 Luck presents Hollywood. The Luck's Radio Theater brings you Merle Oberon and Jean Autry in The Cowboy and the Lady. Ladies and gentlemen, your producer, Mr. Cecil V. DeMille. Greetings from Hollywood, ladies and gentlemen. Among all the modern improvements of this changing world, there's one old time invention that we still can't do without. The American Cowboy. Science has failed to unhorsen because it never devised a machine that can rope a steer or draw a lot of people into a motion picture theater. Hollywood owes more to the cowboy than Detroit does to the houseless carriage. And if you're anything like me, thrills of memory run up and down your spine at the very mention of William S. Hart or Tom Mix. Today, the king of the cowboys is Jean Autry. He's the hard-riding hero of boys and girls both young and old from Butte Montana to the Bronx. And tonight we rope Jean Autry and put him in the Luck's Radio Theater corral. Of course, every story about a cowboy must have a lady to give it the romantic touch. So we threw our lariat in the direction of Warner Brothers where Merle Oberon is making a picture called affectionately yours. Tonight you'll hear this charming lady playing the same role in the cowboy and the lady that she did in the Samuel Golden picture. Before this play is over, we're going to cover a pretty wide stretch of territory from as far east as Palm Beach to the somewhat more rugged neighborhood of a Rocky Mountain Ranch. And in either of those localities, or just about any place in between, you will find that our product is far from a stranger. It's a very good reason for that, too, because Luck's Flakes is just as welcome to the lady whose front yard is a mountain slope as it is to her sister under the skin who hasn't any front yard but lives in the city apartment. It's obvious, even to a mere man, that they both want their hands to stay lovely, but you can't run a house without washing dishes in either place. And some really chivalrous help with that work has made Luck's Flakes a hero with the ladies from coast to coast. Now we have a big package of romance and adventure for you. So let's unwrap it right away by raising the curtain on the first act of the cowboy and the lady, starring Jean Autry as Stretch Willoughby and Merle Oberon as Mary Smith. The Silver Bowl Club is running full blast. The diners crowd the table, dancers crowd the floor. And in the back room, which is the real reason for the club's existence, the roulette wheel is humming merrily. It's in the gaming room that we meet the lady of our story, young and lovely Mary Smith. This is her very first visit to a club of this type, and her eyes sparkle with excitement. With her, and also a first visitor, is her Uncle Hannibal. Well, Mary, how do you like it? Oh, Uncle Hannibal, it's thrilling, but I'd hate to think of what fathers say if we knew we were here. I'll stop worrying about your father. We're here to have a good time. See, would you like to risk a few dollars, huh? You mean gambling? Sure. But I've never gambled Uncle Hannibal. Neither have I. What do you say? Well, I... Okay, everybody, line up against that wall. Hannibal, what is this? I don't know. Come to that door, Pete. Nobody gets out of this room. He don't grab that wheel. That's exhibit number one. It's a raid. That police. Oh, Uncle Hannibal. No, no, no, it's all right. I can handle this. I'll take care of everything. All right, come on, folks, up against the wall, everybody. Just a moment, please. You two, Bob, get moving. Wait. My name is Hannibal Smith. Well, you don't say. Yes, I do. And this is my niece, Mary Smith. Now, listen, Bob, I'm an old hand at this game scene. There's 200 people in this joint, Bob, and 185 of them are named Smith. Now, line up against that wall. It's a raid. It's a ridiculous cester. My daughter's never been in a gambling house in her life. That's exactly what I told the newspaper, sir. But they have a list of the guests, and one of them is named Mary Smith. I told them... They print her name out soon. Must be some other Mary Smith. I'm sure it was, sir. Send for my daughter. I'll ask her myself. Just a moment, Horace. You needn't bother sending for her. What's that, Hannibal? I said you needn't bother. I'm afraid it was our little Mary, all right? Oh, of course. You saw her, I suppose. No, I took her. Oh, you took her? Uh-huh. Will you please explain that? Sure. You see, I felt sorry for her. I'll bet she hasn't talked to a man in the sixties since she left school. I thought it was time she should see how the younger half lives. Oh, I've asked you many times, Hannibal, to please stay out of my affairs. Well, this is an unnatural existence for a girl, Horace. Mary is perfectly happy. Don't be an idiot. She's just trying to be loyal to your bigoted notion. It's faithful. Now listen, you wouldn't... Chester, you may go. Yes, sir. Hannibal, do you realize what you've done? Don't you realize that my name is being mentioned as a possible candidate for president? Horace, you haven't got a chance. Never mind that. A scandal like this may cost me the nomination. Mary and a gambling rate. We didn't gamble. We just danced and had a good time. Say they had a jam session last night with a done-your-heart-good. Hannibal, sometimes I think you're in your second childhood. Well, come on in. The water's fine. We've got to do something about this. We've... I've got it. Yes, sir. Yes, sir. Tell my daughter to pack her grips. She's leaving for Palm Beach on the next plane. Now listen, Horace, you can't do that. Keep quiet. I know what I'm doing. You've interfered enough around here. You're sitting out. Oh, sorry. Can I help you, Pat? No, thanks. You know you're a fool, Mary. Letting yourself be bustled out of town this way. What am I to do? Break his heart? If the newspapers get too inquisitive, he's going to tell them I've been in Palm Beach for weeks. I'm afraid