 Hollywood, California, Monday, May 31st. The Lux Radio Theater presents Frederick March and Gene Arthur in the Plainsman. Ben Hollywood, the makers of Lux Toilet Soap, appreciate the enthusiasm you have shown for this fine-duty care used by nine out of ten Hollywood stars. It is your regular purchase of Lux Toilet Soap that enables us to bring you this program. Our stars tonight are Frederick March, Gene Arthur, Porter Hall, Joan Fontaine, and Paul Harvey. Our guests, Sidney Skolsky, famed for his reports from the Hollywood news front, and Marie Osborne, Ginger Rogers Standy. Our producer, Cecil B. DeMille. Our conductor, Louis Silver. From our theater on Hollywood Boulevard, we greet you all to another hour in the Lux Radio Theater. Lux Toilet Soap is snow-white, pure mild. It couldn't be a better soap if it cost a dollar a cake. It has active louder that removes cosmetics thoroughly, guards against the little blemishes, dullness, enlarged pores that mean cosmetic skin. May I read you a typical letter from an enthusiastic member of our listening audience. I've had so much enjoyment from the Lux Radio Theater that I'm enclosing these Lux Toilet Soap wrappers just as a proof of my loyalty to your fine product. I've used Lux Toilet Soap since I first started to college and found out that Lux was the soap that most of my sorority sisters were using. Now that I'm married and my husband and I travel almost constantly, I'm especially grateful for Lux Toilet Soap. It gets off the travel dust gently and thoroughly, cares perfectly for my sensitive skin. And now our producer, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Last week I announced that Gary Cooper would be with us tonight to star with Gene Arthur and the Plainsmen. For two weeks, Gary's been working in the water, making scenes for souls at sea. The result is a severe cold and a high temperature. But ignoring both, Gary has insisted on rehearsing. He protested to his position that we have a show to put on. And that, sec or not, his place tonight is here at the microphone. It wasn't until late last night that we succeeded in talking him out of it. He finally gave in. And at this moment, his home and in bed. I know you all joined me in wishing him a speedy recovery. Stepping into the breach with a graciousness, characteristic of a true friend and great actor, is Frederick March. The part of Wild Bill Hickok is rather close to my heart. I entrusted to Mr. March with gratitude and the complete assurance that in his hands it awaits only new honors. And now a word about our story. On the 9th of April in 1865, Generals Lee and Grant met at a farmhouse in Appomattox, Courthouse, Virginia, and with quiet simplicity, signed a document whose words had been written in the lifeblood of nearly 500,000 Americans. The war between the states was over. The signatures were scarcely dry when the eyes of the nation turned westward and saw beyond the Mississippi a fabulous empire, yet untamed, a land of thundering bison herds and savage Indians. Into this territory poured the legions of Americans whose faith and fortunes had been scattered by the war and the hordes of immigrants who flooded from Europe to stake their homes on the sweeping plains. Some found peace, some found riches, and some found death at the point of six shooters and scalping knives. For there was no Sunday west of Junction City, no law west of Hayes City, and no God west of Carson City. Out of this background was born the Plainsmen, the first of a series of pictures based on the magnificent pageant of American history and its unsung heroes, a series which I am continuing with the story of Jean Lafite the Buccaneer. Frederick March will again star for me in the role of this amazing pirate. Wild Bill Hickock was not an outlaw. He was a frontier marshal, gentlemen, and a keenest shot in the west, and always in his shadow was the equally compelling character of Calamity Jane. My good fortune in securing Jean Arthur's Calamity in the screen version is repeated tonight. No star is better equipped by nature and ability for this colorful role. Also from the original cast comes Porter Hall, resuming the role of Jack McCall. Mr. Hall's current Paramount film is Make Way for Tomorrow. Joan Fontaine, a young actress rapidly rising at RKO Studios, plays Louisa Cody, and Paul Harvey is heard as Yellow Hand. And now we set our course along the trail of the pioneers to the west. The applause of our Hollywood audience greets the rising of the curtain as the Lux Radio Theatre presents the Plainsmen, starring Frederick March and Jean Arthur with Porter Hall, Joan Fontaine, and Paul Harvey. Among the soldiers who turned their faces homeward at the close of the war between the states was a man known to his friends and to his enemies as Wild Bill Hickock. His face was not turned toward the rolling pastures of the east, but toward the rugged hills and sweeping plains of the unborn west. At St. Louis, on the banks of the Mississippi, a riverboat is ready to leave for Leavenworth. Still wearing his army coat, Bill Hickock sits on the wharf, his long legs straddling a pile of luggage. A small boy eyes him with frank interest. Soldier in, Mr. I'm all through, Sonny. The war's over, didn't you hear? Yeah, I hear it, but I don't take no stock, Nip. What about your name, B. Mr.? Well, it might be Bill. He ain't Buffalo Bill, are ya? No. Well, I'll tell ya. If I wasn't myself, I'd just as soon be Buffalo Bill, as he's a great scout, Son. You know, I saw him shoot at a hole, heard of Buffalo once. I thought he'd miss, but two started coughing and fell down dead. He'd shot through them both, and he made the dust cloud up a mile and a half away on the other side. Gee, Willakon. You know, that's the kind of shooting I aim to do. I can shoot pretty