cop on the force. Well, Sheriff? He's in a boarding house over in Clark Street. That's a break. You're going to have to help us if he ever got away. Listen, Jacobi. He ain't going to get away. This thing means votes. And I'm going to hang Earl Williams if it's the last thing I do. Oh, Sheriff. Who are you? My name's Pinkus. I got a paper here for you. It's from the Governor. What's from the Governor? They're a pre for Earl Williams. For who? Oh, Williams, they're a pre. Wait a minute. Is this a joke or something? Look at this, Jacobi. Insane, he says. He knows down well that Earl Williams ain't insane. This reprieve is pure politics. It's an attempt to ruin us. What can you do? I only broke it over. You can't blame... No, wait a minute. Listen, Mr. Pinkus. You didn't bring this over. You couldn't find me. I never saw the reprieve. Huh? But you've got it in your hands, right? 150... Now you'll shut up and listen. How much money did you make now? 20 bucks a week. And car fare. For 150 a month, you could forget this reprieve business, couldn't you? You could say you couldn't find me. Couldn't you? But I did find you. Oh, you got... Look, look, here. Take this reprieve away. Go away. I'll be back in the morning at nine o'clock and keep your mouth shut. I'll settle everything with you tomorrow. Well... All right. That's the boy. That's the boy. Now go on. Go on. It sounds awful funny to me, though. You're taking a big chance, Sheriff. Oh, chance? Don't I know it? Don't you think I realize... Hey, Sheriff! What do you want, Johnson? No, he didn't. All right, Pinky, don't get so... We're surrounded, Williams. Yes, we have. Nice work, Pinky. I bet you'll let him go so he can vote on Tuesday. Ah, get out of here. If anyone comes for me, I'll be in the press room. Hello, Duffy. Hello. This is Hilly. Listen, where's Burns? Where did he go? Well, listen, Duffy, I'm waiting here for the boy to bring over my money. The $260 he owes me. Yeah, in the press room. He told me the boy was on his way. No, I ain't got time to come over to any office. I miss the train. Oh, shut up, Duffy. Listen. Listen, William. Wait a minute. Who's at that window? Who's out there? I'll call you back, Duffy. Who's out there? What's the idea of crawling around on fire escapes? Excuse me. Excuse me, I... I had to come in. I had to. Well... Who are you? Me? I... I'm Earl Williams. Earl Williams. They're after me with searchlights. Put down that gun. Well, give it to me. Yeah. I surrender. I couldn't hang off that roof any longer. Yeah, get away from that window. I'm not afraid that I was telling that fellow that when he handed me the gun. Shut up a second. Let me lock the door. Wait in the middle of the night, talking to me about things I don't understand. Calling me a murderer. I ain't a murderer. But sometimes I just can't think straight. I get a pain up here. Be quiet. Let me think. Go on. Take me back and hang me. I done my best. Well, you shut up. Sit down over there. Go ahead now. Go on. Sit down. Hello. Give me Burns. Quick. I didn't mean anything. I just didn't think. Hello, Burns. Listen. You got to get over here. I said you got to get over here. I got Earl Williams. He's here with me now. Earl Williams. Yeah. Yeah. Who is it? Open up. Open up. It's me, Burns. Well, where is he? I thought you'd never get here. Come in, Louie, and close that door. Okay, boss. I brought Louie along to give us a hand. Well, where is he? Where's Williams? He's in the desk. What desk? The big one, right here. I stuck him in there and pulled down a roller. Open that up and let's get a look at him. Hello, Williams. Let me out of here. I can't stand it. Please let me out. Keep quiet. Your mug is sitting pretty. Close that desk. Who's out there? Here they are. What holding you up? Who's the dame? It's my girl's mother. Yes, and I waited just as long as I'm going to wait. Shut up. Shut up. Why are they out here? Please, please. Who's that? There's somebody in that desk. Don't be silly, lady. What would a man be doing in a desk? I don't know, but there's something going on here. Shut up. I won't shut up. Who's in that desk? Now, mother, please. Take her out of here, will you, Louie? What did you say? Now, look here, Burns. Louie, get some guys to help you and take this lady over to Pollack