your poor father's in over his head. Why don't you stop him before it's too late? I can't. He wants that nomination so desperately. Sometimes it frightens me. Me too. You had a good time last night, didn't you? Oh, marvelous. The raid was thrilling. Yes. Palm Beach out of season is going to be pretty dull. That's right. Rub it in. Well, if you can find a young plumber, somebody lying around loose down there, you take my advice and grab him. You think you'd know how to talk to a young plumber? Oh, shut up. Uh-oh, here's a gloomy gut. Yes, horse? You mind if I speak to my daughter for a moment? Okay, I'll have the car brought around. I've arranged everything, Mary. There are two maids in Palm Beach opening the house. They'll take care of him. Thanks. They'll be nice company, too. Mary, I can't understand what's gotten into you. You're good heavens, Father. What did I do that was so dreadful? I've tried to make it clear that without Henderson's support, my nomination is impossible. And you know how he'd react to a scandal of any kind. And what am I supposed to do? Live like a prisoner because Henderson's a narrow-minded fool? Mary. I'm sorry, Father, but it isn't fair to me. I don't see anyone, and I don't go anywhere. This is the first time in two years that I've been out, and I had to go with Uncle Hannibal. I can't allow you to destroy something I've worked on for years. Oh, perhaps you'd rather I give up the whole idea. Sometimes I wish you would. Mary. But maybe we could go back to living like normal human beings again, where we don't have to be under a microscope all the time. Oh, Father, we've to have such fun before you went into politics. Remember those wonderful summers on farm? Oh, don't be absurd, Mary. This is a great tribute. There'd be nothing left for me if this fell through. I see. All right, Father. Boris. The reporters are downstairs. Report us. Grab those bags quick. But I've not finished packing. Go on. Go on. I'll send you the rest. Cars at the back door. Hurry, Mary, hurry. Goodbye, Father. Goodbye, dear. Goodbye, Uncle Hannibal, and thanks for a wonderful time. Goodbye. Don't forget about that plumber. On the bed here. Yes, Miss. Ellie, did you find out if the reeds have opened their house yet? Oh, they haven't, Miss. There isn't a house in Palm Beach open at this time of the year. Except ours. Oh, Ellie. I'm bored. Yes, Miss. I've noticed this. Do you play any card games, Ellie? Let's see. Casino, Miss. Casino. I'd love to play Casino. Do you mind playing with me? Well, I'd like to, but... Oh, you have a date. Oh, it's nothing, Miss. I can break it. It's only with one of the fellows at the rodeo. A cowboy? Yes, Miss. Oh, I wouldn't think of letting you break it. Have a good time. Oh, thank you, Miss. Ellie. Ellie, wait. Yes, Miss. Has, um... Has your cowboy got a friend? A friend? Uh, why, yes, Miss. But he's for Katie. Oh. I mean, I promise, Katie. Well, you see, it's a blind date, Miss. Blind date? Oh, that sounds marvelous. Will you be having your dinner off here, Miss Mary? Hello, Katie. I was just trying to induce Ellie to take me on your blind date. You missed? Oh, I don't think you want to do that, Miss Mary. Why not? He's a cowboy. Yeah, and they're awful particular... Oh, no, Miss. Oh, no, no, that ain't it. But they'd be kind of scared of someone like you, and when a man's scared for... Scared? Why should they be scared? Well, you see, you've got to give a fellow a little... Cooperation once in a while. I mean, for what she's trying to say is that they're liable to think you're a cold fish. Oh, I'm sorry, Miss. That's all right, Katie. Perhaps they'd be right. But what do you think? Huh? Do you think I'm a cold fish? Well, I... Go on, Katie, I don't mind. Well, you don't exactly siffle, Miss. What do you think I better do about it? Crash, I don't know, Miss Mary, but it's not your fault. You got it in you all right, but you've been held down so much, that's all. Yeah. Me and Katie talk about it a lot. Do you really? Sure. We always felt kind of sorry for you, Miss Mary. Thank you. Well, have a good time. Both of you. Uh, Miss Mary, if you really want to go, I think we can fix it up for you. A blind date? Sure. We'll give you a couple of pointers, and you might get five. Yeah, we'll show you our system. Oh, you've got a system. Sure. Well, it's sort of a system. Depends on what you run up against. For instance, he's a cold type and keeps giving you the icy stare. Well, if you made up your mind, you're going to get him to kiss you or bite right out by flaring him. That's maneuver number one. I see. Maneuver number one, factory. I'll remember that. That's it. Now, if that don't work, make him talk about himself. That's number two. But a man can't talk about himself and kiss you at the same time. No, but sooner or later, he's going to talk himself out, ain't he? I suppose so. Tell her about number three, Katie. Oh, number three, sure. Firemix. Of course, you can only use that in case of emergency. Tell him a hard luck story. I see. We're going to simply ask. Mm-hmm. That's it. Mm-hmm. That's like money in the bank. Just tell him what a hard time you've had of it and how you had to suffer. Then if you throw in a tear or two, he's yours. Uh, you think you can do it, Miss Mary? Well, I'd certainly like to try. Well, let's go. The rodeo's over in West Palm Beach. I'm ready. Now, let's see. Maneuver number one, factory. Maneuver number two, make him talk about himself. Maneuver number three, tell him a hard luck story. Is that all? That's all. Come on, then. Let's go and meet the cowboys. I wish they'd hurry. No need for suspense, Nick. One cowhand is just like another. Here they come. I was getting prettier every day. Ah, now you go. Hey, I want you to meet my friends, Stretch and Sugar. Oh, yeah. Hey, how are you, man? How do you do? I want you to meet Katie and Mary. How are you, fellas? How are