 Lux presents Hollywood, the Lux Radio Theatre brings you Roy Rogers, Martha Scott and Albert Decker in, in Old Oklahoma. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. First, there was prairie and roving bands of the Plains Indians. Then there were white men, and the plain was broken by the plow. And then one day a trickle of oil came from the earth, and strange wooden towers rose across the land. The black gold gushed from the ground, and from all over America, men raced to get their share. So it was in every place where they found the black gold, and so it was in Oklahoma, in the days when men made fortunes overnight, and fought at the drop of a hat. Republic Pictures made a roaring screen drama on the subject, and we've chosen it as tonight's play. It's called In Old Oklahoma, and the picture was based on the Thompson-Virtus story, War of the Wildcats. You'll hear Martha Scott and Albert Decker from the picture cast, plus a young man who makes his first appearance in the Lux Radio Theatre tonight. Roy Rogers, the king of the cowboy. Roy sings a mighty sweet song in his pictures, and his pictures play a mighty sweet tune at the box office. They tell me this kind of play is very popular with the boys on the fighting fronts. We've also discovered, by way of the V-Mail route, that Lux toilet soap is popular out there, too. Perhaps like me, you've often wondered what baggage a paratrooper carries when he jumps behind enemy lines. And that's about the biggest adventure any man can embark on. Well, I have a V-Mail note here, signed by three of the lads who wear the paratroop wings. And they say that the night they jumped in Sicily, they all had a cake of lux in their toilet kits. And that certainly, that certainly is a spectacular way for Lux toilets soap to arrive on the island of Sicily. And it's quite possible they're hearing tonight's play over there. So we'll raise the curtain on the first act of an old Oklahoma, starring Roy Rogers as Dan Summers, Martha Scott as Kathy, and Albert Decker as Jim Gardner. Oil! Oklahoma's floating in. I heard of a company that made $78,000 open two acres of oil land. We got a chance to be millionaires. This here oil boom makes a land rush look like a little casino. Oil! Oil! Oil! It's 1906, and a train jammed with workers bound for Oklahoma's fabulous new oil fields comes to a reluctant stop at the tiny town of Claiborne. A solitary passenger waits at the station, surrounded by a half dozen red-faced women, and a single world-begone young man. Now, mother, now, ladies, please, just for one second, mother. Ladies, will you kindly shut up? Now, Kathy, you don't have to leave, Claiborne. Please don't go. Let go of my hand, Walter. I'm going to miss the train. But you can live all this down. I don't want to live it down. I just want to live. Kathy, tell them you'll never write another book. Tell them you're sorry and they'll forgive you. But I'm not sorry. I'm glad. But, Kathy, if you leave, Claiborne, we can't get married. Married? I forbid it. No woman who writes such novels will ever call me mother. You! You! Jezebel's the word, Mrs. Ains, but don't worry. I'm leaving Claiborne for good. We're running you out of town. I'm leaving at my own free will. I'll live as I choose and I'll write as I choose. For the first time in my life, I'll be free. Goodbye. But you can't do this, Kathy. Kathy! Come on in. What? Oh, where am I? This is my private car, little lady. Paintings and books. So beautiful. I should say you are. Excuse me, I'll get right out. But there isn't a seat on the train, nor any other lady. But somewhere there's sure to be a gentleman. Frankly, I doubt it. You see, this is an oil train. We're going to my oil field at Sepulchre. That kind of work needs tough men, and that's just what those cars up ahead are filled with. Oh. So why don't you sit down here and be comfortable? What? You must be Mr. James E. Gardner. That's right. And while I don't know your name, I know you're an author, and that you're going to be free. Oh, you heard? Pretty hard not to hear. Is that your book you're carrying? Yes. A Woman Dare by Catherine Allen. Catherine Allen. Now let's see. Catherine? No. Katie? No, you don't look like a Katie. Let me see now. Kitten. Yes, that's it. Kitten. Kitten? A baby wildcat. Fits you perfectly. And now that you've agreed to share my private car, I'll start collecting the payment. One little kiss. Now, why on earth did you slap me? Why does a woman usually slap a man? You are a wildcat. Not nearly as wild as you apparently think, Mr. James E. Gardner. Oh, I'm not a Jezebel. I'm not even a good imitation of one. I'm a school teacher. A school teacher? Then if you don't stop laughing, I'll slap your face again. I'm sorry. Where are you bound for, Kitten? Kansas City, so I can experience some of the things I've been writing about so people can't say school teacher the way you just did. Look, I'm sorry. Now come on. Give me a chance to square myself. You know, Kitten, you can't learn about life in Kansas City. You should come to Sopulpa. I'll show you more in five minutes than you can see in Kansas City in ten years. I simply don't know what to make of you. Well, I just... Oh, excuse me. I guess I should have not. What is this, cowboy? A holdup? Yeah, for a seat, Mr. This is a private car. I know, but I'm awful tired. Cherokee! If you're calling for your engine bodyguard, he's up ahead playing poker. You see, Mr. My horse died under me about ten miles out of Claiborne, and I figured, but now I've carried this saddle just about long enough. And look, Mr. Gardner, he's an ex-soldier. Oh, you notice the pants? Well, it's your duty as a citizen, Mr. Gardner, to let him sit down. I guess you're right, Kitten. Sit down. Where are you going? You know, that's a very question I was arguing out with my horse just before he died. Where you bound for him, Miss? Kansas City? Always wanted to go to Kansas City. I guess maybe that's where I am going. Oh, is that a box lunch over there? That's right. Anybody mind? No, go right ahead. Well, you folks just pick up where you left off, and I'll just get off over here in the corner with this cold turkey. Well, Kitten, shall we take his advice? Yes. If you