good now with my slingshot. Watch, Mr. Hey, it's all right, Sonny. That whistle is just a half minute wrong. Gee, that's a Jim Dandy watch he got there, Mr. Plays a tune, too. Listen, cute, isn't it? You're stuck in the cage? You're dressed like a scout there, and so's that girl with ya. Is she your sister? No, no, that's calamity, Jane. Oh, I guess you're kind of looking out to see her again, ain't ya, Mr. I'm looking out to miss her. Listen, Sonny, you know what an Indian will do to you, but you never know what a woman will do. Well, if you don't like her, then what do you carry your picture around for? Well, you see, it's the best picture of me I ever had made. And if I cut her out, I'd cut off part of my chin. Get off that box, son. All right, you men, throw those boxes on the boat and be quick about it. Yes, sir, Mr. Latimer. Yes, sir. Come on, come on, put your shoulders forward. Hey, you better move out of the way, son. Seems to be a powerful, heavy shipment of farming tools going out to Hayes City. Says John Latimer on the boxes. Wanna see me hit the O in John? I need a mighty good target. Say an Indian or a hold-up man. But if you... What you looking at, mister? I'm looking at a right good fighting man over there who's been full enough to get himself married. Let me a slingshot, sonny. Now you watch it. What's that slingshot? Well, I reckon I did. Bill, why are you long-legged for Gaisha's old galanipa? What are you doing here? Just a minute, Bill, here's the fellow who'd like to be introduced to you. Boy, you wouldn't know him in those tin-horned garments he's wearing. But here's the best scout west of the Mississippi. Shake hands with Buffalo Bill Cody. Buffalo Bill? Thanks, dear. You must it out yet, Bill? Yesterday. Well, you're not losing any time going up the big muddy. How long have you been out? Oh, about three months. Well, I see your wife hasn't cut your hair yet. But don't quite know what you mean, Bill. You heard what happened to Samson after that Delilah woman opened up her barber shop. Has she tamed you yet? Now look here, Bill. That ain't fair. She's different. You're different. Oh, better hurry. They're calling all aboard. Wait a minute, Louisa. I want you to meet the best friend a man ever had, Mr. Bill Hickock. Bill, this is my wife. Oh, I'm so glad to meet any friend, Bill. How'd you do, ma'am? Will, they'll be going. Come on then. Is Miss Cody going west with you? That's a crazy question, Bill. Of course she is. Well, ma'am, it's a good country for men and mules, but it's hard on women and fine horses. Mr. McCall, over there by the rail. Bill Hickock? Wild Bill Hickock. They say he can hit a dime at 30 pieces. I'd like to meet him. He's a father to have as a friend. Even though, Mr. Hickock, I'm Jack McCall. Take all the best to be traveling with you. Glad to know you, Mr. McCall. Oh, thanks. Hey, uh, toothpick's on fire. What? Oh, that ain't a toothpick, Mr. Hickock. It's a new fan. Cigarettes, they call them, back east. Cigarettes, eh? Well, it's on fire. Oh, good evening, Miss Cody. You think we'll reach Leavenworth tomorrow? Well, ma'am, with all the variable things in creation, the most uncertain are the actions of a jury, the state of a woman's mind, and the condition of the Missouri River. My mind isn't uncertain. I'm going to help, Will. Don't you believe I can? Well, I don't know, ma'am. He killed his first Indian when he was 12. At 14, he is riding Pony Express. He's one of the best natural scouts on the frontier. Now that some folks has taken his selling guns to the Indians, he might be needed where you can't be any help to him. Will's promised me to give up scouting and killing Indians and all that nonsense. The West is in his blood, ma'am. You can't change that. But the West is changing. Can't, shouldn't we'll change with it? Well, I don't know as I could answer that, ma'am. Unless it's just because he is Will, quote it. Shut your left. You operate out of Hayes City, huh? One of it. They didn't have any use for farming tools last time I was there. They might have used farm now. Oh, sure. Those boxes now, they're just about the right size for rifles, ain't they? Yeah. Well, I freight whatever they send me, and I mind my own business. That's the right good idea, Mr. Latimer. It's a good way to keep out of trouble. Try taking your own advice, then. Oh, what the... Give us a kiss. Oh, hey, hey. Well, what... What'd you do with that fork, Lamity? You fork-flushing mule. You ain't wiping it off, you're rubbing it in. Bill, you're back. Are you gonna stay in Leavenworth? Are you? I could. I'm going on to Hayes City. Well, that's good, because I'm driving the stage. You driving? Sure. Say, why don't you write me any letters, Bill? Didn't know you could read. I could read if you could write. A woman who had a fellow at every stage station and a bow in every cavalry troop west of the Missouri, that woman don't need any letters from me. Oh, Bill, why, those fellows didn't mean nothing to me. Well, they did to me. You'll have to excuse me, now I'm keeping a lady waiting. What lady? Standing up there next to Bill Corry, I'm helping put her things in the stage. Is that chipmunk yours? Did you bring her with you? Oh, what if I did? Nothing to you. Ain't it? After you run out on me, you slabs-sided box toting rat, you brung that honky-tonk muffin... Shut up, Calamity. And stay that way. You... Hey there, she whipped me that clean off his head. Tip your hat when you speak to a lady. Yeah. I will. When I speak to a lady. Oh, Bill. Oh, Bill. Hi, Calamity. Come here, Calamity. I want to introduce you. Louisa. Yes, sir. Lou, this is Calamity Jane. Everybody knows her. Born and bred out yonder. Rides better than a man, drives stage. Wait, Cody. Is she your mother? She's Mrs. Cody. Your wife. You miss