 Hollywood, California, Monday, November 2nd. The Lux Radio Theater presents Gary Cooper in the Virginian with Charles Bickford, Helen Mack, and John Howard. This presents Hollywood. Our stars, Gary Cooper, Charles Bickford, Helen Mack, and John Howard. Our guests, Sidney Skolsky, noted Hollywood columnist, and Richard Klein, physical trainer of Picture Stars. Our producer, Cecil B. DeMille, our conductor, Lewis Silvers. We wish you could all be with us tonight in our theater on Hollywood Boulevard, not only to meet our stars, but also the many other screen celebrities whom I see just beyond the footlights awaiting the curtain of another great show. But wherever this hour finds you, a hearty welcome from Lux. This program comes to you with the good wishes of the makers of Lux Toilet soap, the soap preferred by 9 out of 10 Hollywood stars, and is yet so inexpensive that every girl can use it every day. Our message is to use all the cosmetics you wish, but remove them thoroughly, the Hollywood way, with Lux Toilet soap, whose active lather cleanses the pores and keeps your skin soft, smooth, always lovely. Our show opens with word from our producer, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Here in the hometown of movies, we are so used to stars who grit their teeth, clinch their fists, and crash their way into the limelight, that a man as shy and human as Gary Cooper is a complete novelty. On a Hollywood soundstage, he's as refreshing as a breeze off the prairie. Last month, the Cheyenne Indians up in Lamedere, Montana, tried to give him a name. They called Gary Comaste. He was mighty pleased to become a member of the tribe until he discovered that his new name means Tall Handsome One. Gary was an unknown actor in Westerns when he was called in by the Paramount Studios for a screen test. Entering the room, he faced an office filled with producers and executives. The long young man from Montana looked at the expressionless faces, swallowed hard, smiled feebly, and bolted for the door. But his personality clicked. They gave him an important role in Wings, and Gary's been soaring steadily up whatever since. I welcome him tonight as a fine actor, a sincere co-worker, a fearless man, and a close friend. Charles Bickford is also a most welcome addition to our cast. Charlie left the stage to work for me in Dynamite, my first talking film, and has appeared in four of my pictures since, including the Plainsman. Charlie's no mean antagonist as a villain. In fact, it took an African lion to put him in the hospital. He will be heard tonight in the role of Trampas. Our leading lady is Helen Mack, who has been on stage and screen since childhood, and is one of the most unspoiled young actresses in Hollywood. She is heard as Molly Wood. The role of Steve is played by John Howard, co-star of the film, Valiant is the Word for Carrie. And now, up with the curtain, as the Lux Radio Theatre presents the Virginian, written by Owen Wister, starring Gary Cooper with Charles Bickford, Helen Mack and John Howard. Wyoming in the early 1900s. A dusty little town of medicine bowl is humming with activity, and though it's only ten o'clock in the morning, the Maverick Cafe is filled with a noisy rowdy gang of cowhands, whooping it up on their one day off. From the street comes a tall, quiet-spoken young cowboy, known to his friends as the Virginian. As he steps up to the bar, he gets a loud welcome from an old pal, Steve. Hey, you gall-dang mangy soup-fed buzzard, who are you passing by? Steve! Nobody else but. Well, Steve, you honor a low-down cousin to a bald beaver. What in place are you doing here? Oh, nothing special. I flew into town about a week ago. Well, I'm sure glad to see you, Steve. Say, it must have been four years since we was riding together. Four years or more? Yes, sir. Say, I heard about you being made foreman over at the Park Sex Ranch. It kept me laughing for a week. Yeah. Well, what have you been doing? All the same as usual. Working some and playing some. Mostly playing. Sure. You know good, Weasel. You're just the same as always. Ain't no account of nobody nowhere. Aren't you ever going to settle down? Of me? Say, what for? Yes, sir. Oh, hello, Nina. How are you? We're the inn. Hey, let me introduce you to an old pal of mine. Oh, hello. Morning, ma'am. He's very handsome, bro. Yeah, just a minute. Sure, he's a real lady killer, Nina. Yee. You better watch out for this hombre, ma'am. He's a low-down double-barrel liar. Don't you believe a word he says? Oh, yeah? Hello. What's the argument, boys? Oh, hello, Trampas. Step right up and join in. I don't know what it's all about, Nina, but whatever it is, I can settle it fair and square. No. It's my favor. Why don't you get in, Trampas? Just blow it in a beach of time with this lady. Come on, Nina, I'll buy you a drink. But, senor, I am with this gentleman. You mean you were with him. Come on. No, stop. I want to stay here. Hey, I ain't arguing with you, sweetheart. I'm telling you. No, let me go. Wait. There ain't no argument, Trampas. We're getting along just fine. Not that it's any of your business. Who's talking to you? I'm just telling you. Yeah? Well, when I want to know anything from you, I'll let you know. You long-legged son of a... Wait a minute. If you want to call me that, smile. Ha-ha. You're getting mighty touchy, ain't you? About some things. You better be leaving, Trampas. Sure. Come on, boys. I'll trim the hide off you in a game of studs. Say, I wouldn't mix it done with Trampas, if I would you. Trampas and me just don't mix at all. Hey, where's the Virginia? Somebody want me? Hey, Nebraska. Here. Oh, oh. Oh, hello, boss. Say, the Wyoming special can get through to the station and account for them cattle blocking the right away. All right. I'll tend to them. Come along, Steve. Sure. I'll help you clean them up. Get up there. Get along. Hey, head them this way. All right, Nebraska. Show them along. All right. Get along. Well, I guess that fixes it. Thanks, Steve. Well, look at who's here. Where? That girl over there. Just got off the train, I reckon. Hey, she's always a fine-looking female. I'd kind of like to make her a queen. I've seen her first, Steve. Hey, what's the matter with