really want to live, you mustn't be afraid to take a chance. Just remember to leap first and look afterwards. That's what happened to my horse. He broke his neck. As you were saying, Mr. Gardner. Yes. Well, take my town, for example, to Pulver. It used to be just a dust-covered prairie with nothing but... Oh, boy. Hey, you're going to have to excuse me, folks. It's this year's book, A Woman There. What's so funny about that book? Well, listen to this. They kissed and the sun and the moon and the stars reeled around till this thing ever heard. An author is entitled to poetic license. Ain't nobody entitled to run that whole while. Now let's see. It says, Enso Julia realized she now stood at the crossroads. Julie. Yes, ma'am. Which way shall she turn? One road leads to John and dull security, and the other to Roger Hale, an exciting adventure. Oh, he's ruining it. Read it to yourself if you don't mind. Yeah. Sorry. I've known plenty of women, Kitten, but I've never wanted to ask any of them what I've asked you. Get off. It's a pulper with me. If my hunch is right, you'll never be sorry. Mr. Gardner, you've known me for exactly two hours and ten minutes. And if my hunch is wrong, there's always another train to Kansas City. But I couldn't. Why not? Aren't you Catherine Allen, the novelist? Yes, but... Well, if someone were with me, alone I couldn't think of it. Well, I just can't stand any more of this year's books. I'll bet whoever wrote it is a dried-up old maid who'd run a mile if a man ever even looked at it. So that's your opinion, isn't it? It sure is. You know, I once had the idea that the girl in that book was warm and beautiful and courageous. But yes, I guess you're right, cowboy. Well, for Junction. Well, dear, where I get off. Looks like we're at the Crossroads, Kitten. How did it go in the novel? One road lets the John and Del security, and the other two... Well, for Junction. You see? Thank you, Mr. Gardner, but I'm still going to Kansas City. Oh, how long does the train stop here? About ten minutes. Well, then I'll have time to send a telegram to my Aunt Clara. And if you'll excuse me, I have to see the conductor about switching off my private car. I'll see you in the station. Sure, see you in the station, Mr. Gardner. Oh, Joe. Joe, come here a minute. Well, Mr. Gardner, got you here on time, like I promised. Fine trip, Joe. A little present for you. A hundred dollars. Well, thanks. I'd like to ask you something, Joe. Your usual stop here is ten minutes, isn't it? That's right. I'd consider it a personal favorite, Joe. If you took this train out of here and say, uh, two minutes, think you can do that? I can do most anything for a hundred dollars, Mr. Gardner. She'll be down the road in two minutes' time. Thanks, Joe. Sure, it looks like it, ma'am. Oh, station master, I was told the train would be here for ten minutes. So was I, ma'am. Here's to me. We've been misinformed. When's the next train to Kansas City? Three days. Oh, Christmas. Howdy. We've missed our train. Yes, ma'am. Well, what are you grinning at? Well, it's none of my business, and I believe you're happy about it. Why on earth should I be happy? Him? Why, you? He was right, you know. A lot more exciting here than in Kansas City. Yep. I believe we're going to like it here. No. I believe I am happy. Well, you actually believe I am. Sure you are. Lucky you left your luggage in Gardner's car. Come on, we'll pick it up. Oh, well, please don't bother about me, Mr. A summer, damn summer. Summers. I can look out for myself beautifully. Well, my granny always said next to eating peas with a sharp knife ain't nothing so risky as a pretty girl looking out for herself. Your granny and I don't agree. Well, there he is now. Mr. Gardner. My kitten, what happened? The most terrible thing. The train would often just let me here. Us here? I think that's wonderful. I was hoping that would happen. But what'll I do? Yeah, what'll we do? Don't worry about it, kitten. And don't you either, cowboy. Cherokee. Yeah, boss? Frank that automobile and let's go. The train runs like a deer. Come on. Well, goodbye, Mr. Summers. Goodbye. Thanks, Mr. Gardner. I'll see you around. Most people do. Goodbye. Will you please take me to the hotel, Mr. Gardner? Sure, I live there. And until that train comes in for Kansas City, kitten, you're going to school. I don't go to school. I teach school. This isn't Claiborne. Here you go to school. And the teacher's name is James E. Gardner. Well, honey, how do you like the room? Lovely, Mr. Sack. Say, what brought you here anyway? I was bored, I guess. Just off the farm? School teacher. Come again? School teacher. Oh, that's what I thought you said. Now, right there down the hall is Jim Gardner's room. Want to see it? What? Well, honey, I don't get it. Well, neither did Mr. Gardner until I slapped his face. You slapped Jim Gardner's face? I most certainly did. Oh, honey, that's the best news in years. I got to hear this from the beginning. Well, there's nothing to tell. I met him on the train, and then when I missed my other train, I just came here. And he still goes for you? If you mean, did he bring me here? Yeah. I'll be done. Confidently, I'm glad I missed the train, but I wouldn't want him to think I'm the sort of a girl who'd let herself be glad and not have a chaperone. Well, you got one. Meet a new member of your family, Aunt Fessy. Oh, Fessy, you're wonderful. You're crazy about the big guy, ain't you? No, he's exactly like that. Wonderful Roger Hale in my book. You wrote a book? Well, certainly. With glory. In my book, Roger leads Julie into a new world filled with exciting adventures. And they got married and lived happily ever after? Of course. Well, you got the right idea, honey. But when you're shooting for orange blossoms with Jim Gardner, you're playing for the highest stakes there is. Well, that's what he told me to do. Oh, well, where'd he go? Down the cellar in the bathtub room. Him and a young fella like you to meet him. Dan Summers. Oh, I know Mr. Summers, too. You do? Dearly, honey. You're either the smartest or the dumbest tool teacher I ever met up with. Little Joe the Wrangler. He'll never wrangle more. His days at the Remuda, they are