Cody? All practices for haste. You've been driving for a long time. You've been driving for three days, and you've changed horses 14 times. Don't you ever change those beads? Well, I ain't wearing them because you give them to me. I'm wearing them because I like beads. Pull up the horses, Calamity. Huh? Pull them up. There's a pony up ahead there. See him? What's the matter? Where you going? When I see a horse racing by the road, I like to see a rider near him. Hey, wait for me. There's the rider, Bill. Laying over there under the tree. He's hurt. Give me a hand here. Let's him up a little. Bill, it's breezy. Hey, breezy. Breezy, all right. Look at here, Bill. There's an arrow broke off right in his back. Oh. Breezy. Thought you were off of the war. Oh, it was off of, Breezy. Chained over where I come from. There's two, three thousands who injure the guy you've been around for a pony with war paint on. Colonel Carrington, give me a... give me a message to General Custer. What was it, Breezy? He says tell Custer to get ammunition through the Fort Pony or we're done for. Them's his word, Bill. I've got the place fixed up. There's so much dirt blowing in. It's got to blow someplace, honey. There's no use fighting the wind, Lou. We've got to bear with this land. Oh, I know, Will. Only, when are we going to move into town and buy the hotel? I'm going to see Jeb Masters tomorrow. He wants to sell the Golden Rulehouse. Here's your grub, folks. Why, come in, Miss Calamity. What'd you bring, Calamity? Well, I got something to fry and something to boil and a jug of whiskey. Hey, this is a grand shebang you got here. Oh, how can you say that? It's so dusty and I haven't got my curtain come yet. Give your wife a hand, you long-legged tooth spot. Sure, toss them over, Calamity. Somebody's knocking. What's that for? Come in. Hello, Bill. Hi, Bill. What'd you knock for? Good morning. Hey, that curtain looks right pretty on me. And you handle it better than a horse blanket, Bill. I've had enough experience with horse blankets. Lou says I've had too much. Oh, that's too bad. There's a horse outside waiting for you now. You trying to trade, Bill? Yeah. A hotel for the lives of 48 men and 10,000 rounds of ammunition thrown in. What do you mean? Well, Chief Yellowhand is on a warpath, ma'am. He's an old friend of mine, Yellowhand. We used to hunt buffalo together, but now he's hunting men. Yeah, I've seen men, he's caught. He don't treat his prisoners very well. Custer sending that ammunition to Fort Piney? Well, he's hoping they'll get there. If 48 cavalrymen can dodge about 1,000 Cheyenne... Those swaddys will never make it. How's he sending them? To Deep Valley, to the Upper Fort of the Republican? But there's no trail. They might get through that way. They would if Bill Cody showed them how. Will isn't going. He has nothing to do with the army now. He's promised. That's just what I told Custer. What did you tell him? That you wouldn't go? You know that's a lie. Oh, Mr. Hickok, will promise me. I can't let him go. Well, there are some things, ma'am, that have to be done. You know what? Well, Lincoln sort of set a goal that we have to work toward. He says the frontier must be made safe. But Lincoln's dead. What right of the dead to tell the living what to do? His words are alive, ma'am. Bill Cody knows that as well as I do. Oh, well, I was afraid of this. You can't leave me. You can't... You've never seen the Indian tribes at war, ma'am. You've never seen men burned and mutilated and the bodies of women burned. Babies dragged from their mother's arms and dashed... That's enough, Bill. I'll be ready to go in a few minutes. Why is it you aren't going, Mr. Hickok? Well, I... I have to pay a call on an old friend. Bill, wait. You're going after Yellowham. I told Custer I would. You're going out alone. Bill, your cold decorancy got no sense. That's all right. Maybe I can bring you back another string of beads. I'll have a little loozy. I don't know how I look in this dress of yours, but I feel like the Queen of Sheba. Oh, you look lovely, calamity. I want you to keep that dress, Bill. You do? Say, no woman ever gave me nothing before. Well, I never even seen clothes like these. Calamity. That old coyote's got a tote in his gullet. Couldn't be an Indian, he couldn't. Oh, honey. When you hear something yelling at night around here, it's just some varmint. But when you don't hear nothing, it's an engine. Calamity, I want you to stay here with me. I've never been alone before. Now stop worrying about him, honey. Well, he's got a whole troupe of cavalry riding heard on him. But my Bill plays it alone, the big mule. It's coming closer. Calamity. Calamity, what is staring at? Lou, don't look at the window. Don't let on anything's different. But listen to me. Can you ride? Yes. My horse is outside. Take this coffee pot inside of the stove. Open the back door there and wait. I'm going to entertain some visitors on their engines. Indian, shut up. When you see them all in here, sneak out to the horse. Ride to town, don't stop for anything. Tell them there's engines here with war paint on. Do you understand? Yes. Now go, hurry. There's coffee, honey. I'll be with you. I'll be with you in a couple of hours. I just see out here. My brother's the Cheyenne, you red hyena. Look, try this hat on. See, see the pretty brother? Oh, I'll paint his father's... I know his father. I will. What do I want? He's gone. I fooled you, didn't I? I don't know where the soldiers went. I don't know anything. Oh, Tony. No. Oh, Tom. I'll never tell. Do you understand that you hellish coyote? I'll never tell, never. There's a little brother who likes to play jokes on his big sister. He's been at it again. And now let's listen in on Sue, the victim, just home from a hard day's work as their