Lakeland Currents, your public affairs program for North Central Minnesota, produced by Lakeland PBS, with host Ray Gildow. Production funding for Lakeland Currents is made possible by Bemidji Regional Airport, serving the region with daily flights to Minneapolis-Saint Paul International Airport. For information available at BemidjiAirport.org. Closed captioning for Lakeland Currents is sponsored by Niswa Tax Service, tax preparation for businesses and individuals online at NiswaTax.com. Hello again, everyone, and welcome to Lakeland Currents. We're glad you could join us this evening. We're going to talk about a topic that I think has been interesting to most Minnesotans. Excuse me. The legacy amendment, the Sarge-Sams portion of the legacy amendment, how it came about, and how that money is being spent. Is it really being spent as it was promised when we passed this legislation a number of years ago, and we have an expert with us tonight who is going to tell us if that's the case. His name is Gary Leaf, he's the Executive Director of Minnesota Sportsmen for Change, and Gary has been involved legislatively in a lot of these projects, going back to the mid to, or early 2000s, I guess, Gary. Yeah, that'd be about right. And give us a little overview of what it is that we're talking about. Yeah, basically this idea for a constitutional amendment that would dedicate sales taxes actually began in Missouri in 1936, and they passed a constitutional amendment to establish a citizen-led governance council over the DNR, and that was led by Ding Darling, who went on to head U.S. Fish and Wildlife Service. He created the federal duck stamp, Nash Buckingham, who was a famous outdoors writer and author at the time, and Aldo Leopold, who's the father of modern conservation. Those were the people in Missouri that pushed that, and that passed, and then later in 1976, they passed the first dedicated sales tax to the outdoors, and they've kept that, and that was a major inspiration for a lot of the authors that worked at the capitals, namely Senator Bob Besard, and also Representative Mark Holston, who later on became DNR commissioner, and they started in on doing these constitutional amendments. The next piece that jumped out was that it moved along with a coalition, a number of coalitions, and then in 2005 we did what was called the Ducks Wetlands and Clean Water Rally at the Capitol in 2005-2006. Those were the largest rallies at our state capitals since the Vietnam War. Isn't that amazing? Yeah, it really is, that we had that many sportsmen and conservation that came there, and it was rallying around the dedicated funding theme and try to get it. There was a lot of different versions of this, a one-eighth bill, three-sixteenth bill, that type of thing. And then another major piece that we can talk about is the, in 1998, this was a, I was just talking to Senator LaSarde about this, they passed the Constitutional Right Hunting and Fishing Preservation Act. We were one of the first states to pass that. There's been 15 or so, 16, 17, and that establishes that hunting and fishing and the taking a game is a valued and protected constitutionally part of our heritage. And then the next year, after that passed at the ballot, that's when he began the first bill to dedicate one-eighth to Game and Fish, which was one-eighth, was originally dedicated to the DNR, and then we changed that. So the Constitutional Right Hunting Fish played a major role in the authors believing that we could get something like this on the ballot, but it took a decade. So leading up to, we had the Duck Rally was a major impetus, and then we got the financial aspects of a single amendment. It was sold to the people as the Clean Water Land and Legacy Amendment, but it really is one constitutional amendment that has four constitutionally separate funds. There's 33 percent that goes to Clean Water, one-eighth. There's 33 percent that goes to the Outdoor Heritage Fund, which is for Fish Game and Wildlife. We've got another 14.25 that goes to the Parks and Trails Fund, and then another 19.75, which goes to the Arts Cultural Segment. And I'm mainly here to talk about the Outdoor Heritage Fund. That was the one where kind of everybody was in their own silo. So that was that 33 percent. Yeah, that was the 33 percent. And that, while that was moving along, a year before it went out to the ballot, we pushed to get a citizen governance system over it before people voted on it. A lot of sportsmen were on the state, a lot of anglers, hunters, and conservationists wanted to know that there was a way in which the money was going to be spent. They agreed with the financial piece, but there was a lot of uneasiness about passing that and then moving on to where it passes, and we don't have a governance system. So that's how we started the Lusart Council. Actually, about six months before the ballot campaign really got going, and then before six, seven, eight months before people actually voted on it. Then moving on to other parts of it, kind of how that council works, is the main issue there is does the money really go to habitat projects. The Lusart Council was from the onset designed for conservation, and we really built in to accommodate local projects, smaller projects. There's 500 banquets in the state. There's a lot of local clubs, chapters, and groups. So we have a small grants program in there called the Conservation Partners Program. That was designed before, or put in place before we sold it to the voters. Then we have a larger