done. For the year of gold, last April, let me join you. Hey, yo. You're behind the petition. Is that you, cowboy? That's right, Mr. Gardner. That sure feels good, huh? Yeah, you sing pretty nice, too. Thanks. Ain't finisher yet. Next morning, just at sunup, we found where Rocket fell. Down in a washout, 20 feet below. Beneath his horse, nice to a pulp, his fur had rung the nail. For our little Texas stray, poor Angler Joe. Trying to sad, ain't it? I rather like this. Thanks. The steers always liked it, too. Yeah, boss. Come here. Scrub my back. Hey, cowboy. Yeah? I'm going to give you $200. To scrub your back? No, to leave town. That's a lot of money. Yeah, but then I like you. I like you so much that I'm paying you to get out instead of having you thrown out. You are, huh? Yeah, is it a deal? You see, I don't like competition in oil wells or ladies. Oh, I don't think you have any competition. I'll think about your offer, though. Just make sure your mind's made up by the time you're dressed. They'd driven to Red River and the weather had been fine. They were camped down on the south side. Hey. What do you mean? Put them on, boss. Close. Hey. Take them off. Close. What's the idea, cowboy? Stealing my clothes. Oh, I figure you'd give me $200. Well, I thought that was a little too much. And so I'm getting your clothes and your settled ones. Are you going to take them off or does Cherokee take over? Well, I sure like these clothes, Mr. Gardner. Go to work, Cherokee. Yeah, boss. Go and make trouble, cowboy. I'm going to take them off. Put down that gun, engine. No, put down gun. You put down clothes. OK. I guess you went. You want his gun, Mr. Gardner? No. You want a job? Yeah. You got one. I overestimated Cherokee. He's fired. You owe me a new buddy, God. Oh, these clothes go with it? OK. And I'm hired. So long as I don't have to wash your back. The first thing for you to do is find Miss Allen. OK. Put down that gun, engine. The first thing for you to do is find Miss Allen. Tell her I'll meet her tonight at 8 o'clock. Right. 8 o'clock. We'll be waiting for her, won't we? In just a few moments, Mr. DeMille presents Martha Scott, Roy Rogers, and Albert Decker in act two of, in Old Oklahoma. And now, it's teenage business. Why, Ellen, you look lovely. What have you been doing to your skin? Oh, thank you, Mary. It does seem to work, doesn't it? What seems to work? Don't be tantalizing. Why, those beauty facials I've been taking like mad, of course. You said... Of course I did. I said your skin looks divine. What I want to know is silly. What beauty facials? Oh, of course. I forgot you weren't taking them. But you really should, you know? Of course I should. Now, please tell me what beauty facials. Do they cost much? How long do they take? How long before my skin will look as lovely as yours? Rita Hayworth takes them. Loretta Young takes them. Betty Gravel takes them. Veronica Lake, Roslyn Russell, Dorothy Lamour. Practically every star in Hollywood. Nine out of ten of them. Because they get results. Really makes skin lovelier in a short time. Hollywood beauty facials, the luck soap facials that really make skin more beautiful, are inexpensive, quick, and easy to take. Just cover your face generously with a rich luck soap lather. Work it in gently but thoroughly. Rinse with warm water and splash with cold. Pat with a nice soft towel to dry. Your skin feels better already. Recent tests proved that regular facials with luck-toiled soap improved actually three out of four complexions. This mild white soap with active lather really does things for the skin. It's on the shopping list of lovely women everywhere. In New York? In Alabama? In Texas? In Oregon? In Hollywood. Nine out of ten screen stars users. Why don't you ask your dealer for Hollywood's beauty soap? If he's temporarily out of stock due to wartime conditions, he's sure to have more soon. Remember, luck-toiled soap is worth waiting for. Now, our producer, Mr. DeMille. Act two of an old Oklahoma, starring Martha Scott as Kathy, Roy Rogers as Dan Summers, and Albert Decker as Jim Gardner. Katherine Allen is determined to leave for Kansas City in three days. But secretly, she is equally determined to make those three days unforgettable. A conviction ardently shared by Jim Gardner. Jim gets off to a perfect start by taking the righteous little schoolteacher to her first cabaret. But at the table for two, a third party is waiting for them. Jim's new bodyguard, Dan Summers, is taking his job very seriously. Good evening. Good evening, Mr. Summers. Say, Mr. Gardner, this is sure someplace. Nothing better this side of Chicago. I ought to know I own it. You can run along now, Summers. But I've got to look out for your answers, boss. If I'm going to be your bodyguard, I figure that, well, I've got to guard your body. Go ahead and get out. You mean you want me to go? Definitely. Okay, I can take a hint. Jim, maybe he should stay. Now what on earth? Well, she means that a man like you, Mr. Gardner, who's made so much money so quickly, is, well, you have to have a few enemies. A few, I've got dozens. Now get it. Okay, I'm getting. Good night. Good night. Well, kitten, like to dance before the champagne comes? Champagne? Oh, Chris. That's just what I'm going to make these three days for you, honey. One long and beautiful Christmas. I hear bell ringing already, Jim, without the champagne. That Jim Gardner sure can pick him. I might break the lullab for losing. That's Dana, Dana Summers. Oh, Dalton, how are you? Dana, where have you been? Oh, down around Cuba, the Philippines. Smelled oil all the way down there, did you? Oil? Oil don't interest me, Dalton. Hey, hey, hey, what you looking at? Oh, Gardner's got a new gal, huh? Yeah. Well, what's up, Dalton? I've been hearing rumors that you're getting kind of soft-hearted. Yeah, who started that? Don't know, but there's a real charitable act you could do for me. Well, you know me, Daniel. Well, I sure wish I was sitting at Jim Gardner's table right now. Yeah. You see, I'm Jim's new bodyguard, and I figure if someone was to attack him, and I should save his life, well, I figured that you... Leave it to me, my boy son. You just leave it to me. The waiter just