 Welcome to Hollywood. Radio and Television Service brings you the Hollywood Radio Theatre, starring Alan Ladd, Van Heffen and Ruth Hussey in shame. Ladies and gentlemen, your producer, Mr. Irving Cummings. Greetings from Hollywood, ladies and gentlemen. Tonight we bring you a story of our courageous western homesteaders in their dramatic fight against the cattle barons. It's George Stephen Shane. Appearing in their original roles, we have Alan Ladd and Van Heffen. And as their co-star, lovely Ruth Hussey. Shane won an Academy Award nomination as Best Picture of the Year for Paramount Pictures in 1954. Now act one of Shane, starring Alan Ladd in the title role. Van Heffen has star it, and Ruth Hussey has Marion. In winter, the tops of the mountains were capped with snow and weaved about with clouds. The valley below was rich in beaver, deer, elk and bear. These brought the hunter and the track. The valley was rich in pastureland and this brought the cattle. The pastureland was rich in loam and this brought the homesteaders. People like Joe and Marion star it. That's Joe chopping wood out by the barn. And that's singing you here, that's Marion stirring the supper kettle. Oh yes, and little Joey with his .22 rifle. I didn't expect to find any fences around you. Aren't you, mister, pulling a gun on a boy of eight? I didn't seem coming. All I heard was the gun cocking. Is that rifle? I told you. I just wanted to show it to him, Ma. I bet you can shoot, mister. Can't you? A little bit. Wondering where your friends were. My friends? Yes. What are the Riker boys up to this time? You know I wouldn't know a Riker from your Jersey count. You better go inside. Oh, Ma. Now mine. Into the cabin. Quick. All right. What is it now, Riker? I didn't let you know I got that beef contract for the reservation. All right. Now I know it. Maybe you don't understand me. Get off this place before the snow flies. It happens to be mine, Roof. I'm homesteading it. We don't care what you call it, Sarat. You're going to be stupid. Me and my brother can blast you and them squatters right out of here. Well, I don't frighten easy. You know and I know that the time for gun blasts and the man off of these places passed. And right now you're trespassing on my claim. Now get off. Your claim? How about that, boys? Maybe it better do what starts says. So fun to start. I can't say I didn't warn you. Supper's almost ready. Oh, fine. Joel. Something? Yes, I'm sorry about the way I acted taking you for one of the Rikers and, uh... Well, now you heard what the little woman said. Why didn't you stay and eat with us? Now how about it? Well... Well, now sure you will. But you know, I just... Plum forgot. My name is Starat, Joe Starat. And this here is Marion. I'm pleased to meet you. And you are... Well, just call me Shane. Mind if I ask where you're bound, Mr. Shane? One place another. Some place I've never been. Well, I know one thing. The only way they're gonna get me out of here is in a pine box. What do you mean, Pa? Joe, don't talk like that. No, that's the truth, Marion. We've got our roots down here. This is the first real home that we've ever had. The only thing is that there's just more work here than I can do, you know, cutting wood and plowing, seeding and... and fencing. If I could just hire me a good man. You had one, Joe? Uh, yeah. Until the Riker Brothers roughed him up a bit and run him off. They knocked his teeth out, didn't they, Pa? Joey. Elegant dinner, Mr. Starat. You'll excuse me. Mr. Shane didn't even say goodbye. Well, no, no, Joey. He's not gone. His gun and cartridge belt are still hanging on the wall. He wouldn't leave without him, huh? Not anybody like Mr. Shane, Joey. Joe, listen. Well, I'll be doggone. Well, I guess he really did appreciate your dinner, Marion. Now, leave some of that there stump for me. I've been trying to get that thing out of there for a year. Yes, dear. Mr. Shane could sleep in the barn, couldn't he? I suppose. How's it going to ask him to stay? I think he has, Joey. I think he's already done it. Are you shooting at Joey? Rikers, fight, Pawn. Oh. Mr. Shane, would you learn me to shoot? Well, um, do you think you're old enough? Sure I am. Shane? Yeah. There's a load of pants where I'm waiting for me at Grafton's General Store. Do you want to go in and pick it up for me? Yeah, I'd be glad to. Pa, I'm old enough, ain't I? For