Lux Radio Theatre - Sing You Sinners

Summary

Podcast Summary: Lux Radio Theatre - Sing You Sinners

Podcast: Harold's Old Time Radio
Host: Harolds Old Time Radio
Episode Date: July 6, 2026
Featured Stars: Bing Crosby, Joan Caulfield, James Dunn, Elizabeth Patterson
Producer/Guest Host: Mitchell Lyson

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Episode Overview

This Lux Radio Theatre production resurrects Sing You Sinners, the story of the Beebe family—a quintessentially American blend of hope, struggle, and loving conflict, set before WWII. Featuring a star-studded radio cast (Bing Crosby as Joe, James Dunn as David, Joan Caulfield as Martha, and Elizabeth Patterson as Mrs. Beebe), the episode delivers a warm, comedic, and dramatic portrayal of family loyalty, dreams, setbacks, and redemption. The piece is rich with period-appropriate humor and heartfelt moments, supported by several musical numbers.

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Key Themes and Discussion Points

1. Introduction and Setting the Stage [00:28 – 03:38]

• Mitchell Lyson introduces the episode, highlighting the star power—especially Bing Crosby reprising his role from the original film.
• The Beebe family’s socioeconomic struggles are established, grounded in relatable domestic squabbles and aspirations.
• “Sing You Sinners is the story of a happy go lucky family before the war. Their trials and laughter, fortunes and misfortunes.” (Mitchell Lyson, 02:15)

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2. Family Dynamics and Economic Hardship [03:38 – 08:29]

• Typical family dinner scene, full of banter and frustration over late arrivals and monotonous meals.
• Mrs. Beebe’s loving but exasperated attempts to get her sons to pull together.
• Older brother Dave advocates for steady work, while Joe pushes for risky gigs and dreams (often to the family’s chagrin).
• Family musical talent is reluctantly roped into a dance hall gig for extra cash, against the brothers’ preference for “real work.”
• [Quote] “As long as you can earn a nickel by opening your trap or squeezing the music box, you’re gonna do it!” (Mrs. Beebe, 08:00)

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3. A Glimmer of Hope and Romance [08:29 – 12:45]

• The trio performs, demonstrating their musical talents (pocket full of dreams song).
• Dave’s relationship with Martha is sympathetic and supportive, though hampered by financial constraints.
• Joe’s impulsivity is highlighted as he flirts with Martha, hinting at unresolved romantic tension within the group.
• “If you can’t trust your own brother, what do you say?” (Dave, 11:29)

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4. Sibling Rivalry and Fraternal Strife [12:45 – 23:07]

• Joe takes Martha out post-gig, who notes he’s “giving her the first good time since she’s been with Dave.”
• This leads to a drunken confrontation and physical fight between Dave and Joe, exposing underlying jealousy and resentment.
• [Notable Exchange] “If you weren’t my brother ... I’d shove my fist right through his chest. Why didn’t you hit me harder, Dave?” (Joe, 19:00)
• Joe, feeling like a burden and outcast, decides to leave for Los Angeles to “prove he can amount to something.”

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5. The Highs and Lows of Ambition [26:46 – 32:03]

• Months later, the family receives a telegram: Joe is “cleaning up” in the swap shop business in Los Angeles and calls for his family to join.
• Upon arrival, it’s revealed Joe has traded his business for a racehorse (“Uncle Gus”), chasing new dreams but on increasingly shaky ground.
• “You gotta take a chance if you’re gonna amount to something.” (Joe, 29:51)

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6. Truths Surface and Tensions Mount [33:14 – 37:44]

• Reality bites: the family has no income, and their housing/credit is running out.
• Dave returns with Martha; the truth about Joe’s situation is revealed—unemployment, horse-racing schemes, and $400 debt, leading to another heated confrontation.
• Martha, wise and unwavering, insists that their shared struggles are inseparable from their future:
  “If you did, you wouldn’t care what was happening. You’d only know you love me, and nothing on earth could stop you from marrying me.” (Martha, 37:07)

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7. Redemption Through Family and Music [37:55 – 40:23]

• Dave takes command, reinvigorates the family’s musical efforts:
  “We’re gonna rehearse, and we’re gonna get a job. I’ll put this family back on its feet if I have to break everybody’s leg doing it.” (Dave, 38:09)
• The family performs “Small Fry,” demonstrating the role of music as both a livelihood and a glue binding them together.

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8. Race Day and Moral Reckoning [40:24 – 52:55]

• Mike is set to ride Uncle Gus in a high-stakes race.
• Corruption, temptation, and family loyalty clash as the rival owner bribes Mike to throw the race.
• Joe has a moment of honesty with Mike:
  “Whatever we do, we can’t do anything crooked. We mean too much to each other… If one of us gets in a jam, it’s gonna hurt all of us.” (Joe, 48:18)
• The race is a triumph: Mike wins, but not before a final showdown with the crooked gambler and his men, culminating in a victorious but battered family.

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9. Closure and Lessons Learned [53:14 – 57:49]

• The winnings resolve the family’s financial troubles – temporarily.
• Mrs. Beebe insists that sticking together is the only way they’ll truly “amount to anything,” threatening to leave if the boys abandon steady music work for get-rich-quick schemes.
• Telegrams are sent inviting Martha back, now that the family has chosen unity over risky independence.
• Famous finale song: “I wouldn’t take all the wealth on Wall Street ... I’ve got a pocket full of dreams.”

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Memorable Quotes & Moments

• Mitchell Lyson (02:15):
  “Sing You Sinners is the story of a happy go lucky family before the war. Their trials and laughter, fortunes and misfortunes.”
• Mrs. Beebe (08:00):
  “As long as you can earn a nickel by opening your trap or squeezing the music box, you’re gonna do it.”
• Joe (19:00):
  “If you weren’t my brother ... I’d shove my fist right through his chest. Why didn’t you hit me harder, Dave?”
• Joe (29:51):
  “You gotta take a chance if you’re gonna amount to something.”
• Martha (37:07):
  “If you did, you wouldn’t care what was happening. You’d only know you love me, and nothing on earth could stop you from marrying me.”
• Dave (38:09):
  “We’re gonna rehearse, and we’re gonna get a job. I’ll put this family back on its feet if I have to break everybody’s leg doing it.”
• Joe (48:18):
  “Whatever we do, we can’t do anything crooked. We mean too much to each other… If one of us gets in a jam, it’s gonna hurt all of us.”

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Important Timestamps (MM:SS)

• 03:38: Family dinner—character introductions and comic banter
• 08:29: Musical performance & mother’s ultimatum
• 12:45: Joe’s night out with Martha, leading to family conflict
• 19:00: Joe and Dave’s confrontation
• 26:46: The family arrives in LA; Joe’s new horse-racing scheme
• 33:14: Tension with Dave and Martha about the family’s future
• 38:09: Dave takes decisive action; music becomes the family’s hope again
• 47:23: Race preparations—bribery & honest reckoning
• 51:49: The race climax and physical brawl with the gambler
• 53:14: Family tallying winnings and pledging unity
• 56:11: Final song, “I’ve got a pocket full of dreams”

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Tone & Style

• The dialogue combines fast-paced, comedic patter with heartfelt seriousness—a true family drama with humor and pathos.
• Performances are lively, with Bing Crosby providing musical interludes that mirror the show’s upbeat but realistic attitude toward adversity.
• The cast's chemistry shines through, helping the listening audience feel like they’re “part of the family.”

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For Listeners

This episode is a vibrant, musical family dramedy about sticking together, learning from failure, and the dangers—and occasional rewards—of chasing dreams. Full of witty and warm exchanges, memorable songs, and a dash of old-time morality, it’s a comforting reminder of vintage American optimism and radio’s golden era.

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Advertisements, interludes, and Luxe Flakes plugs have been omitted for clarity and focus on the episode’s story content.