brought the champagne, kitten. We'll finish the dance later, huh? And flowers. Oh, Jim. They're not going to look like much when you're next to them, honey. It's another word. All right, Gardner, all right. You've been asking for this, and now you're going to get it. What are you talking about? You're a double-crossin' lion, a cheap crook. He's not cheap. Drop that gun, Dalton. I sure hate to drill you in the back. Now, you keep out of this, cowboy. I said drop that gun. That's better. Gardner may be a fast-talking forefletcher, but nobody's going to kill him when I'm around. Well, I guess you win, cowboy. Desperate, flackin'. Get this man out of here. Come along, Gardner. We got law and order here, and we mean to enforce it. Get going. Yes, I guess you got me, boys. I don't know what come of it. Hey, start the music and get back to your table, folks. Let's have a good time. Jim, he might have killed you. I don't understand it. I always played ball with a Dalton. I tried to warn you, Mr. Gardner, but you're too trusty. I tell you, this ain't no easy job I walked into. Let's sit down, huh? Yeah. But this is my chair. Sit over there. Well, I couldn't do that. You might get attacked again. And my granny always says it's dim for light to shoot across a lady. All right, Summers. As long as you're here, we may as well talk business. Tomorrow afternoon, we're driving out to the Indian Reservation. Good. I got some friends out there I'd like to see again. The richest oil lands in Oklahoma owned by those Indians. I want to buy them. They'll be glad to sell them, Jim. Surely they're not worth anything to the Indians. Brush up on your sign language, kitten. Maybe you can convince them of that. Have you seen the government man yet? The engine agent? You mean Mason? Yeah. He's sure a square shooter, Mr. Gardner. What are you trying to say? That I'm not? I've spoken to Mason, and we're not going to have any trouble. Well, still I think we ought to keep Mr. Allen at home. Oh, I don't mean there's been any danger. It's just that Indians don't fancy ladies hanging around when they're talking business. Oh, well, I guess you can sit in the automobile, kitten, while we do the collabing. Of course. It'll make Mr. Summers happy. Too bad, though. I figured our power might be pretty interesting to a writer. Who's a writer? Miss Allen. I think you were reading her book on the train. You mean a woman there? Mm-hmm. That's right, Mr. Summers. Remember? A dried-up old maid who'd run a mile if a man even looked at her. Oh. Better find a doctor, Summers. Doctor? Yeah. Looks to me like you've been clawed by a baby wildcat. Where have you been? In the army, Big Tree. But I think I'll be sticking around now for a while. Oh, that's good, Dan. At least you're home. Not good to leave home. And this is Jim Gardner, Big Tree. Big White Chief of St. Paul's. Mm-hmm. He asked for power. That's right, Big Tree. I want to be your friend. Be your friend, Dan? Sure. Him like big wind. He speaks grass, tree, grab it. Everything goes. Big man. Powerful. White chief. Beats. Well, Big Tree, your tribe owns much land. This land has only trees and rocks. Hunting here is no good anymore. Buffalo gone now. Your sons will be poor and hungry. I want to buy that land from them. I want to buy that land from you. Hmm. It's land, no good. Why you won't buy? Because I want to get what is under the land. Oil. Make big pile of money. And my people, what they get. Money too. From every dollar I make, I'll give your people 12 and a half cents. It's like this, Big Tree. I know. If we tell you land, my people get every day $1,000. That's it. From land that is worthless to you now. Dan, what you say? I'd just soon keep quiet, Big Tree. Go ahead and tell them, Dan. Well, Big Tree, I think you'd be suckers. Suckers? Suckers, what a squirrel is when he let the woodpecker steal the nuts he stored up for the winter. My friend has spoken. Mason. Yeah? Bowa over. I know signed paper with White Chief. That's great work, cowboy. What the devil you expected out of this? Not a raise and pay. I signed paper with Dan Summer. Yeah, Dan? No, Big Tree, I ain't in the oil business. I don't know whether or not. This doesn't settle a thing. I'm going to get the oil that's on this land. That's enough, Jim. I guess we'd better be going. I'm going. I'm going straight to Washington. Wait for me! I'm driving to the pulper in my automobile. It's about 20 miles. And if you want to get back, try crawling on your belly. I'm terribly sorry you lost the Indian land, Jim. Oh, but I haven't lost the kitten. I'll go direct to Washington. I get what I want. Day after tomorrow, I'll be on that train to Warner. Right. I do hope my ticket's correct. Do you think it is? Well, let's stop here a minute. And I'll take a look at it. Here. It'd be awful if I were left behind again, wouldn't it? Sure would, kitten. Jim, you're tearing up my ticket. You didn't really think I'd let you get away from me, did you? I wasn't sure. I'm crazy about you. And you know it. Oh, Jim. Last time I did that, you slapped me. Sorry about the ticket. I hadn't torn it up I would have. On my train, you don't need tickets. I'm the conductor and the engineer. And I'll take you to all the places you've ever dreamed of. I don't care whether we go to the moon or stay right here. As long as we're always together, Jim. Always, kitten. That's a pretty long time. Forever, darling. You know, I've got an idea. You're going to interest me for quite a while. But wherever that place is along the line and you get tired of the scenery, just jump off. Is that the way we travel? The only way I ever travel. I promise you, you won't be the loser. I'm sure I won't be the loser, Jim. Because I'm getting off right here. What are you talking about? I'm sorry, Jim. I guess we sort of misunderstood each other. Oh, now wait a minute. Goodbye. Oh, but you can't walk back to town. I wouldn't bet any money on that if I were you. All right, then walk. And when you reach the pub, you'll know where to find me. My brain. Borrowed this horse and buggy out there from the Indians. Come on, get in. No, thank you. Well, you mind if I drive along beside you? It's a free road, isn't it? Yep. Marty loaned