fund that's an open and competitive fund, and that's where the multi-million dollar projects. The first year of the Lusart Council projects got as high as 40 million dollars. There was a project in by the Grand Rapids area, UPM Bland and Forest Legacy easement. There was 180,000 acres. It was the largest conservation easement in Minnesota history, and that's open to the public. It has multiple lakes on it, and there's a lot in an array of recreational opportunities that occur on it. And then the governance part is eight citizens and four legislators. So there's citizens from around the state that are appointed by the Senate and the House. They each get two, and then the Governor gets four. So it all in off years ends up with eight citizens and then four legislators, one from the Senate, one from the House, and then a minority member. So they would be the people carrying this to their full bodies? Well, basically what they do is they vet every year 100 to 200, actually closer to 200 million dollars worth of projects come in at a single point in time. Then they have a process that vets all of those projects and figures out how much money does each product get, which project has priority, and they prioritize it into a bill. And then that bill goes through the House and the Senate. So their main job is to select from all available projects that are out there. Then once that completed, it's also that it has to be done on a statewide basis. So there's projects distributed all over the state, I mentioned one. It's really impressive when you look at that map that you have of where these projects have been. There's literally not a part of the state that hasn't been impacted. Yeah, that's exactly right. This did a small fish passage dam up in Hallick, Minnesota. I didn't even know what that Hallick, Minnesota was. So I read about it, ends up being its name after the guy who originally started outdoor life. To the farthest stretch down by Albert Lee, out by Marshall, down by Mankato. So it's distributed, all different types of projects are distributed around the state, and that's really an impressive aspect of it. Could we just back up for a minute, Gary? I know people sometimes get this confused with some of the other environmental monies. Right. Where I know this last legislative session, there was money being taken from the Environmental Trust Fund, I think. To go to water quality issues in communities. There's nothing to do with this. No, that's a completely constitutionally separate fund. This particular fund is really got three major priorities that's in the Constitution. Wetlands, prairies, and forests. That's the major targets. The outcomes are supposed to be creating a habitat for production of fish, game, and wildlife. And game is separate from wildlife. Game requires a license. So there's big game, there's small game. If you're near a lake legally, it's called fish game habitat. Nobody probably thinks about a lake as fish game habitat, but that's what it's called. All those things require a license. So going back to the constitutional right to hunt and fish, and Senator Lassarde had a big interest in hunting and fishing. We've got one of the top states, fourth and anglers, second and third, tenth and hunters. We've all got a high population, and the risk of the public benefits from those two. They're open to the public. There's birding and a lot of environmental benefits. But the main constitutional intent is targeted to the wetlands, prairies, and forests, and with some outcome that benefits fish game and wildlife, a lot of secondary benefits. And Senator Lassarde is, what did you say now? He's 85? 87. 87, and he's still guiding. That's exactly right. He's official. And he's still in the outdoors. I mean, that's just an incredible story in and of itself. Yeah, he's got some really strong batteries. And you've worked with him for years. Yeah, I've known him for years. And there's a whole consortium of people, and he's very close. One of the people that was instrumental when we did the statewide ballot campaign was Bud Grant had an involvement. We did a fly around. And he was extraordinarily helpful because he's trusted by so many Minnesotans. And he's a big outdoors guy, big conservationist, and been involved in a lot of those causes. And that's how we got him involved. Now, there is a sunset on this law. Yeah. And that is what... 25 years, so it's another 15 years. 15 more years, and it will come before the voters again. Yeah, that's right. And so did the Missouri Constitutional Amendment. That's been re-approved. The approval rate in Missouri has actually went up each time it's been put back on the ballot. Oh, really? Yeah. Because people got more comfortable with it. And so I'll talk a little bit about specific areas that the money got spent. I really think that's so critical that people see how that money is being spent. And I know bits and pieces of it are in the papers all the time. But when you look at the summary of what's happening here, it's really impressive. It really is. And as I mentioned, the small grants program that we put in place, just this last year, coming in this year, was $70 million that went through that. We never got more than $5 million a year for wildlife projects. $70 million has went to basically smaller projects, smaller groups around the state, and a whole array of ways to improve and restore habitat. The second area, and we've moved almost, and we'll be at the billion dollar mark this year, since we passed it, no way, $1 billion just in