The Plainsman - Lux Radio Theatre (05-31-37)

Wild Bill Hickok attempts to stop an Indian uprising that was started by white gunrunners.
Original Air Date: May 31, 1937
Host: Andrew Rhynes
Show: Western Stories
Phone: (707) 98 OTRDW (6-8739)

Stars:
• Fredric March (Wild Bill Hickok)
• Jean Arthur (Calamity Jane)
• Porter Hall (Jack McCall)
• Joan Fontaine (Louisa Cody)
• Paul Harvey (Yellow Hand)
Special Guest:
• Sidney Skolsky
• Marie Osborne
Producer:
• Cecil B. DeMille
Music:
• Louis_Silvers

Episode Transcript

(00:13):
Welcome to the Old Time Radio Westerns. I'm your host Andrew Rhines and this
episode of OTR Westerns dot Com isbrought to you by Now let's get into
this episode. This episode is goingto be Western Stories. This series focuses
on different radio shows that had aWestern episode, but maybe not focused directly
on Westerns itself. Now let's getinto this episode. This episode is going

(00:35):
to be Lux Radio Theater's presentation ofThe Plainsman. Original air dates May thirty
first, nineteen thirty seven. Andthis is where wild Bill Heckock attempts to
stop at Indian uprising that was startedby white gun runners. Hope you enjoy
and again thanks for listening, Hollywood, California. Monday, May thirty four,

(01:00):
The Lux Radio Theater presents Frederick Martchand Jeane Arthur in The Prainsman.
Lux Presents Hollywood. The makers ofLux Toilet Soap appreciate the enthusiasm you have
shown for this fine duty care usedby nine out of ten Hollywood stars.

(01:22):
It is your regular purchase of LuxToilet Soap that enables us to bring you
this program. Our stars Tonight,Our Frederick Martch, Jean Author, Porter
Hall, Joan Fontaine and Paul Harvey. Our guests, Sidney Skolski, famed
for his reports from the Hollywood NewsFront, and Marie Osborne Ginger Rogers stand
in. Our producer, Cecil b. De Mille, our conductor Lewis Silvers.

(01:46):
From our theater on Hollywood Boulevard.We greet you all to another hour
in the Lux Radio Theater. Luxtoilet soap is no white, pure mild.
It couldn't be a better self ifit cost a dollar a cake.
It has active louder that removes cosmetics, thoroughly guards against the little blemishes,

(02:08):
dullness, and large pores that meancosmetic skin. May I read you a
typical letter from an enthusiastic member ofour listening audience. I've had so much
enjoyment from the Lux Radio Theater thatI'm enclosing these Lux toilets oap wrappers just
as a proof of my loyalty toyour fine product. I've used Lux toilet
soap since I first started to collegeand found out that Lux was the soap

(02:30):
that most of my sorority sisters wereusing. Now that I'm married and my
husband and I travel almost constantly,I'm especially grateful for Lux toilet soap.
It gets off to travel dust gentlyand thoroughly, cares perfectly for my sensitive
skin. And now our producers,ladies and gentlemen, mister cecil be glil

(02:57):
ringings from Hollywood, ladies and gentlemen. Last week I announced that Gary Cooper
would be with us to Night toStar with Jean Arthur and the Plainsman.
For two weeks, Gary has beenworking in the water making scenes for Souls
at Sea. The result is asevere cold and a high temperature. For
ignoring both, Gary has insisted onrehearsing. He protested to his position that

(03:17):
we have a show to put onand that shech or not. His place
to night is here at the microphone. It wasn't until late last night that
we succeeded in talking him out ofit. He finally gave in and at
this moment his home and in bed. I know you all join me and
wishing him a speedy recovery. Steppinginto the breach with a graciousness characteristic of

(03:39):
a true friend and great actor isFrederick March. The part of wild Bill
Hiccock is rather close to my heart. I entrusted to mister March with gratitude
and the complete assurance that in hishands it awaits only new honors. And
now a word about our story.And the ninth of April in eighteen sixty
five worlds Lee and Grant met atthe farmhouse an Appomattox court House, Virginia,

(04:03):
and with quiet simplicity find a documentwhose words had been written in the
lifeblood of nearly five hundred thousand Americans. The war between the States was over,
the signatures were scarcely dry when theeyes of the nation turned westwards and
saw beyond the Mississippi a fabulous empireyet untamed, a land of thundering bison

(04:25):
herds and savage Indians. Into thisterritory poured the legions of Americans whose faith
and fortunes had been scattered by thewar, and the hordes of immigrants who
flooded from Europe to stake their homeson the sweeping plains. Some found peace,
some found riches, and some founddeath at the point of a six
shooters and scalping knives. Where therewas no Sunday west of Junction City,

(04:48):
no law west of Hayes City,and no God west of Carson City.
Out of this background was born thePlainsman, the first of a series of
pictures based on the magnificent pageant ofAmerican and its unsung heroes, a series
which I am continuing with the storyof Jean Lafitte, the buccaneer. Frederick
March will again stop for me inthe role of this amazing pirate. Wild

(05:12):
Bill Hiccock was not an outlaw.He was a frontier marshal, gentleman and
the keenest shot in the West.And always in his shadow was the equally
compelling character of Calamity Jane. Mygood fortune in securing Jean Arthur's calamity in
the screen version is repeated tonight.No star is better equipped by nature and
ability or this colorful role. Alsofrom the original cast comes port A Hall,