what, son? To learn to shoot. Oh, yeah, I suppose. Yeah, I got the team all hitched up, so whenever you're ready. Well, I'd better get started. Oh, uh, while you're in town, Shane, you can buy yourself some work clothes. Well, that is if you'd like to stay on here. What can I bring you, Joey? Soda pop. I'll see what I can do. Uh, Shane. Yeah. Uh, Riker and his men hang out at Grafton's, so you be careful. I don't want my trouble to be none of yours now. Yeah, I know you don't. Pa, why isn't he wearing his gun? Well, Shane's going to trade at the store, son. I'd hold it up. But his gun looks good on him, Pa. It goes with him. No, maybe. Looks like Ernie might come in. Pa, could you whip Shane? Well, what for, Shane's on our side. Oh, yeah, how goes it, Ernie? No good. I'm pulling up snakes. I'm leaving this here, Pa. Now, now, Ernie, you said that before. Yeah, but the Riker brothers hadn't busted in all over a week. Last night, they tore down my fence, drove their steers right through my crop, ruined everything. Oh, that's, that's bad. Bad. Joe, I'm, I'm just warred down and out, tired of being bullied by them fellows called a pig farmer and a salt buster. I'm leaving. Now, now, don't go and throw up your tail, Ernie. Now, I'll tell you what. I'll tell you what we'll do. We'll have a meeting here tonight, right here at my place, and, and we'll figure out something. Yeah, just more talk. No, now, maybe not. You just be here tonight, Ernie, and spread the word around to the others. Tell them that this time, we're gonna stand up to those Rikers. How much do I owe you? Eh, let's see. Eh, work pants, two shirts, and a belt. Let it be a young man, you owe me two dollars and two bits. Oh, well, yeah. At the exact amount. Thanks. Oh, by the way, have you got any soda pop? Sure do. Just step through those swinging doors and ask the barkeeper. Thank you very much. Something bad in here all of a sudden. Maybe something like, uh, something like pigs. Oh, bartender. Yep. What do you have? You got any soda pop? Now, just one flavor, would you like? Sod buster, lemon, or, uh, or strawberry, or, or lilac, huh? He's picking on me. Oh, sure I am. Hey, we're in a brand new shirt, too. Do you just buy that off of Grafton? Yeah. Well, well, and let's us christen it with a little bourbon. Now you smell like a man. Chris just fumigated his sod buster. You take it easy, Chris. Oh, now why, Grafton? We're just having a nice little talk about one thing or another. Hey, sod buster, didn't we see you out at Joe Starritz's place yesterday? Yeah, who's the way? Oh, a roof and Morgan Riker, a couple of others? Sure. You're the one. I'm working for Starritz. Oh. Here's your bottle of soda pop, mister. Thank you. You're not gonna drink that in here, sod buster. Start moving toward that door. Go on, I said. Get out. Mr. Sodie pop is just as gutless as a rat. Finish the evening chores, Joey. In the parlor? Yeah. Mr. Shane, would you take this pot of coffee along with you? Everybody needs warming up. Sure. All over the cups. I already laid them out on the parlor table. All right. Joey, time to get ready for bed. That's just what Riker's trying to do. He's trying to scare us. Shoe us off here like a flock of chickens. But I'm not leaving. Not now or any other time. Hey, Joe. Joe, the coffee. Oh, thanks, Shane. Here, I'll pour that. Yes, most of you here don't know Shane. Shane, this is Ernie Wright. Howdy. Hello. And Fred Lewis. Yeah. Glad to see you. And Axel Shipstead. How do you do? And Yank Potts. Head of House. I know. Johnston and Stonewall Tory. Glad to know you. Well, we've just been talking over about what Bill about Riker, Shane. Some of the boys are kind of worried about going into town for supplies. You know, they're afraid that Riker's boys are going to try to jump them. Not me, they won't. I'll put on my 38 and go into town any time I please. You leave your gun at home, Tory. I got a better idea. Now, on Saturday, we'll all just get together and we'll go into town in one bunch. They won't try anything with eight of us. How do you figure eight? They seven of us. Well, with Shane here. We can't count on Shane for anything. If you're approved that. Now, hold on. Now, just watch what you're saying. Ask Shane what happened between him and his Chris Callaway that works for Riker. I saw it and I heard it. What is this, Shane? He says he saw it, heard