someone too. Oh, well. I've learned a lot about women from a certain girl I know. She's held my hand and knows my brand. Still, I don't seem to have a show. Now, I've been on the level. I know the golden rule. But she keeps on acting like an army mule. I've learned a lot about women. If women are all like you, keep on walking. If women are all like you, boots, boots. Pick them up and lay them down. Boots, boots, marching into town. Hold your pretty chin up and keep on hiking, sister. Cause your little tootsies are heading for a blister. I've learned a lot about women. If women are all like you, I'll take the army. If women are all like you. Boy, I sure can sing awful pretty, huh? No, I wasn't listening. What are you doing a long way out here? I'm going to be dark in a few minutes. What does it look like I'm doing? I'm wondering around here ain't exactly safe, you know. I told you before I can take care of myself. Well, you better keep an eye out for rattlesnakes and wolves and skunks. Oh, well, come on, horse. Get on it. Get up. Thanks, old coyote. Well, boy, hope. I've changed my mind. I was hoping you would. Get in. Can I help you? That's better. What? Tell me the Indians offered you the oil leak. Yep. What are you going to do about it? Nothing. That's what I thought. Why? Well, with those Indian lands, you could really do something worthwhile. Well, I never gave it much thought one way or the other. You want to be a cowboy all your life? Don't you realize you could be big, bigger than anyone around here? Look, little lady, would you be satisfied if I just went back and punched Jim Gardner right in the nose? Women. Come on, horse. Get on into town. You're going to make us all rich. Look, desperate, I just come back to the Indian reservation. Now, what are you talking about? Son, let me shake the hand that chips the pulp up. We heard all about it. And we want you to take the oil lease with the Indians. The whole town's back new against Jim Gardner. Well, I said I didn't want it, and that's still gold. You're the only one the Indians are leased to. But don't you see, after what I told Big Tree, if I went and took the lease now, it'd be kind of like double crossing the garden. Gardner does everything legal, Daniel. That's true. But he's taught us that a man can cheat and lie and still be legal. And we're getting sick and tired of him making money off on our oil land. Yeah, but drilling oil wealth takes money and lots of it. And that's what we're trying to tell you, Dan. We raise the money. Us little fellas, Daniel. It'll be us and the Indians instead of Gardner. What do you say? Don't let us down, Summer. But, sure, we got Summer, right? No, I just think the man for the deal. Of course you are. Huh? Well, I know this is none of my business, but you're just the man. Jim Gardner says he'll get the Indian lands and he's going to Washington to do it. Well, if he can, you can. And if you don't think anything of yourself, Dan, Summer, think of these people. If you work those lands, you'll give us all a chance where we can lick that Jim Gardner to a frazzle. Well, I know how you folks feel, and I'd like to please you, but still I got a sleep on the proposition. Well, that's good enough for me. Inside everybody drinks on the house and dances until midnight. Come here, girls. Yes? Ain't you taking kind of a roundabout trip for them orange blossoms, honey? That's me, Dan. I'll ask you, will you dance? Well, about everything else has happened to me. Come on, we'll dance. I'm not made of glass, you know. Huh? I won't break. Oh, this better? Much. Well, I'm warning you, my feet ain't half as light as my head. You're a fine dancing dancer. Yes, Summer, you seem to understand all about dancing. Oh, hello, Mr. Gardner. But this is to warn you to stay out of things you don't understand. Hey, what happened? Three guesses, Summer. Gardner? Give the janitor's cigar. He sure put you to sleep, Dan. Well, I guess I've slipped on that proposition long enough. How do I get the washing? Yes! We pause now for station identification. This is CBS, the Columbia Broadcasting System. After a brief intermission, Mr. DeMille returns with Roy Rogers, Martha Scott, and Albert Decker for Act 3 of In Old Oklahoma. And now, there's a little conference going on between two young war workers who share an apartment. It's my turn to do the marketing this week, Marion. Just check the list, though, will you? Let's see. Oranges, bread, coffee, eggs, toilet soap. Oh, Janie, dear, do me a special favor, won't you, and get some lots? I'm sure, but isn't that soap in the bathroom all right? Oh, it's all right, but it isn't super the way lots is. I want a soap for my bath that really lathers. We know what Marion means. Sometimes it seems like hard work to coke lather out of soap. It seems a little bit like this, in fact. But now, unwrap a smooth white cake of luxe toilet soap. In a jiffy, as soon as you touch it to water, you get a quick creamy lather like this. That wonderful creamy luxe lather is one reason why so many Hollywood stars use their complexion soap as a bath soap, too. Lovely women everywhere say a luxe soap beauty bath whisks away every trace of the day's dust and dirt, leaves skin fresh, really sweet. It's nice to know that active lather makes you really sure of danger. And I love the delicate fragrance luxe soap leaves on my skin. A bath soap that's luxurious, but thrifty, too. Luxe toilet soap is hard mill. That means you can use it down to the thinnest sliver. It's patriotic not to waste soap now, you know. So here's another thrifty tip. Always put your luxe toilet soap in a soap dish that's dry. And now, Mr. DeMille returns to the microphone. We'll have a chat with a cowboy and a lady after the play. But now we raise the curtain on the third act of In Old Oklahoma, starring Roy Rogers, Martha Scott, and Albert Decker. Several weeks have gone by since Kathy's plea and Jim Gardner's fists swept Dan Summers into the oil business. In Harlem, Washington, both men impatiently await the government's decision. It arrives in Sepulchre in the form of two identical telegrams. One to Dan and one to Albert Senthem, Jim Gardner's lawyer. They turned you down, Jim. They turned you