 From Hollywood, California, the Lux Radio Theater presents Herbert Marshall and Margaret Sullivan in the Petrified Forest with Eduardo Cianelli. Lux presents Hollywood. Week after week, these programs come to you, ladies and gentlemen, because week after week, you make them possible through your loyalty to our products. And the Lux Radio Theater is the means our sponsors take of showing you their gratitude. Stowing for you tonight are Herbert Marshall, Margaret Sullivan, Eduardo Cianelli, and Donald Mead. You will hear from two special guests, Charles J. Smith, superintendent of the Petrified Forest National Monument, and Nick Janios, manager of that famous movie restaurant, The Café de Paris, at 20th Century Fox Studios. Our music is directed by Louis Silvers, with our entire production in the hands of that master showman, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. The city of Baltimore gave us the Star-Spangled Banner. It also gave us a Star-Spangled group of theatrical personalities who assembled there just five years ago under the banner of the university players. At that time, they were an unknown collection of stage-struck youngsters intent on making good. Their leading man was Henry Fonda, and their engineer, a little miss from Virginia named Margaret Sullivan. They remained in Baltimore 17 weeks, employed by an optimistic producer who paid them $10 a week, and meals. This year, as the star of Stage Door, Margaret Sullivan returned to the same city and to the same theater, rounding out a five-year campaign and a burst of glorious success. When Margaret was in college, her English professor returned an essay she had written with a brief but uncompromising comment, for heaven's sake, stop acting. Margaret was just stubborn enough to ignore him, reasoning that a girl must have some fun. She's been acting ever since. With her love for the legitimate stage, keeping her from Hollywood all too long. She's back here now, however, and starts work shortly on a new film. Margaret has a farm in New Jersey, cooks excellent onion soup, likes fishing, and doesn't mind at all if you call her Maggie. This is her debut in the Lux Radio Theater, and we hear her as Gabby in Robert Sherwood's great play, The Petrified Parist. It's always a particular pleasure to announce the return to our program of Herbert Marshall. When last year, Mr. Marshall was filming the Paramount Picture, Angel. Since then, with Barbara Stanwyck, he's made breakfast for two at RKO. His role tonight is that of Alan Squire. Two other splendid performance also make their Lux Radio Theater debut tonight. Eduardo Cianelli and Donald Meek. Comparative newcomer to pictures, Mr. Cianelli is already duplicating in films. The brilliant record he established on the legitimate stage as a character actor. He comes to us as Duke Mante, where Mr. Meek plays Gramp, Wallace Clark, Mr. Chisholm, and Frank Millan plays Bowls. Our play begins. The Lux Radio Theater presents Herbert Marshall and Margaret Sullivan in The Petrified Parist with Eduardo Cianelli and Donald Meek, a little town in Arizona on the edge of a desert. It's a few minutes before noon, and the first national bank is the scene of the usual midday activity. There's a line at the teller's window and a general quiet hum of conversation. Suddenly, the front door is thrown open, and four men stand in the doorway, leveling machine guns. This is a sticker, folks. Everybody just stands still and you won't get into no trouble. This is Duke Mante here, and he don't take no fooling. Now mind the gap. Get that door back there. Cover the door, Hank. Don't let anyone in. Okay, Duke. You got the door, Jackie? It's in the drawer. Open up, you. I'm speaking to you, teller. Open up yourself. Why you? Don't argue with him. Open it. Let me give it to this wise guy, will you? I'll take her out of here myself. You got the door? Yeah. All set, Duke. Open the door, Duke. Right. Now everybody stay right where you are, and if any wise guy is looking for trouble, remember that Tommy Gunn makes a noise like this. That's just to give an idea. All right, Jackie. Let's go. Calling State Police, Arizona State Police, Duke Mante last reported to be heading west on route number 66. Be on the lookout for a blue sedan bearing Oklahoma plates. Be careful, these men are armed. One motorist to avoid all roads in and about petrified forest area, that is all. One old motorist? That's me, I guess. Maybe I should have been a little bit more careful about picking you up, brother. If you mean I'm happy Duke Mante, you can set your mind at rest, I'm not. No, you don't look at it exactly. But you're right, of course. That was a lonesome spot back there. I hadn't had a lift for hours. Oh, well, I took a pretty good look at you first. And my honest countenance won the day. Well, I don't know. You look so pesky, honest. I just figured that was a match for you. My name's Jones. Thank you. Mine's Clare. Hitchhiking, eh? That's right. Where are you from? Well, if you mean originally, it's England. If you mean hitchhiking, I started in New York. And so? You're looking for work? Well, yes and no. A lot of work you in. None just now. I haven't at times a writer. A writer, huh? Well, you won't find much to write about in these parts, unless you happen to run into Duke Mante. Which, I sincerely hope I do not. How far are you going, Mr. Square? I'm not quite sure. I've got to find some place to eat. I'm not in a hurry. Well, the nearest place I know is the Black Mesa Barbecue Stand, the filling station. The Black Mesa Barbecue Instructor, but not illuminating. Just where is it? Well, I'm going within a couple of miles of there, and I'll show you before I drop you. Old man Mapele and his granddaughter run it. Ain't so much of a place, but, well... What's the sad news, Gabby? Well, you had a hamburgers pie and coffee that's 50 cents for you, 55 for your friend. Hey, how come mine's more in his? Well, you asked me to put a nickel in the piano, didn't you? Uh, come on, Nick. Don't argue. There you are, Gabby. Thanks. See you around, Gabby. Yeah. Oh, that's quite true. Yeah, Gramps. I want to see Paula back there in the kitchen. I told her Duke Mante was heading this way, and she's... She's putting sugar in the soup and salt in the coffee. She's scared, oh, oh. Uh-oh. You oughtn't to scare, Gramps. She's a bad enough cook as it is. Oh, she's all right. When do I get my dinner, Gabby? Since I can get around to it. Change the 20, Gabby. Lady wants a pack of cigarettes and take out for 15 gallons of gas. What kind of a car is out there, Bo? It ain't Duke Mante. Well, now, maybe somebody, they might have heard