her? She's backing up like a scared calf. Hey, look at her. She's scared of that milk cow down there. Hey, ma'am, that cow won't hurt you none. Wait, Steve. I'll go and rescue the fair lady. Rescuer? For what? She won't stop me now. Get away, please. Oh, get away, I said. Oh, get out of here. Get out of here, you ordinary devil. Go on. Go on, get out of here. Well, the critter's gone, ma'am. I reckon you're safe now. Oh, thank you so much. It's a mighty lucky thing I happened along. A wild steer is an awful ordinary critter. Oh, it did frighten me just for a moment. If that steer had seen you face to face just like I am doing now, ma'am, you couldn't have been so bean. Oh, thank you. I reckon you're the new waitress at the Lone Star Hotel. Oh, no, I'm a teacher. Oh, the new school, ma'am? That's right. I've come all the way from Vermont. Well, that sure is fine. Well, thank you again for rescuing me. Oh, that's all right. Anytime at all. Mister, mister. Ah, what's the matter, little girl? Did you see my bossie? Bossie? What? Why, uh, no. She's my milking cow. I was leaving her home when she ran away. And I can't fight for her bossie. Oh. So that's your wild steer. A milking cow. Well, you see, ma'am. Thank you so much, Mr. Cowboy. It was so brave of you to rescue me from bossie. Well, look, ma'am, it was like this. Don't you think you'd better go and rescue that little girl? I'm sure she'd be quite impressed. But if you tried to make a fool of her, she'd probably slap your face. Good morning. Good morning, ma'am. I'm sure sorry it wasn't a real steer. My Lulu girl today sees she wears a big white hat and I'll bet your life when I'm in town. Easy, boy. Who's there at the Virginia? That's right, Judge. I thought I recognized you. The doctor wasn't sure. On your way to that welcoming party they gave them for the new school, ma'am, I suppose. That's where I'm heading, Judge. Me, too. They say she's a mighty pretty girl. Yeah, she sure is. They say the Valley Ranchers had another meeting this afternoon. About Russellers? Yeah, their patience is plum-give-out. I tell you, the country's going to the dogs when it pays a man better to steal than to work. It ain't everybody that's stealing cattle, Judge. Some is, and it's up to us to find them out. You know, Judge, I got an idea that ain't gonna be so awful hard once we set our minds to it. What do you mean? You got any suspicions? Maybe. Who? Well, it's only a suspicion, Judge. Cattle Russell is a nasty thing to pin on a man unless you got proof. Tell me who it is. I'll get the proof. No, I reckon I'll wait a while, and if I was you, Judge, I wouldn't say nothing about it at the welcoming party. No use spoiling the school when I'm first social gathering. Well, I guess this is where we wash up, Trampus. Yeah. Do I sound like a good primary nerve? Sure does. Hey, Steve. Yeah? Found what I was saying before. You ought to get smart. Cow punching ain't no way for a fella like you to make a living. No, I know it, Trampus. Your hands dumb and a low-code steer. Freeze all winter and bake all summer. And for what? $30 a month in key. Sure. Making money's easy, if you know how. And if you're smart. Well, uh, what's on your mind, Trampus? Nothing I want to talk about now. When? See me tomorrow. I think you'll be interested. Hello, Steve. Oh, hello. I thought you was going to wait for me tonight. Oh, you was late and Trampus dangled by, so I sort of come along with him. Well, uh, you ain't very choosy about your company. Maybe you'll explain what you mean by that. Nothing, Trampus. Nothing. But, uh, maybe I ought to compliment you, Trampus. You've got so many calves this year. I reckon it keeps you all wore out branding them. You're liable to talk yourself in a heap of trouble, my friend. Since when was I your friend, Trampus? Hmm. All right. That suits me. See you later, Steve. Yeah. Well, Steve, how about I circulate around in the dance? Sure. Come on, let's go in. Hey, there's your new school mom over there. Yeah. She looks mighty pretty in her Vermont dress, don't you? Hey, she'd look good in a ninja's squaw blanket. Well, uh, here goes, Steve. You're going to ask her for a dance? And I'm going to get it. Evening, ma'am. Oh, good evening. Would you care to try a turn at dancing? Huh? I said, would you care to... I can't hear you. You're from Virginia, aren't you? Yes, ma'am, that is. I was born there. I always thought that Southerners had such good manners. That's correct, ma'am. We should waste a...they should have. Well, in New England, where I came from, a man always asked to be introduced to a lady before he asked to the dance. I ask your pardon, ma'am. Will you excuse me for a minute? Certainly. Thank you, ma'am. Hey, uh, Shorty. Yeah? Come here. Yeah, what do you want? Uh, you know the new school, ma'am? No, I'm sure I know her. Well, uh, I want you to introduce me formally. Sure. Yeah, come on over. Thanks, Shorty. Oh, Miss Wood! Yeah? Miss Wood? I'd like to present an old friend of mine to you. We called him the Virginia. Very pleased to meet you, ma'am. Oh, yes. You're the gallant young man who rescued me from the tame cow. What's that? Tame cow? That's all right, Shorty. I'll see you tomorrow. Huh? Oh, yeah. Yeah, yeah. Well, so long, boys. Well... Well? Uh, would you like to dance, ma'am, or should we sit down? Thank you. I am a little tired. Uh, I'd rather talk than dance. Can't talk and dance at the same time anyway. Should we go outside? Very well. Let's wait, ma'am. Nice and quiet out here. Yes, isn't it? Yes, surely. Uh, Miss Wood, there's something I'd like to say to you. Do you mind if I say something first? No, ma'am. I suppose you feel very proud of yourself for what you did the other day. Yes. Uh, no, ma'am. Well, you ought to be ashamed of yourself. No, ma'am. Uh, yes, ma'am. Is that all you can say? Yes, ma'am. Uh, no, ma'am. Well, I don't think you're a bit funny. Yes, ma'am. Stop it. Well, that's better. Now we're gonna get along fine. You said you had something to say to me. Well, I reckon you said it already. I was just going to apologize to you on the kind of acting up like I did about that cow. Oh, I see. Well, that's all over, and we've been formally introduced and all. I'd like very