(05:38):
resuming the role of Jack McCall.Mister Hall's current paramount film is Make
Way for Tomorrow. Joan Fontaine,a young actress rapidly rising at our Chao
Studios, plays Louisa Cody and PaulHarvey. Is heard as yellow Hand.
And now we set our course alongthe trail of the pioneers to the west.
The applause of our Hollywood audience greetsthe rising of the curtain as the

(05:59):
lux Radio. It presents The Plainsman, starring Frederick March and Jean Arthur,
with Porter Hall, John Fontaine,and Paul Harvey. Among the soldiers who

(06:25):
turned their faces homeward at the closeof the War between the States was a
man known to his friends and tohis enemies as Wild Bill Hiccock. His
face was not turned toward the rollingpastures of the East, but toward the
rugged hills and sweeping plains of theunborn West. At St. Louis,

(06:45):
on the banks of the Mississippi,a river boat is ready to leave for
Leavenworth. Still wearing his army coat, Bill Hiccock sits on the hawk,
his long legs straddling a pile ofluggage. A small boy eyes him with
frank interest. Dream were you soldiering, mister? I'm all through, Sonny
was over? Didn't you hear him? Yeah? I heard it, But

(07:08):
I don't take no stock nip.What might your name be, mister,
Oh, mighty Bill. He ain'tBuffalo Bill, are you? Oh?
Well, I'll tell you. IfI wasn't myself, I'd just as soon
be Buffalo Bill. He's a greatscott Son, you know. I saw
him shoot it a hole herd ofBuffalo once. I thought he'd miss but

(07:29):
who started coffin and fell down dead? It shot through him both and he
made the dust cloud up a mileand a half away on the other side.
Gee, Willikin, You know that'sthe kind of shooting name to do.
I can shoot pretty good now ofmy fling shot. What's mister?
That's all right, Sonny. Thatwhistle is just a half minute wrong.

(07:53):
Gee, that's the Jim Dandy watchyou got there? Mister plays a tune
too. Listen, you didn't that? Hey, that's your picture stuck in
the cave. You're dressed like ascout there, and so's that girl with
you. She your sister. Ohoh, that's Calamity Jane. Oh I
y, I guess you're kind oflooking out to see again each mister,

(08:16):
I'm looking out to missus. Listen, Sonny, you know what an Indian
will do to you, but younever know what a woman will do.
Well, if you don't like her, then what do you carry your picture
around for? Well? You see, it's the best picture of me I
ever had made. If I cuther out, I'd cut off part of
my chin. All right, youman, go a lot boxes on the

(08:39):
phone and day quick about it?Come on, come on, put your
shoulder, hey, better move onon the way. Son seems to be
a powerful heavy shipment of farming toolsgoing out to Hayes City. Does John
Latimer on the boxes want to seeme hit the owen? John there?
Want to try your luck? Misterhuh? I need a mighty good target,

(09:01):
say an engine or a hold upman. But if you what you're
looking at, mister, I'm lookingat a right good fighting man over there
who's been fool enough to get himselfmarried. Let me a slingshot, Sonny,
how you watching? Oh? Whodid that? Think you get?
Hit him in the pan? Comeon, I wanta wait a minute,

(09:22):
young man? Who did that?Who hit me with that slingshot? Well?
I reckon? Idea? Bill?Why are you long legged? Foragecia's
old gallanipa? What are you doinghere? At just a minute, Bill,
here's a fellow who'd like to beintroduced to you. Boy, you
wouldn't know him in those tin hornedgarments he's wearing. But here's the best
scout west of the Mississippi. Shakehands with Buffalo Bill Cody. Buffalo Bill

(09:46):
Hatty, Young dude, you mustit out yet, Bill, yesterday.
Well you're not losing any time goingup the big money. How long he'll
been out? All about three months? Oh, let's see your wife hasn't
cut your hair yet. I don'tquite know what you're Bill. You heard
what happened to Sampson after that Delilahwoman offen up her barbershop. She tam

(10:07):
Juliet. Now look here, Bill, that ain't fair. She's different.
You're different. Oh, well we'llbe better. Hurry. Wait a minute,
Louisa, I want you to meetthe best friend a man ever had,
mister Bill Hiccock. Bill, thisis my wife. Oh, I'm
so glad to meet anything. Howdo you do, ma'am? Will Bill

(10:28):
be going? Come on? Then? Is it missus Cody gone Westwood?
That's a crazy question, Bill,of course she is. Well, ma'am.
It's a good country for men andmules, but it's odd on women
and fine horses. Yay? IsMcCall over there by the rail Bill Hiccock,

(10:58):
Wild Bill Hiccock. They he canhit a dime at thirty pieces.
I'd like to meet him. He'sa feller to have as a friend.
Even though mister Hiccock I'm Jack McCallum. Take a lot of death to be
coming with you. I annoy you, mister McCall Oh, thank you.
Hey, Yeah, tois Pikes onfire? Oh they need a toothick.

(11:22):
Mister Hiccock at the new fan cigarettes. They call him back East cigarette,
sir, Oh it's on fire.Oh good even, Miss Gordy. Do
you think we reach levin Worth tomorrow? Well, ma'am. Of all the

(11:43):
variable things in creation, the mostunsudden are the actions of a jury,
the state of a woman's mind,and the condition of the Missouri River.
My mind isn't ansertain. I'm goingto help Will. Don't you believe I
can? Well, I don't know, ma'am. Killed his first Indian when
he was twelve, billed it atfourteen. He is riding Pony Express.