down. Read me the last of that telegram again. This grant to Daniel Summers shall be null and void unless a minimum of 10,000 gallons of oil are delivered to the refinery in Tulsa, Oklahoma by next August 31. If these conditions are not met, there will be a water to James E. Gardner. Now there it is, Jim. It's perfectly obvious why we lost out. Summers agreeing to give the Indians 50% of the profits. Oh, calm down, Fenton. That's his privilege. Besides, the telegram gives him only four months. Well, that's what he asked for in Washington four months. And that's where he made his mistake. It just can't be done in four months. Let's play it safe, Jim. Let's make certain he fails. No. I'm giving him the same chance the government's giving him, and I can't lose. Well, we've hit it. Let's see. Smell this sand. It's gas fumes, all right. And that means oil, a gusha. It means we've won. Today is only August 8th. That gives us three whole weeks to pipe it into Tulsa. We're celebrating tonight, Desperate. Now get on into town. Best you've promised you'd come out here and feed us the best dinner in Sopopa the day we hit oil. I guess Miss Allen would be kind of interested in the news, too. Hey, look, Daniel, isn't that that engine who used to work for Gardner? Yeah. You're looking for somebody, Cherokee? Look for you. One job. Mosey on this, but I'll take care of it. See you later, Daniel. Right. Why don't you ask your old boss for a job, Cherokee? Gardner, Batman, you're a good man. You work for Indian. I work for you. You really serious about working? Sure. I mean, good work. Now, let's see how good you are unloading these barrels. Get busy and we'll talk later. Sure, boss. Thanks. That might sure. Now, get a hold of that there. Gee, Daniel, give us a song. Come on. I do, Daniel. Well, I can't let my boys starve. They call this one when my blue moon turns to gold. Memories that linger in my heart. Memories that make my heart glow cold. But someday they'll live again, sweetheart. And my blue moon again will turn to gold. When my blue moon turns to gold again. When the rainbow turns the clouds away. When my blue moon turns to gold again. You'll be back in my arms to stay. The lives that used to thrill me so. Your kisses were meant for only me. In my dream they live again, sweetheart. And my golden moon is just a memory. When my blue moon turns to gold again. When the rainbow turns the clouds away. When my blue moon turns to gold again. You'll be back in my arms to stay. Here, I got something for you, Captain. A bottle of sand. Oil sand. It's really a bottle full of rainbows. I always make a wish when I see a rainbow. I'll make one for both of us, do you mind? Any way you want it, that's the way I want it. Hadn't you better go get Betty some help? Well, I was hoping we could talk. You never talk, Dan. Well, that's because my granny always says the second pillar's got the way to be turned before you can sing out good and loud. If you'd made the wish, what would it have been? Well, you know that bend in the river where the cottonwoods are? I'd build me a house right there. I didn't know you ever thought of such things. Well, I thought about them ever since I was a kid. Smoke coming out of the chimney, horses in the corral. And I best heard of cattle in Oklahoma. But now that I'm pretty near a dashing tycoon, things will be different. Bigger house, more cattle, and a fancy stable instead of that old pole corral. Is that all you want? Well, what else is there? Oh, Dan, if I were going to be a dashing tycoon, I'd be dashing. I'd have automobiles and private railroad cars, and if I found someone I wanted, I'd creep her right off her feet. I'd take her with me right to the end of the line. You would, huh? I most certainly would. Oh, damn. You know, I'm going to like this dashing tycoon business. Kathy, I sure would like to kiss you again. Get back, Kathy, get back! Yes, sir! There goes the oil well, Captain. There goes the rainbow. Dad, look at the flames. Two men, they'll burn to death. Send for a doctor quick. I'm going to get them out of there. Are you trying to tell me, Cherokee, that you did it? Sure. Use dynamite. Everything blew up. Oil well, Derek, all gone. You thought I'd like that? You! I know like cowboy. You know like cowboy. Now I get old job back, huh? You crazy fool, I oughta... Who is it? Just a minute, Kitten. Cherokee, get inside there. Hurry. Sure. Dan's on his way here. Someone blew up our well. I had nothing to do with it, Kitten. Two men were killed, Jim. And you rushed here to warn me. Thanks. But don't worry, there won't be any more killing. Oh, you're speaking this? And now you've got to stop things before they get any worse. You know, you're more attractive than ever, Kitten. Oh, Jim, stop. Let go of me. Where's Cherokee? Better get out of here, cowboy. Where is he, Kathy? Where's Cherokee? I don't know, Dan. There's no one else here. I saw him come up. I want that Indian Gardener. Wilkins and Potter did, and that's going to be paid for if I have to tear you and the whole town apart. Dan, look out! So he wasn't here, Kathy? Dan, I... Gardener, there's only one thing more I want from you. There's a chance we can still operate if I can get hold of a portable oil ring. I'm going to borrow yours. Why don't you go out and take it? That's just what I'm going to do. But first, I'm telling the sheriff why I killed your pet rattlesnake. What are you going to tell him? If you kill Cherokee and self-defense. The same thing I'm going to tell him about you if I find you on my property. Dan, I must talk to you. Why? It's pretty plain you take the side of the fence you like. Well, stay there. How's it going, Desmond? She's going good, Dan. We'll hit that oil again any minute. Say, you never did tell me how you got this here a portable ring. It's Gardener's, ain't it? Yeah, I started a prayer, Farron. Dan! Yeah! Dan! Gardener's coming. Him and about 50 men. We're getting our rifle. Any fight will be between Gardener and me. Get back to the ring and be ready to cap the gun. Okay, Dan. Hello, Summers. I don't suppose you heard about the prairie fire over my field last night. Put her out? Yeah. When the boys got back, my portable rig was missing. Same