Mike's and lock her up. See that she don't talk to anyone on the way. Okay, boss. I think... What's that? Come on now, Burns. You can't do that. Don't you touch me. Tell them it's a case of delirium treatment. Let me go. Listen, Burns, this will get me in an awful jail. It's not easy here. Let me go, will you? What for? Let go of me. I got my girl downstairs. She's downstairs in the cab all alone. Your girl? What are you? Some half-baked college boy? Why, in time of war, you could be shot for what you're doing for less than you're doing. Never mind that. There's your story. Locked up in that desk. Smirred all over your front page and take all the credit. I covered your story and I covered it right. Now I'm getting out. You drooling sap head. What do you mean a story? You've got the whole city by the seat of the pants. I know all about that. You don't know beans. You've got the brains of a pancake. Listen, Hillie, if I didn't have your interest at heart, would I be wasting time now arguing with you? You've done something big. You've stepped into a new class. Honest? Listen, we'll make such monkeys out of Hartman and his wardhealers. Nobody will vote for them, not even their wives. Expose them, huh? Expose them, crucify them. We're gonna keep Williams undercover till morning so we can break the story exclusive. Then we'll let the opposition party in on the capture. Share the glory with them. I see. You kicked over the whole city hall like an apple cart. You've got Hartman backed against the wall. You put one administration out and another one in. This ain't a newspaper story. It's a career. And you stand there belly-hacking about some girl. I wasn't figuring it that way, I guess. We'd be the white-haired boys, won't we? Why they'll be naming streets after you? Johnson Street. You and I are gonna run this town, do you understand that? Yeah, yeah, but wait a minute. We can't leave Williams here. One of those reporters will be back. We're gonna take him over to my private office right away. Where's our phone? That one, the red one. How you gonna do it? They'll see him. Now that he's inside the desk, we'll carry the desk over. Hello, give me a dumpy. You can't do that. It's crawling with cops outside. We lower out the window with pulleys. Quit stalling. Get that machine start pounding on the lead, will ya? Come on, snap into it. How much you want, huh? All the words you got. Hello, hello. Can I call the sheriff an animal at bay? Call him anything you want. He can't read anyhow. Hello, Duffy, get set. We've got the biggest story in the world. Earl Williams caught by our own reporter, Hillie Johnson. I want you to tear out the whole front page. That's what I said, the whole front page. Out. Johnson's writing the lead. Beauty. What do you want? Get out of here. Why? Beauty. Listen, miss, you can't put it in here. Listen, honey, listen. Where's mother? Hello, hello. I think I got to ask you to do something of big favor. You're not coming. Now, let's take all those miss... Don't get sore. Don't get sore and fly off the hand. What happened was this. Let me tell you. You're not, are you? Tell me the truth. Now, okay, little girl. You're doing this to him. He was going and you stopped him. Something terrific's happened to you. Wait till I tell you. I just couldn't. You're telling nothing. She's a woman. Well, I'm not going to let you do it. Listen, honey. Oh, shut up. You don't want to marry me. That's all. That ain't true. Just because you won't listen, you're saying I don't love you when you know I'd cut off my hands for you. I'd do anything in the world for you anything. You never intended to be decent and live like a human being. You were lying all the time. Don't say that. Don't say that. I'm lying. That's what you were just lying. All right. If that's what you think. I see what you are now. You're just a bum. Like him over there and all the rest. Sure, that's what I am. You're just a heartless, selfish animal without any feelings. And you're worse, Mr. Burns. It's all your fault. And if you think I'm going to put up with it. Shut up, will you? Shut up, will you? Shut up, will you? Yeah, that's what I am. A bum. Without any feelings. And that's all I want to be. Get a hold of butchers as fast as you can. You never did love me or you couldn't