much to go riding with you someday. Oh, would you? Yes, ma'am. You ain't afraid of me, are you? Oh, why should I be? No reason to call. I'm as gentle as a plow horse. And I'm powerful, interested in education. Oh, then I do hope you come to some of my classes. I have several little boys just your age. I sure be proud. Only I don't reckon I could get away from work to go to school right now. Oh, but you could get off to go riding. Yes, ma'am. All right. Thank you, ma'am. I'll be calling for you up at the schoolhouse. How do you like the new horse? Oh, she's marvelous. What's the name? What are you laughing at? Well, her name is Sir Henry, but I call him Hank for short. Well, he's a nice horse. You want to get off here for a while? All right. Easy now. There you are. Thanks. Oh, it was wonderful to ride out here. I love it more every day we come. I reckon I do, too. Never noticed the country much before, but coming out this way with you all the time, I like it fine. You haven't told me about that book I learnt you last week. Did you finish it? That Romeo and Juliet? Yes, ma'am, I finished it. Don't tell me you didn't like it. Well, I ain't read any poetry before, but as soon as I get the hang of it, it'll be as easy as reading the patent medicine catalog. Didn't you like the story? Well, they raise the mighty strains, breed of men in them days, but in some respects this Romeo was a pretty good ombre. Oh, indeed. Just a pretty good ombre. Yes, ma'am. He had his enemies and he killed them. It shows he wasn't no coward, and proves he was quick on the draw. Well, you approve of killing your enemies? An eye for an eye? No, no, no. Not if there's an honorable way out, no, ma'am, but them enemies was particular honoree. They had it coming to them. What else? What didn't you like about Romeo? I didn't like him in that balcony scene. The balcony scene? Why, that's the most famous scene in the play. Maybe so, but not for me. What's his idea in traipsing up and down a rope ladder anyhow? Why didn't he go in through the front door? Don't you understand? Their families were enemies. The traipsing up a ladder, that ain't my idea of a real man. Well, what would you do? Go in and kill her father? That would be nice. No, I wouldn't have killed him, but I'd have had a showdown with a man to man, and if he was too stubborn to call off that fool feud, I'd have grabbed Juliet right off that balcony and married her. That was just what he was planning to do. Yeah, I know, but he couldn't stop playing actor on that balcony. Wasted so much valuable time, he got him both killed. What would you have done? Well, I ain't no Romeo, but if I loved a gallon and wanted her, I wouldn't fritter away the time on no rope ladder making up poetry. Well, what would you do? I'll show you. I'll just take her like this. Let me go. Stop it. Stop. There, that's what I'd do. You're just as sure of yourself as ever, aren't you? Molly, don't play act with me. We don't fool each other. We ain't on no balcony. Molly, don't you think the spring is the prettiest time of the year to be married? I don't want to be married. Oh, Molly. Not yet, anyhow. I've got my school, and I'm just getting started. Teaching school. That ain't no woman's job in life. It's mine. Oh, I like you, and I admire you. But I'm not sure of myself yet. This country's so new and strange. I feel like an alien, an outsider. Oh, I don't know how to explain it, but I just feel that I'm well different. Hmm. Women are funny, Molly. I don't understand them. Well, I'm glad you think you don't. What was that? Sounds like a calf balling. I better find out what the trouble is. I'll go with you. No, you better stay here. I'll be right back. Come on, boys. Hello, Steve. Oh, hello. I didn't know you was coming up this end of the range. Oh, I'm just kind of drifting around. I've just been putting a monogram and a couple of strays. Yes, so I noticed. Steve, there's no use talking around things. You've been putting Travis' brand on somebody else's calf. Well, what about it? That's Russell and Steve. Oh, what's a few calves more or less for men that's got thousands? I'm sick of nurse-baiting somebody else's cows around for no more enough to keep you unsmoking the backer. Don't talk that away, Steve. You and I have done a lot of loco things together. But there's some things that ain't only loco, they're plum-wrong. Oh, you take life too seriously. This whole country's taking things more seriously. I ain't trying to lecture you or play Sunday school. On what's right or wrong, but the ranchers around here are plum-sick, having their herds trimmed out, and they'll soon be possies out with ropes on their saddle. Well, I'm trying a nice limber one to make it easy for them. If they catch me. You blamed hard-headed fool. What are you going to do? Turn me in? Nobody's talking about that. I reckon I couldn't be so at you no matter what you did. But listen, Steve, you and I have been friends too long to find ourselves lined up on opposite sides in anything like this. Ah, shucks, how do I know what I'm going to do? This country's getting too civilized, too solemn. I got a notion I'll be moseying out to the goldfield or someplace. No need, you're leaving, Steve. You know, you can stay on here as long as you want, just so you don't do nothing crazy. And if I do? We ain't going to talk about that. Not till the time comes. Only I'm just hoping the time never does come. Gary Cooper will be back in just a few moments to continue the story of the Virginian. But now, let's go to the airport in Burbank out beyond the huge Warner Bros. studio. And the 530 plane takes off for New York. In the crowd are two girls. Let's listen. We should drive way out from Hollywood just to send it off the 530 plane. Is it important an air mail special delivery to Bill Butler? Anyway, I think it's fun to see planes off. A lot of us people do too. Look at the crowd. Well, they're not looking at the plane. Look at those mics and lights over there. They must be shooting a picture. Yes. Isn't that Anne Southern? Yes, it is Anne Southern. Doesn't she look like a million? Some snappy suits she's wearing. Some snappy complexion too. I wish I had one like it. Anne Southern's complexion does look