this fund. And it really hasn't been enough to make any of us feel our pocketbooks have been hurt. No, it's just a small fraction out of your sales tax. I mean, sometimes I even forget about it, that a part of it's going to the outdoors. But a big area that we spent, that a lot of money has been spent on is public hunting lands, or public lands. That's been almost $350 million, and we'll be over that by the end of this year. And that goes to things that are most known are like wildlife management areas. Federal, waterfall production areas. Also, county lands. There was a project, let's say, in the Brainerd Lakes area called Mississippi Habitat Complex. There was a 2,000 acre project. That one's held by the county. No, by constitutional law, all those projects by law have to be open to the public for the taking of fishing game, hunting and fishing and so on, and be open to the public. That's its primary thing. Now there might be some other recreational activities in some of the lands, but it can't be an infringement on people constitutionally protected rights to hunt and fish and so on. And that was the best way to protect a project like that. Sometimes the DNR, but a lot of times these waterfall production areas have been a tremendous investment that the council has determined. $5 to $10 million every year goes into waterfall production areas. Another area that they spend about $200 million on is a range of habitat activities that have to do with the restoration of enhancement of, let's say, existing lands. Or they need to, they're going to get a parcel and then restore it so it can fall into one of these array of programs, like an AMA program. There was a project on malax that was an aquatic management area program that actually was used to protect musky spawning habitat along the lake. So that's another $200 million. And then another major category is conservation easements. Almost $250 million has been spent on conservation easements. And those range everything from the forest legacy easements. Those are always open to the public to trout stream easements. We do a lot of trout stream easements, a lot of trout stream restoration that's being done with this. And that's really great for people that, I believe the number is almost 50% of anglers don't have a boat. Well, if you don't have a boat, how do you fish? Well, the way to do it is, and they do it in Missouri, tremendous success rate in getting new angler recruitment down there because they're getting the kids involved. All they need is a fishing pole. And they go, a lot of fishing occurs. Just from the bank. Yeah, a lot of fishing occurs on piers up, let's say by Duluth or bridges and so on and so forth. A lot of things anglers participate in that we just kind of take for granted. You know, up on the range up there, a lot of those abandoned mine pits have been restored to be great fisheries that nobody knows about. So a lot of that money, so a lot of conservation easements, there's rim, there's CREP, there's AMA type, aquatic management area type easements, private land easements, they're going on shorelines and so on. So that's another 250 million. So to kind of go back over the numbers, 70 million went to the small grants. Another 350 million has went for new since 08 new public hunting lands throughout the state, WMAs, WPAs, county lands. And then restoration and enhancement, another 200 million and 250. And that gets us close right up to 850 million. And another similar set of those projects will come in this next year. And we've got some examples showing what do these things look like? Can we do it? That's pretty impressive. It's kind of like a before and after of a weight program. I mean, when a waterfall production area starts off, it's a barren field. Next thing you know, it's a waterfall production area and it's teeming with wildlife. A lot of these aren't that particular example necessarily, but they're additions to existing wildlife area structures. That's good for the public, bigger area. It's also good for the way they manage that bigger area, so they're more strategically targeted. Then we've also got an illustration of, you know, some grassland habitat. Minnesota has very little of its original prairie left. I was thinking of Laura Engel Wilder, what it would have been like then. It's hard not to think of her and prairie habitat. So they're doing a lot of prairie restoration. That's obviously good for a whole range of birds. Certainly pheasants, but a lot of other birding people with birding interests. It's a whole ecosystem. Yeah, it's a whole ecosystem that's developed under that. And then we've also got some examples of what the trout streams. And trout streams, you know, down, let's say, in southeastern Minnesota where a pheromone or that occurs, they may need to go back and actually restore it after a flood. We had that happen. They can't just make it floodproof and so on. So they go back and restore it or else. And we've had many, not just trout streams, but fisheries, for example, the one up in Halleck was a fishery that hadn't really been a fishery for 30 or 40 years and some have been longer. And when they restore it, get the sediment out there and control it and so on. Next thing you know, there's fish in there that weren't in there before. And that's a big deal to a lot of people. Now I went through kind of where the money went. And another piece that we really looked at was to make sure that the money went to projects on the ground. That's what sportsmen wanted. They didn't want to have it go into a bureaucracy and a lot of things like that. So by law, we have in there and that's the way it's worked. Since 2008, 99 percent, 99 cents out of every dollar has went into a project. There can be an additional 10 to 12 percent. You're still at 90 or just close to 90. And that's for the project managers and the laborers and all the people that are involved in these. You know, you do a lot of these control burns or whatever it may be.  