talk to me like that. If you want me, you'll have to take me as I am. You can't turn me into any Lottie-Doward or Cain. I'm no stuff shirt. I'm a newspaper man. All right then. Say you're a newspaper man. Tell yourself to that rotten old typewriter. Do anything you want. But I'm finished with it. You're here. I never want to see you again. Tell me, have you got that lead? Have I? Say you look at this. It's terrific. The pause for station identification. This is the Columbia Broadcasting System. We leave the front page for a moment and turn to the motion picture section. There under the caption of Hollywood personalities we encounter John McSood, one of the world's foremost linen experts. Picture studios in their endless effort to perfect every detail of a film use Mr. McSood as technical advisor in the scene showing table linens, handkerchiefs and linen costumes. In close-ups particularly, they must be absolutely correct. Mr. McSood has devoted a lifetime to that which we ordinary mortals dismiss with a sneeze, the handkerchief. But not at the studios. He spends his time operating one of our more exclusive shops. It's known as the Kurchiff Bar at the crossroads of the world, where many of our stars are frequent visitors. Handkerchiefs, ladies and gentlemen, have been a collector's item for centuries. Among the screens more avid fanciers of handkerchiefs are Jane Withers, Jeanette McDonald, Leslie Howard, Tarone Power, who prefers them in silk, Gracie Allen and Joan Blondel. George Raff may be tough on the screen, but he goes in for handkerchiefs with his name embroidered in Petty Point. Which isn't so strange when we consider that even Napoleon took time off between battles to collect about 3,000 handkerchiefs made of lace. Napoleon probably starlet the handkerchief of the early 19th century. Every well-dressed lady carried a fine lace handkerchief, but it was never employed for practical purposes. She used her Petty Coat instead. Today, of course, we use handkerchiefs both for blowing and showing. In my shop I have 12,000 different patterns and handkerchiefs for which people pay as high as $750 a piece. To pay that much for a handkerchief a fellow must keep his nose to the grindstone. Then take a less expensive one, the kind, for instance, that sells for $100. That's 12 inches of the finest hand-spun lustrous linen. It comes from Ireland, France, or Belgium. From there it goes on a long journey through the Suez Canal to China for expert handwork. It's hemstitched in southern China and is sent to my headquarters in Shanghai. From there it goes to northern China for embroidery and back again to Shanghai for the finishing process. Before this takes place, a year and three months of hand labor have gone into that handkerchief. Back in Shanghai at my headquarters it gets seven baths, and a secret solution which removes all stains. Three more are in rainwater and the final bath is in luxe flakes. Why luxe in particular? Well, there are very good reasons. In the first place, fine linen should be washed only in the most gentle of soaps, free of alkali, and that require no rubbing which might spread the weave. The second reason is that luxe flakes restores to linen its original creamy whiteness and luster. Only after its bath and luxe is the handkerchief brought to the United States. By this time it has traveled about 17,000 miles. Many of the least costly handkerchiefs, those that come few for a dollar, travel just as far. And while a handkerchief is considered a necessity in civilized society, I believe that the savage Bushmen of Australia were the first to use them. The handkerchiefs were large leaves. That's correct, Mr. DeMille. Then came the Romans who wore plain linen handkerchiefs around their necks as a symbol of social distinction. Today in Ireland, many girls, when they go to bed, they wear linen handkerchief under the pillow, believing it would work wonders in getting them husbands. And also, at the present time in China, if you embroider a handkerchief with a certain type of stitch, you'll go to prison. They call it the forbidden stitch. So intricate that many people who attempted it went blind. It has been banned for a hundred years. So you see there's drama even behind the simple word gazuntite. Just as there is in this