lovely. It will continue to look soft and smooth and clear because this youthful star protects it. She knows that enemy to good looks, cosmetic skin, comes when you're careless. Here's what this charming star says. Of course I use cosmetics, but I don't risk unattractive cosmetic skin. I use luxe toilet soap because then I know I'm safe. That's good advice for you. Luxe toilet soap's lather is active. It removes every trace of dust and dirt, stale rouge and powder that might remain to choke the pores. It's when the pores are choked that tiny blemishes, a dull, lifeless look, enlarged pores tell you you're getting cosmetic skin. Remember, put luxe toilet soap on your shopping list. Buy for your complexion the same care nine out of ten screen-star hues. Once again, Mr. DeMille. We continue with the Virginians starring Gary Cooper with Charles Bickford as Trampas, Helen Mack as Molly Wood and John Howard as Steve. Several weeks have passed since the Virginians warned Steve against rustling cattle, but the warning went unheeded. We find Steve now with Trampas and two other men engaged in running a herd. It's late at night and they've made camp in a rugged hideaway deep in the hill country. Trampas, squatting beside the fire, gloats over their victory. Not so bad, eh, boys? Three hundred had a cattle worth more than one hundred. Three hundred had a cattle worth more than 75 apiece. Better than herding for a living, ain't it, Steve? I'm still herding them cows. They've been running them and running them hard all day long. This ain't no picnic at all. You'll have your picnic, Steve, when we cash in on them. Hey, Pedro. Put another stick on the fire. Yeah, wait a minute, Trampas. I'll let that fire be. Speaking of now, if anyone's following us, they'll see it sure as shooting. What's eating you, Jim? Getting scared? Ain't no use asking for trouble. Let the fire load. When I want a fire, I'm going to have it. If there's anybody following us, there's 40 miles back. Two on their heels. Yeah, hunting for cow tracks under water. Well, I'm going to dangle down the ravine and see how Greece is getting along. Night-hunting them critters. Right back, Steve? All right. Listen, what's that? Ain't you never heard cattle before, Jim? It sounded like they were being disturbed or something. Oh, calm down, boy. You're all on it. Sure, everything is all right. Yeah, maybe. But I'll be glad when we get rid of them cows. You can only die once. Yeah, what's life anyway? A few winters waiting for spring. A few summers wishing they'd last. And then your little six by three, six feet under the ground. That's all. Might as well be now as later. Well, that ain't the way I feel about it. I ain't itching to die just yet. Ah, come on. Let's think of something cheerful. Sure, we sing something to cheer you up. Boy, Pedro, make it low and sweet. What's up, boss? Look down there, that fire. It's them. It's the Rospers. Easy now. The cattle must be down in that ravine. Nebraska, take three men and round them up. Sure. Shorty, you skid around to the north and come up on the campfire from there. Take honey and baldy with you, but leave your horses here. Oh, sir, boss. Judge, you stick with me. Okay. When I whistle, Shorty, you and your men close in. You and your men close in. Yeah. Won't they be surprised down there? All right now, spread out, everybody. And come in easy. You want to make sure we get them all on the... Tickle me, go, chanita. Ah, don't they be for your... Had a boy, Pedro? I always liked that song. What was that? I told you they would. Get their guns, boys. We got them, boss. All right now, stay right where you are. Come on, shorty. You and your men close in. Come on, Thomas. Why are you calling, Cardsboy? Thanks for the ditty, Pedro. It was real entertaining. Hello, Steve. Hello. I was afraid I'd find you here. Yeah? I warned you, Steve. Sure, it's all right. Well, where's Trampas? Trampas? Oh, we ain't here. Me and Pedro and Jim were hunting by ourselves this trip. With five cups over there on the rock, you must have been drinking with a cup in each hand. Hey, boss, boss. Hey, we got the cattle all right, but whoever was a knight hurting them ducked. We'll get them later. What do we do now, boss? I'll say, string them up. Now, wait a minute. You got anything to say, Steve? I guess not. You're sure of that? Yeah. All right, boys. You know what to do? Sure we do. Let's have your rope, shorty. There's a good tree right over there. No, no, I don't want to die. I don't want to die, sir. But I tell you, I don't want to die. Oh, shut up, Jim. You've got to take your medicine graceful. Well, come on, boys. I guess we're all set. Ain't you riding in with us, boss? No. I'm staying here, shorty. I got things to do and things to think about. I know how you feel about Steve, I mean. He was my friend, shorty. I know. He sure went game, though. Not a whimper out of him. He never even looked at me, not once. He never said a word. I reckon he wanted to, boss. You see, when he was getting things ready, Steve gave me his gun. He said to give it to you, boss. To me? Yeah. There's a note that goes with it. He wrote it while he was waiting. Give it to me. Here it is. I can't see so good. Would you read it to me, shorty? It says, so long. I couldn't have spoke to you without playing the baby. Steve. Steve. Well, will you be riding in now, boss? No. No, you go along. I'm heading over to Lost Valley. What? I got things to do. I got a hunch that Trampas went that way. I'm going after him. Keep your head down, Reezy. He'll be son up soon. I ain't taking no chances of being spotted. We've got to get away from here. Oh, and Steve and Jim, we've got to get away, Trampas. We'll make it all right. We've got to watch our step. Now, take it easy. We'll stay here till dark, and we'll head south after that. Trampas. What's the matter? Trampas, look down there. Someone is coming. He blow. Ha-ha. Well, if that ain't the Virginian. See, the Virginian. He fell on. Yeah. Hand me that rifle. Now, don't buy himself a looking for me. Well, he's looking for the last time. You hit him. Come on, Reezy. I reckon we can start moving now. How's the Virginian? Well, he's still unconscious, but the doc says he's out of