So a lot of the money, or I mean the money, so it's not just the projects, but the monies went on. And that's what we go back. You know, we went back and look at how it was sold to the voters when we went around the state. On the outdoor heritage fund, that's what we were talking about with the sportsmen vote yes campaign. We were talking about that we've got a governance system in place so that when you vote in it, and then also to a lot of people have been watching that money. A lot of citizen volunteers have been watching that money throughout the state. Every year they watch it go through. And a lot of them have been pointed on the Lissart council. We've had some tremendous people on the council. We had Dr. Mike Kilgore. He set up the original process. He's an economics professor of forestry at the University of Minnesota. We've had Ron Schera. We've had people from Duluth. We've had people from Mankato. We have international falls. The chair of the current council is from international Minnesota. It was a long time involved in forestry. So we've had a tremendous, you know, people from the Minnesota Waterfall Association. Jim Cox was on the council for many years. Scott Rawl, who was a very active pheasants ever from Everett, from Worthington. He was on the Lissart council for a number of years. So we've had a lot of extraordinary conservationists from around the state that are amongst the citizens that serve on it.  And new people. Yeah, sometimes there's new people. We've had some carryovers of some people have been on there.  There's a lot of people that are interested in conservation, interested in the Lissart council money. So they're always looking for citizens to serve on the Lissart council. So it's, you know, this worldwide, we're down to about 25% of our forests. We've lost 75% of the forest worldwide. And I think it's in the millions of acres that are being destroyed yet every year. And there was just a study done here recently that's showing that when those forests go, the animals go. You know, if you take away the areas where the frogs are and the insects are and the things that are eating the frogs and insects are disappearing, in some areas we've lost 80% of the wildlife in those natural habitats because we've destroyed them. And that's why I've always thought this was such a vital program to Minnesota to preserve what we have left here, even though we still have a lot of development in our state. How do people apply to this when they want to get involved? How do they apply if they have an idea for a grant in their particular area? Well the best way to do it, they can very easily just do a search for the Lissart-Sams Outdoor Heritage Council and it'll pop right up and you call their staff. That's what they're doing. They have a staff in St. Paul that works on this, right? Yes, and they're full-time staff. There's four of them now and what they do is they organize all this stuff, help all the applicants come in and then lay out a process where people can bid. But they will definitely help you if it's a small project, let's say under 400,000, then they'd refer you over the DNR. They're the ones managing the Conservation Partners Legacy Grant Program, so you've got two routes to go. And what I was saying right after, you know, it passed and going out and talking to different areas and so on.  Well what I kind of changed that, habitat is all local, conservation is all local. You don't need a massive group. If you get a coalition together, you can either find worthy people that will help work on it that can apply for the CPL program or if it's a bigger project, you can get a local coalition together and figure out how to go about doing it and the Lissart Council staff will help you apply and then there's a competitive process. There's no guarantee that you get the money and it might take a year or two because there's like I said almost 200 million dollars now of requests for money coming in. Some are maybe more than what they'll get or whatever it may be and some projects always don't get the money. But it's a process that starts, you know, in April. So they will have the requests out there for everybody to send in that they want to apply and then a process to determine which projects they're going to hear and all of that but the Lissart Council staff has specifically been in place to help people that need help in figuring out how to get a project going. And the committee has a ranking system and they do sometimes you may not be ranked highly but you still might get some money if you're willing to take a lesser amount than you ask for. Yeah that's exactly right and even the projects that get really like the number one rank program that comes in every year because they allocate how much money goes to the Conservation Partners program. That's been the number one program. So it originally started off with people not having a lot of faith in that the small grants program would work. In fact it's worked the opposite. The council members have a high degree of faith in it and every year, every year there's a really good