Transcript

[A]

All new drinks are now at McDonald's with refreshers like the Strawberry Watermelon Refresher and the Mango Pineapple Refresher with popping Boba. To crafted sodas like the Sprite Berry Blast with berry flavors and cold foam. Who knew ice cold drinks could be so fire six? All new drinks are here now at McDonald's.

[B]

Refreshers contain caffeine. Lux presents Hollywood. The Lux Radio Theater brings you Bing Crosby, Joan Caulfield, James Dunn and Elizabeth Patterson in Sing you Sinners. Ladies and gentlemen, your guest producer, Mr. Mitchell Lyson. Greetings from Hollywood, ladies and gentlemen. Our hearts tonight are on the other side of the Atlantic. And so quite properly, if any news of importance should develop, this performance of the Lux Radio Theatre will be interrupted here on our stage tonight we have a rather unusual combination. First and foremost, the winner of this year's Academy Award is the outstanding Motion Picture Actor. Second, a man who combines his thespian talents with such business projects as a cattle ranch, an airplane factory and a Hollywood producing unit. Finally, we have a genial performer who plays Hollywood's best golf and wears the most outrageous shirts in screendom. These are not three men, of course, but one Bing Crosby. He appears tonight in his original screen role in Sing you Sinners. From my home studio, Paramount, where Bing has just finished his forthcoming picture Road to Utopia. Co starred with Bing. On our stage tonight is another veteran and ever popular performer, James Dunn. While on behalf of romance, we present the fresh and glamorous Joan Caulfield, who will soon be seen in her first starring role in Paramount's Miss Susie Slagel. Also in tonight's cast is the lovable Mrs. Beebe is Elizabeth Patterson, who played the same role on the screen. Sing, you Sinners is the story of a happy go lucky family before the war. Their trials and laughter, fortunes and misfortunes. A family perhaps not quite like yours and mine, but typically American in their loyalty, romanticism and good humor. I don't know whether they use Luxe Flakes or not, but if they're typically American, it's certainly a safe guess that they do. Maybe that's what keeps them singing. And maybe that formula will have the same effect on you. Put a song in your heart as you wash those dishes and wash those precious fabrics clean. Try Lux Flakes. And now the curtain rises on Act 1 of Sing you Sinners. Starring Bing Crosby as Joe, James Dunn as David, Joan Caulfield as Martha and Elizabeth Patterson as Mrs. Beebe. The good mother has stood for hours over a hot stove so that her three sons may have a healthful and appetizing dinner. And when those three sons are late as usual and the dinner is slowly being cooked away to nothingness, the good mother has a perfect right and privilege to bang the pots around. Uh oh. Mrs. Beebe is banging her pots around right now.

[C]

Won't even be fit for the dog. I oughta know better by now. Try and fix something decent. Is that you, Dave?

[B]

That's me. Hello Mother.

[C]

Hello, Mother, my eye. I suppose it'll never mean a thing to you that when you say you want supper at 6 o', clock, I expect you'd be here to eat it.

[B]

I'm sorry mom, but a fella came in late with a brake relining job. What's for dinner, Mom?

[C]

Don't touch that pot.

[B]

Ooh, it's hot.

[C]

Told you not to touch it.

[B]

Oh, pot roast. Why can't we we have macaroni sometime.

[C]

Cause as long as I'm cooking. We leap for our health around here. You know macaroni makes Joe fat.

[B]

Yeah, but it's not macaroni. It's like a word.

[C]

There's Michael. Every time he comes in, the pictures

[B]

fall off the wall. Hello Mom.

[C]

We hear you. Hiya, Dave.

[B]

Hello Mike.

[C]

Hello Mom. What are you doing lately? Going to night school? Hey, what's for supper, Mom? Good for supper. Ouch. Ouch. Pot roast, huh? Joe's favorite. Why don't we ever have hot dogs? I love hot dogs like my own life. Take off your hat. Go wash your face. Okay, okay. What were you doing, Michael? Why were you slay? Oh, I was studying at the library.

[B]

Studying?

[C]

Studying what? Oh, about the world and stuff like that, you know.

[B]

Yeah, we know. Here I am, Mom.

[C]

About time too.

[B]

Hiya man.

[C]

Hiya, Joe.

[B]

Hello Joe. Hello Mom. How are you?

[C]

Well, where were you?

[B]

Looking for a job? Yeah, at the pool room. Dave, that is not kind. Mom. What? What goes on the menu tonight?

[C]

Don't touch that. No. Don't you boys ever learn?

[B]

Well, fill my mouth. It's pot roast.

[C]

Yes, Sit down before it dries up and blows away. If we don't get a little more order around here, I'll never cook another bite, so help me. Sunday you night owls will come home and find me lying on a chaise lounge eating chocolate bon bonus. Michael, where are you going? I want to get the ketchup.

[B]

Grab some chili sauce. Bring the mustard too. Mike.

[C]

I already got it.

[B]

Here.

[C]

What's the use of cooking a decent meal watching a bunch of idiots splatter it with junk? Take some of that cauliflower, Marshall.

[B]

Oh, Ma, it smells like old laundry.

[C]

I said take some cauliflower. Okay, okay. Gee, I see.

[B]

Well, Dave, I was walking down the street today seeing what would turn up. Happened to catch sight of you and Martha driving along, nobody talking. Look pretty dull, two of you. Stiff as a poker there. Casseroles, will you, Joe. You know, if I had a little number like that dog in my tracks for three years, I'd turn in my suit.

[C]

Joe, be quiet.

[B]

Yeah, you keep your yap shut about Martha. What's the matter with you? All I keep saying is, why don't you marry the girl? You know darn well why I don't marry her. Because you haven't got enough vinegar to pitch in and help keep this family going. Listen, can I help it if there's nothing in this burg for a guy with ideas? What ideas? Outsmarting some chump at the pool hall for a couple of bucks? Swapping the shirt off your back for a brass doorknob? All right, all right, Go ahead. Put me on all you want about swapping, but you can't show me a big man in this country today who didn't get where he is by swapping something for. For something or something.

[C]

Dave, you shouldn't lay into Joe that way. Why don't you go ahead and do

[B]

what he tells you?

[C]

Sure.

[B]

Get married and then find out you can't take care of yourselves after I'm set. No, thanks. Well, now, listen. Let's quit talking about it. Well, I'm only trying to tell you what I did this afternoon. What? Well, I. I got us a job at a dance in Pleasanton.

[C]

You got old.

[B]

Listen, Joe, how many times do I have to tell you I don't want any more of that trio stuff. Well, it's a job, ain't it? Is that the only kind of a job you can get? One way you have to drag Mike and me in on it. All right, all right. I don't like it any more than you do. But what am I going to say when a man offers us 15 bucks?

[C]

Yes? What should he say to that?

[B]

Now, look, Joe, I work in a garage, see? I've got a decent job and I like it. And if you expect me to spend my nights blowing my brains into a clarinet while you sing to a lot of schoolboys bouncing around a dance floor. Well, I'm a man, doggone it, and I want to stay one. Me, too.

[C]

I built up a tough reputation working

[B]

out horses at the fairgrounds all summer.

[C]

And then, bang. You shove an accordion into my hands and turn me into a Buster Brown. You keep crying.

[B]

Now, listen, Dave. I know how you feel. You feel the same way as I do about singing.

[C]

Oh, is that so? After I've spent every last cent your father left us to teach you music. You all go around blabbing you won't play or sing because you're men. What's the matter with you?

[B]

Men sing. I don't care, Mom. I won't do it. All right, the whole thing's off.

[C]

It is not off. As long as you can earn a nickel by opening your trap or squeezing the music box, you're gonna do it. When's that dance?

[B]

Tonight. Now, listen, Mom. I got a date with Martha tonight.

[C]

Take Martha to the dance.

[B]

No, I won't do it.

[C]

We'll see about that. Children,

[B]

I don't want to do it any more than you.