about him. Hey, I'll take the change out, Gabby. Yeah. Don't forget to turn on the radio at 7 o'clock now and get the news. How's he going, Gabby? Oh, all right. That's a good outside. Ten customers all day. If it gets much worse, you can fire me and handle the pump yourself. I'm really satisfied. Hey, Gabby, come outside and sit with me a while, will you? Not just now. I've got things to do. Oh, you've always got things to do when I want to talk to you. Well, to tell you the truth, I want to read. I haven't had a minute to myself all day. That book there? Yeah. Let's see it. It is nothing that would interest you. How do you know? Oh, poetry. The shapeless lender's shoulder is small. Long arms, hands wrought and glorious. Oh. I told you you wouldn't like it. Do you? Sure. It makes me forget where I am. You sure hate this place, don't you? Well, I didn't like it much when I first came. Then why do you stay? You ought to know that, Gabby. You can call me a sap if you want to, but I'm falling in love with you. Yeah? Have you ever been in love before? No. Have you ever said you were? Well, I sure, lots of times. Did they believe you? Well, certainly they did. But I couldn't fool you, Gabby. I wouldn't want to. Don't you like me at all? Sure, I like you. But not much? Some? Enough for you. Not enough for me. What's the matter with me, Gabby? Nothing. Well, while you wear that football jersey. Huh? Number 42. You're proud of it, aren't you? Well, I was pretty good back in college. Why? Oh, yes, I get it. I'm just another rah-rah boy, huh? All right, Rose. Say, what kind of a guy would it take to self-knew up anyway? Well, I don't know if anyone could. But I do know you'd have to be different. Not the people around here. You'd have to be like out of another world. You're crazy, you know? Gabby, couldn't you pretend I was that fella and kiss me once? Sorry. Oh, come on, Gabby. Stop it, boys. Oh, listen, baby, I... Good evening. Oh, good evening. Can I get something to eat? Yeah, Miss Maple here will take care of you. Thank you. You can sit down right over there. Oh, here's a bill of fare. It's kind of grimy, but the food's clean. Well, what do you think you'd like? Hamburgers? Oh, I'll leave that to you. Okay. Customer bows. Bows! All right, all right. By the way, when am I? Black Mesa. And it's even more dreary than it sounds. Where are you planning to go? My plans have been uncertain. Oh, just coming along? Mm-hmm. Call it gypsy-ing. I had a big idea that I'd like to see the Pacific Ocean. And perhaps drown in it. But that depends. Where'd you come from? Quite a long way, Miss Maple. Is that the name? Yeah, that's it. You're English, aren't you? Call me an American once removed. Why? I could tell you didn't belong around here. Is that a compliment? Sometimes I'm afraid I don't belong... any place. I'll... go get you dinner. There's his picture in the paper, Mr. Squire. Duke Manti. He doesn't look very vicious, does he? Well, I'll tell you. You can't tell a killer except by his chin. Do you ever notice that? I don't think I ever saw a killer. Well, I've seen plenty of killers. You ever hear of Billy the Kid? Yes, indeed. Well, I knowed him well. He took a couple of shots at me once. I congratulate you on still being with us. Well, it was kind of dark, and he had had a few drinks. I don't think he meant to do me no real harm. He just wanted to scare the pants off of me. Well, by golly, it's about time. Please, I met you, Mr. Squire. Please, I met you, sir. Like a soup? It's the best I ever tasted. Well, shall I pour you coffee now? Thanks. Your grandfather's a charming old gentleman. Oh, Gramps, all right. He told me he'd been missed by Billy the Kid. Yeah, he tells everybody that. Did I hear him say you were a writer? Yes. See, I haven't met many writers, uh, Sidney Wenzel. Ever hear of him? Sonny, no, I haven't. He's with some movie company. He stopped here once on his way to the coaching and gave me a lot of bologna. Said I ought to be in Hollywood. When I got there, to be sure to look him up. Gosh, I might have. They never mean it. No, they never mean a thing. So you want to go into the movies? Oh, Lord know. I want to go to Bourges. Where? Bourges, France. That's where I came from. Well, you're not French. I was born in Bourges. But all I know about it is from the picture postcards my mother sends me. You know, they got a cathedral there. Your mother still lives there? Yeah. Dad brought us back here after the war. Mother stuck it out for a couple of years and then packed up and went back. Some people think it was cruel of her to leave me, but what could she do? She couldn't live here. And you can't blame her for that. Do you think she was cruel? Not if you don't, Miss Maple. She sends me a book every year for my birthday. She sent me this one. It's the poems of Francois Villon. Ever read it? Oh, yes. Wonderful portrait. Mother wrote it to my dear little Gabrielle. Gabrielle? That's a beautiful name. Yeah, wouldn't you know it gets changed into Gabbe by these ignorant desert rats? You share your mother's opinion of the desert? Yes. But you find solace in the poems of Francois Villon. They get this smell of gasoline and hamburger out of my system. Would you like to read me one of those poems, Gabrielle? No. Read me the one you like best. All right. This one here. He wrote it about a friend who was getting married. At daybreak, when the falcon claps his wings, no fit for grief, but noble heart held high with loud, glad noise he stirs himself in spring and takes his knees and tore his lure off the road now. Description of car follow. Blue sedan bearing Oklahoma plates. There is a bullet hole in front fender. Shattered glass and rare window. Mantease girl is riding in the car with four men. Turn that thing off. This car is dynamite, Duke. They've got a spotted Duke. We've got to switch cars. Shut up. Let me think. Doris. Yeah, Duke? You've got to get out of this car. See? We'll pick up another one down the road and you and Mike and Flint can drive it around until the cops get off our tail. Oh, Duke. I'd rather be in your car. I don't like to travel without you. You'll be safer, kid. As if I can. You mean that? Don't you know it? Oh, Duke. No. You've got to switch, kid. We'll get rid of this car too as soon as we get a chance. We'll meet you later. Where, Duke? There's a filling station about 10 miles past the crossroads. That's likely to be your hotspot, Duke. Then we'll cool it off. We'll take over the joint and stand off an army. You meet us there, Doris. It's a joint called the Black Mesa Barbecue. It's not that I cast love by. But here with reason shall I chide and fret. Go