(12:05):
He's one of the best natural scoutson the frontier. Now that some folks
has taken as selling guns to theIndians, he he might be needed.
While you can't be any help tohim. Will's promised me to give up
scouting and killing Indians and all thatlong West is in his blood. Man.
You can't change that. But theWest is changing. Shouldn't Will change

(12:26):
with him? Well, I don'tknow as I could answer that man,
unless it's just because he is willCourt. Hello are you man? Hello?

(12:54):
I said, hi, Boss,we's done loading his past weekend deed
box is mighty happy to go,jud General, oh sor bars, I
didn't mean nothing. Good morning youname Ladimer b. You operate out of
Hay City. Whatever. They didn'thave any use for farming tools last time
I was there. They might haveused farm now sure sure those boxes now

(13:20):
just about the right size for rifles, ain't they. Yeah, well freak
whatever they send me, and Imind my own business. That's a right
good idea, miss Ladimer, Agood way to keep out of trouble by
taking your own advice. Then whatwill you mean, you old child?

(13:43):
Give us a kiss? Oh?Hey, hey, item? Whoam?
What? What do you do thatfor? Calamity? You four flush?
And you you ain't wiping it off, you're rubbing it in? Bill?
You're back? Are you gonna stayin living with? Are you? I
could? I'm going on to HeyCity. Well that's good because i'm driving
the stage you're driving? Sure,say why don't you write me any letters?

(14:05):
Bill didn't know you could read?I could read if you could write
a woman who had a fell outevery stage station and a bow and every
cavalry troope west of the Missouri.That woman don't need any letters from me.
Oh Bill, why those sellers didn'tmean nothing to me? Oh?
It did to me. You'll haveto excuse me. I'm keeping a lady

(14:26):
awaiting. What lady stand up therenext to Bill Cordy. I'm helping put
our things in the stage. Thatchipmunk yours? Did you bring her with
you? Oh? What if Idid nothing to yours? Ain't it after
you run out on me? Youslab sided box token wrap, you brung
that hockey top and stay that wayyou Shed't you whip me clean off his

(14:54):
head? If you're a hat whenyou speak to a lady, I will
when I speak to a lady.Bill, Oh Bill, my calamity.
Well Cody, what are you doing? Come here, Calamity? I want
to introduce you, Louisa, louthis is Calamity Jane. Everybody knows them

(15:16):
born and bread out yonder ride betterthan a man drive stairs wear Cody is
she's missus? Cody? You're one? Oh well, I'm standing glad to
know you, Miss Cody. Allpresent is Phy. She clamities this mega
folks. All right, get upstair, get up yo. Are you're

(15:45):
looking at gentle mister Hickcock? Yeah, I'm looking at those beads around your
neck. You've been driving for threedays and you change horses fourteen times.
Don't you ever change those beads.I ain't wearing them. Could you give
them me? I'm wearing because Ilike thee all up the horses clan hold,
I'm up as a pony off?I had that him? Were you

(16:07):
going? When I see a horseracing by the road? I like to
see a ride. I'm here,wait, wait for me. There's the
rider Bill lean over the under thetrees, hurt. Yeah, that's breezy,
crazy crazy all right, I'm lookingat there's a Neil broke off right,
brazy? Well? I thought youwas off. The war was off?

(16:33):
Brazy gane over where I come from? To these thousands of Indians.
A guy you doing a round theFord, poney with whoopings on. Colonel
Carrington, give me a message toGeneral Custer. I wasn't crazy, he
says, till Custer to get ammunitionthrough the Ford. Perney, Oh we're

(16:57):
donever his word view will Oh,we'll close that door. I'll never get

(17:17):
the place fixed up. There's somuch dirt blowing in. Honey, there's
no use fight, no wind,Lou, we've got the bear with his
land. Oh no, Will,only when are we going to move into
town and buy the yourtail? I'mgoing to see Jeff Masses tomorrow. He
wants to sell the Golden Rulehouse.Here's your group, bo Why come in,

(17:38):
miss Calamity. What'd you bring?Clowney? Will? I got something
to fry and something to boil anda juggle wishky day. This is a
granch your bang you got here?Oh? How can you say that?
It's so dusty and I haven't gotmy curtain? Come yet? Give your
wife a hand? Your long leggedtooth spot? Sure, toss him off.

(18:00):
Somebody's knocking that man? Hello Bill? Hyah, Bill? Would you
knock for curtain? Looks right prettyant and you handle it better than a
horse blanket. Bill, I've hadenough experience with horse blanket, lu says
I've had too much. Ah,that's too bad, because there's a horse

(18:22):
outside waiting for you. Now you'retrying to trade Bill. Yeah. A
hotel for the lives of forty eightmen and ten thousand rounds of ammunition thrown
in. What do you need,Chief Yellow Hands on the warpath, ma'am.
He's an old friend of mine,Yellow Hand. We used to hunt
buffalo together. But no, he'she's hunting men. Yeah, I've seen

(18:45):
man, he's caught. You don'ttreat his prisoners very well. Cus To
sending that ammunition to Fort plinny Ell. He's hoping they'll get there. The
forty eight cavalrymen can dodge about athousand Cheyenne. How's he sending them?
And through Deep Valley to the upperfour of the Republican But there's no trail.
They might get through that way,they would if Bill Cody showed him

(19:06):
home. Will isn't going. Hehas nothing to do with the army now
he's promised. That's just what Itold custom. What did you tell him
that you wouldn't go? You knowthat's a lie. Oh, mister Hiccock,
will promise me. I can't lethim go. Some things men that
have to be done. You knowwhat. Well, Lincoln sort of set
a goal that we have to worktoward. He says the frontier must be