[C]

I say you're going, all of you. So you might as well shut up about it and start getting ready.

[B]

I'm no millionaire But I'm not the type to care I've got a pocket full of greed it's my universe Even with an empty purse I've got a pocket full of. I wouldn't take all the wealth on Wall Street For a road where nature tries and I calculate I'm worth my weight in gold and rye Lucky, lucky me I can live in luxury

[C]

I

[B]

got a pocket full of dreams oh, I'm no millionaire But I'm not the type to. I've got a pocket full of dreams it's my universe Even when that empty purse I've got a pocket full of dreams I wouldn't take all the 12th on Wall Street For a road where nature tries and I calculate that I'm worth my weight in gold and rock Lucky, lucky I can live in luxury I've got a pocket full of greens.

[C]

Oh, I thought you were grand, Dave. All of you.

[B]

Oh, thanks, Martha. I hated to drag you out this way.

[C]

Oh, don't be silly, Dave. I liked it.

[B]

Yeah, but look, you may not like what's coming next.

[C]

Why, what's the matter, darling?

[B]

Well, a fellow called from town, and there's a truck stall out on highway number nine.

[C]

You mean you've got to go out there?

[B]

Well, I could pick up $10 pretty easy, Martha. And every nickel counts on that house we're going to build.

[C]

Someday we'll build that house, all right. You wait and see. Go ahead, darling. I'll need that $10 for drape.

[B]

Aw, gee, darling. It's like sort of a dream Isn't it?

[C]

Oh, yes, but that truck isn't. Hurry up and get it installed.

[A]

Okay.

[B]

I'll get Joe to take you home. Hey, Joe. Joe. Here you are, Dave. Here's the loot. Oh, boy. You know, that's. That's pretty happy scratch for two songs, isn't it? Yeah. Hey, Joe, do me a favor. Will you take Martha home for me? What's the deal? Well, I got a job to do. I'll take Michael on to help, and you can have the car. And here. Here's a buck. You can buy her a sandwich and coffee on the way. Well, thank you. Thank you. You're getting kind of liberal with your little girlfriend, aren't you? Well, if you can't trust your own brother, what do you say? Sure, if you're willing to let her go out with me, I'm not gonna knock it. Now, give me the keys to the car, will you? Here. And take it easy. I want it back all in one seat. Kind of a rough roll, ain't it? Having the boyfriend walk out on you?

[C]

Oh, I don't mind. It's all for a good cause, Dave. And I'll make up for it someday when we're married. Whenever that may be.

[B]

Don't tell me.

[C]

I know.

[B]

As soon as I get a job and hold it.

[C]

Why don't you, Joe? You could easily.

[B]

I could, but it breaks up my whole day. Really? When money comes my way, it's going to come fast and plenty. You wait.

[C]

I am waiting.

[B]

I don't seem to be exactly on your side at that, do I? It's too bad you aren't my girl.

[C]

What?

[B]

I'd worry about the family until after the wedding. Then you'd be mine. Nothing else would matter anyway.

[C]

I wish Dave felt that way. I mean, sometimes I do.

[B]

But unfortunately, you're not my Lily. Except for tonight.

[A]

All new drinks are now at McDonald's with refreshers like the Strawberry Watermelon Refresher and the Mango Pineapple Refresher with Popping Boba. To crafted sodas like the Sprite Berry Blast with berry flavors and cold foam. Who knew ice cold drinks could be so fire six? All new drinks are here now at McDonald's.

[B]

Refreshers contain caffeine. Well, here we are.

[C]

Here we are where?

[B]

Well, Dave told me to hit you with some groceries, didn't he?

[C]

You mean we're going to that. That joint over there?

[B]

What do you mean, joint? That's the finest roadhouse in these parts of the old Straggle Inn.

[C]

Straggle in and stagger out. Listen, I don't even come here with Dave.

[B]

All the more reason why you should see it. Such a nightlife. You got a mix? Yeah, mix. Good for you.

[C]

Do you think Dave would mind?

[B]

What? Mind? It's only his girl and his money. Come on, let's go. Well, what do you think of it?

[C]

Where do all these people come from?

[B]

They come from some of our finest families, practically.

[C]

Well, I still say we shouldn't be here.

[B]

Now, listen, what's wrong with this place? It's quiet and restful. Oh, brother. Well, don't you think so? All right, you good people. All right. I really think that was a little bit of applause. We might be able to bring about a little bit of picture added attraction here this evening. Now, sitting right over there is that Stokesbury Flash himself, Master Joe Bibi. Come on, Joe, what do you say? How about. What kind of a hustle is this here, huh?

[C]

Oh, go on, Joe.

[B]

Well, I guess you mean it. But I'm gonna hold it against you. Step right up, Joe. Thanks, Mouse. Well, what'll it be, fella? Why don't we take a little whack at that song? Don't Let that moon Get Away and wait for me on the curves, huh? A1. It's one of those nights for adventure. We ought to be recklessly gay. Who knows what we'll find? So if you're inclined don't let that moon get away. Your eyes have a way of revealing the thoughts. That you really should say. It may be romance. So while there's a chance. Don't let that moon get away. And don't let this meeting adjourn. And don't be so ready to go. For now is the right time to learn. Every young heart should know. These moments don't happen so often. It doesn't seem right to delay if you feel it too. Whatever you do don't let that moon get away. And don't let this meeting adjourn. And don't be so ready to go. For now is the right time to learn what every young heart should know. These moments don't happen so often. Doesn't seem right to delay if you feel it too. Whatever you do don't let that move get away. Thanks a lot, Joe. Lovely, lovely. Here, miss. Here, Joe. Who ordered the drinks? Compliments of a bartender. Thanks, Paner.

[C]

I can't drink.

[B]

Oh, you have to drink it. Compliments to the bartender. Hey, miss. Hey, O. Whose birthday is it? That's the compliments of the family. And there's another round coming up from One of the coup.

[C]

Oh, my.

[B]

Well, I'm beginning to see where music has its good fun. One of those nights for adventure. What are you. What are you breaking up about? What's the fun of you?

[C]

Oh, you. For a fellow who hates music. Do you know how many times he sang at that place?

[B]

Those are for you.

[C]

Oh.

[B]

Matter of fact, if you weren't Dave's girl, I'd make a big play for you. I'd tell you I love you.

[C]

Oh, you don't love me.

[B]

You're just feeling the same thing, ain't it? How you feel?

[C]

Fine. A little excited.

[B]

A glove.

[C]

Oh, it is not compliments of the house.

[B]

You know what I bet? I bet we'd get along like a million bucks, you and I. What do you like that Dave for anyway?

[C]

Oh, I don't know. Lots of reasons, I guess.

[B]

Better give me a little tumble. I'm a barrel of monkeys. You see, there I am, even open in my trap and I'm a riot. Yoo ho. You pay all the other. Run, sheep, run. 1, 2, 3, 4 on your beef steak.

[C]

Yippee. You're passing the house.

[B]

Hey, Marthy. Joe. BB delivers him safe and sound. A little bit late, Dave. Hi, Puffy. You've been waiting out for us there. Where were you? We've been on the town, old Moore taking in the sights. I was showing the little woman what she's gonna miss by marrying you. You're drunk.

[C]

He didn't buy the drinks, Dave. They just kept giving them to him and asking him to sing.

[B]

All right, Pappy. So I'm lit. I'm fracturing. Fracturing, fracturing. I took your girl out. I showed her the first good time she's had since she started going with it.

[C]

So what?

[B]

If you weren't my brother, I. Yeah, you're America's big brother. Honest, hard working. And you're stupid as a duck. Why don't you get wise yourself, you big chump. Why you.

[C]

Dave.

[B]

Oh, Dave, I. Oh, I didn't mean to do that. All of a sudden I. Go inside, Martha, will you? And I'll see you tomorrow.