danger. Hey, did you bring the medicine? Yeah, here it is. Say, you know the Virginian ought to be in a hospital. A school mom's house ain't no place for him. Well, what'd they fetch him here for anyway? Well, they didn't fetch him. His horse brung him. Right over there to that door. His horse? Funny, ain't it? No, it ain't funny. Say, he's been hanging around here so much, the horse thought it was home. Shorty, did you bring the medicine? I got it right here, ma'am. Oh, thank you. No, you ought to get some shut-eye, ma'am. You look all wore out. Oh, I'm all right. I'm not a bit tired. Anyway, there's too much to do. Well, you are sure taking good care of him, ma'am. As long as he gets well, that's all that counts. Yes, ma'am. Oh, Nebraska, I meant to ask you. Have you seen Steve around? Steve? Well, ma'am, Steve... No, ma'am. We ain't seen Steve lately. You see, he... Well, he don't work for the Box H no more. Oh, I thought it was funny. He hadn't come around. Well, if you see him, tell him his gun is here. The Virginian had it with him that night. Well, yes, ma'am. I sure will tell him. That is if I run across him. Thank you. Excuse me, boys. Say, don't she know Steve? I meant to warn you about that. She don't know a thing. Or it might be better if we didn't say nothing. Yeah, sure. She ain't used to things like that. Yes, she knew Steve pretty well. She'd be pretty upset if she knew the Virginian had a hand in on it. How's the patient today? Oh, I've been up and around, Judge, feeling fine. Good boy. What's the doc say about you? All fixed. He says I can get out now anytime. Only, Miss Molly, she's been taking such good care of me. I kind of hate to leave. I can't say a blame, you know. You know, there's been some talk lately down around the town about how we all might be doing little celebrating sometime this spring. Celebrating what? Oh, a wedding. You mean me and Miss Molly? How about it? Well, I wouldn't go putting no bets up if I were you, Judge. What's that? Not if I was you. You ain't getting married? Oh, I didn't say that. You said don't put up no bets. Sure. You know, it don't look so good for a judge to go around gambling on a pretty sure thing. I reckon it don't, son. Oh, morning, Miss Wood. Good morning. Just talking about you. Were you? Yeah, just this minute. Judge Henry, I wonder if you'd mind leaving us for a while. No, ma'am, certainly not. Just getting ready to leave anyhow. Thank you. Well, so long. So long, Judge. See you soon. Your hope's over. Morning, Miss Wood. Well, Molly. Why didn't you tell me? What's that? Why didn't you tell me? You knew I'd find out sooner or later. I reckon you're talking about Steve. I am. Well, I thought you knew, Molly. I didn't know. Not until this morning. I... Well, it's horrible, horrible. It had to be, Molly. You were there. Why didn't you stop it? You could have stopped it. You see, I was leading the posse. You? Yes. But Steve was your friend. It didn't make much difference then. Your friend. And you murdered him. Murder? What else can you call it? Molly, don't talk like that. It was hard enough. Don't make it any worse. Somebody had to do it and I was in charge. That's our kind of law. Does your kind of law tell you to kill your friends? It ain't a question of friends or enemies. It's a question of right or wrong. I did what I thought was right, Molly. It was right. Do you think I'll teach my children to believe that? Do you think I'll help raise a new generation to approve of murder? Where you come from, they have policemen and courts and jails. We ain't got that. So when we have to, we do things our own way. I see it now. It's this life. It destroys every human feeling a person's got. It's destroyed you. It's made you cruel and ruthless and cold-blooded. Well, it won't destroy me. I won't let it. I'm leaving here just as soon as I can. Leaving, Molly? You don't mean that. I do mean it. Then you're leaving me too. Yes, I'm leaving you too. I'm leaving everything that's face and mean and ugly. Now, please get out and let me alone. Let me alone. Pause for station identification. This is the Columbia Broadcasting System. It's the pride of California that it produces bigger things than any state in the Union. Hence, it was with consternation that California learned some 30 years ago that a baby had been born in Maine, weighing 16 and a half pounds. His precocious muscles rivaled those of the mythical stone crusher, Paul Bunyan. There's a legend back in Maine that when his mother took the heavyweight infant for his first ride in the perambulator, the baby leaped from the carriage and bowing gracefully said, come on, Moore, you get in and let me push. That may be a tall story, but I can vouch for the fact that he was a United States Marine when only 14 years old and three years later was a strong man in Vodaville. Today, California at last claims him. Not only as physical director of Paramount Studios and a radio physical trainer, but as a singer and little theater actor as well. Ladies and gentlemen, Richard Klein. Thank you, Mr. DeMille. What would you like me to do? Sing, act, or give you a workout? I've heard you sing, I've seen you act, and I've thrown myself on your mercies in the gymnasium. Tonight is my turn. All right. I hope I can take it as well as you. Dick, Gary Cooper tells me that you're responsible for that educated fist he swings in the Plainsman. Gary is really one of the best boxers in Hollywood, along with George Raff, Sir Guy Standing, Jack Oakey, and strangely enough, Ida Lupino. But I'm proudest of Gary. He's a real example of what regular exercise can do. Many people still believe that the life of a picture star is a round of parties, anything but a round of boxing. One of the reasons I asked you here is to correct that impression. Well, outside of farmers, non-live a more regular healthy life than film stars. It's a matter of necessity. If they didn't, they'd never be able to stand the strain. A well-balanced diet, plenty of sleep, and the proper exercises are absolutely necessary so they may give their best. You might be a little more explicit. Well, their taste in exercise varies. Carol Lombard and Claudette Colbert prefer tennis. Cary Grant and Randolph Scott go in