you? Hi, Mary. Hi, Mary. And Mary, I want you on a pal stretch here to be good friends. Mary, this is Stretch. Oh, well. Hello. Hello. Oh. Well, let's get a little child. Come on, girl. Yeah, come on. Well, I guess we ought to go, too, then. I guess so. Look, you don't seem very enthusiastic. Oh, sure I am, miss. Matter of fact, I'm hungry as a stare. Oh, well, I think I'm going to like you. Yeah? I've seen lots of good riding, steeper chasing and high jumping, but you're about the best I've ever seen. Yeah? I got awfully excited when you threw that stare. Yeah? I was scared. I screamed. Didn't you hear me? Nope. Oh, well. Anyway, I thought you were just wonderful. I said I thought you were just wonderful. Oh, it's all in a day's work. Well, that finishes number one, doesn't it? Pardon? Oh, nothing, nothing. You know, you haven't even asked me my name. Mary, isn't it? That's right. Mary Smith. Nice name. Mary Smith. Do you really like it? Sure. I like it fine. I'm so glad you like it. Look, why don't you say something for a change? Oh, I will. If I can think of anything important. Oh, I suppose being around with cows all the time, you don't have a chance to converse much. Cows ain't much on the small talk. I see. Let's go, folks. Come on, Mary. We're all going up to the house. The house? You know, the place where we were. Oh. Come on, stretch. We'll stop up and get your guitar. Guitar? Oh, stretch, do you play it? Yeah. The guitar. Stretch. That was lovely. It'll do. Where's the others? I don't know. Out for a walk on the beach, I guess. It's such a beautiful night, isn't it? Oh, it's all right. Nice place here. Yes, isn't it? You work here, huh? Yes. What do you do? Oh, I'm a... I'm a lady's maid. Mm-hmm. Oh, but that's... I'll talk about me. Let's talk about you. Why? Well, that's maneuver number... I mean, I don't know. Have you been in any other rodeos? Nope. Where's your home? Is it far away? Montana. Really? Montana? Yeah. I just told you. What's it like? Tell me about it. Hear that? What? A new chord. Listen. It's lovely. A little flat, I think. Say, what do you do for this lady you work for? Oh, I help her dress. No. How old is she? Oh, uh, about my age. Married? No. Well, what's she waiting around for? She hasn't found the right man yet. Mm-hmm. But look, you were going to tell me all about yourself. Oh, was I? You know, I can't make out just what kind of a girl you are. Me? I'm just a working girl. Well, you are, and you aren't. I guess you've been around rich people too much. I haven't got you mixed up. Don't you ever get mixed up, Stretch? Not about things that matter. Do you always know what you want? I sure do. What? Well, I want a spread of my own. A ranch that'll run about a thousand head of cattle in a pretty valley with a crowd stream running right through the middle. And a nice house. And nobody else? Well, sometime maybe. A wife. And children? You bet. That's nice. Go on, Stretch. Well, that's all. Oh, Mary! Just a minute. Excuse me, Stretch. I'll be right back. Take your time. Yeah, Miss Mary. How you doing? Okay. Very badly. Your system's no good. It ain't ever failed me. Is that him singing? That's a good song. It doesn't mean a thing. I've tried maneuver number one and maneuver number two, and I'm nowhere at all. What about number three? What is it? I've forgotten it. Hard luck story. That's only for emergencies. Well, what do you think this is? That's right. Well, I'll give it a whirl. Mary! I'll tell you that you have a voice. Nope. Well, you have a marvelous voice. Not much chance to use it in Montana. Cow's ain't got no air for music. Stretch, I envy you. Nothing on your mind but your job. No trouble, no responsibilities. I wish my life were as simple as all that. Isn't it? You don't look to me like a girl that's had a tough time of it. You don't think so, huh? That's funny. That's really very funny. Oh, I'm sorry. I meant it. That's all right, Stretch. Say, maybe if you tell me something about yourself, I... Oh, no, no. I wouldn't want to burden you with my trouble. You might be good to get it off your chest. Maybe I can help. You're very kind. Is it your family? Mm-hmm. Father mostly. Your father? His. His drinking. Oh. He's drinking. Night after night. Sometimes for weeks without stopping. Well, can something be done about him? No use. We've tried. No ambition. No willpower. He hasn't worked for 12 years. 12 years? Well, who supports him? I do. What do you know? Anymore in the family? Anymore. Anymore children? Oh, yes. Yes. Five. Five? Well, that is five, including me. Don't any of them work? No. Why not? All girls. And you're the oldest. Gosh. Poor kid's sisters, and you support them all. Oh, not that I mind. They're such darlings, all of them. But sometimes it's a bit hard. Yeah. I can imagine. Last year, for instance, when both Dottie and Henrietta were down with the measles. At the same time? It wouldn't have been so bad if I hadn't been out of work. And what were the doctor bills piling up and... Sometimes I just don't know how I go on. Oh, gee. You poor kid. Oh, stretch. You're so understanding. No, no, no, no. Don't cry. Just here. Just put your head down here on my shoulder. Oh, you poor kid. Stretch. You kissed me. Huh? Oh, I'm sorry, miss. I didn't mean it. Oh, no, no. Please don't be sorry. Please. Be stretch. Let's go. Your friends are leaving, stretch. Well, that means me too. Bye, Miss Mary. Goodbye, stretch. Bye, Miss Mary. Bye, Miss Mary. Goodbye. Goodbye. Bye, Miss Mary. Get inside. I'll see him alone. Buzz said they were going to Galveston this morning. I never thought he'd come back. Go on. Get in the house. Yes, ma'am. How are you? Hello. Oh, hello. I was just going around to the kitchen to look for you. Were you? Yeah. The boss in? Oh, yes. A little smorning. Gee, it sure is pretty here. You suppose she'd mind if we sat down? No. I, um, I thought you were leaving for Galveston this