[C]

He didn't realize what he was saying.

[B]

I know, I know. But go in, will you? And I'll take him home. Good night.

[C]

Good night.

[B]

Oh, come on, Joe. Come on, get up. I didn't mean it, Joe. Come on, kid, stand up. Take it easy now. We don't want to wake Mom. Oh, you should have hit me harder. Why didn't you really tag me? You should have nailed me. You know what I'd do to A guy like me, Dave, I'd shove my fist right through his chest. Why don't you hit me harder, Dave, why. Now, be quiet. I tell you, you really shouldn't have. Now, shut up. Will you go inside and I'll get you to bed. I can't see anything. The bed's over here. I found it. Quiet, Dave.

[C]

Joe, what's the matter?

[B]

Mike, get out of here.

[C]

Gosh, what happened to you, Joe?

[B]

I got what was coming to me.

[C]

Did somebody slug you? Are you okay, Joe? Oh, boy.

[B]

Mike, get out of here, will you, before you wake up Mom.

[C]

But he's in trouble, ain't he? I gotta help you.

[B]

We don't need you. Now, Mike. Get out of here. Go on, get.

[C]

Okay, okay.

[B]

Gee. Come on, get your clothes off. Dave, sometimes I turn into such a heel that I surprise even myself. You know what I was trying to do tonight? Move in on your gal. Ah. Give me a foot. I'm glad you clunk me, Dave. And you don't have to worry about Martha, boy. She's all for you. And I'm also about to. Give me your other foot. You think I'm no good, but I'm gonna surprise you. I'm gonna fix it so you can marry Martha. You watch me, Dave. When I think of what you've done for me and this family. Never squawking unless somebody gets away out of line. Gee, you're the kind of fellow I want to be, Dave. Yeah, I know, I know. Now, come on, get under the covers. Did I tell you about my surprise, Dave? Did I tell you? Yes, you told me. Good night. Good night, babe. Good night, Pat. Good night, Joe.

[C]

Going all right? I heard him opening and closing the drawers. Why, he can't be going. Where would he go?

[B]

All right, Mom. I'll speak to him. Hello, folks.

[C]

Joe, you packed a grip.

[B]

Yeah. I'm leaving, Mom.

[C]

Why, Joan?

[B]

You don't have to ask me that. Mom, I'm going to go to Los Angeles. I'm going to prove that I can amount to something. I'll fend for you and Mike the minute I get sent.

[C]

But we want you here.

[B]

Please, now, don't ask me to.

[A]

All new drinks are now at McDonald's with refreshers like the Strawberry Watermelon Refresher and the Mango Pineapple Refresher with Popping Boba. To crafted sodas like the Sprite Berry Blast with berry flavors and cold foam. Who knew ice cold drinks could be so fire six? All new drinks are here now at McDonald's.

[B]

Refreshers contain caffeine Joe?

[C]

Not. Not even for dinner. It's pot roast left over.

[B]

Sorry, Mom. Give us a kiss, huh, won't you? Well, Dave. I'm gonna ask you not to leave, Joe.

[C]

Me too.

[B]

Well, thanks, but this is what I want to do. Whatever you say, Dave. You know I don't fit into this town. I'm gonna go where I can do the family some good. You're gonna be surprised one of these days when I send for the folks and I give you that okay on marrying Martha. Well, if that's why you're leaving, Joe, you don't have to. Oh, I. I know what I'm doing. Well, you'll need some money. No, thanks. This is on me. So long, Dave. So long, Joe. Seeing you soon, Mom.

[C]

Oh, Joe, I. I wish you wouldn't.

[B]

Well, I got to. Bye. Go along, Mike. Dave. Gee.

[C]

Well, he finally made his break. I'm sorry he did, but I'm glad, too, because it'll bring out the fight I know he's got in him. His PA was the same way. Just drifted along without a worry in the world till you boys started coming. Then he dug in and worked without stopping till the day he died. God bless. I'm going upstairs.

[B]

Good night, Mom. You know, Mike, you don't realize until he's gone just how you feel about him. Good night, Mike.

[C]

Good night.

[B]

Gee, this is the Darnest family. In just a moment, our stars will bring you the second act. Why, Sally, come out from behind that magnifying glass and hunting camp. I hardly recognized you.

[C]

Shh. Mr. Kennedy, I'm a detective.

[B]

Oh? And what kind of a mystery are you detecting?

[C]

A murder.

[B]

Give us the gory details.

[C]

The pale, lifeless body was found in a trash can in an alley. One shoulder was broken and the sides were torn and mutilated.

[B]

How horrible. Did Sally Sherlock find any clues as to the perpetrator of this foul deed?

[C]

Mm. One Monday morning, I saw a girl hanging out her wash. The colors were faded, and the print dress she had on looked drab. She was drying nice slips and nighties that should have been hung indoors, right out in the bright sunlight.

[B]

So that made her a suspect.

[C]

A very good one. I followed her to market. And what do you suppose she was buying? Poison was a box of strong wash day soap. Although there was a package of luxe flakes staring her right in the face that clenched it. I knew I had to act quickly then to prevent another murder.

[B]

I hope you caught her in time.

[C]

Yes. I burst into her kitchen just as she was about to torture her Latest victim. She was putting a lovely satin slip into hot water and strong suds.

[B]

Did she plead guilty?

[C]

Of course. All the evidence was against her. The hot water and strong soap, rough handling and the faded clothes on the wash line. And poor discarded slip in the alley.

[B]

Oh, so the body was a slip?

[C]

Yes. Its color was light, its shoulder straps frayed and its side seams pulled out from careless washing. That girl was guilty, all right. Guilty of murdering her nice undies and robbing them of the long life that they could have led.

[B]

What was the sentence?

[C]

Life. I sentenced her to give her undies. Long life with gentle lux care.

[B]

But that's no punishment, Sally. With lux care, her nice under things would stay lovely three times as long as they did with hot water, strong soap and rough handling. Tests prove it.

[C]

Well, I figured she'd had enough punishment already, Mr. Kennedy. Always having to buy new lingerie only to have it fade and wear out too soon. So from now on, she'll use nothing but gentle luxe flakes and lukewarm water. And her undies will stay color bright and new looking throughout a long and youthful life.

[B]

Back now to Mitchell Lyson and our stars. As I said in the beginning of the program, we will interrupt this broadcast in the event of any important news bulletins. And now act two of Sing you Sinners, starring Bing Crosby as Joe, James Dunn as David, Joan Caulfield as Martha, and Elizabeth Patterson as Mrs. Beebe. Long months have passed and nothing has been heard from Joe since he left home. At last comes a telegram for Mrs. Daisy Beatty.

[C]

Dear mom, packed Mike's other shirt and hurry to Los Angeles. Am in the swap shop business and cleaning up. Tell Dave to get married before Martha realizes her mistake. Love joke. Mike. Mike. Joe's got a swap shop. He wants it with him. We're going to Los Angeles. There he is. Mom.

[B]

There's Joe.

[C]

Hey, Joe,

[B]

I thought you'd never get here. Hiya, Mike.

[C]

Oh, Joe, I'm so glad to see you. Hello, Joe.

[B]

Hiya, Mike.

[C]

Well, you sure did it, didn't you? Look at that suit.

[B]

Oh, you look good too. Oh, you betcha. We're in the chips now. Hey, red cap. Hey, get ahold of those bags, will ya? Yes, sir. What? A cab? Well, certainly. Why not?

[C]

A cab? Oh, boy.

[B]

Come on, come on. Say, mom, why didn't Dave get married before you left?

[C]

Well, he just wanted to be sure that everything was all right here first.

[B]

All right. You can kidding.

[C]

Oh, Joe, I'm so happy. Where do you live, Joe? You got a swimming pool?

[B]

Well, no, not yet, kid. Give me a couple of weeks.

[C]

I'm. I'm anxious to see the house, Joe.