article in the Star interview and just about the CPL program Conservation Partners program what we tried to do then and how it's moving along, it's gotten 70 million dollars. That's a lot of money when you add that up. That would never have been there before. It would never have been there before and two, three hundred thousand dollars in a local project. Would it be a stream? Local community insights were going to restore a stream or that they're going to restore some wildlife management area or they're going to do some specialized project whatever it may be. It's up to the best projects are where the local citizens all get together, put together their own local coalition and then go through the process and figure it out. And that's a big reason why I'm kind of promoting that the system works is not just that the system works but we've had more and more projects that nobody ever knew about and that's the advantage of having an open and competitive system. There's also the advantage to having another one that's tailored to these smaller projects. They've even got an expedited fund in the Conservation Partners program that's a one-page form that's for $50,000 and under type programs. It's been designed to, whether it's the smallest group you could think of, to be able to try to get money and utilize it. And then you have the large groups, you know, Ducks Unlimited or the Nature Conservancy or Minnesota Deer Hunters, Pheasants Forever, all those known groups are in there competing. U.S. Fish and Wildlife Service competes against the DNR, so it's also competing. I think it was last year the Minnesota Deer Hunters Association was asking for money from here, I believe, to purchase some of the potlots land that was being sold in northern Minnesota. So it's equal footing for everyone when they come to this group, isn't it? Yeah, that's exactly right. They're looking for, you know, a lot of different things. I mean, they're looking, you know, certainly trout stream restoration. People are looking at a different thing than what they are, let's say, musky spawning habitat on Milax or forest legacy easement or whatever. So the best way to do it, you know, is talk to the Lasart Council staff, and then you can, all the projects are all out there. It's all open and transparent from every year, as far as what the project requests are. So you can take a look at certain projects that fit, that are similar to the one you might be thinking about proposing and get a lot of ideas and help people are presenting it.  Yeah. I mean, some, yeah. But that's been well-resisted, hasn't it? So far? Yeah. Yeah, it's been resisted because sportsmen and hunters and anglers and conservations were adamant we're going to make this thing work. So we had had a number of efforts at diverting the fund, even led to a veto in 2012, but we prevailed. And the reason we prevailed, the number one thing that I tell people is believe it or not, there are emails and phone call contacts to legislators. So if you start seeing that the Lasart Council is in the press and it's going sideways, that's the time to contact your legislator. And it doesn't take very long to say I'm a local, you know, I'm a local sportsman. I want the Lasart Council recommendations passed as they are to work. And that's the message you leave. It takes about maybe five, 10 seconds. In your role as the executive director, do you primarily work in this area? Is that your, and I know you've worked across lots of different areas. Well, yeah. You know, some of the other ones that I did was I was involved in 2012 when the state government shut down. We passed, remember I was talking about how our constitutional rights to hunt and fish are passed. We passed the only anti shutdown bill. So if the government ever shuts down again, you still can go and get your fishing licenses because they're constitutionally protected. So different, different ones that come along. And we're looking at maybe in the next year is doing some more targeted fisheries related type stuff. So what's the website? How do people go to this website to find out? Like I said, what the projects were, how much has been funded and the overall information. Where do they go? The easiest way to do it is just do a search on the internet for the Lassard-Sams under Google. It's kind of hard, that long convoluted address of it. But that's the easiest, quickest and fastest way to get it. And then contact the DNR for their conservation partners legacy programs. And their staff has been really, really good every year. They know how seriously we took trying to adhere to the constitution. And they know how seriously we wanted to make sure that this money went to where it was intended. And they also take very seriously the DNR, the people that run the conservation partners grant program at working with the little groups. And they really go out of their way to help small groups. So come and meet with them or whatever help that they can get, even if it's for a $50,000 grant. And that's really encouraging. Well, you've done some really good work. And I know you've had a lot of, I'm sure you've got a lot of bumps and bruises on your body over the years doing these things, but very, very well done. And I just think this is a very, very important project. So thanks for jumping on board with us, Gary. I appreciate the time to give an example, tell the story of what went on here. You've been watching Lakeland Currents, where we're talking about what you're talking about. I'm Ray Gildow. So long until next time.