morning. Well, the boat shoves off this afternoon. You know, I kind of hate to leave here. Do you? Yeah. You see, last night I got to thinking, uh, look, uh, Mary, I, uh, will, uh... Well, uh, well, what? Well, Mary, we were leaving today and I was thinking, have you ever been out in my part of the country? Mm-hmm. Oh, no, no. Well, it's beautiful. A girl like you'd be crazy about it. And I was just figuring that if it's okay with you, well, more Hawkins could put you up until I got my house finished and, well, uh, I started to build it just before I left, just in case. And I thought that after a while, if you wanted to, we could change things around in the... That's her. That sounds wonderful, Stretch. Next summer, when I get my vacation, that's exactly where I'll go. Next summer, huh? Yes. We could have some more evenings like last night. I had such a wonderful time, didn't you? I was just telling the girls this morning. I was saying, the next blind date we go on, we'd be lucky if we meet such nice fellas. The next blind date, huh? Yes. You don't know what trouble a girl has. Sometimes you meet the most awful people. Oh. I guess I was wrong. Wrong? Yeah. Sounded like you were on the level last night. Like it really meant something to you. I never had so much fun in all my life. So that's all it was. Well, I always knew that cow punchers were just supposed to be half-human, so, well, I guess I had it coming to me. You see, I don't go out with girls much. Generally, because I don't like the way they think. I joined this show because I thought maybe somewhere I'd run into one that didn't measure things by how many men she'd kissed in a week. I guess that sounds funny to you. Please stretch. Well, if you don't mind, I think I'll get going. Kind of feel like I need a bath. On second thought, I think you're the one that needs a bath. Oh, put me down! Hey, that's the right pretty swimming pool, isn't it? Put me down! Why, sure, Miss? Sure! Go along, Miss Mary. I had a fine time. Oh, my goodness! Help me up, hurry. He drew in the pool. I saw the whole thing. Katie, has he gone? He's gone in good riddance. Katie, Ellie, get me some dry clothes. Hurry. I've got to be at that boat. What boat? The boat for Galveston. I've got to see him again before he leaves. What? He threw you in the pool! I know, but don't you see, Katie, he was using manoeuvre number four. In just a moment, Mr. DeMille and our stars, Merle Overon and Jean Autry, return in act two of The Cowboy and the Lady. But first, shh, girls, just a moment, please. Mr. Rick, we're so excited. You are going to tell them about it, aren't you? Well, you haven't given me a chance. You see, ladies and gentlemen, before the program started, I showed the girls the lovely brooch, which the makers of Lux Flakes are offering right now to women all over the country. This one is entirely different from the Scarlet O'Hara brooch we offered last fall, and we think even lovelier. With the beauty. It looks like a real antique. No wonder it was inspired by the beautiful jewelry of the old south, and the original of this very brooch was worn in Gone with the Wind. My, I'd just love to have something as glamorous as that, but it looks so expensive with those five big simulated pearls and the big turquoise-colored stone in the center. And it has a safe to catch, too. You would expect to pay a lot for such a handsome jewelry piece, wouldn't you? It's almost two inches wide with a beautiful antique-style gold-finished setting. But it's yours for only 15 cents and the opening tab from a large-sized box of Lux Flakes. And because we know from past experience how much you're going to like these brooches, we're all set to take care of your orders promptly. But please don't delay. Get your order in early. Only 15 cents for that lovely brooch. Well, that's wonderful. I never heard of such a bargain. How do we get it? Well, first, you buy a large box of new quick Lux Flakes. They come in the same familiar box. Well, that's easy. We always use Lux anyway for our stockings, undies, and other nice things. Then, when you open it, tear off the opening tab of the box and send it with 15 cents and your name and address to Lux Box One New York City. Wait a minute, Mr. Ruick. I want to write that down. All right. Are you all set? I'll repeat it for you. Send the opening tab from a large-sized box of Lux Flakes and 15 cents in coin. No stamps, please. To Lux Box One New York City. Be sure to send your name and address so we can send your gong with the wind brooch right away. Now, with your brooch, you will receive an illustrated order blank for additional pieces. Ring, tendon, bracelet, earrings. All in the same beautiful design. All amazing bargains. This offer is good only in the United States. Act two of The Cowboy and the Lady, starring Jean Autry as Stretch Willoughby and Merle Oberon as Mary Smith. Completely under the influence of maneuver number four, the old-fashioned caveman routine, Mary Smith rushes to the pier where the Galveston boat stands ready to cast off. Pushing her way desperately through the crowd, she spies stretch at the foot of the gang plan. Stretch, wait. Oh, hello. Stretch, I came to see you all. No call for you to do that. But listen, Stretch, I want to explain. No need to explain anything. Well, I'm glad I met you. Stretch, come back. And by your spring, lads. Stretch! Sorry, lady, we're taking up the gang plan. I've got to speak to that man, that-that cowboy. You'll have to get on the boat then. We're leaving. But it's important. Listen, lady, on the boat or off. Which is it? On. Hello, Stretch. Hello. Excuse me, please. Please, Stretch. If you just let me talk to you. Well, I'm sort of busy right now. You've got to listen to me. Do you mind letting me in my room? No. There's something I've got to get straightened out. Please let me talk to you for a few minutes, and I won't bother you