rig you're using now. You don't say. All right, men. Take down the rig. Get away from that rig. Turn around, Gardener. Look over there at the top of that hill. Oh. Yeah, I see. There's about 300 engines up there, Gardener. All I have to do is fire a shot and they start closing in. Well, I guess we've had a ride out here. All right, boys. The rig stays put. That's better. But I'm staying a while, cowboy. Dealing a rig is against the law. And I mean to pound that law into your thick head. You put me to sleep once, Gardener. Here's your chance to do it again. It's calling this round one. Call it anything you want. Shut her up. Through the pipeline. Yeah, but I just bought the pipeline. You can keep the rig, cowboy. And thanks for the gusher. Let's go, boys. I'm glad that could happen, has happened. And now this. Well, we're going to get this oil to Tulsa, Desperate. We'll do it with wagons. Scan it. It just can't be done. Round up every horse and every man you can. Get grub. Telegraph relay stations and dig up everything on wheels. It'll carry oil. But there ain't half a dozen of them old tank of wagons to use. Then we'll build it. There's lumber. There's tar. And there's tonight. Hurry up, Desperate. We've still got a chance. You ask. Who asked you to help? Jim Gardner? I don't know. I don't know. I don't know. Who asked you to help? Jim Gardner? I don't know. You picked your own pastor, didn't you? I just heard what you said, Daniel. And if we wasn't ready to roll, I'd horsewap you. I doubt if it'll do any good, Desperate. Yeah. Will I see you at the relay station, Cathy? I'll be there, Desperate. Good luck. Good luck, Dan. Well, line up every wagon there is, Desperate. Single file and close the gap. Told you men to go. We was all ready. What are you waiting for? All right, boys. Climb on your wagon. I don't have to tell you what it means that we reach Tulsa by six o'clock tonight. That's the time to refine our clothes. Just do your best and remember Sam Wilkins and Johnny Park. All right, boys. Let them roll! 40, 50 wagons out there. Yeah. Some of us did his job well. How well did you do yours? We've got 10 of our men spotted in among his wagons. That means at least 10 of those wagons will never reach Tulsa. That's not enough. I know, but in about 20 minutes they'll be right at the mouth of this canyon. And that's as close to Tulsa as they'll ever get. I borrowed an idea from Summers. This. Very fine. Somebody once said you got to fight fire with fire. Good work, Fenty. Give me a handful of those matches. You never get here. What in tarnation happens here? Very far in the mouth of the canyon. Get busy, Desperate, and get those canes changed. And he got through? Well, we're here, Bessie. We left four of the wagons and some of the gardeners' men back in the canyon. Fenty of music. Yeah, he's here. And you heard your friends. Come on over there. There's a jet wagon. We'll be happy to help you. If you want to help me, just stay out of my way. Hey, you're joking. You've been riding upside down? Well, I just wish some people learned to keep their mouth shut. Well, that's what we promised her we'd do. And that's what caused this trouble. Desperate, please. You thought she went to warn Gardner, but they are. Gusha was dynamited. Well, you loppied mule. It was you she was thinking about trying to keep you out of trouble. It's all right, Bessie. Just a little mixed up. Yeah. Yes, I am. Fenty me. It's about time you start unraveling. I'm sorry, Petty. I'm also sorry. Let's not talk about them again. Let's talk about that bend in the river. Oh, Cottonwood. Do you remember that? Of course I remember. My house in the Polka Range. Oh! Boys here say Gardner's in total. That means you'll be helping with the spoon. Close them gates right on the dot at six. Hey, did I hear the name of Widderspoon? Charlie Widderspoon? He's superintendent of the refinery at Tulsa. And he's the one who's going to close them gates? That's right. Oh! Over my dead body. That ain't dead yet. Come on, honey. You and me has work to do. Where's my bucket? Did I dance to your Tulsa? At six o'clock. All right, Desperate. We ought to wait till they hitch the horses. Huh? Oh. Yes. Go right in, Mr. Gardner. Make the Widderspoon what they expect. Thank you. Oh, hello there, Mr. Gardner. See? Pretty nearly five o'clock. Looks like you'll get those Indian lands. All over but the celebrating, Charlie. Come on, get your hat. Oh, uh, you can't leave until the closing time, Mr. Gardner. That's right, Charlie. Stick to your principles. But at least you can have a drink with me, can't you? I brought along something very special. Mm-hmm. Ah! Ah! You know, Charlie, I got some big plans for the future. And you're in them, Charlie, because I like a man with principle. You mean that, Mr. Gardner? I always say what I mean. Well, let's drink to the future. To the future and the Indian land. Take another drink. Sure, Jim. But I just about jumped out of the whole bottle already. I'm going to buy out this refinery soon. And you and I are going to go a long way together. Long, long, long way, Jim. Look at your watch, Charlie. Wait, it's 6 o'clock. Come on, lock up Charlie, and we'll paint the town. Ready to lose this comb. Hey, Charlie, quit it. Hm? Especially. Oh, Charlie, how are you? How are you? Busy back there. Well, don't cry, Charlie. I'm just glad to see you, Busy. Meet my friend, Kathy Allen. And Jim Gardner. Charlie, I don't like to interrupt this little reunion, but it's after 6 o'clock. That's right. Wait here where the lady's not closed up. I'll be right back, and we'll all celebrate. Charlie, that's just what you told me 15 years ago, and you'll never come back. This time I'm going with you. Aren't you going to congratulate me, kitten? Before the fight, children. The fight is over. The cowboy was licked before he started. Oh, look, honey, you and I have wasted a lot of time. Let's get back on that train. This time we'll go straight to the end of the line with no stopover, except at Niagara Falls. What do you say? I got off that train a long time ago, Jim. I'm trying to catch a ride on a cowboy's wagon, and here it comes. Look! Alex! Alex! Yes, Mr. Gardner? Where did Witherspoon go? He had