(19:30):
made safe. But Lincoln's dead,dead to tell the living what to do.
His words are alive. Man,Bill Cody knows that as well as
I do. Oh, you neverseen the Indian tribes at war, ma'am.
You never seen men burned and mutilated. And the body's a woman burned.
Babies drik from the mother's arms anddash. That's enough, Bill,

(19:52):
I'll be ready to go in afew minutes. Why didn't you wanting hiccock?
I have to hey, call onan old friend Phil. Wait,
you're going after Yellowham cold Custer?I would? You're going at a long
still, your cold decorate, You'vegot no sech All right, maybe I
can bring you back another string ofbees. Turn up the lamp A little

(20:26):
lazy. I don't know how Ilook in this dressy yard, but I
feel like the queen Ishiba. Oryou look lovely, Calamity. I want
you to keep that. You do, say no woe ever gave me nothing
before? Why I never even seenclothes like bees, Calamity. That old
coyotes got a toad in his gullet. Couldn't be an Indian? You couldn't,

(20:49):
Honey. When you use something yellingat night around here, it's just
some varmint. But when you don'thear nothing. It's an Indian calamity.
I want you to here with me. I've never been alone before. Now
stop worrying about him. Honey,well, he's got a whole troop of
cavalry riding herd on him. Butmy vill waited alone. A big mule

(21:12):
coming close to calamity. Lamy astaring loo. Don't look at the window.
Don't let on anything's different, Butlisten to me. Can you ride
my horses outside? Take this coffeepot inside of the stove. Open the
back door there and wait, I'mgoing to entertain some visitors and they're engine
and even shut up when you seehim all in here, sneak out of

(21:33):
the horse. Ride to town.Don't stop for anything. Tell on those
engines here with war paint. Don'tyou understanding? Now go hurry, oh
loo, oh, make me somefresh coffee. Honey, well, company,
come in, boys, come ridein. Huh, don't be afraid.

(21:56):
I'll be hugh. And look,look, bell, let's look what
I got for you? Present himup for you, and a river for
half. I gotta see you're foryou too? While are you you?
I all went here? Yet?Look look at the pretty ribbon. Okay,
look, look, look at thepresence for my brothers. The sienne

(22:18):
red high pie his head off.Do you see the pretty mem And I
ain't. I Yes, she's gone. I said you didn't I he's so
Nema. I know you, OhJess JF you know talk cheyenne. I

(22:44):
don't know where the souldias when Idon't know anything. No, I'll never
tell. Do you understand that,you hairless kyote, I'll never tell.
Never. Here in Hollywood, overon Gower, there's a little brother who

(23:08):
likes to play jokes on his bigsister. He's been at it again.
And now let's listen in on Sue, the victim, just home from a
hard day's work as their secretary inone of the studios. Honestly, mother,
it gets my goat. That littledevil knows I have a date with
Bill and he's gone and stolen thelast cake of luck. Toiletstop out of
the bathroom. See, I justdepend on that gouty bath pet me up.

(23:30):
Never mind, dear, I'll seethat he goes to the store this
minute to buy more. That's amean trick to play, Tommy. Tommy,
mother was a peach to make Tommy, get this Luck toiletstoap for me.
There's nothing so RESTful and sort ofluxurious as a bath. Was this
nice fragrant soap? And it doesleave your skin smelling divine? Bill seems

(23:56):
to think so. For later on, while they're dancing at the Coconut grove,
he leaves he's close to Seal andsays, Gee, Sue, you're
the sweetest girl. It's Luck's toiletsoaps active ladder that makes it such a
wonderful bat soap. It carries awayperspiration, every trace of dust and dirt
from the poise, leaves skin freshand lightly perfume exquisitely dainty. Back now

(24:18):
to mister Demill, we continue ThePlainsman, starring Frederick March and Janata.
Taken prisoner by the Chyenne Calamity,Jane is led across the plains to Yellow
Hands camp with her hands tied behindher back and a rope around her neck.
She stumbles through the prairie grass betweentwo lines of Indians. Suddenly,

(24:42):
on the crest of a hill,a mounted figure appears. YEA, who
you know, they'll get out ofhere, Thank your gods. Oh it's

(25:06):
the Emma. Shoot you a wayout? Feel quick? Are you crazy?
Hello, calamony, you gotta camahawk in your brain if you keep
on asking for are you doing here? Indians? Or sell almost anything?
And I sell you it's dunsay.Oh Bill, not your watch. Don't
give him Navamma, don't what's sayingwants my gun? Don't give him to
him? All right? Oh Bill, you crazy fool. Let's say hol

(25:32):
on October. He's gonna take usto Yellow Handy. He can't let us
go on. Let's yellow hands willing. Oh well, you've done it,
didn't you? Yeah? I doneit all right? Bill? Why'd you
get yourself into this? Was itfor me? Why? I thought you

(25:53):
missus? Cody in that dress?Bill? You offered up your you're watching
and your guns? That couldn't havebeen an academy could have been? Oh
no, I wanted to be takingthe Yellow hand If I out what he's
up to, so one might doto us, we will soon find up.

(26:26):
You are a hiccough. I knowyou. It's your old friend,
Yellow hand Remember handle. Listen,yes, speak your own language, Yellow
hand I'll understand who you me speakwhite man tongue. You remember what I
said last time we met I saidone of us would lift the other scouf

(26:47):
which one looks like you'll be theone to say what started? John the
warper yellowhand? Where sun rises whiteMan's land, Where sun sets in land?
White man come take our land,kill buffalo our food. White man
promise us food. White man lienow shy Anne by white man's thunderstick.