anymore. I guess I'll go up on the air for some fresh air. You stubborn mule. Well, you're going to listen to me if I have to dog your footsteps for the rest of your life. Look, why don't you go home? What are you doing here anyhow? Dogging your footsteps? Well, watch your step on these stairs. You watch your own. Now listen, Stretch. Oh! Now, there you go. Didn't I tell you? I'm still listening to me. It wouldn't have happened. Well, I'm sorry. You heard that? I'll get over it. Look at my shin. Mary, you shouldn't have come on this trip. How long is it? About 68 hours. I suppose it will take me all that time to get myself straightened out with you. Yeah. You might lose your job. Oh, no. That'll be all right. Listen, Stretch. That's what I want to talk to you about. About my being a lady's maid. Poor lady. You'll have to dress yourself for a couple of days. I'll bet you'll be all tuckered out. You shouldn't talk like that. She's not so bad. You might like her. Uh-huh. I worked one summer on a dude ranch. I met plenty of her kind. Show horses. What are they good for? Except to dress up and look pretty. Give me a workhorse every time. Like best. That little marimine. You know, you're a lot like best. Oh, thank you. But a woman like your boss. Well, she ain't rigged up to carry her part of the load. The first time I've ever heard horses compared to people. Well, good horses are nice people. I've got words that go with it, too. Kind of a love song, you might call it. I'd like to hear it, very much. Let's go roaming around the rain. The night is soft and mellow. The moon is bright and yellow. Let's go roaming around the rain. Let's go riding along the trail. There's a booming desert roses blooming. Let's go riding along the trail. There's a pregnancy. Some of the bees. The rustling leaves. There's music to my ear. Come and rock me there. The song of the trees. The song of the breeze. It's what I long to hear. Let's go roaming around the rain. The lazy clouds are sailing. Let's go. Hey, too bad we couldn't give you a moon. Oh, the fog's all right. Well, maybe it's better. Night. Well, stretch. Well? I'll see you in the morning. Good night. Good night. I hate this good night. It's our last one. We can take another turn around the deck. But we can't do that forever. Yeah, I guess we can. You better go get some sleep. And you too. Yeah. Don't believe we'll close an eye, though. I won't either. We seem to be giving each other insomnia. What time is it? Oh, about 3.30. Say, that's the fishing boat out there. We're getting close to Galveston. I wish Galveston would stay away. We're going so on the count of the fog. I love the fog. It shuts out the rest of the world. Hey, you're shivering. I'll get you a coat. No, no, don't go. I don't want to be alone. Only take a minute. Please. All right. You know, it's wonderful stretch. You and I are miles and miles apart. And if you really knew me, you wouldn't like me at all. And yet, I'd rather be with you than with anyone else in the world. Isn't that funny? Say that again. I'd rather be with you than with anyone else in the world. You sure? Yes. You're not mixed up now? No. It's the one thing I'm not mixed up about. Come on with me. Where? We're going to find the captain. What for? The cause where I come from. When a man feels about a girl the way I feel about you. Well, I get married. Come on. Come stretch. Take this woman to be your wedded wife. I do. Then I now pronounce you man and wife. Is that all? That's all. Good night. I, Mary, take these stretch as my wedded husband. For having to hold from this day forward, for better, for worse, for richer, for poorer, in sickness and in health, to love and cherish till death do us part. But captain forgot to say that. Is this where we're going to live stretch? In a tent? This is it, honey. It ain't very much, but rodeos don't go in for fancy stuff. Oh, I love it stretch. And I love you. We won't be here long. We'll be living for the ranch as soon as I can quit the job. Hey, stretch, the chief wants to see you. Huh? Okay. Say, you don't mind being alone, do you? Yes, but I'm going to be very busy cleaning up here. Well, I'll be right back, honey. Go near here. Sure thing. Entrance to the rodeo grounds. Phone's on your left. Thanks, Vals. Katie, I can't hear you. What did you do? Your father's coming to Palm Beach. When? Don't you see, Katie? I'm... I'm married. We're speaking to Katie. Is there anything wrong at home? No. No stretch. You must be worried about your father and... and sisters. Well, in a way, mostly about father. You know, I kind of feel rotten about that. You should have thought of that last night. But I guess we didn't think much about anything last night. No, we didn't. Did we? Hey. Look, if, uh, if we could get him out to the ranch, we could take care of him somewhere. Oh, no stretch. Don't you worry about that. Well, I was just thinking, maybe that... maybe you'd better go back and see if he gets settled. Go back? Yeah. I was figuring that if you went back home and got them fixed up, well, you could be out to the ranch by Tuesday. Don't you think that's a good idea? Oh, stretch. It's wonderful. Well, come on then, honey. We'll get you out of here on the first side. I got it all written. Here, how you get to the ranch. Thanks, darling. Oh, you'll be crazy about more Hawkins. I'll get her to fix up a room for you till the house is finished. I can hardly wait. Boss to Houston. Yeah. All aboard. Here they go. All aboard. Mary. It's gonna be a million years, Sir Toosie. Bye. Stretch. Stretch, there's something. Something I ought to tell you. What? Well, it's about... All aboard. Bye, Mary. All aboard. Bye. All aboard. Bye, Mary. All aboard. Bye. Goodbye. Goodbye, Stretch. Can't throw a bombshell like that and then walk out on me. Uncle Hannibal, I've got to change my dress before Father comes. Who did you get married to? Uh, Palmer? No, no. A