great play you're presenting tonight, which I don't intend to hold up any longer. Many thanks. You win by a nose, Mr. McChill. Back again to Walter Winchell, Josephine Hutchinson and James Gleason in the front page. Police have discovered their mistake. But the man they surrounded was not Earl Williams. The search has been renewed again around the city of the county jail. In the press room, Walter burns and Hilly worked furiously against time to spirit away their prisoner concealed in the roll-top desk. Burns is on the phone again. Hello. Hello, Duffy. Where have you been? Sticking this phone. Did you impress a taxie that every minute counts? Who's you bringing with him? What do you mean you don't know? But you told Butcher it was life and death, huh? All right, stick on the wire. Butcher's on his way. He'll help us move the desk. All we gotta do is hold out for 15 minutes. The boys will be back. They'll be coming in here to phone. Hey, Williams, you all right in there? Knock on the desk. Listen, Williams, I'm gonna knock three times. That's our signal, see? Get it? Answer with three knocks if you're okay. That's the boy. Three knocks is me. Don't forget. Got enough air? Good boy. Oh, come on, Hilly, get going in there. Terrible. Don't sit there like a frozen robin. You've just bollocksed up my whole life. Do you know that? What? She was the most wonderful girl I'll ever know. She had spirit, brains, looks, everything. Who in places are you talking about? My girl, who do you think? What are you gonna do, Stodd-Mumbly, about your girl now? You've got a story to write. I practically threw her out. Like she was a... You're like a man for the first time in your life. Now, don't start crawling now. I'll never love anybody else again. They don't come like that twice in a guy's life. You'll sleep it off. Now, listen, Hilly, I got enough on my mind. When she was sick in the hospital and you sent me on that wild goose chase all over Kentucky for three weeks, she never even complained. Sick in the hospital? She was. She nearly died. I see. She didn't complain, but she just nearly died. That's all. I would have been on the train. I would have been almost a Gary. Now, listen, Hilly, you've had a good rest. Now, get back on the story. Who is it? It's your new boss, Drew. Louis, what's he doing back here? Hello, boss. Oh, what's the matter with you? Why'd you get that black eye? Where's the old lady? What'd you do with her? What happened? You haven't had a fight? Oh, down to Winter White's Avenue. We've got a 65 miles an hour. You know what I mean. The boss. Take the march out of your mouth. Where's the old lady? I'm telling you. We're under smacking to police and patrol. You know what I mean? We broke him in a half. Was she height? Where is she? Tell me. I'm telling you. Can you imagine bumping into a load of cops? They come rolling out like oranges. What did you do with her? What the heck came of her? I come at 2. I was running down 35th Street to get me. Oh, you scroll ball. I gave you an old lady to take someone. You hang her over to the cops. What do you mean I hanged her? The patrol away and she was on the wrong side of the street. She's probably squawking her head off at Subbalay Station. Now everything is fine. Well, I don't think she's talking very much. You know what I mean. You mean she was killed? Well, I'm not sure, but there's a good chance. Oh, my God. Dead. That finishes me. Listen, Heli. That's fate. What will be, will be. What am I going to say to Peggy? Why don't I tell her? You're never going to see her again. Snap out of it. Would you rather have the old aim dragon and the whole police force in here? I killed her. I did it. How can I ever face her? Listen, Heli, if it was my own mother, I'd carry on. You know I would. Shut up, you're murdering no good. No matter how I felt, if my heart was breaking, I'd carry on for the paper. Where was it, Louis? I'll go out. You stay here. Let me alone. Right when I'm surrounded with my back against the wall, you ain't going to lie down on me. I'm going to lay down on you and step in your face, you murderer. Scared, huh? Yeller running out of your collar. I don't care what you think. You're my girl's mother. Who's that? What's going on in there? Sheriff. Sheriff and the rest of the boys. Now