(27:14):
Soon war drums sound in all Indianland. All tribes ride with yellow hand.
We drive white man like buffalo awayback to rising sun. Yellow hand
has spoken, Yellow hand has spoken. And you may be right, but
you can't drive the white man away. White man send bullets, many many

(27:41):
bullets. Where ah, yellow hand, somebody's romance and you tell where I
don't know? You tell where herfriends? Wa't you tell him? A
Headney East eleven with you be hunof you your payot say the Hookah,
he's seen them. You're crazy.She's not my squaw. Why you keep

(28:03):
woman's face in watch? Yeah,you got my picture in your watch?
You keep it all right. AndI couldn't get it off about scratching the
case. And you've been acting likeyou've been't cared, and all the time
you've been high up that tongue lookat that faces, squaw, let go.
She doesn't know anything. It hiccocyou quick to say, she not

(28:25):
know hiccock will not tell. WhatYellowhand will know now is the hour of
the Great Bear rising, When moonhigh above, yellow hand will know we
go come back when moved? What'she talking about the moon for? What

(28:45):
do you mean, Bill? Doyou think there's any chance of cutting his
rope or something? Bill? Whatare you thinking about? I'm looking at
that box over there, thinking aboutJohn Latimer's farming tools that came up on
the boat. You see there.That's his name on the side. He's

(29:06):
the one who's selling rifles to theIndians, better rifles than we have.
Seven shots, and every shot maymean the life of a white man.
But what about us, Bill,What do you think is fixing to do
to I think maybe you'll gave himan idea what to do? What?
Yellow hands? Pretty smart? Indianheaving drums, there's taps. First thing.

(29:33):
It don't be so hard going outtogether. We're harder than you know,
Calamity. There are only two ofus, two lives against all those
men and the ammunition train. ButI don't want to die. I don't
want to die. Hang on yourself. You'll have to help me do.
It's like you did the first timeI ever saw you. Remember, Oh,

(29:55):
just a kid, had no moresense than I got now heading down
the grade withou godless with no breakson. I loved you then, Bill,
just like I do now. Itlooks like that moon's about ready to
show you never even gave me apicture, but you carried mine. I
know you care about me a little. Couldn't you say it just once?
Oh? Maybe they'll let us goafter all, Bill, Hiccock, you

(30:21):
honored son of a mule. Youwouldn't give a bad dime to a sick
kid, would you? You maybe all right, calamity, No,
I ain't. I know it wasa bad dime. But every night I
talked to you, Bill one,I know you feel the same way.
Why won't you give in and tellme? Oh what difference would it make?

(30:41):
Now? If only I could hearyou say it once? I have
something to keep like it was likeit was kind of holy. Look it
was with me forever A Hello anmoon, Hi, no yellow hand.
We'll find out which way soldiers go, Hiccock, Tell Aoisa, I'm alone

(31:07):
you red devils. Yeah, yes, Calamity. I do love Ariita Olcovera.
You come too. You look whatare you gonna do to him?
What are you gonna do? Wire? Ready, give it a verden.

(31:29):
You know which way? Soldier takebullets? Yellow hand must know when he
know you go gread Hiccock go,don't Calamity, don't trust him. No
matter what happens, wires start.Soon, Hiccock will be dead. Will
you tell which way soldiers go?Todies with that ammunition? Brent man of

(31:52):
that calamity, Which way? Tellwhich way? Which way? Don't which
way? Don't don't forget Cody andall those men. Don't think of me.
Remember what I told you? Oh, I'm killing him? What which

(32:19):
way? Soldiers? Goal? Ithink to the other four woman No lie
Hickcock and woman breathe woos down.Neva tails over here. Bill. Oh,

(32:45):
I couldn't help it. I didn'tmean to tell Wo't you look at
me? Bill? I hope Inever have to look at you again.
Oh? Bill, Please, we'refree? Sure? What about Cody?
What about it? Hear that itstarted? Hellow hands attacked already. I

(33:05):
got the cut to you can't reachhim on food. I got through some
harm. You've got to reach custom. Tell him we need help. Custom
signs out. I told Yellow,yes, he'll give you the firing.
You will find out a chance,I tell you. If there's her book,

(33:30):
indians down on them. She musthave told yellow hands there she is
over there at that table. Oh, let her alone. He never was
no good in there. Why don'tsomebody do something about only eighteen men came
back at the forty eight. She'sa bad lot. Well, we'll make
gonna paid for its must have paidof fundy too, That's right, ncall.
They paid this woman in money,but they paid our soldiers in blood.

(33:52):
What are you gonna do about it? Talks? Cheep you out,
my flyer, Let me a bike. Let's go, wife, For you
were a man, we know whatto do with you. Go ahead,
you cross bred rattle. If youare the man, you wouldn't be here
runner all the time, horrid feathers. Too good for her the weather talk
in the rail somebody, what doyou want with a rail? Jack?