cowboy. Cowboy? Young? Yes. A young cowboy. See, that's wonderful. Is it? Well, unfortunately, I'm a show horse and he thinks I'm a work horse. And work horses are nice people. You didn't know that, did you? No. Are they? They're horses are nice people because they carry their part of the load. Oh, I'm in such a mess. Have you ever been so confused you couldn't make sense out of anything? I'm doing fine right this minute. Oh, I'm sorry. Oh, maybe I can help you. You met a cowboy young, married him and went to Galveston. So what are you doing here? Well, he suggested I come back here to my drunken father and four sisters. Oh! Well, that clears everything up. Oh, Uncle Hannibal, I can't explain it now. All I can tell you is I love him very much. I sort of have a feeling that's all that's necessary. Oh, Uncle Hannibal. It's Father. He's here. What did I tell him? Nothing. Your poor father is accustomed to being in the dark. But thanks for me, Uncle Hannibal. I've got to tell him sometime. Well, hello, Mary. Hello, Father. Good to see you. You look wonderful. A week in Palm Beach is just what you needed. Oh, yes. Well, my dear, everything's in excellent shape. Probably settle the whole thing before we leave here. I expect your help, of course. Well, many men and their wives are all here, and I want a dinner arranged for them on Tuesday. Tuesday? Yes, nothing elaborate, just enough to keep them in good humor. But the big thing comes later. You know who's coming down? Henderson. Now, we ought to have a reception for him. Father, I won't be here on Tuesday. I beg your pardon? I said I won't be here. I expect to be back in Montana with my husband. I'm married, Father. Oh, this is no time to be facetious, Mary. I'm not being facetious. I met him last week at a red-ear. He's a cowboy, Horace. A cowboy? You married a cowboy? Yeah. Why? This is fantastic. I can't believe it. A cowboy. And what's the matter with a cowboy? There's nothing the matter with a cowboy as far as I'm concerned. But what about Henderson? Can't I make you understand that without his support, my nomination is impossible? Mary, Smith, and a runaway marriage with a cowhand. That's going to look fine in print. Oh, stop it, Horace. Is there any reason why Henderson should find out? And how do you suppose I'm going to keep a thing like this secret? The boy doesn't know who Mary is. And if we keep our mouths shut, nobody will know. At least not until you get Henderson's endorsement. Once it's been published, he's got to stick by you to save his faith. No, I won't stand for it. Mary, you're going to stay right here, and I'll arrange to have the marriage annulled quietly. I'm sorry, Father, but if you attempt to do that, I should tell you to the newspapers myself. Oh. All right, Mary, if that's the way you feel about it, I hope you're proud of yourself. I don't suppose I should expect any further help, but I hope you have the decency at least to stay here until after the Henderson dinner. Is that asking too much? Of course I'll stay, Father. That's what you want. I'll stay and do anything you want me to. Thank you. Oh, Uncle Hannibal. Mary, you're a little fool. We have just heard Act Two of The Cowboy and the Lady, starring Merle Ovalon and Jean Autry. Mr. DeMille brings you Act Three in just a moment. The curtain rises on the third act of The Cowboy and the Lady. It's Tuesday morning. The day of Mary's expected arrival in Montana, and the Hawkins Ranch is the scene of feverish preparation. For the tenth time, Stretch bounces into the kitchen to pester my Hawkins. My Hawkins? Oh, Stretch, will it be, get out of this kitchen. I'm cooking. Now, wait a minute, Ma, this is important. What do you want? Well, it's about those, what do you call it? Those new curtains for her room. New curtains? There ain't gonna be new curtains. I'm not gonna make my house over just for her. Oh, come on, Ma. I wish you'd go and finish that house of yours and stop pestering me about new curtains. There ain't gonna be any. Hey, Ma. What is it, sugar? Oh, where do you want these new curtains hung up? Sugar, how many times have I told you not to come busting in here when I'm baking? Put the curtains down and get out of here. Sure, sure, sorry, Ma. No new curtains, huh? Well, well. Oh, leave me alone. Thanks, Ma. Say, what are you baking? Put that down, none of your business. Oh, something for Mary, huh? You think I got nothing to do but cook for Mary? Get out of here. Well, I guess I'll go over and take a look at the new house. Again? This is the fourth time today. The fifth, Ma. Hey, Stretch, telegram for you. Telegram? Here you are, just come. See, the train must be early, huh? What time is it? Half past eight. What you cooking, Ma? Just that pabolo. All right, all right. What about it, Stretch? Want me to get the buckboard out? No. What's the matter, Stretch? She ain't coming. You mean she... Oh, Stretch. Next week, maybe. A week after. She ain't sure. Well, I guess I'll run along. Anything you want, Stretch, let me know. Stretch, from what you tell me, I'm sure she wouldn't have to point you. Less than she couldn't help herself. A sentence holding her back there, maybe. Yeah. And maybe I ought to go back and find out what. Good enough to put my knees under the same table with a great Mr. Henderson? You look fine, Uncle Hannibal. They say this Henderson's quite a fellow. He's a magician. All he has to do is to wave the wand over Father's head and presto, he gets the nomination. By the way, when are you leaving from Montana? Tomorrow, the next day. The moment everyone clears out. Are you going to come clean with your cowboy? Even if I get tossed out on my ear, which I probably will. Well, for a consideration, I'll be there to catch you when you land. Evening, Mary. Almost ready? Ready, Father. Mary, I hope you realize that if Henderson gets an inkling of your marriage, it will be most disastrous. He