it. Let him tell it. Well, Fred? Shane let this Callaway buffalo him in grass and saloon. Now, Callaway's going around bragging how he put the run on a sod buster. Well, maybe he did. Maybe he didn't, Fred. I told Shane to stay away from trouble. It looks like he just did what I told him to. Shane, where are you going? Well, I thought you could talk easier if I'm not around. So, Joey, you hush up. I heard him, Shane. I was listening. But I know you ain't afraid. Thank you, Joey. You wouldn't let anybody secure you unless you were just pretending. That's what you were doing, weren't you? Just pretending. It's a long story, Joey. I think we understand, Shane. Maybe. Good night, ma'am. Shane. Ma'am. I hope the barn isn't too wet for you tonight. It won't stop me from sleeping. Good night. Good night, Shane. Joey, I told you to get ready for bed. Uh-huh. Joey. Yeah? Don't get to like Shane too much. Why not? Well, because. Because you must. Is there something wrong with him? No. Well, then, why shouldn't I? You'll be moving on one day, Joey. You'll be upset if you get to liking him too much. You'll be awful. We'll hear act two of Shane in a moment. With our American servicemen and many countries around the world, they have a wonderful opportunity to observe new customs and traditions. What might have seemed strange before is becoming pretty familiar to them. For instance, take this business of superstitions or omens. In Holland and Germany, if you meet a left-handed person on a Tuesday morning, that's a bad omen. In Sweden, if you turn around when starting out on a business trip, it's liable to turn out badly. German girls place their shoes at right angles by the side of their beds to bring a visit from their sweethearts. And in Japan and the Far East, there's a superstition to cover practically every event of the day. Well, all these things might sound strange, but as our servicemen have observed, we have plenty of superstitions too. Let's just count some of the things that are lucky or unlucky. Finding a horseshoe, lucky. Poor leaf clover, lucky. A black cat crossing your path, unlucky. Walking under a ladder, unlucky. Breaking a mirror, seven years back, lucky. Spelling salt, unlucky. Unless you throw some over your left shoulder. Knocking on wood, lucky. A rabbit's foot, lucky. Well, those are just a few of them. Lots of people carry a lucky coin or a charm of some sort. All of us have a lucky number, and whenever we have something good happen to us, we know it's our lucky day. People the world over are great believers in this business of luck. That's all the superstitions are based on. They're either meant to bring on good luck or keep bad luck away. According to the customs and traditions of your own people, you do certain things to try to influence that luck. Now a way of doing things may vary between different people, but the ideals are the same. These customs are important to the people who follow them, and our servicemen are helping to maintain goodwill by observing the customs of other people in other lands. Now our producer, Mr. Cummings. Act two of Shane starring Alan Ladd in the title role in Van Heflin as Starret and Ruth Hussie as Marion. Saturday came in with it the Homesteaders Weekly shopping trip to Grafton's general store. But this Saturday was to be very different and long remember. Howdy, sir. What can I do you for? Well, you're going to have to ask my wife, Grafton Marin's got the shop in less. You have one thing for sure. They need plenty gone power to make fireworks. What kind of fireworks? Oh, big celebration. Fourth of July and your star it's a wedding anniversary all the same day. That's right. Hey, Marion. Yes, Joe, I'm coming. Mr. Grafton, where I get for this empty sort of bottle? Well, one bottle brings just about one stick of candy. Peppermint? Peppermint. But first you go through those swinging doors over there and you give the bottle to Will. All right. Joey. Yeah, Shane? I'll take that bottle then, will you? Well, if you want to. Please, I want to. That's Buster, the one we've called Soda Farm. Bartender. He's a big farmer. Looks like you better get back inside with the women and kids. Where it's safe. Don't push it, Callaway. Get going. Take his money, Will, but I'm getting the drinks. Yeah. Like this. Maybe I could use a man like you. I'm working for Starrot. Whatever he's paying, I'll double. I'm