on, Gabriel. No cease to serve, but serve more constantly. This is the end for which we twain are met. Back to the petrified forest outing Herbert Marshall and Margaret Sullivan. Let's stop in for a moment at a house on Franklin Avenue where a smart young secretary lives with her mother. Oh, there you are. Oh, please be an angel pet and press my white evening dress. Well, there's no knowing where a cancer cyclone will strike next. Now, would you mind explaining why if you knew you were going out tonight? You didn't phone me in the office. Oh, darling, please get into action. This is a crisis. I am going dancing with the boss's son. And I couldn't call you because I was taking dictation all afternoon. Now I'm a little frazzled around the edges. I won't have time to do the dress myself. Why, do you do look tired? Why don't you take a little nap? You'll feel much better? Nap? Oh, I haven't the time. Anyhow, I know something better and quicker. I'll just pop into a luxe toilet soap bath. Well, I don't know. I should think that if you'll do it. Oh, don't worry, mother. My luxe toilet soap bath really does refresh me wonderfully. It leaves me feeling full of pep. Well, you certainly always do look lovely when you go out. Oh, you're just an old flatter. Well, anyway, there's another thing my luxe toilet soap bath does for me. Its active lather is a wonderful weight to protect daintiness. And I love the delicate perfume it leaves on my skin. Hurry up, dear. You'll be ready in time. All right. I'm off to my beauty bath. Be nice to Billy to get here before I come down. Mr. DeMille takes us back to our play. Herbert Marshall, Margaret Sullivan, Eduardo Cianelli, and Donald Meek continue with the petrified forest. A few minutes have passed. Purple shadows are gathering over the desert. In the black mace of barbecue, Gabby and Squire unaware of the approaching gangsters continue their talk over the lunch counter. And that's why you want to go to France for understanding. Yes, and I will go there someday when I have the money. I hope I won't be too old. I dream about it all the time. Bullish. There's something beautiful to look at and wine and dancing in the street. And if I were you I'd stay here, Gabriel, and avoid disappointment. You see, I've been to France. Oh, what were you doing? Writing books? No, planning to write books. You see, I married. My wife supported me. Oh. Well, please don't think too well of me. I once actually wrote a book. What was it? Fiction? Well, in a sense. It was a novel. Not very successful, I'm afraid. It cost my publisher quite a lot of money. It also cost him his wife. You see, she divorced him and married me. She saw in me a major artist who only needed a background to bring him out. She gave it to me with a fine view of the Mediterranean. For eight years I reclined on my background waiting for the major artist to step forth and write. But he didn't. And you've left your wife now? Yes. I'm glad of that. I left her at her own suggestion. She had taken up with a Brazilian painter, also a major artist. Then I decided to go forth and discover America. What were you looking for? Well, that's... that's all I had to say. I suppose I've been looking for something to believe in. Hoping I'd find something worth living for. Something worth dying for. And what have you found? Nothing as interesting as an old man who was missed by a beloved kid and a fair young lady who reads the yon. I do other things that would surprise you. I'm sure you do. I wouldn't tell it to everybody. I paint pictures. Oh, could I see them? I never let people see them. I don't get kiddies. Oh, please let me see them. But it's my mission to introduce you to posterity as an American genius. Are you kidding me? No, Gabriel. I've never kiddied anybody outside of myself. Mr. Bowles, you don't like your dinner? What? You don't like your dinner, Mr. Bowles? Oh, sure, sure, Paula. I always like what you cook. Well, but you know it. Well, I'm just not as hungry as usual. Well, you sit and look at that door. And you look at that door. Oh, come on. You eat your dinner, eh? What do you suppose they can find a talk about all this time? Oh, don't you worry. Eat your soup. He'll be gone soon, and you'll have it all by your lonesome again. Well, you can't go too quick for me. Well, that's a lot of them. They're terrible, aren't they? I... I don't know. What made you paint with these extraordinary colors? I don't know. It's just the way I feel and see. Are they any good? I tell you, Gabriel, I... I can't say. I'm tremendously impressed. Gee, I bet I could improve if I could get to France. You know, they've got some of the finest art schools in the world there. Don't you realize? There are probably thousands of artists and fans today who are saying, I'd find a really big theme for my canvas if I could only get out to Arizona. Yeah, I know. They say the desert's full of mist and it's haunted and all that. Maybe it is, but there's something in me that makes me want something different. Maybe it's a French in my blood. I wonder. Would you like to marry a Frenchman? No, I don't want to marry anyone. I want to be free. Always. Well, how about that... that store with youth outside there in the football, Jesse? When I came in here before... Oh, he was trying to kiss me. That's nothing. There's always a chance of development. Yeah, he's after me all right. Do you think he'll succeed? Well, I haven't decided yet. What do you say? Don't ask me, Gabriel. But you ought to know something. You've seen a lot. I don't know anything. You say the trouble with me is I belong to a vanishing race. I'm one of the intellectuals. That means you've got brains. Yes, brains without purpose. No aim. But you must have some kind of a purpose. Where are you going from here? That depends where this road leads. Oh, it leads to the Petrified Forest. It's a gloomy old place full of dead trees that have turned a stone in the desert. The Petrified Forest? A suitable haven for me. Perhaps that's what I'm destined for to make an interesting fossil for future study. Alan Squire, a specimen of the in-between age who was born too late for the Great War and too soon for... This coffee's good. Yeah, I have some more. You know, you talk like a darn fool. I know it. No wonder your wife kicked you out. No wonder she fell for you in the first place. What did you say your name was? Alan. Alan? I've been thinking. About what? Thinking how wonderful it would be to go to France with you to see all its beauty through your eyes to learn all about its art from you. You know, you could make an artist out of me, a real artist. You could make me think and