has very fixed ideas and he'll be very careful about the years. I know, Father, and I'm sure everything will go well tonight. I did promise to do everything I can to help. What was that you were saying, Mr. Henderson? I was saying Smith that if all the young ladies in our country were like Mary, I'd feel a little more secure about our future. Our youth today seem to feel that life is not worthwhile unless it's lived scandalously. Oh, oh, yes, yes, of course. You agree with me, my dear? You're very kind, Mr. Henderson. Kate, yes? Yes, it's Mary. Didn't I hear the door? I'll go see Miss. How are you? Where's my wife? Your wife? Well, she, I mean... Oh. I guess she's upstairs. Will you tell her I'm here? Well, no, I can't. You see, she don't work here anymore. Well, where does she work? Where is she? I don't know. Well, you're a friend of hers, aren't you? Yeah, but Mary didn't talk much. She was very funny that way. You better go now. Goodbye. Now, just a minute. Is the boss home? Yeah, but... But then I'll ask her. She ought to know where Mary is. Now, wait. You can't go in there. Now, I'm gonna see the boss. Excuse me. Wait, please. Pardon me, folks. I didn't know there was a party here. Oh. Oh. Good evening. Are you looking for someone, young fellow? Yes, I was. The boss. Well, I'm the head of the house. Are you sure you haven't made a mistake? Yeah. A bad one. Sorry. Oh, wait, young man. Uncle Hannibal, don't. Will you come back here just a moment? Well, these men are politicians. They're always interested in talking to the man on the street. Sit down, young fellow. Why, certainly. Come on, sit down. Why don't you? You ought to be able to get a lot of things off your chest. Yeah. I guess maybe I will. Thanks. Uh, a chair here, please. Where are you from, young man? Montana. Montana. Ah, fascinating place. I've always been interested in the Lone Star State. You're thinking of Texas, sir? Well, why, of course. I always get them confused. Are you married? Yes, I am. I'm married. A lady's maid. She supports a father and four sisters. Uh, he should cling to a girl like that, shouldn't he, Mary? I, I think so. I don't. She turned out to be a fake and never supported anybody in her life. Turned out that she was too good for me. Couldn't stand for me to meet her friends. On account of me being a cow hen, I guess. Since to me a cowboy ought to be as good as a lady's maid, I must remember to look that up and see what the book says. Well, keeping cows under control must be more productive work than hooking up a dress. What about the Indians? Who's going to fight the Indians? The cowboys always come to the rescue. They have a slogan, haven't they? We always get our man. Oh, no, dear. Those are the Marines. Wait a minute, everybody. Wait a minute. I want to get some advice from him. I want your opinion, young man. Judge Smith, our host here, is seeking the nomination for president of the United States, and he wants my support. Now, what would you advise me to do? I'd advise you to get down off your high horse and stop talking down to people. And the same goes for your smart-elite friends here. I beg your pardon. Do you think that... Now, you know you don't give a hang what I... Now, just a minute. I'm glad you asked me, though, cause I'd like to tell you. In the first place, I don't see where you get off picking anybody for president when you haven't the decency to treat a person like a human being. Instead of asking people to sit down at your table so that you can laugh at them, maybe you ought to go out and find out what they want and what they feel. Yeah, and what their needs are. And what you can do to help them. That's all that's gonna count in the long run. And if Judge Smith there wants to be president, he ain't gonna get very far looking down his nose at people and thinking he's better than they are. Abraham Lincoln didn't have to do it, and he turned out to be a pretty good president. Have you quite finished? Yeah, except for one more thing. I'd like to invite you all out to the ranch. And maybe we could show you something about decent manners. Good night, all. Wait, listen to me. I'm in a hurry. Please stretch, let me talk to you, please. A lady's maid, huh? You were bragging. Stretch. Well, Horace, I guess the cow hand sort of missed things up, didn't he? That was the husband, I presume. That's right. Like they always say, Horace, you haven't lost a daughter, you've gained a son. Well, he's your gain, Horace. Will you please shut up? What's the matter? Firstly, I like the boy very much. And your snooty friends had coming to them, Horace. I want to speak to Mary. Then you'd better hurry before she leaves. She's leaving? Where? I didn't ask her. I figured that was your job. Mary, open this door. Well, Father. Where are you going? To Montana, I suppose. I haven't decided where I'm going yet, but it's definitely not to Montana. I can tell you that. Why not? The damage is done. It doesn't make any difference now. If you're thinking of Henderson, I can just show you. No, Father. Just for a change, I'm thinking of myself. I had a wonderful chance to be happy, and it's gone. Oh, I don't blame you. I don't blame anyone. But I can't go back to him now. He wouldn't have me, and I don't blame him either. Mary, I... You and I are alike in a lot of ways, except one. You had a great ambition, and so did I. You wanted to become president of the United States. And you wouldn't let anything stand in your way. I wanted to be a wife. That was my ambition. I wanted to spend my life making my husband happy. I wasn't strong enough to fight for it. I'm not crying about it. Anything I get, I deserve. Certainly is nice to have you back, Stretch. Thanks. Quite a little work done on the house. The house? Your house. Almost finished, Stretch. Yeah? Well, that's as far as it'll get. I'm not moving in. Sorry, Stretch. Good morning. See, what's that fellow