for punching the bag, being Crosby and incidentally Mr. DeMille, like the rowing machine. Gladys Swarthout and Adolf Monju do lots of riding, and Marlene Dietrich and May West keep their famous figures by pedaling a stationary bicycle. I've been doing my darnedest to get W.C. Fields inside of the gym, but he insists he gets all the exercise he needs juggling a half-dozen grapefruit every morning. My gymnasium, by the way, is one of the most historic buildings in Hollywood. It started out as a barn. Then in 1914, Mr. DeMille turned it into a studio. It was there that he made the first feature-length picture, the Squaw Man. Keeping fit has become so important in Hollywood that in the near future, Harriet Paramount will undergo a complete physical examination when signed. All of our executives will also be expected to report regularly. Take a tip from these famous people, ladies and gentlemen, and find time to exercise. I guarantee you'll be amazed at how much more work you'll be able to accomplish, how much better you'll feel. Do your exercising where you can step into a shower immediately after. And if you want to get the ultimate good from both exercise and shower, I believe in physical culture of the skin as well as the rest of the body. It's part of my business to know what's best for a healthy skin. Lux never leaves the skin dry as many soaps do. It has a pleasant aroma and its cleansing qualities are distinctly superior. You can be pretty certain that when the stars go for something, the way they do for Lux soap, it must be good. And thank you, Mr. DeMille, and so long. Good night, strategy. And now, back to the Virginians, starring Gary Cooper with Charles Bickford, Helen Mack, and John Howard. It's several days later. In the corral at the Box H Ranch, we find the Virginians saddling his horse. Strolling up to the gate comes Molly Wood. She stands for a moment watching him, then speaks timidly. Good morning. Molly, I mean, good morning, ma'am. May I come in? It'll be a pleasure to have you, ma'am. Thank you. You see, I didn't leave after all. Yes, ma'am. I, um, I changed my mind. I'm going to stay. Are you? Well, aren't you glad? That all depends. You see, folks has to be made for this country. It's rough, and it's wild, and it takes a strong stomach to stand for some of the things that go on out here. If you can't stand it, it's best not to stay at all. You think I may weak clean, don't you? No, ma'am. I just don't think you understand our side of it. Perhaps not, but I've decided to try. I've been doing a lot of thinking since the other day. I've looked around me at people like Judge Henry and Shorty and Nebraska and their wives. People like that can't all be wrong. They're kind and good. Yes, ma'am, they are. But they don't ever let themselves forget the reason they're here. They're building a new country, ma'am. It's a big job. I know. And that's why I'm staying. I want to help. We sure need it, ma'am. Any help at all, and yours will be right welcome. Thank you. And now will you forgive me for what I said to you? Forgive you? Well, that's easy. And will everything be just as it was between you and me? That's up to you, Molly. I want it to be. I've been wanting it too. Oh, darling. Hey, Joe. Joe. Oh, hello, Krampus. Ain't seen you around here for months. Yeah, I've been traveling. Set up around, Joe. Sure. Hey, Creasy. Come and get it. Hey. Hey, Joe. Town's getting mangy with cowhands. What's up? Payday? No. A wedding. The Virginian's getting hitched to the new school mom. The Virginian, huh? You think he wouldn't marry her? I heard she saved his life. Yeah. I do seem to recollect something about him being shot a while ago. Engines, wasn't it? Yeah. Somebody plugged him in the back. You don't say. Too bad it didn't finish him for good. Come on, Creasy, drink up. Oh, boys, boys. Hey, when's the wedding, Miss Molly? Yeah, when's the big event? Speak up, boss. It ain't gonna be till tomorrow, so you can stop pestering right now, you bunch of mangy mavericks. Say, Miss Molly, do you mind if we borrow him for a spell? Well, can I trust you? Oh, we'll all be very good. Pretty good? Not too good. Wish is the honest man. Not one of you. Well, all right, I'll trust all of you. You can borrow him, but not for too long. Go on ahead, boys. I'll meet you in a couple of minutes. Yeah, see you over at your place, boys. You don't mind me going with him, do you, honey? Well, of course not. The boys have their rights to you just as much as I have. I won't be long anyhow. We'll have plenty of time alone where we're going. We'll travel west till we find just the place we want to make our home. I hope you'll never be sorry. I hope I'll always be able to make you happy. And to keep you happy. That's gonna be my main aim in life. Oh, I love you. Well, you better run along now. The boys are waiting for you. Make it easy, boys. I got to get married tomorrow. Set him up, Joe. Sure, sure. Say, there's a friend of yours in town. Yeah? Yeah. A fellow named Trampas. Trampas? Did he mention he was a friend of mine? He said plenty about you. All lit up and talking big. Said he'd drop in again in case there's any interest to you. Well, it ain't. I think he's looking for trouble, myself. Wouldn't it be just too bad if he found it? Say, boss, will you take this thing off your hands if you want? He hasn't saved you the trouble, just say the word. Anyhow, all of us. No. Thanks, boys. This is a matter between us, too. I'm only hoping they don't drift around. Yeah, but a fella don't get married every day. That's just it. You've got to think of her. Who else am I thinking of? Come on, boys. Step right up and name him. There he is, boss. Coming in the door. Well, look who's here. Enjoy your place getting a soda crummy, ain't it? Are you just letting mangy form and hang around? Got a crampus. Easy, shorty. It's all right. Got a muck, Joe? Sure. You know, Gracie, it seems to me I hear the fella around here who got shot in the back. Well, as far as I know, the only way that can happen to a fella is when he's running away. She running away. Well, let me handle this, will you, boss? No. I don't want no trouble, Nebraska. I'm sick of this fella running around. Listen here, you. You speaking