not interested. What's so good about Starrot? I like him. And he's got a pretty wife. Why, you dirty slingy old man? Everybody messes up one of my boys and gets away with it. Now we're going to rough you up, Shane. We're going to ride you out of this valley. You wouldn't want me to run away with you. Go on. But there's too many, Shane. Too many. All right, boys. Close it. We'll give us any more trouble. No trouble at all. Maybe not. Shane, I think I ought to put some of this turpentine on that cut of yours. Whatever you say. It's going to hurt bad. Mama, he wouldn't say nothing. No matter how much it hurts. Joey, back to bed. You wouldn't say nothing, would you, Shane? Joey. Would you? No, Joey. You see, I just might. No, you wouldn't. Joey, did you hear me? All right. You come in and kiss me goodnight. Yes. Right now? All right. Shane, I'll fix that cut in just a minute. That's all right, Mr. Stardale. I'll take care of it. Now, into bed. Ma, I just love Shane. Do you? I love him almost as much as I love Pa. That's all right, isn't it? He's a fine man, Joey. Don't you like him? You now get under the blankets, Joey. Don't you, Ma? I like him, too, Joey. Good night, Ma. Where'd Shane go? Out to the barn. He's turned in. What's the matter, honey? Hold me, Joe. Can I carry him? No. Don't say anything. Just hold me. Hold me tight. Thanks, Joey. Gee, you really brought you down, huh? Yeah. You really gonna show me how to shoot, huh? Like you said, Joey, I promise. But, well, first of all, you see how I wear my holster. It's higher than Pa wears his. Most men wear them either too low and some wear them too high. Yeah. Either way, it takes too long to draw. You see, right about here is just right. Gosh. Is that the way the real gunfighters do? No, not necessarily. You see, each one has a trick of his own. One likes a shoulder holster. Some like two guns. But, Joey, one's all you need. Let's see you shoot, Shane. Please. Please, Joey. Please, Shane? Well, what do you want me to shoot at? Well, could you hit that little white rock way over there? You want a fast draw on it? Uh-huh. Wait. God, did you see, Shane? You see him bust that rock all the winners? Yes, Joey. Now you run along. Get ready for the 4th of July party. Can you show me how to shoot? Better do what your mother says, Joey. I don't want my boy to build his life around guns. A gun is just another tool, Marion. It's as good or as bad as the man who uses it. Is the man himself? Shane? Yes. Nothing. Shane, you come along to the celebration all the time. Well, of course they do. Now go on and hitch up the team. We're going to have the dog gun this big time, you ever saw. Now that got himself hooked, it's better. Joe lost his own gun. Ten years ago, I gave up my hidden trade places with any man in this world. I like to clean out grass. I thought we decided none of us was going to go into town alone. I mean, the Grattons, I walked right past Ryker. Hey, by the way, I saw Ryker talking to a new man in there, a stranger wearing a couple of guns. What's his name? What'd he look like? Oh, hello, Shane. This man, what'd he look like? Kind of lean, backs two guns on his hips. Was he wearing a black hat? Yeah, come think of it. Friend of yours? No, but there's a man named Wilson who looks like that. I mean, if you saw him, maybe that is Wilson. He's fast. Real fast on the draw. You seem to know it all for a lot about this kind of business. Well, maybe we ought to be glad he does. At least we know what's going on. Just what is going on, Joe? I thought we were celebrating our anniversary. Oh. Well, sure we are, honey. Well, come on, everybody. Now, this is a party. Let's keep it going. Yes. I've been wanting to go to the blacksmith's shop, but your starlet says she shouldn't go alone, and now we got this man Wilson in town. You think maybe you could sometime go to the blacksmith's with me? Well, I might. I'll go with you, Axel, any time you want. I'm not afraid of bullies and cowards. I'll tell him so. The best thing to do is tell him nothing. I'll tell him. You see if I don't. Just see if I don't. Joe, I jumped down open the gate, son. Yes, Pa. Somebody's doing a horse. Joe, it's Morgan Riker. Drive right in, folks. Brother Ruth's come to pay you a little visit. You're a place, ain't it? It sure is. Joe, who's that with Riker? Where? Over there, by the barn. You see him, Shane, on