his factor left a minute ago. Where? He said he was taking them for a buggy ride. This office still opens? Yes, indeed. He will open until Mr. Witherspoon gets back. We've got 10,000 gallons of oil here to check in. Yes, I'll get the full... Put them! I bet you're going to say you knew all along I'd do it. Of course I am, and it's a true thing, so wonderfully true. Just like in the book, huh? No, just like in my dream. Well, cowboy, you made it. But you can't bring in oil every day with a horse and wagon. Now, I've got a pipeline. I've got a proposition for you. We'll take it up in my office when I get one. Why not right now? In there. Witherspoon's office. Sure. Excuse me, will you, Captain? Where can I go? He's in conference with Kim Gardner. That's the most interesting conference I've ever heard. You decide. Nothing yet. I presented an idea to Gardner and he's sleeping on it. I've got one to present to you, too, Captain. You socked that dear lady and I'll send you for a hold. Oh, put down your gun, Desperate. This idea is about a... House by the river. Oh, well, yes, I'll sit down inside and just look at Gardner. We could put on an extra room, Dan. Huh? Why? So your granny could come and live with us? Oh, uh, just one catch to that. What? I never had a granny in my life. You see, she was only a, uh... Poetic license? Yeah, you know, like they kissed and suddenly the sun and the moon... And the stars reeled around them? Is that still the silliest thing you ever heard of, Dan? Uh, it's a sure right now. Let's find out, huh? Well, Mrs. Somers? Tony, uh, where can I get one of them licenses? We turn to present-day Hollywood. And a curtain call for Martha Scott, Roy Rogers, and Albert Decker. Thank you, Mr. DeMille. It's a pleasure to be back. There was only one disappointment. Roy didn't bring his horse Trigger. Well, I'm sorry about that, Martha. Trigger will be mighty pleased to know that you're an admirer of his. Well, I have a horse, too, Roy, but I'm afraid I don't ride as well as you do. Where did you get acquainted with horses, Roy? I was raised on a ranch, Albert. Radio must seem a little tame to a real riding, roping cowboy. No, I think radio is a wonderful thing. Now, look how many people tried luck, because, well, because they heard about it on this program. Well, you've got to remember, Roy, that a lot of women made the same discovery I did, that luck itself is a grand complexion pair. That's why we women keep on using it. Yeah, but radio's the way they found out. I really owe a lot to radio. Bunch of fellas in Iowa, they were all cowboys. We had a band and we were broadcasting over a little radio station down in New Mexico a few years ago. And one day we happened to mention on the air that some good old home cooked food would come in mighty handy. As a matter of fact, we weren't eating very regular, and that's when I decided that radio was really one of them. Did it bring in a few good old New Mexico hamburgers? It sure did. Well, one girl sent me personally two lemon pie, boy, the kind you really dream about. And then I went around to the house, but thank her, not only was she a good cook, but she was pretty, too. What would you have done, Mr. DeMille? A beautiful girl who made beautiful lemon pie? If I'd been in your place, Roy, I'd have married her. That's what I did. Well, my regards to Mrs. Rogers, and you might tell her I like lemon pie, too. Yes, sir. Say, what kind of a play do you have next week, Mr. DeMille? No, just fine drama, Roy. And a four-star cast. It's the Warner Brothers' screenplay, The Hard Way. And our stars will be Rancho Tone, Miriam Hopkins, and Baxter and Chester Murray. The Hard Way is a backstage story of the theater. The story of two women, sisters. One in search of fame and one in search of love. I like the picture very much, CP. Good night. Good night. Good night. Good night. Good night. We certainly stock oil tonight. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night. The Lux Radio Theater presents Miriam Hopkins, Rancho Tone, Chester Morris, and Anne Baxter in The Hard Way. This is Cecil B. DeMille saying good night to you from Hollywood. Ladies and gentlemen, this month marks the 32nd anniversary of the Campfire Girls. A fitting time for the nation to salute their fine record of service in both war and peace. And here's an important wartime job for every housewife in the land. Save every drop of used fats from your kitchen. Turn them into your butcher. Give you two meat ration points and four cents a pound for them. Remember, those waste fats will be put right to work to make life-saving medicines for our fighting men. Roy Rogers appears through the courtesy of Republic Pictures and is currently starred in Hands Across the Border. Albert Decker appears through the courtesy of Paramount Pictures, producers of Lady in the Dark. The screenplay in Old Oklahoma, which was heard tonight, has no connection with the Theatre Guild's Broadway musical hit, Oklahoma. Heard in tonight's play were Martha Wentworth as Bessie, Jim Nussar as Cherokee, and Stanley Ferrar, Eddie Mar, Ken Christie, Bob Haines, Noreen Gamill, Charles Seal, Horace Murphy, Norman Fields, Leo Cleary, and John McIntyre. This program is broadcast to our fighting forces overseas through cooperation with the Armed Forces Radio Service. Our Lux Radio Theatre production in Old Oklahoma has come to you with the good wishes of the makers of Lux Toilet soap, the beauty care that nine out of ten Hollywood stars use to help keep their complexions beautifully clear and smooth. Our music was directed by Louis Silver. And this is your announcer, John N. Kennedy, reminding you to tune in again next Monday night to hear Franchotone, Miriam Hopkins, Ben Baxter, and Chester Morris in The Hard Way. Everybody, young old or in between, your drugist has a free gift for you, free VIMS. He'll hand you a regular 50-cent package of VIMS, free when you buy the large economy size, a two-and-a-quarter value for $1.69. With famous VIMS, you get all essential vitamins and vitally needed minerals, too. Don't wait to get your free VIMS. Your satisfaction guaranteed or money-backed. Hurry! Ask for free VIMS today. This is CBS, the Columbia Broadcasting System.