secretary in one of the studios. Honestly, mother, it gets my go. I don't know where the soldiers went. Oh, Tony. No. Oh, Tom. Honestly, mother, it gets my go. That little devil knows I have a date with Bill, and he's gone and stolen the last cake of luck-toilet soap out of the bathroom. Gee, I just depend on that beauty bath to get me up. Never mind, dear. I'll see that he goes to the store this minute to buy more. That's a mean trick to play. Tommy? Tommy? Mother was a peach to make Tommy get this luck-toilet soap for me. There's nothing so restful and sort of luxurious. The bath was a nice fragrant soap, and it does leave your skin smelling divine. Bill seems to think so, for later on, while they're dancing at the coconut grove, he leans close to Sue and says, Gee, Sue, you're the sweetest girl. It's luck-toilet soap's active lather that makes it such a wonderful bath soap. It carries away perspiration, every trace of dust and dirt from the pores, leaves skin fresh and lightly perfumed, exquisitely dainty. Back now to Mr. DeMille. We continue the Plainsman, starring Frederick March and Jean Arthur. Taken prisoner by the Cheyenne, Calamity Jane is led across the plains to Yellow Hand's camp. With her hands tied behind her back and a rope around her neck, she stumbles through the prairie grass between two lines of Indians. Suddenly, on the crest of a hill, a mounted figure appears. Yahoo! Let go of me, you squint-eyed boy. Shoot your way out, Bill. Quick, are you crazy? Out of Calamity. You've got a tomahawk in your brain if you keep on asking for it. What are you doing here? Indians will sell most anything, and I sell you. Here's Danse. Oh, Bill. Not your watch. Don't give him that. What's he saying? He wants my gun. Don't give him to him. It's all right. Oh, Bill, you crazy fool. He'll be hung up. Let's say, ho, not over. He says he's going to take us to Yellowhand. He can't let us go unless Yellowhand's willing. Oh, whoa! You've done it, didn't you? Yeah, I've done it, all right. Bill, why'd you get yourself into this? Was it for me? What? I thought you were Mrs. Cody in that dress. Bill, you offered up your watch and your guns. That couldn't have been on account of me either. Could it, could it, Bill? No. I wanted to be taken to Yellowhand to find out what he's up to. Well, Bill, what'll I do to us? We'll soon find out. You're a hiccup. I know you. He's your old friend, Yellowhand, remember? I'll handle this. Yes. Speak your own language, Yellowhand. I'll understand you. You, me, speak white-man tongue. You remember what I said last time we met? I said one of us would lift the other scalp. Which one? Looks like you'll be the one to say. What started you on the warpath, Yellowhand? Where sun rises white-man's land. Where sun sets Indian land. White-man come, take our land, kill buffalo, our food. White-man promise us food. White-man lie. Now Cheyenne buy white-man's thunder stick. Soon war drums sound in all Indian land. All tribes ride with Yellowhand. We drive white-man, like buffalo, away, back to rising sun. Yellowhand has spoken. Yellowhand has spoken. And you may be right, but you can't drive the white-man away. White-man send bullets. Many, many bullets. Where? Oh, Yellowhand, somebody's romancing. You tell where? I don't know. You tell where? He's your friend, Bill. Why don't you tell him it's heading east to Leavenworth? He'll be hungry, he'll pay it, sir. The whole car, he's seeing them all. You're crazy. She's not my squaw. Why, you keep woman's face in watch. Bill, you got my picture in your watch, you kept it? All right, and I couldn't get it out without scratching the case. And you've been acting like you didn't care, and all the time you've been... Tie up that tongue of yours, look at their faces. Squaw. Let it go, she doesn't know anything. Hickock, you quick to say she not know. Hickock will not tell, but Yellowhand will know. Now is the hour of the great bear rising, when moon high above, Yellowhand will know. We go, come back when moon high. What's he talking about the moon for? What do you mean? Bill, do you think there's any chance of cutting these ropes or something? Bill, what are you thinking about? I'm looking at that box over there. I'm thinking about John Latimer's farming tools that came up on the boat. You see there? That's his name on the side. He's the one who's selling rifles to the Indians. Oh, rifles. And better rifles than we have, seven shots. And every shot may mean the life of a white man. But what about us, Bill? What do you think they're fixing to do to us? I think maybe you gave them an idea of what to do. What, Bill? Well, Yellowhand's a pretty smart Indian. Hear them drums. There's taps for us, ain't it? It won't be so hard going out together. It'll be harder than you know. Calamity, there are only two of us. Two lives against all those men in the ammunition train. But I don't want to die, Bill. I don't want to die. Now hang on to yourself. You'll have to help me, Bill. Just like you did the first time I ever saw you, remember? Oh, just a kid. Had no more sense than I got now. Hadn't down the grade regardless with no breaks on. I loved you then, Bill. Just like I do now. Looks like that moon's about ready to show. You never even gave me a picture. But you carried mine. I know you care about me a little. Couldn't you say it just once? You know, maybe they'll let us go after all. Bill Hickock, you ornery son of a mule. You wouldn't give a bad dime to a sick kid, would you? You may be right, Calamity. No, I ain't. I know it. I ain't worth a bad dime. But every night I talk to you, Bill, wanting you. And I know you'll feel the same way. Why won't you give in and tell me? Oh, what difference would it make now? If only I could hear you say it once. I'd have something to keep like