feel. Oh, it would be glorious. Alan, could it possibly be? I'm afraid not. I could never retrace my steps. Oh, you mean you? Having enough money? Even that is an understatement. Well, I haven't enough either yet, but I've got a lot coming to me someday. What? Are you proposing to me to find a time in Fujigelo again? It's different this time. Listen, do you know how much Grant has got sold away in the bank to Santa Fe? Twenty-two thousand dollars in liberty bonds. I wish he'd give it to me now while he's living, but he won't. But it's all will to me. Of course, we might have to wait years and years for it, but if you don't mistake... You... You think you like me as a life companion? Yes, I know I would. And I don't make mistakes. Wouldn't you like to be loved by me? Yes, Gabriel. I should like to be loved by you. You think I'm attractive? There are better words than that for what you are. I didn't say you'll stay, Alan. You have nothing else to do. Oh, that's just it. You couldn't live very long with a man who had nothing to do but worship you. That's a dull kind of love, Gabriel. It's the kind that makes people old too soon. But I thank you for the suggestion. You give me something wonderful to think about during my lonely wanderings. I think of the chimes of bourge. And you... Oh, you mean you're going now? Yes. Well, I can't stop you. No, Gabriel, you can't. But you can do me one great favor before I go. Won't you mind very much if I kiss you goodbye? No. I wouldn't mind. You would understand that it would be nothing more. Yes, I'd understand. Just a kiss. That's all. That's absolutely all, Gabriel. So, that's what's been going on in here. Who do you think you are? They open bows. Just because she's cute and sweet, you thought you could get fresh, huh? Oh, he didn't get fresh. He only wanted to kiss me goodbye. Yes, the impulse is rather hard to explain. You needn't wait to explain. Just pay your check and get out. Very well. How much do I owe Miss Maple? Uh, 30 cents. He's been eating all this time in only eight 30 cents? Keep quiet. 30 cents, eh? That's very reasonable, very reasonable indeed. But that brings us to another embarrassment. I... I haven't got 30 cents. Haven't anything. Oh, you haven't, huh? What have you got in your pack there? Shirts, socks, a passport, an insurance policy. And you thought you could pay with a kiss, did you? Why, I'll... Take your hands off him, Bowes. There's a car outside. See what they want. Good evening. Uh, good evening. We'd like some gas and oil, please. All right, Bowes. How much? Uh, my chauffeur will tell you. That's nice of him. Oh, and I'd like some cigars, please. Don't forget the cigarettes, George. Oh, yes, dear, I know, I know. How far is it to the Phoenix Beltmore, young lady? Oh, about 200 miles. I imagine we can make it by midnight. Well, goodbye, Miss Maple. Oh, just a moment, Alan. Uh, excuse me, sir. What? Would you have room in your car for another party? Well, who is it? This friend of mine, Mr. Squire. He's on his way to the coach. He hasn't had a car just now. He's an author. Have you any luggage? Just this rucksack on my back. Oh, wait a minute. Joseph. Joseph! Yes, sir? Something you want, sir? Well, do you think it's all right to give this man a lift to Phoenix? I'm not carrying any concealed weapons. Do you mind if we verify that? Not at all. Go right ahead, Joseph. Yes, sir. All right. I guess he's all right, Mr. Chisholm. Oh, very well. Well, I'm glad to have you with us. Uh, hurry up, please. Oh, come on, dear. Well, I've been waiting for you. Well, thank you, Miss Maple. I'll remember your kindness. Oh, just a moment. I forgot to give you your dollar change. Oh. Oh, no. I wanted you to keep that. Sorry, but tipping is un-American. We don't allow it. Go on, take it. Thank you. I suppose I'll never see you again, Gabrielle. No. That's the way it is in a gas station. They come and they go. But somehow or other, I'll repay that dollar. Lord knows when. Perhaps we'll run into each other some day in bourge. Perhaps. Goodbye, Gabrielle. Goodbye, Alan. What did you say, Joseph? The lights are down there on the road. Don't stop, Joseph. You never can tell what it might be. Looks like a car pulled right across the center of the road. I'm afraid it'll help us stop. Stop. Stop, you fool. There's a man there. Three of them. Get up, lady. All right, folks. Hop out. And you won't get hurt. I say, what do you think you're doing? We are borrowing your car, mister. And no crack, Cedar. Go on. Stay over there now. All right, Jackie. Thanks. Get in. Thanks, folks. Hold on. Can I help you with those plates, Gabrielle? No thanks. Funny guy, that panhandler. When he was getting in the car, I got feeling kind of sorry for him and tried to slip him some chains. You did? Yeah, but he wouldn't take it. Handed it back. Didn't mind holding you up for a meal, but he had too much pride. I was awful nice of you, Bose. I appreciate it. Say, you talk as if you were nuts about him. I'm not nuts about him. Well, if you appreciate it so much, how about being a little nice to me for a change? Yeah, I'd like to be nice to you, Bose. I'd like to be nice to everybody. Well? I don't think about it, Bose. Oh, gee, Gabby, you're a swell girl. I'm crazy about you, honey. Honest, I am. In here. Bose. Shut up, lady. I'll behave yourself and nobody will get hurt. Cover the back door, Hank. Sure. Who's the boss here? What's it to you? Hey, guy, this is Duke Mantee here, the world-famous killer, and he's hungry. Shut up, Jackie. Who's in that other room? Only one old man. My grandfather's in there. Go get him, Jackie. Okay, Duke. What have you got to eat, sister? Oh, here's a bill of fare. He's got a nerve. Don't give it to him. Shut up, you, and sit down. Football player, huh? Yes, and you better not let me get close enough to take a sock at you. I used to be quite a fan. Hey, call it, Mal. Come on. Come on in here. Here's the old man. Sit down, Pop. So you're Mantee, huh? You are the killer. That's right, Pop. But just sit tight, and you'll be okay. You needn't think I'm scared of you. I have no real killer. Copy that. Alan, why did you come back? There's some bandits around here. Yes, so we heard. They're still with the chisels. All right, buddy, take it easy. Oh-ho, my friend of the road. Sit down, pal. Down here. Well, thanks. I'd be delighted. That's Duke Mantee, Mr. Square. What did I tell you about a killer's chin, huh? He's a killer, all right. He's a gangster and a rat. Shut up, postman. Yeah, and if the sheriff finds out he's here, we'll have some real killing, won't we? The cops ain't likely to catch up with us, not tonight. So we can