(34:13):
McCall, h what's going on?We're gonna run out of town? Why
you know what? She doesn't shetold into the house. She's a woman,
isn't she McCall. Women talk alittle too much. Sometimes this woman's
gonna get what's coming to her rut. And men talk a little too much
sometimes too, I know what's inyour minds. Yes, there was soldiers

(34:35):
killed. I saw him. Iwas there, and they were killed by
bullets, bullets from repeating rifles.No, Lincoln says that this country's got
to be made safe. Those arehis words. So I'm on my way
now to settle this matter with theman who sold those rifles. I know
there was monkey business going on.They are right now, maybe a few

(34:58):
stray bullets bling on here in aminute. I'd advise you to stay inside,
off the street. Bill Ladomer's coveredin rattles me. You can't go
after him. A long started aloneand I'll finish alone. What is it,

(35:21):
Jack McCall, let me in.Well, what do you want from
a call? Mister Ladoman. Iwant to do you a big favor.
Yeah, Hiccock's after you while Bill, he says you're the cause of all
these Indian massacres. He's on hisway here now. Yes, yes,
you better do something about it,and do it fast. Mister Aldiman,
he's a dead shot. Yeah,yeah, he wouldn't shoot as a soldier
no, woody soldier, What doyou mean there are three men working for

(35:45):
me deserts, but they're still wearinguniforms. They can handle mister Hiccock.
They can handle him. Bill,don't go across that street. Come back
here I go. You're crazy.Damer won't fight you, fir Oh,
you ain't got the fence. Please. I love mean nothing to you,

(36:09):
and I love that's what you callit, all that died with the men
who died because of you. Getoff the street. I'll go get Cody.
Maybe he can talk some senseing toyou, your big mule. Yeah,
morning hicco Wing sergeant, morning boy. Morning. You three boys better

(36:36):
take cover for a few minutes.Thank you on this time. I'm just
walking through it. Let's guys andget out of your week. Can't we
like we was good? So ityourself and no, mister long hair,
you're too dern friendly with engines tosuit me. You shouldn't have said that,
SoJ know, what are you gonnado about it? Your gun toting

(36:58):
wind bag? Oh you boys asubstitute and phaladamne shit, he would pick
soldiers. I can't shoot at thatuniform, but if you want action,
take it off. Yeah, andget a slug in me while I'm doing
it. Pay it off. I'llgive you that much time. Keep your
hands are right from the guns awayall right now? But mine will?

(37:21):
Bill? Still are your head justmy arm? Those men were soldiers.
Come on, let's get out ofhere. Sit down over here, Bill,
there you are, Louisa, allright, don't don't let him find
me in your house. Clean throughthis bleeding bed. What happens he's just

(37:43):
shot three soldiers. Yes, getsome water. You broke this man into
our house, a murderer. Whenwill it ever stop killing and killing?
Why don't kill him too? Thenyou can be next to Louisa. He's
my friend in the body. Man, I'm gone. You sit right down
again, Bill here though you can'tgo bleeding like that, whatever you're done,

(38:05):
Thank you man. I I neverwas a murderer. I never did
fight less. Put upon thou shaltnot you. No ghosts ever came bothering
me. It's always been the otherman or me in a fair fight.
What glad of you to judge whowas to live? Put away your guns
and NCA. I can't do that, man until I find John Ladimer.

(38:32):
Holly, open up me calamity whichBill, Oh, well, did they
hurt you much? All right?I know you don't want to see me,
but I gotta tell you something.Bill, Customs ordered your broughty and
dinner alive. The troopers has combedover every hiding by the river. There'll
be out. He's going back tofind Ladimer. Ladimer's gone pulled up with
his wife. Nobody knows I'll findhim. Of course you will, Bill,

(38:55):
some day you're bound to. Butdon't try to find his trail.
Now. Try to save yourself fromcustoms man. I'll tell him what they'll
do to you. If Vladimer's pulledout with his wagons. Those wagons are
loaded. I know what I haveto do. Yeah, help me up.
You'll get me a horse, Bill, Sure, I'm settling ready.

(39:21):
Why don't you lay up for awhile and take care of that arm.
That's what I'll do. Yeah,I'll need this arm when I find Ladimer.
I'll forget it, will you.You ain't got a chance against Vladimer's
men. You got nothing to load, nothing but your life. Bill Hiccock.
When you talk like that, Icould bounce a rock off and you'll
be well. Why don't you tryit next time you're seeing when light b

(39:45):
Bill? Where, Oh up roundDeadwood someplace? Never can tell. I
gotta get out of here too,after what I've done. Well, I
guess this is goodbye. Ain't Bill? Well you on? Oh up around
deadwood someplace? I guess I don'tgive a hoop where I go? Your

(40:06):
well named you know, a childof calamity. You're always getting yourself into
trouble, say Bill, I reckon. Maybe you don't hate me, do
you? But maybe you're just beingnice to me because you said you won't
ever see me again. Oh sure, I'll see you again. This is
a big country. In all trailscross sometimes you passed the station. I

(40:42):
don't because this is a calumity abroadcasting system. Poor. Frederick March and

(41:04):
Jean Arthur continue in The Plainsman.We call time out for a pow wow
with a little giant of Hollywood columnists. Sidney Skolski, Hollywood's correspondent for the
New York Daily News and other newspapers, is catchphrase. But don't get me
wrong, I love Hollywood has takena definite place in the jargon of the
film capitol. Tonight, we hearmore of the whys and wherefores of this

(41:24):
phrase? As Buck Skowski rides again, mister Buck to you, but really
I feel more like a cake ofluck soap than a cowboy. Maybe I'm
more the size of a cake ofluck soap than a cowboy. What I
mean is that I'm playing a repeatdate on this program the way I notice
that lux toilet soap plays repeat datesin the homes of the movie actresses are