it was kind of holy. Like it was with me forever. Calamity. Oh, yellow hand. Moon high now. Yellow hand will find out which way soldiers go. Hickock tell. Let him alone, you red devils. Bill. Yes, Calamity. I do love you. You come too. You look. What are you going to do to him? What are you going to do? Fire ready. You're going to burn him? You know which way soldiers take bullets. Yellow hand must know. When he know, you go free. Hickock go free. Don't talk to him, Calamity. Don't trust him, no matter what happens. Fire start. Soon Hickock will be dead. Will you tell which way soldiers go? Bill, Cody's with that ammunition. Forty-eight men are there, Calamity. Which way? No. Tell which way? No. Which way? No, no. Don't let him do it all. Which way? Don't forget Cody and all those men. Don't think of me. Remember what I told you? No. Which way soldiers go? Woman no lie. Hickock and woman free. Worcester, Niva. Trails over here, Bill. Oh, I couldn't help it. I didn't mean to tell. Won't you look at me, Bill? I hope I never have to look at you again. Oh, Bill, please. We're free, sure. What about Cody? What about... You hear that? It started. Yellow hand's attacked already. I got to get to... You can't reach him on foot? I'll get through somehow. And you've got to reach Custon. Tell him we need help. Custon finds out I told Yellowhand... Yes, he'll give you the firing. He won't find out. It was her who put the Indians down on them. She must have told Yellowhand. There she is, over there at that table. Oh, let her alone. It never was no good, anyhow. Why don't somebody do something about it? Only 18 men came back out of 48. She's a bad luck. Well, we'll make her pay for it. That's right, McCall. They paid this woman in money. But they paid our soldiers in blood. What are you going to do about it? She done. She told the ins of that. Well, she's a woman, isn't she, McCall? Women talk a little too much sometimes. This woman's going to get what's coming to her. And men talk a little too much sometimes, too. I know what's in your mind. Yes, there were soldiers killed. I saw them. I was there. And they were killed by bullets. Bullets from repeating rifles. You know, Lincoln says that this country's got to be made safe. Those are his words. So I'm on my way now to settle this matter with the man who sold those rifles. I know there was monkey business going on. You're right. There may be a few stray bullets flying around here in a minute. I'd advise you to stay inside off the street. Bill, Latimer's covered in a rattlesnake. You can't go after him alone. I'll start it alone and I'll finish alone. What was it? Jack McCall, let me in. Well, what do you want, McCall? Mr. Latimer, I want to do you a big favor. Yeah? Hickok's after you. Why, Bill? He says you're the cause of all these Indian massacres. He's on his way here now. Yes, sir. Yes, you better do something about it and do it fast, Mr. Latimer. He's a dead shot. Yeah. Yeah. He wouldn't shoot at a soldier, though, would he? Soldier? What do you mean? There are three men working for me. Deserters. But they're still wearing uniforms. They can handle Mr. Hickok. They can handle him fine. Bill, don't go across that street. Come back here, Bill. You're crazy. Latimer, Latimer won't fight you fair. No, you ain't got the sense you were born with. Please, Bill. Oh. No, no, I love me nothing to you. And I'll love if that's what you call it. All that died with the men who died because of you. Oh, no, Bill, no. Get off the street. I'll go get Cody. Maybe he can talk some sense into you, you big mule. And Hickok? Morning, Sergeant. Morning, boys. Morning. Morning. You three boys better take cover for a few minutes. You think you own this town? I'm just walking through it. And us guys can get out of your way, can't we? Like we would do it. Suit yourself. And no, Mr. Longhair. You're too darn friendly with agents to suit me. You shouldn't have said that, soldier. Now, what are you going to do about it, your gun tot and windbag? Oh, you boys are substituting for Latimer, eh? Yeah, he would pick soldiers. I can't shoot at that uniform, but if you want action, take it off. Yeah? And get a slug in me while I'm doing it? Take it off. I'll give you that much time. Keep your hands away from that gun, Hickok. They're away right now. But mine, eh? Not just my arm. Those men were soldiers. Come on, let's get out of here. I'm finally in your house. Well, it went clean through, but it's bleeding bad. Will, Will, what happened? He's just shot three soldiers. Are they dead? Yes, get some water. Have you brought this man into our house? A murderer? Or when is this going to stop? When will it ever stop? It's killing and killing. Why don't they kill him too? Then you could be next in line. Louisa, he's my friend. That doesn't mean to bother you, ma'am. I'll be going. You sit right down again, Bill Hickok. You can't go bleeding like that. Whatever you've done. Thank you, ma'am. You know, I, I never was a murderer. I never did fight unless put upon. Thou shalt not kill. Ghosts ever came bothering me. It's always been the other man or me in a fair fight. What right have you to judge who is to live or die? Put away your guns, Mr. Hickok. I can't do that, ma'am, until I find John Latimer. Open up. It's me. Calamity. Where's Bill? Oh, Bill. Did they hurt you much? I'm all right. I know you don't want to see me, but I got to tell you something, Bill. Custer's ordered you brought in dead or alive. The troopers have combed over every hiding by the river. They'll be out this way next. He's going back to find Latimer. Latimer's gone. Pulled out with his wagons. Where? Nobody knows. I'll find him. Of course you will, Bill. Someday you're bound to. But don't try to find his trail now. Just try to save yourself from Custer's