all be quiet and peaceful, and have a few beers together and listen to the radio. Because I may as well tell you, folks, all Jackie there with a machine gun is pretty nervous, and he's got the itch between his fingers. So let's everybody stay right where they are. For station identification, this is the Columbia Broadcasting System. Hack three of our plays starring Herbert Marshall and Margaret Sullivan will be heard shortly. It's undoubtedly true that most of us are a lot more familiar with the play and the motion picture called the Petrified Forest than with the 90,000 acres in northeast Arizona from which the drama borrowed its name. A national monument, the Petrified Forest, is one of the most amazing and least known spots in the United States. It comprises six distinct forests, including a portion of the fabulous painted desert. In charge of this vast area is Charles J. Smith, one of the ablest rangers in the National Park Service. Formerly at Yellowstone Park, then chief ranger at the Grand Canyon, Mr. Smith has been at the Petrified Forest since he became its first superintendent eight years ago. Mr. Smith, the heroine of our play called the Petrified Forest a gloomy old place full of dead trees that have turned to stone. What have you to say about it? Well, Mr. DeMille, it's certainly an old place and it certainly is full of trees turned into stone. But as for being gloomy, well, to me, it's the most awe-inspiring sight in the whole world. One of our six forests happens to be called the Blue Forest. I can easily understand that if anyone wanders out there all alone and is inclined to be a little moody, the weird atmosphere of the place won't make him any more joyful. But that isn't why it's called the Blue Forest. It got its name from the deep blue color of the rolling hills. Let me turn tourist, Mr. Smith, and ask you just what the Petrified Forest is and how it came to be. It's a vast area, Mr. DeMille, covered with huge trees that grew and spread their branches 150 million years ago. In those days, the land was a tremendous swamp. The only living things were the trees, a few plants, and several species of ferocious-looking reptiles, the like of which you see today only in nightmares. Nature sent floods, earthquakes, and storms and buried everything under 3,000 feet of mud, water, and gravel. Then, after 100 million years, Mother Nature, being a woman, changed her mind. She sent winds, rains, and more storms to erode the earth, to sweep it away, and bring this forgotten cradle of life back into the light of day. The bones of the reptiles have turned to fossils, and the trees lie stretched out on the earth, petrified into a substance almost as hard as diamond and up tremendous weight. But what made them turn to stone? The great pressure under which they lay, together with the minerals in the waters that once rolled over them, the trees have turned from wood into gorgeously colored, semi-precious stones. The outside is reddish-brown, but while the logs have broken apart, while they have crashed into heaps of stone, they are glittering masses of pure-aggot, carnelian, amethyst, jasper, and onyx. Where all the trees in the petrified forest blown apart and their semi-precious jewels extracted, there derives a mountain of glittering stones worth a fortune. That statement, Mr. Smith, is apt to bring half the country to your doorstep tomorrow. I'll be glad to welcome them. But they'll soon learn that no one is allowed to carry off samples and that the grounds are closed and carefully patrolled at night. Yes, it's a strange, weird place. Like the blue forest, the second forest has its own peculiar characteristics. There, the ground is covered with chips of petrified wood, and at times, as you walk through them, they'll ring out with a tinkling sound like the music of tiny silver bells. Have you ever encountered any incidents such as our play presents? Has a bandit ever sought sanctuary in your hills and deserts? No, not that I know of, but Route 66, which was undoubtedly the road taken by Duke Manti, leads right into the forest, and coincidentally, at exactly that point, a little lodge and filling station very similar to the scene of tonight's play. Years ago, the painted desert was a favorite haunt of killers and bad men, and today we're called upon now and then to watch for fleeing bandits. One of the most ironical happenings occurred in the forest when a woman and her two children were trapped by a terrific blizzard. All about them were logs of wood that might have made a roaring fire and saved them, but the wood was stone, and days later the three bodies were found frozen to death in a forest. Besides the trees, the petrified forest contains a hundred ruins of the homes of prehistoric Indians. They lived there some thousand years ago, and the forest contains several huge boulders on which these Indians carved their queer symbols and drawings. The carving that puzzles me most is a picture of a stork carrying a baby, but I've never been able to find out how an Indian happened to make a picture like that in prehistoric times at the edge of the Arizona Badlands, but maybe he was the Walter Winshill of the tribe and chose that modern manner of announcing a blessed event. The National Park Service wants you to visit the petrified forest, and that's one of the sites we'll be very happy to show you in this fascinating land of shimmering color. Thank you. Thank you, Mr. Smith. That's very interesting. The petrified forest starring Herbert Marshall, Margaret Sullivan, Eduardo Cianelli, and Donald Meek. One hour later, the duke-manteen in his gunman still masters of the situation, the Black Mesa barbecue presents a strange picture. Gabby, Alan, Gramp and Bowes are huddled together near the counter. On the other side of the room, the gangsters sprawl comfortably in their chairs, listening to the radio, machine guns resting on their knees. Hey, Duke, what do you say we lay them out of here? Not yet. We've got to give them time to get here. Maybe they got lost, not Doris. Well, I wish it show up. Waiting for a girl, huh? Sit down, have back, and sit still. I'd hate to see anything happen to you. Let something happen. Let there be killings, all evening long after a feeling of destiny closing in. Do you believe in astrology, Duke? I can say, pal. I don't normally. But when I was coming back here along that road, I began to feel the enchantment of this desert. The stars seemed to be mocking me and saying, this is the end of your tether. You thought you could escape it, but we know better. Perhaps they know that my death is imminent. It's a fascinating thought. Let's skip it. Bring