we're in a sweet spot. Spot on no spot. I'm leaving. Don't open the door. Don't let him get away, Sheriff. Just a minute, Johnson. Let me alone. Come on, get away, Sheriff. Take your paws off me. Hold him, boys. Hey, Sheriff, what do you think you're doing breaking in here like this? You can't bluff me, Burns. I don't care who you are, or what your paper you're editor of. Let me go. Well, there's something happening to my girl's mother. Hey, Sheriff. What's the idea? I'll tell you what the idea is. One of the prisoners was looking out of the jail window about an hour ago, and he saw a man come down the fire escape and into this window. That man was Earl Williams. What are you doing, huh? They're hiding him for a scoop. I don't know anything about it. Let me out of here. He knows plenty. Come on, Pete. He'll give him a third degree. Where is he, Johnson? Where you got him? You're barking up the wrong tree, Hartman. I'll give you three minutes to tell me where he is. Come on, Johnson. Where is he? All right. He went over to the hospital to call on Professor Egglehuffer. What? Yeah, with a bag of marshmallow. In here, madam. This is the place. Mother. And that's the man. His name is Burns. Mother, I'm so glad to see you. All right. Tell me. You let me alone, Hilty Johnson. What's the idea here? This lady claims she was kidnapped. What? They dragged me all the way downstairs. I tried to get help, and they began to pinch me. I'm black and blue, all over. Then they ran into another automobile and I was nearly killed. Just a minute. What did Walter Burns have to do with this lady? He was the one in charge of everything. He told them to kidnap me. Madam, are you referring to me? You know you did. You told that man to take me out of here. What about this Burns? Kidnap an A is beyond me. Sheriff, who is this woman? Oh, oh, what a thing to say. No, madam, be honest. You're out joy-riding, drunk, and you've got in some scrape. Why don't you admit it instead of accusing innocent people? You ruffian. You unprincipled man. How dare you say a thing like that? Please, mother, don't mind him. He's just crazy. I'll tell you something else, officer. I'll tell you why they were hiding. They were hiding a man in here. Hiding him? Yes. In here? Madam, you're a two-faced liar. Holy. What was that? There's someone in that back. Yes, someone knocked back. Someone knocked back. Someone knocked back. Sure. Yes. Stand back, you man. Come on. Come out here, Williams. Come out till you hear. We've got you covered. Open that desk, Jacobi. All right. You got me. Now go ahead and shoot me. Grab him. Grab him. Take him down to the jail. Swear out a warrant for the arrest of Walter Burns and Hildy Johnson. You can't do this to me. I can't, eh? Listen, sir, if I got to get married tonight. Hiding and abetting an escaped criminal. Johnson, you'll be lucky if you can get married in the next 20 years. Sure, speaking. Oh, yes, Prasalski. Come over to the press room as soon as you can. Jacobi and I are holding a couple of important birds. I want you to take their confessions. You'll have to regret this, Pinky Hartman, if he lives at all. Hear that, Jacobi? Whistling in the dark, chief. Yeah, true, Burns. Yeah? The last man that told me that was Bernie Schmidt. A week before he jumped out of the window. Is that so? Yeah. And when the doctor suitors, remember? False arrest. Dr. J. B. Gadolphin. Dr. Gadolphin suitors for $100,000. It seems we called him a quack. Well, the day of the trial came and the doctor was on his way to court. With all his lawyers and medical witnesses. Drowned by heaven. Drowned in the river. With a automobile, a rapper, David's and a law books. And I've got the same feeling right now. I had that five minutes before the accident. You're lucky with your now, Burns. Hello, Sheriff. It's Pinky. Here's your reprieve. Get out of here. You can't bribe me. Get out of here, you. I won't. Here's your reprieve. What's that? Who is this man? Throw him up. Come here, you. Who was driving you? No, they wouldn't take him. Oh, you're insane. What did I tell you? An unseen power. What's your name? Irving Pinkus. It's a frame-up. That's what it is. A frame-up. He's an imposter. Murder, huh, Sheriff? Hanging an innocent man to win an election. That's a lie. I never saw