men. Now tell him what they'll do to you. If Latimer's pulled out with his wagons, those wagons are loaded. I know what I have to do. Yeah. Help me up. You'll get me a horse, Bill? Sure. I'll have them settled and ready. I'll help you, Bill. Why don't you lay up for a while and take care of that arm, huh? That's what I'll do. Yeah, I'll need this arm when I find Latimer. Oh, forget it, will ya? You ain't got a chance against Latimer's men. Sure. You've got nothing to lose. Nothing but your life. Bill Hickok, when you talk like that, I could bounce a rock off in your beam. Why don't you try it next time you see me? When'll that be, Bill? Where? Oh, up around Deadwood some place. Never can tell. I gotta get out of here, too, after what I've done. Well, I guess this is goodbye, eh, Bill? Where are you going? Oh, up around Deadwood some place, I guess. I don't give a hoot where I go. You're well-named, you know? A child of calamity. You're always getting yourself into trouble. Say, Bill, I reckon maybe you don't hate me, do ya? Or maybe you're just being nice to me because you think you won't ever see me again. Oh, sure, I'll see you again. This is a big country, you know, but trails cross. Sometimes. Here's the Columbia Broadcasting System. Poor Frederick March and Gene Arthur continue in the Plainsman. We call time out for a pow-wow with a little giant of Hollywood columnists, Sidney Skalski. Hollywood's correspondent for the New York Daily News and other newspapers. His catchphrase, but don't get me wrong, I love Hollywood, has taken a definite place in the jargon of the film capital. Tonight, we hear more of the whys and wherefores of this phrase as Buck Skalski rides again. Mr. Buck, to you, but really I feel more like a cake of luck soap than a cowboy. Well, you're more the size of a cake of luck soap than a cowboy. The thing is that I'm playing a repeat date on this program. The way I notice that luck's toilet soap plays repeat dates in the homes of the movie actresses are visited. Not only in their homes either. Apparently luck soap is just as much a part of studio equipment too as a camera. You say 9 out of 10 stars use it. Well, I'm still looking for the 10th actress who doesn't. She just can't be found. That's very nice, Mr. Buck Skalski. Now get along with your specialty. Giddy up. This is a place where Simone Simone uses a French perfume which means always faithful, where Adolf Monju has a cigarette case on which is inscribed to Adolf Monju from his most ardent admirer, Adolf Monju. It's a town where Jimmy Cagney's swimming pool has more water than the Los Angeles River. It's a town where after kissing Ginger Rogers in a picture, James Stewart forgot himself and spoiled the scene by saying to Ginger, gee, thanks. We're a producer told a writer, you can make the heroine a crook, but don't make her dishonest. But don't get me wrong, I love Hollywood. Hollywood is a place where Dick Powell cooks a better meal than wife, Joan Blondel. It's a town where Rubinoff registered at a hotel and signed the blotter Rubinoff and his violin. We're an act of bowled out a waitress in the metro commissary for bringing him the wrong order. The waitress merely said, I'm sorry, sir. We all make mistakes. I saw your last picture. It's a town where an actress being interviewed said to this newspaper man, I want you to meet my daughter. She's older than I am. We're at the Trocadera, John Medbury asked Gracie Allen if he could have the next dance. Gracie answered, it's all right with me if you can find a partner. But don't get me wrong, I love Hollywood. Hollywood is a place where Maywest has a name printed on the cushions in Herodo, where an actor approached George S. Kaufman and said, I got a radio offer, Kaufman answered, to go on or stay off. It's a town where Charlie Chaplin's youngsters make him take them to a Joey Brown picture for laughs. It's a town where Sid Silver's asked the producer to look at the screen test of a girl trying to get into pictures. The producer said, she's no good, she's a dog. Silver's answered, Rin Tin Tin did all right. Where Sam Goldwyn's barber denied that he was a yes man, the barber pleaded. When Mr. Goldwyn says no, I say no. Hollywood is a place where William Powell's big secret is that his middle name is Horatio, where Eddie Cantor claims he knows an actor who hasn't an enemy in the world, but all his friends hate him. Where Joe Swirling's seven-year-old boy Peter wrote a composition for school about a poor boy. His mother was poor, his father was poor, he had a poor nurse and a very poor butler. It's a town where on the set a director who wanted a riderless horse shouted, bring me an empty horse. Where one afternoon on Hollywood Boulevard, Harry Lauder wearing skirts, past Marlene Dietrich wearing trousers, but don't get me wrong, I love Hollywood. Hollywood is a place which gets more like Hollywood every day. It's a town where it never rains, but the fog washed out three bridges last week. Where Daryl Zanik, trying to impress a guest at dinner told him that Tyrone Powell would be the biggest actor in the business because women like him. Zanik, trying to prove his point, turned to the maid and asked, what do you think of Tyrone Powell? She said, what is it, a new gasoline? It's a town where Robert Taylor in an interview said, when I kiss them, I stay kissed. But don't get me wrong, and I better go before I do. Thank you. Don't get me wrong, I love to talk to you. Frederick March and Gene Arthur returned to us now in the Plainsman. It was many weeks before the trails of Hickock and Calamity Jane crossed again. In the Bella Union Saloon in Deadwood, Calamity stands behind the bar serving drinks. Hickock comes from the street and moves slowly across the room. Here, you can set one up here, Calamity. Bill, Bill