that white horse? Yeah, I see. Kind of lame in the working of black hat. Something I'd like to talk over with you, Star. All right. I'll lay it right on the barrel head. How'd you like to work for me? I'm done working for others. I'll pay you top wages. You can run your cattle with mine. And what's more, I'll buy your homes. I'm not interested in it. Set a price you think is reasonable, Star. You'll find me reasonable, too. You can't force me to do anything, Ruth, because I'm in the right. You? What do you know about rights? I come to this country when you weren't much old living, and that boy was there. We had some rough times. Cattle we brought in hazed off the Indians and rustlers. I still got a bad shoulder from a shy, unarrow head. People move in, fence off from a range. Fence me off from water. And I got to keep moving my stock, and you say we've got no right to the range? No right, huh? I'm not belittling you, Riker. But you didn't find this country. There were trappers here, and there were Indian traders, long before you showed up. They tamed this country a lot more than you did. No, no, no, look, Star. You think you've got the right to say that nobody else has got any? Well, that ain't the way the government looks at it. All right, that's your answer to me. That's my answer. Then you... you don't give a man much choice. All right, Wilson, let's go. That fellow with Riker. Yeah. Yeah, that's Wilson all right. The one I was talking about. What do you think Riker wants with him? Well, it's not too hard to figure. Wilson's got only one line of business, and it ain't punching cows. Like Starret. But I tell you, I'll kill him if I have to. You mean I'll kill him if you have to? That's just what he means, eh, Ruf? Well, I can't have any run-in with the law. Grafton's watching this, you know. Well, looky there. Looky there. How is it? Come here. You too, Ruf. Full of those side-busters. Yeah. Shipstead and Stonewall Torrey. Maybe I ought to take care of them. No. This isn't the time. I'm not ready yet. How long are you going to keep on waiting, Ruf? Let me gun them. When word gets around, the rest of the pack will stamp it out of here. I don't know. It'll be easy. It's got to look right, Wilson. It will. How about it? You talking to me? Huh? Come here. No, Torrey. Don't. You go under the blacksmith's axle. I'll bail on. No, Torrey. No. Please. I hear they call you Stonewall. Anything wrong with that? They named a lot of that southern trash after Old Stonewall. Maybe because Old Stonewall Jackson was trash himself and Lee and all the rest of them rids. You too. You're a low-down lion, Yankee. Prove it. No, Torrey. No. I will. One less side-buster. Not so fast. The new man shot him. That Wilson. I'll be across the street and see it. But you didn't hear what they're arguing about. No, no. I hear only the anger in the words. Then Torrey reads for his gun. But the new man is quick. Terrible quick. One shot. Torrey is dead. One shot. Poor man. And poor Mrs. Torrey and the children. Yes. Mary, you get ready. I'll take you over to stay with her. I already tell her, Joe. I see you're on the right. Then, you answer them. Are they over? I tell them to. And they scared. They say they leave the valley right now. Maybe they won't have to. Shane, go hitch up that wagon. Go into town? Yes. No. Joe, I won't let you... Sooner or later, Mary, somebody's got to go. Maybe. But not now. No. You can't go alone. The others are all in this, too. You said so yourself. Joe, you said you'd all have to act together. She's right, Joe. I'm just forgetting something else. What? Torrey's funeral. First things ought to come first. All right. First, Torrey's funeral. But after that, after that, Shane, I'm making no promises. In a moment, act three of Shane. Make a friend and you make an ally. There's a thought for you to keep in mind as many another American has. Since the end of World War II, many American cities have adopted European ones, mainly through the work of a citizen group in New York called Operation Democracy. One of the greatest ties of friendship has been made between American cities and towns in Holland. The people of the American cities supply their Dutch friends with clothing, food. And during the floods early in 1953, the Americans won the undying gratitude of the Hollanders for their help. Several of the American communities are ready to