[B]

Well, we're not going home right away, Mom. I got to make a stop first. You better get ready for the biggest surprise of your life.

[C]

Oh, Joe.

[B]

Just take a little turn right over there. Driver, pull up in front of that barn, huh? Okay, Joe.

[C]

What is this place? It's a racetrack, ain't it, Joe?

[B]

Hold your hats, folks. Okay, driver, you can wait, huh? Come on, Mom.

[C]

What in the world?

[B]

Come along now. Right over here, Mom. Howdy, Mr. Joe. Morning, Felder. How's the big boy today? Oh, he's just fine, Mr. Joe. Hear that? He's getting to know you already. Hi, Augusto. Boy.

[C]

Joe, will you please telephone?

[B]

I want you to meet Uncle Gus, the grandest racehorse that ever peeked through a bridle.

[C]

Racehorse?

[B]

Mm. Oh, God, mom, if you ever looked your fortune in the face, there it is. There's the horse that's gonna carry the three of us right into that field of clover.

[C]

You mean it's ours? Really ours?

[B]

Front and back. Oh, boy.

[C]

Why, Joe, you mean to tell me that you can afford to keep a racehorse out of what you take in at the swap shop?

[B]

Swap shop? I have some news for you. I swapped it.

[C]

You swapped it for what?

[B]

Uncle Gus.

[C]

But where are you working?

[B]

Right here, training Uncle Gus.

[C]

You get paid for it? No. Well, where do you make your money?

[B]

Well, I'm not making any right now, but soon as Uncle Gus starts racing, it'll only be a couple of months.

[C]

Joe, do you realize that you sent for us, told Dave to get married, told us to sell the house.

[B]

Nothing to worry about, Mom. Things might be a little tight for a while, but we're loaded. I got a nice little house, two months rent paid, credit at the market, credit for Uncle Gus's feed bill.

[C]

Sure he don't need a job. We got a racehorse.

[B]

Sure.

[C]

Can I ride Uncle Gus, Joe? Can I be a jockey? You shut your trap, Joe. Are you crazy? What are you going to do when your credit runs out? Are we all supposed to move in on Dave and Martha?

[B]

Never happened. Never happened. Now, believe me, mom, you gotta take a chance if you're gonna amount to something. And my chance came.

[C]

Yes, your chance came, and you traded yourself right out of it. Just the same as you've done ever since you were old enough to have a thought in your head.

[B]

Don't worry whatever you do, mom, don't worry. Say, you got a dollar for filter. Got to keep him eating. Oh, dear. Mr. Buck will be in there. Thanks, Mom. Here you are, Fell pork chops tonight, boy. Thank you. Keep Uncle Gus in good shape. Stay right under them hind feet. Yes, sir. All the time. Come on, Mom.

[C]

Don't you want me to stay here, Joe? Don't you think I ought to stay with Uncle Gus?

[B]

Oh, no. We're going home. That is, if Mom's got the cab. Fair.

[C]

Now listen here, Joe.

[B]

Oh, now stop worrying, Mom.

[A]

Come on home.

[B]

We'll talk it over. There's the living room, Mom. That's the dining room over there behind that screen. I know it isn't much of a place, but will you stay, Mom?

[C]

Please? There's nothing else we can do. And remember this. I'll say we'll stay. Look at me and Uncle Gus. I'm coming around the turn. I'm coming like a house of fire. I'm way ahead. Stop it, Michael. I say, remember this.

[A]

As far as they all new drinks are now at McDonald's with refreshers like the Strawberry Watermelon Refresher. And the Mango Pineapple Refresher with Popping Boba. To crafted sodas like the Sprite Berry Blast with berry flavors and cold foam. Who knew ice cold drinks could be so fire six? All new drinks are here now at McDonald's.

[B]

Refreshers contain caffeine.

[C]

Even Martha are concerned you still have the swap shop and you're earning money. They mustn't find out the truth. Do you understand?

[B]

Yes, Ma.

[C]

Because no matter what happens to us, you're not going to ruin things again for them. Can you imagine that? All upset when we got us a racehorse. Mom, if I didn't know you so well. Yes, I'm afraid we all know each other too well.

[B]

Hello, Mom. We're back.

[C]

Hiya, Mom. What's for supper, Mom? Ouch. There's a stew for supper, as usual. Did you get that fool horse entered in the race yet?

[B]

Fool horse? That's fine talk. Only Today he breezed 3/4 and one 14 flat high.

[C]

14. I asked you a simple question. When is Uncle Gus going to run?

[B]

In a couple of weeks. He shall parade postword. We've got to wait for our spots.

[C]

Yes, it's been a couple of weeks for the last two months. Michael, I told you not to clean those jockey boots in the kitchen. We're going to leave this house like we found them.

[B]

Oh, my. Hey, that's right, isn't it? We get kicked out of here in three days, don't we?

[C]

Yes, in three days. And you sit there like a king reading that crazy horse Paper. Do you realize we won't even have a roof over our heads?

[B]

Yes, maybe so, but in a couple of weeks we'll be right back on top again.

[C]

Yes, on top of the bread line. Oh, actually. And Michael, tell him we'll pay you next week. Okay. I'm getting good with that yarn. There's just one thing I can be thankful for. That Dave and Martha don't know what's happening here. If Dave ever found out.

[B]

Now, wait a minute. Nobody's gonna find out about anything. Hiya, son.

[C]

Well, looky here. Oh, hey, Mom.

[B]

All right. I don't know. Well, I mean, act just like those letters you wrot.

[C]

Everything's fine.

[B]

Get it and I'll stick to it.

[C]

Stay in there and pick.

[B]

Don't weaken, Mom. Don't weaken.

[C]

Joel, are you married? Are you on your honeymoon? Better yet, we're going to be married right here. Oh, that's so sweet of you. I did so want to see the wedding.

[B]

Well, that's what we thought. The whole family, you know.

[C]

Hey, Dave, if you heard the news, Joe's got himself a race. Ouch.

[B]

What's the matter, Michael?

[C]

Go, go straighten up your room. Oh, he's so darn fidgety. Go on, go on. Okay.

[B]

Well, how do you like the house? Oh, it's quite a place. Yeah, we're going to build a house ourselves pretty soon.

[C]

When do you have to go back? Only four or five days. Oh.

[B]

What's wrong?

[C]

Oh, nothing. Only we are moving in three days in. What the matter with this?

[B]

Well, it's kind of small. Say, you must be a one man riot around this town. Doing what? Say, how about getting married right here, huh? Throw a little feed somewhere so nobody will have to cook wine with the glove maybe, huh?

[C]

That sounds great.

[B]

Yeah, it'll kind of be kind of nice being all together again. Oh, say, Joe, I got a laugh for you. I brought all our old instruments along so you can dump them in the swap shop. The accordion, the clarinet and your guitar. Sure feel good to know they're gone, huh? Yes,

[C]

Dave, look at me. Our own color.

[B]

Hey, Michael, what's the idea of the jockey suit?

[C]

Look, Dave, I'm coming into the stretch. It's Uncle Gus by a head. Uncle Gus by a length. Uncle Gus blown away. Look at me go.

[B]

Hey, what is this? What's the idea?

[C]

Well, that's what I wanted to tell you. I'm a real apprentice jockey now, and I'm gonna ride Uncle Gus that Joe traded for his swap shop and I'm gonna win on him. Too. Cause we gotta win on him. And I kind of get kicked out of this place. Can you stay and see me ride, Dave?

[B]

Can you shut up? Well, Joe, what's this all about? Well, there's nothing much to tell except that we've got this Uncle Gus good at the swap shop. We've got a chance to make a lot of money, though. And you're going to get kicked out of here.

[C]

David, I. I don't think we ought to burden Martha with any family troubles.

[B]

This is a great thing to walk into after planning like we did. Martha, you step outside for a few minutes, will you?