him before in my life. When did you deliver this reprieve, Pinkus? Who did you talk to? Tonight. They started right in bribing me. Who's they? The Sheriff and Jacoby. But that's absurd on the face of it, Mr. Burns. Oh, he's talking like a child. Just a minute. All right, Mr. Pinkus. Let's have your story. Well, I've been married for 19 years. Skip all that. Skip that. Wait, wait. Jacoby, take those handcuffs off the boys. That wasn't at all necessary. I was just going to. Well, I can't tell you how badly I feel about this, Burns. There was no excuse for Jacoby flying off the handle and putting you under arrest. Well, I was only doing my duty, and there wasn't anything personal intended. Listen, you guys had better quit politics and take in washing. Jacoby, this document is authentic. Oh, William's tank heaven has been reprieved, and the Commonwealth of Chicago has been spared the painful necessity of shedding blood. Go on, you chiseling heel. You'd hang your own mother to win an election. Hildy! Peggy or Peggy down. Hildy, what's the matter? What are they going to do? Mother said. Peggy, don't bore me out now. Nobody's going to do anything to anybody. Why, of course not. My good friend Walter Burns and I understand each other perfectly. I trust. Sure, sure. Everything's okay, Sheriff. Thank you, Mr. Burns. Thank you. Come on, Jacoby. Come on, Pinkers. We've got to deliver that reprieve. Wait till those two birds read the paper tomorrow. Hildy, tell them what I want you to do. What? I want you to get this guy Pinkers over to the office tomorrow. Nothing to do with Wally. I'm all washed up. I mean it this time. Hildy, if I only thought you did. Listen, Peggy, I'm telling you the absolute truth. I'm going to New York with you tonight, if you give me this last chance. I'll cut out drinking and swearing and everything connected with the newspaper business. I won't even read a newspaper. Listen, Hildy, I've got a great idea. There's nothing you can say can make me change my mind. This time I threw and I mean it. I know I don't deserve your peg. I've done everything in the world approved that, I guess. Hildy, please, now don't say things like that. I've got a rotten nerve to ask you to marry me. I'm a prize package, all right? But if you'll take me, here I am. Darling, don't talk that way. I just want you the way you are. Peggy. Oh, Hildy. I didn't notice anything like this. Why don't you say something? I'd be the last person in the world to want to come between you and your happiness. Why? You ought to know that. I love you, you crazy swede. You're getting a great guy, Peggy. Never mind the valentines. Goodbye, you big bowhunk. You're a great newspaper man, Hildy. I'm sorry to see you go. Well, if I ever come back to the business, which I won't. There's only one man I'd work for and you know that, don't you? I'd kill you if you ever worked for anybody else. Hear that, Peggy? That's my diploma. Well, Vines, I don't know what to say, except that I'm going to miss you like blazes. Same here, Hildy. Hildy, if I thought you were going to be unhappy, I mean, if you really wanted to, no, no, it's your chance to have a home and be a human being and I'm going to make you take it. Well, I wouldn't let him stay. Go on, Hildy, before I make his city editor. Hurry up, Peggy. He means it. What time's your train go? Well, there's another one about 1240. New York Central, eh? I wish there was a time to get your little wedding present. So I'll put short notice. Here, take my watch, Hildy. Oh, no, Blaine. Shut up. You're going to take it, I tell you. This watch was a present of the big chief himself. And if you look inside, you'll find a little inscription. So the best newspaper man I know. When you get to New York, you can have my name scratched out and your own put in. I wouldn't do that and you know I wouldn't. This is too good for me. I can't take it. You've got to. Go on, Hildy. Take the watch if Mr. Burns wants you to. You don't want to hurt his feelings. Well, this is the first and last thing I ever got from a newspaper. Goodbye, Mr. Burns. I always had a queer opinion of him, Mr. Burns. I still think you're a little peculiar, but you're all right underneath. I mean, I think you're a peach. So are you, Peggy. You look just like a little flower. Come