send a community ambassador to visit the European town they've adopted, and the children keep up a two-way correspondence. To date, several hundred towns in the United States are in contact with others overseas, and the number is steadily increasing. These contacts include towns in 13 European countries, as well as Japan and Hawaii. Recently, three more countries were added, Norway, Yugoslavia, and India. And arrangements have been started to include Turkey, Spain, and Peru. Americans in every walk of life have done something to satisfy their desire for international friendship. And you too can learn, as they did, that by helping others, you help your country. We pause now for station identification. The curtain rises on Act 3 of Shame, starring Alan Ladd in the title role, Van Heflin as Starrett, and Ruth Hussie as Marion. On the windswept hilltop, a dozen men and women pay their last respects to Stonewall Talway. Look at us, our trespassers, as we think of those who trespass against us, and lead us not into temptation, but deliver us from evil, the guidance of kingdom, and the power and glory of our man. Well, I guess that's about it. We'd like to say goodbye, Joe, and to you, Mr. You're leaving today? Yeah, it's our wagon at the bottom of the hill. I'll pack and wait. Come on, Sue, round up the queue. Oh, wait for us, Fred. We're pulling out some... Not too, Fred. Just give us time to load the buck board. No, hold on, everybody. Let's not be in such a hurry. All Riker wants to do is to stampet us. Joe, the last time you argued us in the stay in Tory was a lie. Yes, what do you want us to stay for? More of this? You know what he wants you to stay for? You gotta agree with him, Shane. You work for Starrard. It isn't that. He's asking you to stay because... because this valley is your home. It's a place for all of you to grow up and be happy. That is, if you've gotten nerve enough, not to give it up. Now, that's right. It's time for you, Riker, to run us out. The good Lord didn't make this valley for just one man like him. Oh, look. Look there. A cabin on fire! Joe, that's Fred new. It's his place. Riker said it on fire. I'll bet you. Sure. Riker does it. Riker, listen. I built that cabin at all minutes. Riker don't have no right to do that. Fred, maybe he wouldn't have backed up and left it. We're sort of part of it. Well, it could still be. We can build it again. That's right, Fred. Now, if we just stick together, we can put your cabin right back up. Can't we marry him? Yes, Fred, I'll help Sue make new curtains, new rugs, new everything for the whole place. You... you do that for us? No, not just for you, Fred, for all of us. Joe, Joe, that's it. This is for everyone who loves this place. Now, how about it, everybody? Who's for staying? Well, I will. Shame on you. Everybody's staying. Maybe he's sticking. Oh, it's Starret. He's holding them all together. Starret's got the go. I've warned him twice. He's pig-headed. Now, he's got the go. Morgan, I want you to ride out to Starret's place. Tell him... tell him things have gone far enough. Tell him I'm beat. Tell him anything. But get him in here. He'll come. He thinks he can settle things by... by talk. And when he gets here? Don't start sweating. I'm not asking you to do it. Oh. You, Wilson? Uh-huh. No need for the shotgun start. This is a peace party. You expect me to believe that after your brother fixes this to have my friend Tori killed? Now brother Roof wouldn't kill anybody. Tori was a hothead. Ficked on a stranger who could draw faster. Tori wouldn't be reasonable. But you are, Starret. You talk sense if Roof talks sense. Isn't that about the size of it? I'm willing to be fair. Sure you are. So is Roof. That's why he wants to see you. He'll be waiting at Grafton's. With how many others? Nobody. Me and the boys are heading out under the rain. Bang! Bang! Bang! All right. All right, I'll see your brother. That's the spirit. Come on, Starret. Joe, you can't do it. The Rikers want to trick you. Oh, you don't listen to them? Yes. Joe, it's some kind of a trap. Well, maybe not. Maybe Tori's death has brought Riker to his senses. Made him see that we all got to live together peaceably. You don't really believe that. Well, I'd like to. Besides, when I talk to Riker this time, I'm going to have something to back me up. Shane, tell him he's wrong. Make him listen. It's not my