Hickock. Oh, yeah, Calamity. Come back! Yeah, I kept watching, I kept asking. Nobody's seen you, nobody's heard. Well, I haven't been out much in what you might call society. I only had one caller, Bill Cody. Custer sent him to bring me back. Cody, Cody found you then. Say, Bill, you didn't... Oh, hurt Cody? No, he's all right. We heard from a brave up there in the hills about Custer. Yeah, he was wiped out as whole battalion. Yeah. Cody went on to meet General Merritt. I promised to wait for him here. Wasn't your fault them three soldiers getting killed that time? Say, you won't have to move on again, will you, Bill? No, I... I got a hunch that this is going to be my last camp, Calamity. You mean you're settling down? You're going to stay here? Yeah, I got a feeling I'm, uh... I'm going to stay here. You need a drink. You know, I've been thinking. The West is getting to be a new kind of place. Cody's done the right thing. He's changed. What places are going to be for a two-gun plane? You're talking crazy, Bill. You're the best man in this country. I don't know who thinks so. I think so, Bill. Say, say, if you think Cody's done right, settling down and all, maybe... Maybe that's what you'd like to do, huh? Have a home and things and someone to cook your meals and... Oh, doesn't sound so bad. Bill. I'll be a big man around here some day. What do you say? Is that Jack McCall over there? Yeah, he's been bragging around here for a month. All right, all right, lad. Hello, Calamity. Give us a drink. Those fellas think that... Bill Hickock. Hello, McCall. I said hello. Uh... What are you looking at me for, huh? I didn't do nothing, Mr. Hickock. I didn't do nothing. What's he talking about, Calamity? He's scared of you, Bill, because he sneaked and told Latimer you was looking for him back in Hayes City. Oh, that's why she's lying, Mr. Hickock. She's lying. Am I? You're thick with Latimer right now. No, no, Mr. Hickock. Shut up. McCall a year ago had a shot you dead on sight. But now... go buy yourself a drink. Thanks. Thanks, Mr. Hickock. Bill, you let him off. Well, I'm getting to think that maybe Louisa was right. Who am I to decide whether a man's to live or die? I had another reason, too. If he warned Latimer once, he's going to do it again now. Guess I'll step out and follow him. I'll go with you. You stay where you are. And say, Calamity, I... I kind of like to have you take my watch. Here. It's not the only thing I have that's worth keeping. Bill, if you got a wrong hunch, don't go out there. Don't forget to wind it. You're a mule-headed man, Bill Hickock. Hey, Calamity. Don't bother me, Dan. What's eating you? I just want you to hold this gun back here for a while. It belongs to Colorado Charlie, and he's acting up. You might drill somebody. Give me the gun. Where are you putting it? Send the drawer with the cards. Now let me alone. You want more baths? You'll never get the wagon loaded, Mr. Latimer. He'll be watching for you. Shut up, McCall. Come on, Red. Come on, Jake. We've got $10,000 worth of stuff here, and we... I want to talk to you. Any objections, gentlemen? Where are you going with the wagons, Latimer? I'm going out of town. What have you got them loaded with? Buffalo hides. You can see, can't you? The wagons are headed north, Latimer. Surely you're not selling buffalo hides to certain bulls' Indians. Take off those top hides. Let me see what's under them. Jake. No, no, not Jake. You. Oh. All right. I don't know what your authority is for this, but you must have it. Keep your right hand in sight, Latimer. Sure. Don't kill me. Keep your hands off your guns. There'll be more dead men here than the town can afford to bear. Latimer. He's dead. Off your gun, Jake. Bill, are you all right? Sure. I'm taking these fellas in the Bella Union. Calamity, go on then. Get ahead of me. Go on, you men. Inside. Not me. I just know Mr. Latimer. You just knew Mr. Latimer, McCall. You better get inside, too. Sure, Mr. Cockney. Whatever you say. Calamity. Yes, Bill. Cavalry's on its way. Step out here and keep an eye out for it. Sure, Bill. All right. Now inside, Jake. Red. Emma, call Joe. Step lively. Now, gentlemen, we're all going to stay here for a while. Oh, sit down. Maybe a long wait. What are we waiting for? We're waiting, Jake, until General Merritt gets here with a fifth cavalry, takes over those rifles outside. And any objections? What are they coming? Maybe today, maybe tomorrow. Maybe a week. When I have to wait, I believe in entertainment. Furthermore, I'm short of funds. Get some cards, McCall. Yes. See if you can find some fresh ones. Sure. Calamity keeps them over here behind the bar. And bring some chips. She keeps them in a drawer, I think. Here. Oh, there's a whole bunch of... What's the matter, McCall? Oh, nothing. Nothing, McCall. What's in that drawer? Well, just cards, chips, that's all. Bring them over. Yes. You want a deal, Jake? All right with me. Here's the cards. You, you can't go in there. It's Cheyenne Charlie. Come in, Charlie. Gentlemen, Calamity. How, Charlie? Charlie's a friendly engine. Yeah, I know Charlie. Sit over there, Charlie, or I can keep an eye on you. Charlie took a shot at me once. I was too far away. Too bad you wasn't close, Hickock. He got my horse. Charlie would have been the biggest man in the West if he'd have killed you, Hickock. The engines understand things like that. Kill a big man, and that makes you a big man. Killing you, Hickock, is an honor that's just waiting for somebody. You, Jake? No, not me, Bill. Not me. I'm facing you. The only way to down a man like you is from the back. Don't stand behind me, McCall. Bad luck. All right, better get some more chips. Go say it, Jake. I'll wait for the chips. Got them, Jack? Yeah, yeah, yeah, I got them. Listen, the