(41:45):
visited not only in their homes either. Apparently luck soap is just as much
a part of studio equipment too asa camera. You say nine out of
ten stars use it. Well,I'm still looking for the tenth actress who
doesn't. She just can't be found. That's very nice, mister Buckskoski.
I'll get along with your specialty asHollywood is a place where Simon Simon uses

(42:07):
a French perfume which means always faithful. Where Adolph Mandju has a cigarette case
on which is inscribed to Adolph Mandjufrom his most audent admirer, Adolph Mandju.
It's a town where Jimmy Cagney swimmingpool has more water than the Los
Angeles River. It's a town whereafterkissing Ginger Roger is in a picture James

(42:29):
Stewart forgot himself and spoiled the sceneby saying to Ginger, gee, thanks.
We're a producer, Tola Rider.You can make the heroin a crook,
but don't make her dishonest. Butdon't get me wrong, I love
Hollywood. Hollywood is a place whereDick Powell cooks a better meal than wife
Joan Blondel. It's a town whereRubenof registered at a hotel and signed the

(42:50):
blodder Rubenof and his violin. We'rean actor bailed out a waitress in the
Metro commissary for bringing him the wrongorder. The waitress merely said, I'm
sorry, sir. We all makemistakes. I saw your last picture.
It's a town where an actress bean interviewed, said to this newspaper man,
I want you to meet my daughter. She's older than I am.

(43:12):
We're at the truckadera. John Medburyasked Gracie Allen if he could have the
next dance. Gracie answered, it'sall right with me if you can find
a partner. But don't get mewrong, I love Hollywood. Hollywood is
a place where Maywest has a nameprinted on the Cushions and Harado, Where
an actor approached George S. Kaufmanand said, I got a radio offer.

(43:34):
Kaufman answered to go on or stayoff. It's a town where Charlie
Chaplin's youngsters make him take them toa Joey Brown picture to laps. It's
a town where Sid Silva's asked theproducer to look at the screen test of
a girl trying to get into pictures. The producer said, she's no good,
She's a dog. Silva's answered,Rin Tin Tin did all right.

(43:54):
Where Sam Goldwyn's Barba denied that hewas a yes man. The barber please,
when mister Goldwin says no, Isay no. Hollywood is a place
where William Powell's big secret is thathis middle name is Horatio. Where Eddie
cant acclaims he knows an actor whohasn't an enemy in the world, but
all his friends hate him. WhereJoe Swirling seven year old boy Peter wrote

(44:17):
a composition for school about a poorboy. His mother was poor, his
father was poor. He had apoor nurse and a very poor butler.
It's a town we're on the setof director who wanted a riderless horse shouted
bring me an empty horse. Whereone afternoon on Hollywood Boulevard, Harry Lauder

(44:37):
wearing skirts past Marlene Dietrich wearing trousers. But don't get me wrong, I
love Hollywood. Hollywood is a placewhich gets more like Hollywood every day.
It's a town where it never rains, but the fog washed out three bridges
last week where Darryl Zanick, tryingto impress a guest at dinner, told

(44:59):
him that ty Power would be thebiggest actor in the business because woman like
him. Zanick, trying to provehis point, turned to the maid and
asked, what do you think ofTyrone Power? She said, what is
it? A new gasoline? It'sa town where Robert Taylor, in an
interview said, when I kissed them, I stay kissed. But don't get

(45:19):
me wrong, and I'd better gobefore I do. Thank you. Don't
get me wrong. I love aSultan. Frederick March and Jeane Arthur returned
to us now in The Plainsman.It was many weeks before the trails of

(45:40):
Hiccock and Calamity Jane crossed again inthe Bella Union Saloon in Deadwood. Calamity
stands behind the bar serving drinks.Hiccock comes from the streets and move slowly
across the room. Yeah, youcan set one up here, Calamity still

(46:00):
Bill Hickock. Oh yeah, Calamity, Bill, you come back. Yeah?
I kept watching. I keep askingnobody'd seen you, nobody'd hurt.
Well. I haven't been out muchin what you might call society. I
only had one caller, Bill,Cody. Custa sent him to bring me
back. Cody. Cody found you, then say, Bill, you didn't,
Oh Cody, No, he's allright. We heard from a brave

(46:22):
up there in the hills about Yes, he was wiped out, his whole
battendant. Yeah. Cody went onto meet General Merritt. I promised to
wait for him here. Wasn't yourfault and three soldiers getting killed that time.
Hey, you won't have to moveon again, will you, Bill?
No, I gotta hunts that thisis gonna be my last camp.
Calamity. You mean you're settling down, You're gonna stay here? Yeah,

(46:45):
I got a feeling. I'm I'mgonna stay here. You need a drink.
You know, I've been thinking theWest is getting to be a new
kind of place. Cody's done theright thing he's chained. What place is
there gonna be for a two gunplanes? You're talking crazy, Bill,
You're the best man in this country. I don't know who thinks so I

(47:06):
think so, Bill, Say say, if you think Cody's done right,
set them down at all? Maybemaybe that's what you'd like to do,
have a home and thinking someone tocook your meals. And oh doesn't sound
so bad, Bill. I'll bea big man around here someday. That
Jack McCall over there, you've beengrabbing around here for a month. All

(47:29):
right, all right, lad Hello, calamony, give us a drink.
Let's fellas think of that Bill HecockHello a call? I said, hello,
are you looking at me? For? I didn't do nothing, Misteadcock,
I didn't nothing. What's he talkingabout? Calamity? He's scary of
Bill because he sneaked and told Ladimeryou was looking for him back in Hayes