place, Miriam. Joe's got to do what he thinks is right. I'm doing it. Shane, don't forget the team, please. Yeah, right away. Just pride, that's all. Silly kind of pride. Joey, please stop it. Joe, Joe, don't I mean anything to you? Doesn't Joey? Marion, honey, it's because you mean so much to me that I've got to go. Do you think I could go on living with you and you thinking that I'd showed yellow? And Joey, how do you think I'd ever explain this to him? Oh, Joe. Honey, I've been thinking a lot and, well, I know I'm kind of slow sometimes, but Marion, I see things and I know that if anything happened to me that you'd be too careful, maybe even better than I could. Talk as if I'd be glad for you to go. Oh, honey, you're the most honest and the finest girl that ever lived and I couldn't do what I've got to do if I hadn't always known that I could trust you. Besides, now, let's not go counting me out yet, you know, if the game's just starting. Shane, how are you coming? Almost ready. He's up against a stacked deck. This meeting with Ryker? Yeah. Wilson's going to be there. Why are you telling me? Well, I'm not holding a grudge against you, Shane, that day in Graffins and there was a fair fight. But not what Ryker's planning now. Bluffing, scrapping, that's one thing. Gunfighting is something else. I'm not hanging around for it. Go ahead and, Ryker. Quittin'. Go along, Shane. Chris, thanks. Now, Joey, please. Shane, you wearing your gun? I'm here, Shane. This is my kind of game, Joe. You could take Ryker, maybe. But not Wilson. Well, then I'll outlast him. No. Now, neither one of you are going. This isn't worth anybody's life. What are you fighting for? The shack, this little piece of ground and nothing but work, work, work. Joe, let's move, let's leave. It's too late, Marion, and for you too, Joe. Now, get out of my way. Joe, you're staying. Am I going to have to fight you too? That depends on you. All right. Some water in the towel. Yes, Ma. Here's Joe's gun. Hide it, will you? He'll be all right. Maybe, yeah, in a little while. This way no one can blame him for, for not keeping a date. Yes? I had hoped you was through with gunfighting. I, I changed my mind. Are you doing this just for me? For you? Joe? Then we'll never see you again? Tell, tell Joe I'm sorry. Joey, you mustn't feel badly about what he did to your father. He had to. You mustn't hate Shane. I don't hate him more. He knows, dear. Take the bait. Oh, all right. Morgan, you get up at the top of those stairs, cover us with the shotgun. Right. Wilson, where do you want to be? Right here, brother Bart. I'm dealing with you, Shane. Where's Start? You're dealing with me, Riker. What do you want to talk about? With you, not a thing. Oh, that's too bad. Because talking is a lot healthier than fighting. Don't push it, Shane. That's your advice, huh? He means it, Shane. He's fast, lightning fast. Yeah, and you're right in the middle. Roof on one side, me on the other. So you're Jack Wilson. Heard about me. I've heard that you're a low down Yankee liar. I'm sorry. It's all right, Chilly. Soon as we get back, come on, fix it up good. All right. I'm not going back, Chilly. Why, Shane? Because a man, well, he has to be what he is, Chilly. He can't break them all. I tried it, and it just didn't work for me. But we weren't, you Shane. Enjoy this. No living with a killing. You run on home to your mother and tell her. Alan Ladd, Van Heflin, and Ruth Hasse. If I take a moment to congratulate Ruth Hasse on her nomination by the Television Academy of Arts and Sciences as Best Actress in a single performance for her portrayal in Craig's Wife last season. No, we don't mind at all. In fact, we thought she was just great. Yes, indeed. Well, I can see you really are too, gallant gentleman of the Old West. Thank you for the congratulations. Now about next week's play, Irving. It's another of our 20 greats, and we're going to have one of the most popular romantic teams ever to appear. Phyllis Thakster and Cary Grant in that delightful comedy, The Bishop's Wife, one of Samuel Goldwyn's most charming pictures. Oh, I just loved it, Irving. Good night. Good night. Good night. This is your announcer, Ken Carpenter, inviting you to be with us again next week at this same time for another presentation of the Hollywood Radio Theater. This is the United States Armed Forces Radio and Television Service.