on, Peggy. Goodbye, you big, bad boon. Goodbye. Goodbye, Johnson. Be good to yourself and the little girl. The same to you and many of them. Hello, Debbie. Walter Burns, listen. I want you to send a wire to the chief police of La Porte, Indiana. That's right. Tell him to meet the 1240 out of Chicago, New York Central. And arrest Hildy Johnson and bring him back here. Why? I'll tell you why the squint-eyed weasel stole my watch. And so we complete the last page of the front page and devote the next few moments to a meeting with Kathleen Howard, editor and actress. Starting her career as an opera singer, Miss Howard was a favorite throughout Europe for several seasons prior to her debut at the Metropolitan Opera Company, where she sang for 12 years. Turning author, she contributed to many national magazines, became fashion editor of Harper's Bazaar and president of the fashion group. A desire to act brought her to Hollywood, where she played opposite W.C. Fields in three pictures. Much of her time, however, is spent as fashion editor of Photoplay magazine. And in this capacity, she comes to us now. Ladies and gentlemen, Miss Kathleen Howard. Thank you, Mr. The Middle. Hollywood fashions are growing more and more important. Almost every week, some prominent visitor from the east comes out to investigate them. Most of them are kind enough to come and chat with me. They are all struck with one thing, the thousands of costumes that make up the wardrobe departments of our leading studios. Many of these costumes, I tell them, are not new. Some of them may be two or three years old, but they look like new because, as most of the world knows, Hollywood takes care of its wardrobe with luxe flakes. Luxe means light, according to the Latin, and the wardrobes of our famous studios are certainly a light with cleanliness. An odd fact is that when I go to the homes of the stars to ask them to pose for me in their private wardrobes for my colour page, they frequently tell me that they haven't any clothes. At first, I thought this was just a polite way of saying, oh, don't bother me just now, Miss Howard. But I found out that it's often literally true, and it's so understandable. You see, when you're on a picture, you fuss and fuss all day about your hair and your makeup and your clothes. And when you have a few precious days of leisure, you revel in tossing all that overboard, in becoming an ordinary individual in the adored privacy of your own home. What's your answer, Miss Howard, to the ancient question? Do women dress for men or for other women? I think women dress for men and against women. That is, they dress to please men and to disarm the criticism of other women. However, the primary purpose in showing fashions in photo play is to give the fans a chance to copy the styles of their favourites. In doing this, it is advisable for girls to find out first what type of screen star they resemble. Long ago, I divided girl types of beauty into two basic categories, the kitten and the fox. The kitten type, roughly speaking, if one may speak roughly of these charming girls, is represented by Janet Gaynor and Claudette Colbert, the short face with a small pecan nose. The fox type is the longer face with a straight nose like John Crawford or Merle Oberon. The fox type looks best in sophisticated tailored clothes, while the kitten may do very well indeed by going fluffy and feminine if she wants to, and all will be forgiven. What have you to say about fashions for fall? Oh, just a note of warning. Fashions shows a huge range of choice for the coming fall with many amusing whimsical notes stressed. That's the crazier than ever. Delightful, but crazy. So, unless you have an unlimited budget, the best plan is to go safe, sane and simple at first and add the highlights later. If you hear that the low waistline is coming back, don't shudder and think that we're going back to the badly proportioned silhouette of 1926. This time it will be much cleverer and there's nothing to be afraid of. And now, shall we meet again in photo play? All my thanks. Thank you, Miss Howard. We now present a luxe radio theater extra, headlining our headliners, Walter Winchell and Josephine Hutchinson. In reading the criticisms of your last picture, wake up and live. The critics