some beer for the bunch, sister. All right. None for me. Why not? I don't drink with murderers. I'd be a little tactful, Boz. Remember they're your guests. Guests? Cowards that haven't got the nerve to tackle life with their brains and principles. They've got to use guns, yellow rats. Step over to this side of the room. Have back. What? Come on, move. Sit down, Jack, and keep still. I want to hear the news. Did you hear what he called you? Sit down and keep quiet. The gang made its escape in two cars, one of which contained man-tea and three other men. The other car contained two men and one woman. National Guardsmen are cooperating with the state police to bring to justice these killers who are wanted for a score of bank robberies and cold-blooded massacres. Take a bow, Duke. And now we continue with the orchestra clip. Are you going to make a run for the border, boy? Oh, sure. And we're going to give you our whole route so you can tell the cops to get us a motorcycle escort. No, honest, Duke, are you going on or are you spending the night here? Can't say, Pop. Maybe we'll decide to get buried here. Better come with me, Duke. I'm planning to be buried in the petrified forest. That's where I belong. So be you, Duke. Maybe you're right, pal. I'm eternally right. But what use do I make of it? Nothing. You don't make use of anything. Love, life, anything else. Do well in. No, Gabriel. Do you mind so much? After you left today, I felt it was something you'd been taken out of me as if I'd come out of a dream. I caught on to myself and I know I'm just another desert rat and I'll never be anything else. All that bunk about going to bourge and art and dancing in the streets. Remember what I asked you about going to France? Yes, perfectly. But you wouldn't have done it even if we'd had the money, would you, Alan? No, Gabriel. I knew it. I knew you didn't give a hoot for me. Somehow it only made me love you more. What are you saying, Gabby? Did I love him? Why shouldn't I say it? Why shouldn't he know it? We all be dead tomorrow morning. Duke, you don't mean it, Gabriel. She can't mean it. Well, I do. I'm sorry now that I came back. When I went up before, it was a charming ending for a romantic moment. Now it's spoiled. Well... Sit down, pal. What do you care whether I stand or sit? I got to think about my health. Sit down. If I had a machine gun, I wouldn't know what to do with it. I want to talk to Grant. Me? Yes. Those, um... those liberty bonds of yours buried in Santa Fe. How did you know about him? I told him. What do you want to do with him? Leave him right where they are. Yes, leave them where they are. Your granddaughter is suffocating in this desert when a few of your thousands will give her the chance to claim her birthright. Yes. And maybe give you the chance to steal it. Hanging on to your money as though it meant something. That's a low way to justify your miserliness. Why don't you die and do the wells and good? Shut up, you. What do you mean talking to an old man like that? Hey, Duke! There's three people coming down the road. Looks to me like them people we took the car from. Okay, Hank. Get outside and take a look. Okay. You too, Jackie. Sure. Duke, I was guilty of bad taste and I apologized to Mr. Maple. Sure, sure. You must be drunk. You'd better crawl or I might have to put the lug on you. Talking to an old man like that. Get out of the way. Let me look out of that window. Put him up. Now, I've got you where I want your mentee. I've been waiting for the chance to grab your gun. Yeah. And wouldn't you be surprised if Jackie was leaning in that window behind your back ready to fill you full of holes? What? Thanks for turning your head half back and thanks for returning the gun. He got me in the hand. That doesn't matter, but I must have the chance to kill him. It was a good try, college boy. Come on, keep moving. This is outrageous. Here they are, Duke. It's the same bunch all right. I've pressed them, they're harmless. I don't know what this means, but he brought us all over. Come on, step on it. Sister. Yep. Take the half back outside and bandage him up. Okay. Go with him, Jackie. Then you might tie him up and leave him there. Sure. Come on, get going. I didn't mean to know the meaning of this. It has no meaning, Mr. Chisholm. How's it, Duke? I don't know, pal. But if Mr. Chisholm is a smart guy, he'll sit down quiet to join the party. Hey, Duke, I'm getting jumpy. Shut up. Go out and see if Jackie's with that daemon to half back. They're okay. He's tying them up. I said, Duke. What? Would you mind passing me that rucksack? He's on the table there. What do you want with it? Just inside. Just reach inside and hammer that little life insurance policy there, will you? What do you want with your life insurance? Expecting to die? You've guessed it, Mr. Maple. Yeah. Thanks, Duke. Now, take my fountain bin out of my best pocket. Okay, but take it easy. What you're going to write, Mr. Squire? You'll see in a minute. Duke, I have a great favor to ask of you. Yeah? I don't think you'll refuse me because you're a man of imagination. What are you getting at? This insurance policy. It's my only asset. It's for $5,000. I've written on the policy that I want the money paid to Miss Maple, that young lady inside. If Mr. and Mrs. Chisholm will witness my signature, I'm sure it'll be all right. Oh, certainly. I'll be glad to. What's the idea? Well, Duke, after they've signed, I wish I'd be very much obliged if you'd just kill me. What? It couldn't make any difference to you, Duke. If they catch you, they can only hang you once. And you know yourself they've got more than they need against you. Good Lord, he is drunk. You know, I believe you actually mean it. Good for you, Mrs. Chisholm. You're a kindred soul. You're in love with her, aren't you? He has us both, I am. I want to show her that I believe in her. And how else can I do it? Living, I'm worth nothing to her. Dead, I can buy her tall cathedrals and golden vineyards and dancing in the streets. One well-directed bullet will accomplish that. This document will be my ticket with mortality. Will you do it, Duke? I'll be glad to. Thanks, Duke. Just let me know when you want it. Pick your own moment. Say it just before you leave. But I'd prefer to have a think you did it in cold blood. Will you all please remember that? Certainly we'll remember that. Of course, of course. Mr. Squire, before you do this, let me tell you one thing. Yes? They ain't a woman alive or ever did live. That's worth $5,000. Ah. And let me tell you one thing. You're a forgetful old fool. Any woman is worth everything any man has to