[C]

Certainly. But, Dave. No matter what.

[B]

Please, Martha.

[C]

All right, darling.

[B]

Now, David, I think it was nice reading your letters. How well Joe was doing.

[C]

Well, I thought it was better.

[B]

Yeah, better. Better to lie instead of telling me the facts that Joe's no better than he ever was. That he can no more take care of a family than he can fly. Well, what are you using for money? Well, as a fellow, we have credit. Yeah, sure, we got. Well, and who's going to pay off? I am, soon as my horse starts the running. Joe, if I thought it'd do any good, I'd sock you right in the kisser. All right, now, where do you stand? And how long can you hold out? Well, it's like this.

[C]

Well, Dave, what's the bad news?

[B]

Can you imagine a guy like that sent in for his family?

[C]

They're broke, aren't they're?

[B]

$400 in debt, not a chance to pay off. And Mother and the kid living on beans.

[C]

What are you gonna do about it?

[B]

Well, there's only one thing to do. Stay here and get them straightened out.

[C]

And me.

[B]

Oh, well, maybe it won't take long, Martha, if you'll only wait.

[C]

Oh, but why? Let's be married tomorrow, just as we planned. And I can stay here and help

[B]

drag you into this mess. Marry you into a family that won't even have a place to hang its hats.

[C]

I'll get a job. That'll help some.

[B]

Can't you understand, Martha, that the one thing I want to do is to give you that house and everything we've talked about. But marrying you now, moving you into a lot of trouble. I'm not going to do it.

[C]

Oh, Dave, you don't think the way I do and never will. Because if you did, you wouldn't care what was happening. You'd only know that you love me. And nothing on earth could stop you from marrying me.

[B]

Martha.

[C]

Oh, they'll never change this family. And I Love them for it. I'm going home now, Dave. And I don't want to hear from you until you realize that they're going to be just as much a part of our future as we are. Trouble and all. You'd better find that out in a hurry, Dave. Goodbye, Dave. Where's Martha?

[B]

She's gone. And I don't blame her. Why, after what you've done? You pull that? Joe, if I did half what I wanted to do, I'd kick you all the way back to Stokesbury. I've lost Martha. I'm losing my job on account of you. And now I'm almost losing my mind. Now grab that guitar and stand up. What's wrong?

[A]

Go on.

[B]

You too might get your accordion.

[C]

What did I do? It's not what you did.

[B]

It's what you're gonna do. Now play.

[C]

Play what, Dave?

[B]

Play anything. Okay, Joe, you sing. Sing before I ram this clarinet down your throat. Now, we're gonna rehearse, Steve, and we're gonna get a job. I'll put this family back on its feet if I have to break everybody's leg doing it. Now.

[C]

Louder. I'm.

[B]

Louder. I am. A small fry. Strutten by the pool. Small fry should be in the school. My, my, put down that cigarette. You ate a grown up. High and mighty yes. Small cry dancing for a penny. Small fries counting up how many. My, my. You just listen here to me, ranger. Biggest catfish in the sea. You practice packing all day long. Do some old radio songs. Oh, yes. Oh, yes. Oh, yes. You'd better listen to your PA someday. Practice along and then you'll be a real success. Small fry, you kiss me. The neighbor's daughter. Small try get on back into shallow water. Seems that I should take you cross my knees you ain't the biggest catfish in the sea. You got your feet all soaking wet. Land, you'll be the death of me yet. Oh me, oh my. Small cry. Smash. Huh, Dave? Well, I don't think so. Every night I work on this joint, I feel more like cutting my throat.

[C]

Oh, yeah?

[B]

But when Uncle Gus wins tomorrow. Oh, boy, will we be loaded winds. Well, it's a sure thing, I hope. What do you say, Mike?

[C]

Well, Joe, I've been excited so long thinking about riding Uncle Gus, but now I'm kind of shaky.

[B]

But.

[C]

But I'll be all right tomorrow.

[B]

Where are you going?

[C]

Well, that manager guy said he wanted to see me. I'll be right back.

[B]

Now, what would the manager want to see Mike for? Oh, come in, Mike.

[C]

Yes, sir.

[B]

I want to meet a friend of mine, Harry Ringmer. How are you, son?

[C]

Glad to know you, sir.

[B]

Mike's the kid I was telling you about, Harry. He works for me here and he has his jockey papers to ride his brother's horse. Sit down, kid. What's the matter? You nervous? No, sir.

[C]

Just, you know, riding my first race tomorrow.

[B]

Mr. Ringman's got a horse in that race, too. Mr. Banks.

[C]

Oh, Mr. Banks.

[B]

A good horse, but ours is better. Think you'll win, huh?

[C]

I got to.

[B]

Why?

[C]

Well, we already caused my brother David a lot of trouble and his girl and just. Just family reasons.

[B]

No. That's too bad.

[C]

How do you mean?

[B]

Well, you're plenty green, kid. Lots of things can happen out there to spoil your cake. For instance, the rail. Well, what about the rail? Well, when the other boys start crowding, it's tough going. I've seen a tear of kids like right out of the socket. Throw him under the horses.

[C]

Well, I ain't afraid.

[B]

They need that dough. Don't you?

[C]

We sure do.

[B]

Well, there's a way of turning a race into a sure thing sometimes. You know what I mean?

[C]

That's what my brother Joe likes, a sure thing.

[B]

Got a smart brother, kid. He knows what he's talking about.

[C]

He's smart, all right.

[B]

Sure he is. We can help your family out by taking your brother's tip. No worry about losing the race. No risk, no nothing. Just play the sure thing, huh? Now, look, you've got $400 coming to you if you win. I suppose another horse crowds you. What if you get pocketed and shoved up against the rail? What have you got? Nothing. Now, look. Ever see one of these before? No, sir. A hundred dollar bill. Well, that's yours. And three more like it tomorrow if you don't.

[C]

If I don't win.

[B]

Hey. Here. Like your brother says, the sure thing. You want to help your family, don't you?

[C]

Yeah, sure I do.

[B]

Okay. Al, would you mind stepping outside for a minute? Not at all, Harry. Not at all. Thanks. Now, look, son.

[C]

Hey, Al. Al.

[B]

You see Mike? Any place, Mike? Oh, yeah. He just went back to the dressing room. Thanks, Joe. Wait. Huh? How do you think Uncle Gus will do tomorrow? Oh, he'll grant a gallop. Of course, if you were a gambling man, I'd take you up on that. I'm sorry, Al. I don't bet. What kind of odds? 2 to 1. It's as good as you get at the track tomorrow. Maybe better. Oh, yeah? Well, boy, you ought to be a little more careful with your gold. This Uncle Gus, just your thing. Well, if that's the way you feel, go on, put your hay in the bank. Anyway, I wouldn't bet if couldn't bet. No chance. I haven't got a dime. What difference does that make? You're working, aren't you? You get paid every week. Hal, are you serious about this? Sure. I want to bet against your Uncle Gus. I'll put up plenty too. Hal, I wouldn't do this, only, you see, I'm sort of on my good behavior, if you know what I mean. Well, a sure thing's a sure thing. Okay, you gotta. We pause now for station identification. This is cbs, the Columbia Broadcasting System. We'll be back in just a moment with actual three of Sing, you sinners. Meanwhile, listen to this.

[C]

Butter, 24 points a pound. Loin of pork, 12 points. And a porterhouse steak, when I can get it is 10. Even margarine's up to 12 points. Why, remember when that's all butter costs? I just don't see where I'm going to get enough points for it all.