doing here? I don't know. Name's Smith. Been waiting for you since last night. Your, uh, Stretch Willoughby, aren't you? That's right. And you're Judge Smith, aren't you? Yes, I, uh... I was just looking at your truck garden here. And I used to grow tomatoes as big as these on my farm. You know, all the way in here on the plane, I kept thinking of something you said. People ought to get off their high horses. You're right. When you look down your nose, your viewpoints inclined to get blurred. Great many parents are that way. They'll get up on their high horse, I mean. They demand respect and sacrifice from their children, and the trouble is they forget they have to earn it first. See, I, I never earned it, but I got a great deal of it from Mary. All her life, she made many sacrifices just to safeguard a mad obsession of mine. Well, she doesn't have to do it anymore. I'm rid of my obsession. I've walked out on the whole business. You walked out? Not that I had to, but I, I realized it wasn't what I wanted after all, that I was getting on the plane to come here. It begged me to change my mind, but I refused. There are too many men in the country that are better equipped for the job. Besides, I found that Mary had an obsession that's more important. You see, she wants to live in Montana the rest of her life, and I doubt if even you could talk her out of it. Oh, will you, will you excuse me, sir? I got to get inside here. Just, just... Go right ahead, sir. Hey, ma, ma, ma Hawkins! Where are you, ma? Hey, Willoughby, what do you mean slam on doors like that? Well, where is she? She's here, isn't she? Where is she? Where's who? What are you talking about? Ma, it's so... What's that? The cake I was baking. Somebody slammed the door on the cake, so it... Oh, I slammed the door, Mary. Stretch. Oh, stretch. On my way out, I'll close it easy. You were baking a cake? Yes, I, um, I figured that there's something that even best couldn't do. Mary. Stretch, are you glad to see me? I, I know you aren't much on small talk, but couldn't you say yes? Mary, uh, I'm stuck from there on... Oh, stretch. Kiss me. Well, I guess I could do that, all right? Oh, stretch. Maneuver number five. Mr. DeMille returns with our stars for their curtain calls in just a moment. We hope you're enjoying tonight's program. If you have comments about the K and X drama hour lineup and would like a copy of our drama schedule, please visit our website at knx1070.com. Now, here's Mr. DeMille with our stars. We leave the cowboy and the lady home on the range and bring Merle Oberon and Jean Autry back to our microphone for a curtain call. Thank you, Mr. DeMille. It sure was an honor for me to work with Merle Oberon in your theater. Thank you, Jean. The only wrong note in the whole week, Jean, was the fact that you didn't bring your horse. I was anxious to meet him. Well, Merle, I reckon champion will be sorry, too. But he doesn't like this traffic around Hollywood Boulevard much. Every horse to his taste, Jean. You know, you and champion have given us some exciting times on the screen. And I've often wondered, what gave you yourself the biggest thrill? Well, sir, it wasn't in a picture at all. It was something that happened down in Oklahoma when I was a telegraph operator. One night, a stranger got off the train and this cow crossing where I worked and came in to send a telegram. I saw my guitar line there and he asked me to play it for him. So I sang a couple of songs and he joined in for a couple. And all together, I guess it took him half an hour to write out that telegram. Where was the train all this time? Well, that train never wasn't much of a hurry anyway, so it just waited. Finally, the man finished that telegram and he said, See you again, son. And he went out and got on the train. There wasn't much in the telegram. Just a couple of jokes addressed to a newspaper in New York. But that night, well, I could tell ever Brass Pounder on the line how I'd met Will Rogers. And Will had written his newspaper column between songs. What did he say when he finally did see you again, son? Well, he just said, Well, cowboy, I see you and that guitar made it, didn't you? Well, Mr. DeMille, I reckon that everybody would like to know what kind of a party you're having here next week. I reckon it'll be a bright one, Gene, because our guest of honor is Miss Shirley Temple. You'll hear Shirley, Charles Winninger and Gene Lockhart in Captain January, a story of a bluffle lighthouse keeper and the little girl named Star, who was the light of his life. Shirley's performance in the 20th Century Fox picture is a brilliant memory. And next Monday night will be a memorable night for this theater when we present Captain January. And with Shirley Temple, I think you'd better get ready for a capacity house. Mr. DeMille, good night. So long, everybody. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Shirley Temple, Charles Winninger and Gene Lockhart in Captain January. This is Cecil B. DeMille saying good night to you from Hollywood. Gene Autry appears tonight through the courtesy of the makers of Double Mint Gum. He is currently seen on the screen in the Republic picture, Melody Ranch. Merle Oberon is now making the picture affectionately yours with Dennis Morgan at Warner Brothers Studio. Heard in tonight's play were Eddie Waller as Hannibal, Lou Merle as Murray's father, Gloria Blondel as Katie, Fred Mackay as Buzz, Werner Felton as Ma Hawkins, Arthur Q. Bryan as Henderson, Janet Waldo as Ellie, and Ralph Sedan, Charles Seal, Joe Duvall, Stanley Farrar, and Julie Bannon. The brooch offered you by the makers of Lux Flakes was designed from one worn and gone with the wind, the Selznick International picture produced by David O. Selznick and released by Metro-Goldwyn-Mayer. Our music is directed by Louis Silvers and your announcer has been Melville Roy. This is the Columbia Broadcasting System.