to me, Trampus? Yes, you. You've been spreading a lot of talk around about my dealing in cattle. I'm having a showdown with you here and now. Trampus, I'm trying not to have any trouble with you just now. Yeah, you've been dodging it for five years. You've been talking plenty trouble to keep on in my way, but I got you corralled now and I'm calling your hand. All right, what did you get? I've got the belief you're a lion-white-livered skunk. This country ain't big enough to hold the two of us. I'm giving you the sundown to get out of town. It's too bad you had to say that, Trampus. Get out. Get out by sundown or I'll shoot you on sight. Come on, greasy, let's get out of here. Boys, I'd like you to oblige me in this by not interfering. Sure, we understand. Sundown. It's less than a half an hour now. You're going to tell Miss Molly? Not till it's over. She wouldn't understand about this. She's raised different. Well, we won't say nothing, boss. I got Steve's gun over the hotel. I reckon that'd be the one to use. I'll go over now and fetch it. Come in. Oh, here you are. Sure, Molly. Oh, is things so terrible waiting for you? You heard about Trampus being in town? Everyone's talking about it. They say you've got to leave by sundown. I wanted to run out and find you, but I didn't. I waited quietly in my room. I'm sorry you had to be worried, Molly. It doesn't matter. Nothing matters except that you're here. Let's don't think about it. What shall we do now? Now? Nothing now. It ain't quite sundown yet. I know it's a heat force for you. I wish it. I wish you didn't have to wait alone. But it won't be for long. What do you mean? I did my best. I let him say things to me no man ever said before. If I hadn't been thinking hard of you, I reckon I'd have killed him then. I gave him a chance to quit, but he'd gone too far. It'll have to go on now. What are you going to do? I'm not going to let him shoot me. But we can go away. It's not too late. You can go away and leave him here. I've got to stay. Oh no, there must be something else. There must be. Well, I think what it means, killing and cold blood. You don't think I want to do this? Oh, I tried to forgive the other killing. Those cattle thieves and Steve. I forced myself to think of it as you did. Law and order. But this, this isn't the same. You don't have to do this. If folks came to think me a coward, I couldn't look them in the eye ever again, or you either. Well, that's just pride. I don't know what you call it, but it's something in the feelings of a man deep down inside. Something a man can't go back on. If anybody happened to say I was a thief, I couldn't let him go on saying it. It wouldn't matter what other people thought. But I'd have to know inside of me that I thought enough of my own honesty to fight for it. Then it's to be like this always. When will it ever end? There'll always be killing to do until this country ain't a meeting place for men like Trampas. Then think of us, our life together. That's what I am thinking of. Your life has always been your own. I can't. But now it isn't. You've given it to me. Don't take it away. I can't think of that now. If you do this, there'll be no tomorrow for you and me. I'm sorry, Molly. It's got to be done. Oh, no, don't go. Come back. Please come back. You can't leave me like this. You can't leave me. Hello, Shorty. I mean, it's sundown. Yeah. I just seen Trampas. He's in Joe's place. Yeah. Make yourself take a walk down that way. Listen, boss. Stay on the sidewalk. You don't want to be stepping in one of their mud holes when you're taking aim. I'll be all right. I'll walk with your peace. That is, if you don't mind. Of course not. Come on. Watch out for the loose boards, boss. This walk is full of them. I'll watch it. Yeah. Feel all right? It's fine. We're all with you, boss. I know it. There. There he is. He's coming out the door. He sees you, boss. Yeah. I'll go on from here alone, Shorty. It's your boss, and lots of luck. Thanks. Sundown, Virginia. I know it, Trampas. I warned you. Well, I'm waiting. You won't have long. Boss, he all right? You never touched me, Shorty. Oh, you got him, boss. He's dead. He's a cold mackerel. Yeah, I reckon he is. Where is he? Where is he? Oh, let me through. Please, let me through. Hey, Molly. Oh, you're safe. Oh, thank God it wasn't you. Thank God. It's all right, Molly. No need to cry. Don't ever leave me ever again. But what you said before about there not being any tomorrow, don't that count? Nothing counts except that I love you. Promise me you'll never leave me. Promise. Sure, I promise. But I still don't understand women, Molly. We take our leave of the Virginians, but not of Gary Cooper and Helen Mack, who come back to the microphone a little later. Activities of the motion picture world draw more newspaper men to Hollywood than national affairs draw to Washington. Outstanding among them is Sidney Skalski, whose column, Hollywood, appears daily in the New York news and in many other papers here and abroad. Formerly author of the column, Tintite, in the New York Sun and behind the news Sid has also been press agent for such dispensers of beauty as Sam Harris, Earl Carroll and George White. He would probably be offended if I said he is the best-liked film reporter. Sid is a member of that resolute minority who believe in hewing to the line of news and letting the quips for where they may. Ladies and gentlemen, Sidney Skalski. When you call me that, hardness smile. Well, how are you, Skalski? I've got myself exactly where you want me. You'll never get there, Skalski. I mean, I'm as nervous here as I make you when I visit your movie set. You look like one of my pictures. Four frightened people or four of them. I sound like a straight man and when a columnist goes straight, that's something. That'll be enough, Skalski. Get on with your Hollywood wash. Pretty subtle. Nobody'd ever think you were talking about Lux. Can you do better? Well, I don't use publicity blurbs in my column and I don't intend to start with this program. But I can truthfully say I've seen Lux soap in homes of movie stars that I've visited. And I don't believe actresses keep Lux around for the same reason they keep Emeralds. Now that you're