Hi, this is a video about factoring polynomials. We will begin with the greatest common factor. First, the definition of factoring is we're writing a polynomial as a product of factors, things that are multiplied together. The greatest common factor of a list of integers is the largest integer or number that is a factor of all integers in the list. That means everything in the list must be divisible by this greatest common factor. To find the GCF of a list of integers, we can actually write each number as a product of primes, identify the common prime factors, multiply the common prime factors together to find the greatest common factor. As a little bit of a hint, if the bigger number is divisible by the smaller number, then the smaller number is the GCF. Find the greatest common factor of each. So I have 28 and 4. Let's do this to basic by writing each number as a product of primes. 28 can be written as 4 times 7. 7 is prime. 4 can be further broken down into 2 and 2. Each of these is prime. Prime just means the number is divisible by 1 and itself. 4 can be broken up into 2 and 2. Both of these are prime. So 28, the prime factorization, is 7 times 2 times 2. And 4, the prime factorization, is 2 times 2. This means that the common prime factors would be 1 copy of 2, 2 copies of 2. This means the GCF would have to be 2 times 2. The GCF is 4. Notice the easy thing to do here is out of 28 and 4, 4 is the smaller number, 28 is divisible by 4, meaning 4 is the GCF. And part B, 4 and 32, 4 is the smaller number. Is 32 divisible by 4? Yes. So 4 would have to be the GCF. Part C, 15, 18, and 66, the smallest number here is 15. Is 66 divisible by 15? No. So the best thing to do now would be to list factors of 15. Everything 15 is divisible by, including itself, and go through and say, OK, we know everything's not divisible by 15 in the given list. Everything's not divisible by 5 in the given list. However, 66, 18, and 15 are all divisible by 3. The GCF here, the highest number that each of the numbers in the list is divisible by would be 3. The greatest common factor is 3. When we're dealing with a list of variables, we have to make sure the variable is included in every term. And then we will pick that variable raised to the smallest power present. So in part A of example 2, we look and we see x is in every term. The smallest power would be 2. So the GCF would have to be x squared. Then furthermore, we go through the part B and we see we have y in every term. The smallest power given would be 1. So the GCF would have to be y to the first or just y. Example 3, we throw numbers and variables n together. So we'll have to find the number GCF, then we'll have to find the variable GCF to find the overall GCF. So what we have is we have 4, 12, and 16. 4, 12, and 16 are all divisible by 4. x squared, x to the fourth, x to the tenth. x is present in every term. The lowest power is 2. So x squared would be the variable GCF. This gives me 4x squared. Next up, we have 3 and 9. So the numeric GCF, 3 and 9 are both divisible by 3. y squared and y to the first, y is present in both terms. So y is the variable GCF. And then there's also x's in both terms. x to the fourth, x squared. So x squared would be the GCF for the x's. So 3x squared y would be your answer. So keep in mind, the variable has to be present in every single term. Now we'll actually factor out the greatest common factor out of a polynomial. To do this, we will take each term and divide it by the GCF. So we'll start off in part A with 10x squared plus 15x. The GCF is, well, 10 and 15 are both divisible by 5. That's the biggest number they're divisible by. x squared and x to the first. x to the first is the lower power. So what I have to do now is I have to take 5x and write it out front of a set of parentheses. And within the parentheses, I divide every term by the GCF of 5x. So I went through and I divided every term by 5x because that's what I'm pulling out front as the GCF. Simplifying inside the parentheses, I will get 10 divided by 5 is 2. x squared divided by x to the first would leave you with just x. Plus 15x over 5x would be 3. The GCF is now factored out. We can check to make sure we did this correctly. If I was to go through and redistribute the 5x to each term and parentheses, I should get the original question that I started with. 5x times 2x is 10x squared. And then 5x times 3 is plus 15x. This is just a way of checking to make sure you factored out the greatest common factor correctly. Now in part B, the GCF is going to be 3x to the sixth. So I have to take every term and I'm going to divide it by 3x to the sixth. So we write out every single term in parentheses, write 3x to the sixth underneath of it each time. Then we'll go in and we'll simplify. OK, 3 over 3 cancels out x to the eighth over x to the sixth. 8 minus 6 is 2. So that's x squared. 9 divided by 3, you're left with plus 3x. 7 minus 6 is 1. 18 divided by 3, that's minus 6. And x to the sixth over x to the sixth cancels out. We have our final answer. In part C, 6, 7, and 3 are divisible by nothing other than 1. So there's no numeric GCF. Furthermore, there's no B in every term, which means there's no GCF at all. There's no greatest common factor in part C, because the highest number that divides into all of them is 1 and B is not present in every term. All right, continuing on. In part D, let's look for the GCF first, and we'll factor it out. 8 and 40, the highest number there to be divisible by is 8. There's not x in both terms, but there is y in both terms. y to the fifth, because that's the smaller power. y to the fifth, y to the eighth. So you use the smaller power for GCF. So I'm going to take 8y to the fifth, write it out front of a set of parentheses, and I will take 8xy to the fifth and divide it by the greatest common factor. I will take the 40y to the eighth, and I will divide it by the greatest common factor. So we simplify here. The eighths cancel, the y to the fifths cancel, leaving you with x minus 40 over 8 is 5. 