[B]

Cheer up, ladies. There are extra red points waiting for you at your butcher's. Two points for every pound of used fat you turn in. I know it's hard to save more fat when you're getting less meat, but it can be done. Here's how. First, keep your salvage can handy near the stove where it'll be ready to receive every drop. Then, after you've poured fat into the can, scrape the roaster, broiler or frying pan with a spoon to get what's left in the corners. And don't forget to melt down those scraps of fat left on plates at the table. If you like boiled ham or frankfurters, set aside the water you've cooked them in and let it cool. Pretty soon you can skim quite a bit of soft white fat off the top. Poultry, too, yields a lot of fat. A point free source of extra tokens if you don't use it in baking. All these things mount up, help you get more red points and at the same time help supply the government and industry with thousands of necessities for the war and home fronts.

[C]

But do they still need so much fat? The war seems to be going so well with victory in Europe so close.

[B]

But don't forget, the Japs still hold many of the oil producing Pacific islands. And even on the ones we've just liberated, it'll be quite a while before they get into production again. So this year it's up to us at home to turn in 100 million more pounds of fat than we did last year. Surveys show that six out of seven women aren't salvaging all the used fat they could. And only if everyone does a hundred percent job will there be enough to meet the demand. The government especially urges housewives in small communities or rural sections to ask their county or home demonstration agent where to turn in the fat they've collected. Remember, our country needs every drop from everyone. We return you to Mitchell Lyson. As I mentioned before, we will interrupt this broadcast for any important news bulletins. Be sure to join us after the play tonight and we'll take you backstage for a brief talk with Bing Crosby and his co stars. And now, here's Act 3 of Sing you Sinners with Bing Crosby in the role of Joe. James Gunn as David, Joan Caulfield as Martin, and Elizabeth Patterson as Mrs. Beatty. The afternoon of a big race. Three minutes before the horses go to the post, just outside the jockey's dressing room, the gambler Ringmer waits for Mike. As the boy comes through the door, Ringmer grabs him quickly. Just a second. Oh, hello, Mrs. Ringer. How do you feel? Kidding.

[C]

Fine.

[B]

Another 300 bucks is waiting for you.

[C]

Yes, sir.

[B]

You know what else is waiting for you? They're trying to get funny.

[C]

What do you mean?

[B]

It'll be the last trick you ever try on or off a track. Now remember that.

[C]

Yes, sir.

[B]

All right, Peter.

[C]

Yes, sir.

[B]

Hey, boss. Pete. Did you get the bet down?

[C]

Oh, sure.

[B]

I got the whole three grand covered at two to one. Nobody got wise. It was my money. Ah, we got six grand in sucker money the minute Mr. Bank wins. Are you sure that jockey and Uncle Gus won't cross you scared to death. Even if he does try to pull anything. Smart. My jockey, he'll take care of me. Come on, let's go. Hey, this is the only way to pet on the. Riders.

[C]

Ready?

[B]

Two minutes. Everything okay, Mike?

[C]

I guess so, Joe.

[B]

Listen, don't get excited. You just pretend it's a regular workout, see? Of course. Don't go forgetting it's a race now to sort of, you know, just relax.

[C]

Yeah, Joe, sure.

[B]

What's the matter with you? You feeling funny?

[C]

No. The only reason we want to win is the money, ain't it, Joe? We sure need the money, don't we?

[B]

We need the money all right. More ways than one.

[C]

How else do you mean?

[B]

Well, I wasn't going to tell you because I didn't want to get you upset, but I bet our next 10 weeks pay against $2,000. If we'd win It. Joe, this is awful. What?

[C]

I know it's wrong, but I was only trying to do like you always said. The sure thing, Joe. You know the sure thing.

[B]

How did you do? The man that owns Mr. Bank has

[C]

given me $400 to lose the rush.

[B]

What are you talking about?

[C]

It's terrible, ain't it, Joe? But we needed the money.

[B]

And like telling me what I said.

[C]

Shut up.

[B]

Come on, get up there. Look, Mike, I've done some wrong things myself. What you've done is. That's cheating. You can see that, can't you?

[C]

I got mixed up, Joe.

[B]

Mike. But whatever we do, we can't do anything crooked. We mean too much to each other, this family and everything that if one of us gets in a jam, why, it's gonna hurt all of us. What if mom found out, Mike?

[C]

I see what you mean. I just didn't have it straight what you meant about the sure thing.

[B]

It's all my fault. Here I am trying to tell you what's wrong and I'm out betting yours and Dave's share. 10 weeks pay.

[C]

You were just trying to make money

[B]

for all of us. Well, I wish you wouldn't feel that way of mine, Mike, because I'm wrong lots of times. But I gave you this bad steer without meaning to. Now, maybe it'll be better if you figure these things out for yourself in the future, huh?

[C]

Whatever you say is okay with me, Joe.

[B]

All right, then. Now let's go on out there and win this race, huh?

[C]

But I already got that hundred dollars here. I didn't know where to hide it.

[B]

I'll take care of it. You just go out there and win the race.

[C]

You'll stick with me, won't you?

[B]

You'll stick with me if anything happens, you're darn toot.

[C]

That's swell. You just watch me. We'll show you, me and Uncle Jackson. Dave. How's everything, Joe?

[B]

Oh, everything's great. Fine.

[C]

Don't Mike look cute sitting up there all alone?

[B]

Yes. I hope you don't finish that way. Hey, Dave. What? Dave, come here a minute. There's liable to be trouble if our horse wins with you coming out the barn after the race. Why? Well, ringmer's paying Mike $400 to lose the race to Mr. Bank. And I just told Mike to go on up and win it. But why in the world. All my fault. Now he thought he was doing what I'd do. He's trying to get some money for us. Look, what's so important about this race? The first money doesn't amount to a hill of beans. And we haven't got any bets. Or have we? Well. Yes, Dave, we have. How much? Look, Dave, I hate to tell you this. How much? Well, 10 weeks salary can reach them. Don't get so. I ought to break your neck. I know.

[C]

Say, what are you two talking about?

[B]

Oh, nothing, Mom. Nothing at all. We just.

[C]

We just

[B]

in the starting game. It looks like a start. And there they go. Into the back stretch. It's Mr. Bank in front by half a length. On the inside, Sandy man on the outside is set to by a wing to the half. Kick from Mr. Bank in front of the railway. Dueling Sandy Mann on the outside. A six of our wing tonight. Uncle Bus is third, but we have to Dan Curry in fourth. And Uncle Bus is moving up on the side. Uncle Bus's second by a win and standing at his third, He won't cross us. They're coming into the space. It's Mr. Bank and Funko and a Half. Uncle Gus is second, Violet and Banksy is third. It's Mr. Bank and Uncle Gust and. Right. Well, Mike, you. You sure rode a great race. I was scared, Joe.

[C]

They shoved me into the rail, so I shut my eyes. But I won, Joe, didn't I? Huh?

[B]

Oh, it was great work, Mike. Great.

[C]

Hey, look, there he is. Joe Ringler. He's got a guy with him.

[B]

Come on, you got nothing to worry about, See? Just. Just keep going. Hello, kid. Nice race. My brother's gonna give you back your hundred. I'll take care of this, Mike. Here, Mr. Ring. This belongs to you, doesn't it? The next time you get some extra money, you'll have to find a better way to spend it. We don't go for that. Yeah, that's right. Glad you like the race. Come on, Mike. Come back here. You leave that kid alone. Grab this guy, Pete. No, you don't.

[C]

Look out, Joe.

[B]

Why are you out, Ken? I'm gonna teach you what it means.

[C]

Come on.

[B]

Run, Mike.

[C]

Dave. Dave, help. Shut up.

[B]

Hey, Mike, where are you? Over here, Dave. Come on, take him. Get in there. Take your hands off that kid. All right, sucker, you ask for it. Keep after him, Dave. Work on him, boy. Ten of your own cooking.

[C]

I gotta help with all my.

[B]

Don't fight me with you,

[C]

Mike. What's the matter? What's the matter? Fight, Mommy. Just fight. Can't you see? Oh, Dave. Joe, are you winning?

[B]

We ain't losing. Here's another one for luck, you bum.