give. Faith, jealousy, love, hatred, life or death. Don't you see that's the excuse for our existence. It's what makes the whole thing possible and tolerable. Did you hear that, George? Yeah, I heard. Mr. Squire, do you really believe all that? I mean about women. Of course I do. And there's a man who agrees with me, don't you, Duke? I don't know, pal. I wasn't listening. Then permit me to speak for you. He could have been over the border long ago. But he preferred to stay here and risk his life. And you know why? Why? Because he has a rendezvous with the girl. Isn't that true, Duke? That's it. I guess we're all a lot of saps. But I wouldn't be surprised, pal, if you were the champ. Did you think I was kidding when I said I'd be glad to knock you off? I hope neither of us was kidding. Did you think I was? I just wanted to make sure. You're all right, pal. I'll try and fix it so it won't hurt. You're all right, too, Duke. Thanks. Okay, halfback. These ropes had to hold you for a while. How's your hand, booze? It's okay, but don't leave me, Gabby. I'm sorry, halfback, but she's coming back inside with me. Go on, sister. Gabby! Gabby! I tell you, Duke, we gotta blow! We'll give him ten minutes more. Here's the dame, Duke. Say, what's this, about ten minutes? You heard it. Turn on that radio. Ten minutes. Gabby, I gotta speak to you. You've been waiting till after they're gone. I can't wait. I mean, when they go, I go. I have to tell you now that I love you. Now, listen, Alan... I tell you solemnly that I love you with all the heart that is left in me. He does love you, my dear. He told us so. Jesus, Mrs. Chisholm. I'm quite capable of saying it, even if I'm not capable of making you believe it, Gabby. Don't make a fool of yourself, Alan. They're all staring at you. I know they are. But you've got to believe it. And you've got to remember it. Because, you see, it's my only chance of survival. You'll find a line in that verse of beyond that fits. Thus in your field, my seed of harvest will thrive. Alan, dear, I think you're kind of crazy. And I guess I am, too. And that's why I think we'd be so terribly happy together. Don't say that, Gabby. Why not when I believe it with all my heart? Well, maybe we will be happy in a funny kind of way. Alan, you... Get away from that guy. Leave him alone. Alan, if you're going away, I'm going with you wherever it is. No, Gabrielle. I'm not going away. I don't have to go any farther, because I found the thing I was looking for. I found it here, in the valley of the shadow. What have you found? I can't quite say, because I don't quite know yet. All right, Duke. We needn't wait any longer. And here's the news, Flash, folks. Mr. Squire. Shut up. Duke! Just outside the petrified forest area, a car containing two men and a woman ran into a party of state troopers. From information given, the arrest of Manti and his henchmen can be expected at any moment. Turn it off. Keep tuned into this station. She squealed. Shut up. Let me think. Shut up. Let me think. No, Duke. Don't waste any time thinking. That isn't your game. You've got to keep going and going and going. If I only knew where they took her. You'll think you've avenged Duke. Don't give your life for anything so cheap. Duke, for God's sake. All right, all right. They're going. Wait a minute. You're not forgetting me. Listen! It's the cops! Let me at that window. They're sprouting the whole joint. Looks like it. Fix the teeth. Fix the low. We're talking to you, Duke Manti. Come in and get it. Get down, you fools. You're staying here till we get a break. Manti, you have no right to endanger the lives of innocent people. Your folks better get down on the floor. Life goes together here in the middle. Right. Come here, Gaby. Where is the life switch? To the right of the door. Turn them out, Jackie. How many are there of me, Duke? Six or seven. Nothing to worry about. Gaby, Al. Yes, Alan? It's an inspiring moment. The United States of America versus Duke Manti. There goes the neon sign. It almost restores me the will to live and love and conquer. How do you feel about it, Donnie? I don't know, Alan. And I don't care. Alan, when you get to France, what do you see first? The fields and forests of Normandy. And then... What, Alan? And then Paris. Paris is such a most marvelous place in the world. All places are marvelous when you're somewhat alone. You've been here? Especially here, Donnie. As long as I live, I'll be grateful to Duke Manti. Alan, will you please kiss me? Oh, Gaby. I'll be darling. All right, boys. Get out of our way. Get out the back way and grab the car. No, it's going to be all over. Not for us, Alan, never. You better stay where you are, folks, for a while. Come on, Hank. Duke, wait. Alan, keep down. Duke, you promised. Get out of my way. You can't go. You know what you said. Get out of my way, at all. Yes. Duke, yes. You still want it. No matter whether I want it or not, you've got to. Okay, pal. There you are. Ah! Come on, Duke! He missed it! Alan! Alan, look at me. Grab your booze. Quick! Tell him to get a doctor. Hurry! I'm waiting. Alan, Alan! It doesn't hurt. Or at least it doesn't seem. I went into this lung, I think. Oh, it's all right, darling. Gaby, I... I'll booze. Grab some of it. Come quick. I'm all right, Gaby. I'll... The stars, I mean. I had to come all this way to find... a reason. Duke understood what it was. I wanted it. I hope you will be happy. Gabrielle. What, Alan? What? Don't worry. I'm not going to be a crybaby. No matter what happens, I'm not. Gaby! What booze? They got Manti, Gaby. Did they? How is that fella? The doctor's in with him now. He's pretty bad. Oh, gee. That's tough. He was a good guy at the time. Oh, gee. That's tough. He was a good guy at the time. Oh, gee. That's tough. He was a good guy at the time. Oh, gee. Oh, gee. That's tough. He was a good guy at the time. He doesn't come back. We'll bury him out there. In the petrified forest. The petrified forest? That's what he wanted. Doctor. Miss Maybore. How is your doctor's any chance at all? Yes. Yes, there is. Oh, what do you mean? He has a chance to live if he wants to. Oh. Let me see him. Let me speak to him. Alan, dear. Can you hear me? Gabrielle. Alan. You're going to live. Do you understand? You're going to live, Alan. No, Gabrielle. The stars ordained it. No, the stars have gone. It's morning, darling. Is it? Alan, listen. You must want to live for me. Don't you remember you said you wanted to? Oh, please, Alan. Please, darling. Don't leave me. No. No, Gabrielle. I won't leave you. Oh, darling. Remember the poem. Thus in your field my seed of harvest were pried, for the fruit is like me that I