all agree on one point, Walter, that your performance was the first genuine portrayal on the screen of what reporters are really like. What do you mean, my last picture? That wasn't an eye job, Mr. DeMille. That was a wee job. The big credit should go to screenwriters Curtis Kenyon, Harry Tugand and Jack Yellen. You know, most of us think that the prototype of all police reporters is Hildy Johnson. That's not quite true, Joe. That many of us kind of left anymore. I mean, the old swashbucklers. Most of them are now working on their second million, having given up all thought of ever acquiring the first. It's interesting, I think, to look back on the names of those who were in the front page when it played on Broadway. Nine of them have since come out to Hollywood. Lee Tracy, Osgood Perkins, Alan Jenkins, Willard Robertson, Joseph Calea, Dorothy Stickney, George Barbier, Eduardo Cianelli and Francis Fuller. A barrel of genius there. But what can you tell us, Walter, of your two friends who wrote the play? Van Hect and Charles MacArthur. Hect and MacArthur are both ex-Chicago police reporters, Mr. DeMille. They started the front page to belittle the newspaper craft. They found they couldn't do it. To quote them, the front page is a Valentine thrown to the past. A ballad full of love. Hect used to be a roadshow acrobat. He changed his mind and turned violinist. Changed his mind again and became a reporter. He's got a habit of carrying a torch for mankind. Harry Hansen calls him the Pugliacci of the fire escapes. MacArthur, husband of Helen Hayes, is the son of a minister and studied for the pulpit himself. With Hect, he's written such other hits as 20th century and several great pictures, including the scoundrel, the Academy Award winner, which they also produced. An orchid, then, to a couple of the ablest craftsmen of our time. Just one more question, Walter, and I'm very anxious to hear the answer. Have you swapped Broadway for Hollywood Boulevard or are you going back to New York? Of course I'm going back, Josephine, just as soon as I finish the next picture, probably in October. It's called Love and Hisses, with the last two syllables dedicated, of course, to Ben Burnie. And now to you, James Gleason, and to you, Josephine Hutchinson. Thanks for a very fine lesson in acting. Speaking for myself, it's the other way wrong. And special thanks to you, Mr. DeMille, and the Lux Radio Theatre. Let's hope you'll be back here in a flash with us next. Mr. Winchell, Miss Hutchinson, our thanks. Ladies and gentlemen, this is your announcer, Millville Ruick. Our play in stars for next week will be revealed in just a moment by Mr. DeMille. Tonight's cast included John Butler as Wilson, Frank Sheridan as Sheriff, Georgia Cain as Mrs. Grant, Edward Maher as Merly, Victor Rodman as Ben Singer, Lou Merrill as Swartz, Matt Moore as Kruger, Eddie Waller as Jacoby, Ralph Sadan as Pincus, Sidney Newman as Diamond Louie, Bud McTaggart as Earl Williams, and Ross Forrester and Frank Nelson as police officers. We thank the Andrew Juergens Company for Mr. Winchell's appearance this evening. Miss Hutchinson appeared through courtesy of Metro-Goldwyn-Mayer Studios, James Gleason, RKO, where his new picture is entitled 14 Naughty Girls. Mr. DeMille is from Paramount, and Mr. Silver's 20th Century Fox, where he was in charge of music for Shirley Temple's new picture, We Willy Winky. And here is our producer. There are stars in the heavens and plays in the theater whose brilliance time cannot dim. Such a play we present next Monday night. A tender romance made famous by Richard Mansfield. Many of you saw it on the stage or screen. All of you will have a chance to hear it one week from tonight when the Lux Radio Theater offers Bo Brummel, starring Robert Montgomery with Maj Evans, Leo G. Carroll, Ramwell Fletcher, and Jean and Kathleen Lockhart. As guest of honor, if he arrives in time, Miss Amelia Earhart will give us the highlights of her amazing flight around the world which she is now completing. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Robert Montgomery in Bo Brummel with Maj Evans and an all-star Hollywood cast, our prospective guest, Amelia Earhart. This is Cecil B. DeMille speaking to you from Hollywood. This is the Columbia Broadcasting System.