[C]

Yeah. How do you like this mischief? Oh, all right, all right.

[B]

All right.

[C]

There you are.

[B]

All right. Okay. Have enough? Let me. Hold on. Go on, get out of here. Take it on the arm.

[C]

Look at him.

[B]

Oh, boy. Well, Dave. Dave, I guess we took him all right. Yeah, we sure did. We sure.

[C]

Go.

[B]

Dave.

[C]

Dave. He fainted. He fainted.

[B]

Dave, get up. What's the matter with you? What do you want to go and do. Now? Let's see. We got to figure this out. We won $2,000 on the bet.

[C]

That's right.

[B]

425 on the win. And $37 that we had saved up before, huh? That's 7. And 5 is 12 and 6. $2,462.

[C]

Wow. We're millionaires. And you're still earning a hundred dollars a week with your music.

[B]

Oh, that's out. We're quitting tonight. But why? Well, Dave's pulling out to see if he can get set somewhere. And I figured we'd take Uncle Gus east to the big races. We don't need music anymore.

[C]

I see.

[B]

Keep moving. That's the ticket. New faces, new places mix.

[C]

Maybe buy another horse, huh, Joe? And start a big time stunt.

[B]

Not a bad idea. We'll be in that winner's circle and come Kentucky one of these days. Well, suit yourself. You're on your own now. It's a cinch. We're really going to town, huh?

[C]

Yep. Old quick money. Joe, you haven't asked me what I'm going to do yet.

[B]

What do you mean?

[C]

Well, you're quitting your music even though it pays you the best steady money you'll ever earn in your life just because you've had one lucky day. Day's going one way and you going another.

[B]

Oh, but with you and Mike, not with me, huh?

[C]

I'm telling you, I've raised the three of you and I know you'll never amount to anything unless you stick together. Now what happens? David's trying to run away from himself just on account of a little trouble with Martha. And you're going hardwired in a silly business that'll break you flatter than a pancake. What if Uncle Gus gets a stomach ache? What if he got thin? Even Michael can't talk about anything but racehorses and tracks and sure things. What's he going to grow up to be?

[B]

Be?

[C]

Now, I mean it. If you boys walk out on your job, I'm walking out on this family.

[B]

Oh, mom, you're crazy.

[C]

Thank you.

[B]

Well, I don't mean you're crazy, Mom. Of course I don't mean that. But we. We know what we should do, Mom.

[C]

All right, I'm leaving.

[B]

Oh, but Mom. Mom, you shouldn't act like that. You need someone to take care of you.

[C]

I'll take care of myself. Don't worry.

[B]

Ah, but listen, maybe we can figure this thing out, Mom.

[C]

Not the way you're figuring. Now, I'm going upstairs and pack.

[B]

Well, gee, I wonder what's come over her.

[C]

She sure acts like she means business.

[B]

Well, I guess there's only one thing to do. Telegram, Miss. Sign here.

[C]

Oh, thank you. Dear north, we and our music are going to stay in Los Angeles. Please come back and marry the four of us. Love, Dave.

[B]

I wouldn't take all the wealth on Wall Street For a road where nature tries. And I calculate I'm worth my way in gold and R. Lucky me, I can live in luxury cause I've got a pocket full of me. My stars return for their curtain calls in just a moment. Whose picture is that, Libby? A new ball?

[C]

Uh huh. He's all of three months old.

[B]

A little too young for the army yet, isn't he?

[C]

Yes, but the world's affecting his life too. Just the other day his mother says. Oh, honestly Libby, you've no idea the time I'm having getting diapers for my offspring. Why, I've combed every store in town and I still can't get enough.

[B]

What did you tell her, Libby?

[C]

Why, that the army needs 136 yards of cotton material per year to equip every soldier from his overseas cap to his socks. Now that's enough to keep three babies well dressed. So wartime infants just have to get along with less.

[B]

Hasn't the government done anything about it?

[C]

Oh, they're even investigating the situation in Congress. But there just doesn't seem to be enough cotton to go round.

[B]

What's the poor girl going to do?

[C]

Well, I gave her one tip that'll help her stretch the supply she has. I told her to luxem so they'll stay soft and comfortable longer. That way she can use the same ones over and over again. Get along with two dozen instead of three.

[B]

Sound advice, Libby. These days, when so many things babies wear are hard to get, it's extra important to take care of what you have. Use safe, gentle luxe suds for everything that touches his tender skin. Never use harsh soaps that may leave a film of irritating alkali. Lukewarm luxe suds keep babies pretty colored dresses and sweaters new looking longer too. Use gentle luxe flakes for all babies things. Here's Mitchell Lyson, our guest producer. As a producer, I'm going to venture a prediction that in the future you'll hear a lot about one of the young stars in our cast, supported by Elizabeth Patterson, Joan Caulfield and James Dunn. You know, he's shown real promise on our stage tonight, Bing Crosby. Mitch, do you think this might open up something for me in the Dr. Gillespie series? Well, Lux has a way of making stars and flakes.

[C]

You mean, Mitch, that for Crosby there

[B]

is hope and for hope there's Kelowna? All Well, Bing, I can give you some encouragement. So, so far as pictures go, last time I left this stage, I got a call from Fox to take the part of Johnny Nolan and the tree grows in Brooklyn. And Jimmy, when you leave this stage tonight, I hope you get another phone call for as big a part. Speak for me, too, won't you, pal?

[C]

Actually, Mitch, Bing doesn't have to worry whether he clicks in radio or pictures. He has other interests.

[B]

You mean horses? Elizabeth, Bing's horses aren't an interest, they're a liability.

[C]

Elizabeth means Bing owns part interest in a fighter.

[B]

Oh, I get it. You mean his company made the great John L. Tell us about the picture, Bing. Well, I'm afraid, Mitch, people might misunderstand. I wouldn't want to stoop to crash commercialism on this. Well, if that's the way you feel about it. Of course, if you're going to press me, I. No, no, no, no. You have a right to your high principles. But I bet you have a winner in that picture, Bing. If he hasn't, he's back in that same old betting groove. James, you know I never bet. No. Of course, I occasionally see a chance of parlaying a handful of greenbacks into an acre of lettuce or two. I take the bite, I plunge, I sail, I go. That's not betting. No, that's double talk. But tell me, what do you have in the way of a winner on Lux? Next Monday night, mates. Next week we bring you from 20th Century Fox the story of a great man and a great dream, Alexander Graham Bell with June Dupre and Don Amici. Among the many colorful sagas for America, few have as much suspense and romance is the life of the great inventor who enabled man to speak to his fellow men in every corner of the globe. I wouldn't miss it, Mitch. Thanks and good night. Good night. Good night and all our thanks. Our sponsors, the makers of Lux Flakes, join me inviting you to be with us again next Monday night when the Lux Radio Theater presents Alexander Graham Bell with Don and Ichi and June Dupre. This is Mitchell Lyson saying good night from Hollywood. Senior Sinners was presented through the courtesy of Paramount Pictures, whose current production is Salty o', Rourke, starring Alan Ladd and Gail Russell. Mitchell Lyson's next picture to be released for Paramount is Kitty. James Dunn appeared through the courtesy of 20th Century Fox. Our music was directed by Lewis Silvers. Bing Crosby appeared through the courtesy of the Kraft Cheese Company. Tune in again next Monday night to hear Alexander Graham Bell with Don Ameche and June Du Prey. It's strawberry time.

[A]

Now.

[B]

Treat your family to luscious strawberry chiffon pie. Tender, delicate shortcake made the spry way. Clip sugar saving recipes from Spry's ad in leading women's magazines for May. And remember that big word for baking and frying success. Spry. That's right. Pure all vegetable shortening at its creamy best. Spry. Be sure to listen in next Monday night to the Lux Radio Theater presentation of Alexander Graham Bell with Don Ameche and June Dupre. This is cbs, the Columbia Broadcasting System.