set. God didn't intend it. Good husbandry. This is the end for which we twain our men. And so the petrified forest joins the long list of plays produced in the Lux Radio Theatre. A little later, we'll hear again from Herbert Marshall and Herbert Sullivan. Now for a little visit behind the scenes of Hollywood. Most of the action of our play is centered on a restaurant, a stopping off place at the desert's edge. There's another kind of restaurant here in the film capital equally individual. Although it's one of our finest dining places, it's never seen or patronized by the general public. It's the Café de Paris at 20th Century Park Studios, maintained to please the players, executives, and distinguished visitors. Here's Nick Gennos, a Greek, who first learned the favorite foods of the stars by managing the celebrated Brown Debbie. Nick feeds the stars not only at mealtimes, but during production too, for its part of his job to supply the food seen in pictures. Is that correct, Nick? Yes, it's a quite a task when you have a pizza like wife, doctor, and nurse. For example, a lot of the scenes take place in the kitchen of a nightclub. So I had to supply harness of corners of food, complete equipment, and feed the actors to act like chefs. Why is it, Nick, that so many of your countrymen own restaurants? Why are so many chimes in laundry business? You're going into reverse. I'm the one who asked the questions. Well, next time, ask me for an easement. Like, why so many stars use lock-stalled soap? Why wait till next time? All right, and the first place is the official soap at 20th Century Park Studios. And anything that stops with Mr. Zennick is good enough for me. Okay. What's your next cost? What more can you tell us about supplying food for pictures? Is there a particular neck, Nick? That's pretty good. For one thing, we have to be as accurate in food matters as we are in costumes or backgrounds. Check the picture in all Chicago. I supplied hundreds of lots of bread for the production. And since the time is 1871, the bread had to be baked in a round form using those days. Here's another picture, life begins in college. Harry Ritz has a scene in which he impersonates a girl. You see him partying his nose, and then you see him eating the powder puff. No, Harry isn't crazy. In fact, he's pretty smart. But powder puff is really a sponge cake with sugar-cutting. Harry, by the way, ate about 40 such a powder puff. So what are the other stars like when they're not dieting? Walter Winger and Warner Baxter can be very happy with seafood. Simon Simone and Loretta Young like lamb chops. Salad Sopran is dilated with a plain jelly sandwich and a cup of stew to dunk it in. I saw Walter Cotlett eat four lobsters at one sitting. So I guess Walter Cotlett likes lobsters. Mr. McLaughlin isn't particular what he eats, as long as they are two portions of it. But what about your smallest patron, Shirley Temple? There's my pal. Sally and I once were in the business together. She had saved $11 in a fending bank and decided to go into a pie business. I supplied the pies, 20 of them, about as big as a pancake. Sally brought them onto the set in a pie wagon, which we call a factory. She saw them out and made $1.40. And that's where this Cook stew comes to an end. Many thanks. Thanks to you, mate. With Herbert Marshall just back from New York and you, Miss Sullivan, about to depart for your hometown of Norfolk, Virginia, we were very lucky to have you together for tonight's play. Thank you, Mr. DeMille. It's nice to have a chance to say something about luxe toilet soap. As long as I can remember, I've used luxe toilet soap at camp, in school, in college, in the theater, and in Hollywood. I guess that's the best indication of how good I think it is. Now, I think it's about time we heard from Mr. Marshall. Oh, thank you. Several years ago, ladies and gentlemen, when I left London and came here, I encountered many new things. New people, new country, new customs, and a new day soon upon us. Cold Thanksgiving. Perhaps Thanksgiving impressed me more because it was new to me. But I've never quite gotten over it and I hope I never shall. Besides the good fortune which may come to us as individuals, there is that which we all share in common. There's peace in this land. There's freedom and there's work to be done. Dogs still wag their tails. The sun is warm and steep still comes at the end of the day. These are great things. For them, let me join you and give thanks. Good night. Ladies and gentlemen, this is your announcer, Melville Ruick. The great show planned for your entertainment next Monday will be announced in just a moment by Mr. DeMille. Tonight, our stars were assisted by Frank Milan as Bowles, Wally Mayer as Jackie, George Trevelle as Hank, Martha Wentworth as Mrs. Chisholm, Margaret Brayton as Doris, Frank Melton as Lineman, Lou Merrill as Doctor, Frank Nelson as Radio announcer, Ross Forrester as Joseph, and James Eagles as Bank Teller. Mr. Cianelli is from RKO Studios. His new picture is hitting a new high, starring Lily Pong. Louis Silvers appeared through courtesy of 20th Century Fox Studios, where he was in charge of music for Second Honeymoon. And now, our producer. What would you do if you woke up some morning and found yourself heir to a huge fortune? Around this theme, dozens of books and plays have been written. Outstanding among them is J. Hartley Manor's romantic comedy, Hager My Heart, which tells the story of a little Irish girl suddenly lifted from the deck of her father's fishing boat and deposited in the luxury and splendor of English aristocracy. This is the play we bring you next Monday night, starring the same glamorous personality you saw in the film, Miss Marion Davies. Co-starred with Miss Davies will be Brian Ahern, and the supporting cast of famous players includes Benita Hume, J. Farrell McDonald, and Gerald Oliver Smith. Our sponsors, the makers of Lux Toilets Hope, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Marion Davies and Brian Ahern in Hager My Heart with Benita Hume. This is Cecil B. DeMille saying good night to you from Hollywood. This program, ladies and gentlemen, came to you with the good wishes of the makers of Lux Toilets Hope, the beauty care preferred by nine out of ten Hollywood stars. Join us in the Lux Radio Theatre every Monday night. Be part of the large audience that gathers weekly from coast to coast to listen to Hollywood's famous performance and the personalities behind the scenes of motion pictures. And now our sponsors, staff and all our cast join me in wishing you all a very happy Thanksgiving. This is the Columbia Broadcasting System.