cavalry, you know what they'll do? It's a rope necktie for us. Sit down. We'll, uh, we'll play out this hand. Hey, calamity, find Cody and General Merritt and bring them here. Play your hand, Jake. I'm calling you, Hickock. Black aces and aces. Your luck's changed. I've got three queens. I'm afraid you lose, Hickock. Oh, man, bound to lose sooner or later. Give it to him, Jack. I got him. I kill Hickock. Get up, quick. Come on, to the wagon. Come on. Everybody, where's Bill? We got a lot of his crowd, all of them. General Merritt said, calamity. What, what's happened to him? Dead. He was going to be let off. There's your prisoner, General Merritt. We won't forget what Bill Hickock has done, Cody. We'll remember. All of us will. All of us. Oh, Bill, there's one kiss. You won't wipe off. Edward South Dakota, next to the beautiful tomb of Wild Bill Hickock, is a simple little grave. The headstone bears the name calamity, Jane. Feaked in the Lux Radio, Peter, we try to show you some new aspect of Hollywood through the eyes of those behind the screen. So before Frederick March and Gene Arthur return, we'll have a word with Mary Osborne. As baby Marie, she was the Shirley Temple of 15 years ago, but old age caused her to retire at the age of 10. Miss Osborne holds one of the unusual jobs found only in pictures. She's one of our better-known stand-ins for one of our more famous stars, Ginger Rogers. Ladies and gentlemen, Miss Mary Osborne. Thank you, Mr. Demel. I suppose the most logical thing to do is to explain first just what are the duties of a stand-in. Well, before a scene is shot, it is often necessary to spend considerable time arranging lights, cameras, and microphones to get the proper perspective. Rather than tire the star while this is being done, a stand-in stands in. However, a satisfactory stand-in requires more than the ability to stand first on one foot and then on the other. Yes, she must have the same height, weight, and coloring as a star for whom she is standing in. The same features, makeup, clothes, and the same complexion. Complexion is really very important. If the star had a light complexion and the stand-in was dark, lighting would be inaccurate and the camera improperly focused. And that brings me around to the subject of keeping your complexion like the star, which is just another way of saying, with lux toilet soap. There are three reasons why I use lux toilet soap, Mr. Demel. First, because Ginger Rogers, who has one of the loveliest complexions in Hollywood, uses it. Second, because it's the official soap in the dressing rooms at the RKO Studios, just as it is in every big studio. And third, because it happens to be the finest complexion care I have ever found. In all sincerity, I know of nothing better for removing makeup and keeping the skin smooth and soft than lux toilet soap. But getting back to Ms. Rogers... Yes, how did you start your career as a stand-in? Well, Ginger's mother, Leela Rogers, now in charge of RKO's Little Theater, had written several stories for me when I was on the screen as baby Marie. When I was about 11, I went on a personal appearance to her and Mrs. Rogers visited me backstage in a theater in Texas. She brought Ginger along and we met then for the first time. About three years ago, with our positions quite the reverse, I met Mrs. Rogers and Ginger again in Hollywood, told him that I wanted to get back in pictures and Ginger made me her stand-in then and there. She's one of the finest friends a girl could have. And that, Mr. Demel, is the story of this stand-in. Many thanks for bringing me here. And now a little crossfire from our leading man and lady, Frederick March and Jean Arthur. Jean, now that you've done the planesman on both the screen and the air, which did you enjoy more? Well, that's not so easy to answer, Mr. Demel. Making the picture was considerably more exciting, I suppose, since you had me driving a stagecoach and captured by real Cheyenne Indians and practically living the same thrilling incidents that Calamity Jane experienced. Yes, but Jean, there's an intimacy about radio that you can't find anywhere else. For instance, I'm told that Gary Cooper is listening in tonight, and I only hope that as Wild Bill Hickock, I was one half the man on the air that he was in the picture. I also hope that Gary is as quick in his recovery as Hickock as he was on the trigger. So say we are. My thanks and good night to you both. Good night. Good night. Thank you, Frederick March and Jean Arthur. This is your announcer, ladies and gentlemen, Melville Rue. Who are the stars for next Monday night? What's the play going to be? Well, in just one moment, Mr. Demel will answer those questions. Mr. March appeared through courtesy of Selznick International Studios, where he is about to make a new technical picture with Carol Lombard. Mr. Demel Paramount Studios, where Jean Arthur has completed Easy Living. Joan Fontaine's next RKO film is You Can't Beat Love. Louis Silvers is from 20th Century Fox, where he's in charge of music, for this is my affair. And here's Mr. Demel. One of the most dramatic events in modern history, the Russian Revolution, becomes the background of next Monday night's play in the Lux Radio Theatre. When we present that amazing story of international spies, British agent suggested by Bruce Lockhart's best-selling book, Screened by Warner Brothers. This exciting and romantic play brings two of your favorite stars back to our microphone, Errol Flynn and Francis Farmer. Our sponsors, the makers of Lux Toilets Hope, join me in inviting you to be with us again next Monday night, when the Lux Radio Theatre presents Errol Flynn and Francis Farmer in British Agile. This is Cecil B. Demel saying good night to you from Hollywood. This is the Columbia Broadcasting System.