here, make the worst of it. Don't worry, I will. Hollywood is a place where Kay Francis now keeps her diary in shorthand where Gloria Swanson has eight photographs in her bedroom of Gloria Swanson. It is a town where you need an umbrella to walk through a mist. It is a town where you heard of it, leaving a party said to the hostess, I had a lovely evening, but this wasn't it. Where Francis X Bushman, who was once the clock gable and robber tailor of his day, now owns a hamburger stand opposite the 20th Century Fox studio and is still serving his public. But don't get me wrong, I love Hollywood. Hollywood is a place where Victor McLaughlin, playing a scene for his picture, the magnificent brute, was told to run up a flight of stairs and then fall when the villain fired the first shot from his gun. McLaughlin failed to do this and when asked why by the director, Victor answered, well, McLaughlin, it takes more than one shot to get me. It is a town where Simone, Simone doesn't pull down the shades in her apartment and rents have gone up in that neighborhood. But don't get me wrong, I love Hollywood. Hollywood is a place where Douglas Fairbanks has his name written on the bands of the sick guys he gives you. It's a town where you can drive into a driving stand and bring home a cake of ice wrapped in cellophane. Where the first thing Robert Taylor had to do to be a picture star was to pluck his eyebrows. Where at the preview of the picture, Pigskin prayed they had a scene showing girls going to Yale. But don't get me wrong, I love Hollywood. Hollywood is a place where Ginger Rogers, for a wild evening, goes bowling with James Stewart on Wilshire Boulevard, where John Barrymore gives a great performance, ordering a cup of coffee in the brown derby. It is a town where director Van Dyke, making the flick of Eskimo, brought official snow to the Arctic. Where Gene Hollow wears a mink coat and with nothing underneath it but a pair of silk pajamas. Where Gene Fowler now signs his letters, Gene Fowler, author of Jack London's White Fang. But don't get me wrong, I love Hollywood. Hollywood is a place where Charlie Chaplin keeps a huge dictionary in his bathroom. Where Garbo and Rex O'Malley doing a dance in Camille fell to the floor. O'Malley helped Garbo up and rather embarrassed said to Greta, oh dear, how could I have tripped over your tiny little feet? It is a town where Joseph von Sternberg raised a beard and when asked why answered, I'm tired of looking at my face and I'm not the only one. But don't get me wrong, I love Hollywood. Hollywood is a place where Carol Lombard can be seen reading a story in a fan magazine titled Clock Gables' Romantic Flight. It is a town where Irving Berlin at a party asked what song the fellow at the piano was playing, only to be told it was Alexander's Ragtime Band. Where Ted Healy asked his students, Jimmy Brewster, who do you think will get in? Roosevelt or Landon? And Brewster answered, what's the matter with the guy we got in there now? But don't get me wrong, I love Hollywood and always will as long as it supplies such good copy. Good night, thank you. Good night, Ted. We bring back to Virginia Gary Cooper and the school mom Helen Mack. The only thing I miss tonight was seeing Gary ride a horse as he does when he really gets out in the open. Well, riding is nothing extra special. Helen, back home in Montana, we learned to ride him most when we were kids. When more kids, rather, are pushing a kiddie car. I guess I cut my first teeth on a saddle leather. Is that why you picked Gary for the part of Wild Bill Hickock in The Plainsman, Mr. DeMille? Partly, Helen. Actually, he's a perfect portrait of Hickock in look, size and manner. Then there's a similarity between the Virginian and Wild Bill. The Virginian is the ideal American character in romance, long on speech and long on action. And Wild Bill Hickock is the ideal American character in fact. Hickock was not a bad man. He was a patriot. Well, then how did he get such a reputation as a killer? Well, he's supposed to have killed between 60 and 100 men, not counting Indians. Well, nobody counted Indians in those days. Oh, they were just used for practice. Probably. The fact is, Hickock killed only in defense of law and order. And as he said himself back in the 1870s, there's no Sunday west of Junction City, no law west of Hays City, and no God west of Carson City. It was to change all this, to bring respect of law to the west that Hickock devoted his life, finally losing it when shot by Jack McCall, who killed him for the strangest reason ever heard, because he admired him so much. I guess it's because all this is true that I got such a kick out of making the picture. It was real. Including the danger. And riding between two horses to escape an Indian ambush, I think you did something many stars would have avoided. However, that was in the script. Was your stopping the six horses that stampeded across the prairie running away with the stagecoach? Well, after all, I had to stop them, the one they were running away with was me. Well, while you were running away with the picture, I hope we'll soon have another picture for you to steal. When Gary steals a picture or a broadcast, it's really grand, wasn't it? Oh, Helen, Helen. As far as I'm concerned, I wish this program could go on for another 60 minutes. Anything after your performance tonight, Helen, would be an anti-climate. But when it comes to radio programs and soap, give me luck every time they're both tops. I'll vote the same ticket and include you, Helen. Thanks, Gary. Good night, everyone. Good night. Good night, Helen. Good night, Langston. Of the thousands of stories that relate the adventures of a modern Robin Hood, none has won such enduring popularity as alias Jimmy Valentine, which comes to us next Monday night with Pat O'Brien in the title role, with Pat R. Three other Hollywood stars, Alvins, Alan Jenkins, and William Frawley. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre stars Pat O'Brien in alias Jimmy Valentine with Madge Evans and an all-star cast. This is Cecil B. DeMille saying good night to you from Hollywood. The renouncing has been Melville Rourke. This is the Columbia Broadcasting System.