8 minus 5 is 3, so y to the third. That's your final answer with the GCF factored out. Now, in part e, it looks a little bit different, because now on the left half of the given question, we see we have a factor of a minus b, and then on the right half of the question, we see we have a minus b again. This is called a common binomial factor. It's a GCF that is the binomial a plus b. So literally what we're going to do now is take each of the terms and factor out at a plus b. We will divide by a plus b. So notice, okay, the a plus b's cancel out in the first fraction, and then the a plus b's cancel out in the second fraction. So as a shortcut, when you're dealing with common binomial factors, the common binomial factor will go in one set of parentheses in the final answer, and then the coefficients of the common binomial factor, three m squared n, and then the minus one will go in the second set of parentheses. So that being said, when we look at part f, you see you have a common binomial factor of x plus three. That means x plus three will go in one set of parentheses, and then the other set will be the coefficients, the five and the plus y, so five plus y. And that will actually lead us into factor by grouping, which we will cover next time. Thanks for watching.


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, 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.  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.  Jimmy Sheridan 2000.  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, 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?  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.  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.  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.  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?  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.  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.   I'm not a hill.  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.  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.  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.  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.  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.  Of course he had to have a gun to reenact it. And who do you suppose supplied it? Peter B. Hartman. B for brains.  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.  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?  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?  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.  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.  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.  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...  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 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.  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.  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.  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.  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.   Why are they out here? Please, please. Who's that? There's somebody in that desk.  What would a man be doing in a desk? I don't know, but there's something going on here.   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.  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.  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.  What happened was this. Let me tell you. You're not, are you? Tell me the truth.  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.  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.  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.    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.   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...  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.  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?  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.  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.  Scared, huh? Yeller running out of your collar. I don't care what you think.  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.  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.  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?  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.  Hello, Sheriff. It's Pinky. Here's your reprieve. Get out of here. You can't bribe me.  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.  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.  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.  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'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.  You're getting a great guy, Peggy. Never mind the valentines.   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.  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.  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.    So are you, Peggy.  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.  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.  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.