(47:52):
City. I thought he she's lyingSteadcok, she's lying, am I you're
thick with Ladimer right now? Misteacockup my call. I you're ago to
shut you dead on site, Butnow go buy yourself a drinking hut.
Thanks, thanks for Draycock. Bill, you let him off. Well,

(48:13):
I'm getting to think that maybe Louisawas right. Who am I to decide
whether a man's to live or die? Add another reason too, If he
warned Latimer once, he's gone todo it again. Now, guess I'll
step out from following. I'll gowith you. You stay where you are
and say, Calamity, I Ikind of like to have you take my

(48:37):
watch. Yeah, it's not theonly thing I have. It's worth keeping.
Bill. If you've got a wronghunch, don't go out there,
don't forget to wind it. You'rea mule headed man. Bill Hiccock,
Calamity, don't bother me. What'seating you? I just want you to

(48:57):
hold this gun back here for awhile. Gloves to Colorada Charlie, and
he's checking up Mark Drill. Somebodygive me the gun where you're putting it
in the drawer with a card tellingme alone that walks over here. Red,
we're in a hurry on my path. You'll never get the wagons loaded,

(49:19):
mister Ladomer. He'll be watching foryou. Shut up a call.
Come on, Red, Come on, Jake. We've got ten thousand dollars
weather stuff here, and we h'shead cock oh yea, Ladama, I
want to talk to you. Anyobjections, gentlemen, What are you going
with the wagons, Ladimer? I'mgoing out of townel What do you got

(49:43):
him? Loaded with buffalo hides?You can see, can't you? The
wagons ahead of north Ladimer. Surelyyou're not selling buffalo hides to sitting bows
Indians. Take off those top hides. Let me see what's under him.
Jakey on on, Jake you,oh all right. I don't know what

(50:05):
your authority is for this, butyou must have it. Keep your right
hand in site. Ladimer, suredon't kill me. Keep your hands off
your guns. There'll be more deadman here in the town. Can afford
the baron Landamer up your gun,Jake you all right? Sure, I'm
taking these fellows in the Bala Union, Calamity, go out in, get
ahead of me. Join you maninside, not me, I know,
mister Ladimer. You just new,mister Laddimer. I'm a call you better

(50:30):
get inside too, sure cock mewhatever you say. Helamity calling in the
Fifth Cavalries on its way. Stepout here, keep an eye out all
right inside, Jake red A'm acall Joe step Lively, Yeah, now,
gentlemen, we're all going to stayhere for a while, sit on,

(50:52):
maybe a long week. What arewe waiting for? We're waiting,
Jake, until General Merritt here witha fifth cavalry takes over those rifles outside,
and any objection, Why are theycoming? Maybe today, maybe tomorrow,
maybe a week when I have towait. I believe an entertainment fur

(51:13):
the more, I'm sure of funds. Got some cards McCall, Yes see,
if you can find some fresh ones, sure, Calamity keeps them over
here behind the bar, and bringsome chips. Keeps them in a drawer.
I think, yeah, oh,there's a whole bunch of some I'm
a call. Uh oh nothing,what's in that drawer? Just cards,

(51:40):
chips? Bring them over? Yes, do you want to deal? Jake?
All right with me? Here's akind colla hear you. You can't
go in there, Shy and Charliecome in, Charlie and I'm in Calamity.
Oh jolly ah. Charley's a friendlyInjine. Yeah, yeah, I

(52:05):
know, Charley. Sit over that, Charlie Orr. I can keep an
eye on you. Charley took ashot at me once I was too far
away. Too bad, you wasn'tclose, Hiccoc. He got my horse.
Charley would have been the biggest manin the West to be to kill
you, Hiccoc. The Injurines understandthings like that. Kill a big man,

(52:29):
and that makes you a big man. Killing you, Hiccoc is an
honor. That's just waiting for somebodyyou, Jake Man, not me,
Bill, not me. I'm facingyou. The only way to down a
man like you is from the back. I won't stand behind me. McCall

(52:51):
bad luck. I better get Comeon, Chip Joys, say Jake.
I'll wait for the chips. Gothim, Jack, Yeah, yeah,
yeah, I got him. Listen, cal the cavalry. You know what
they'll do the rope mctif for usaround, we'll we'll play out this hand.

(53:15):
Hey, Calamity, find Cordy ingeneral Merritt and bring him here.
Play your hand. Jake, I'mcalling you a Hiccot black aces and mates.
Luck's changed. I've got three queens. I'm afraid you lose. Hiccot
ooh man bound loose sooner or later. Give it to him. Jack,

(53:39):
I got him. I kill Hiccock. Get up quick, Come on,
come on, Bill, you knowwhat's happened. Oh, oh, what
did they do? What did theydo to you? Bill? Don't look

(54:00):
at me now, can you hearme? Oh? I told you not
to do it. And here,General murd I want to meet Bill Hiccock.
Calamity wears Bill. We got lightof a crowd, all of them.
General murt said, Calamity, whatwhat What's happened to him? Yes?

(54:21):
I did it? Did he wasgoing to be let off. There's
your prisoner, General Murder. Wewon't forget what Bill hycoc has done,
Cody, We'll remember all of us, will all of us? Bill?
This one kiss you want? WiEdwards, South Dakota. Next to the

(54:53):
beautiful tomb of wild Bill Hycock,there's a simple little grave. A headstone
bears the name Calamity Jane. Eachweek in the Lux Radio Theater, we

(55:17):
try to show you some new aspectof Hollywood through the eyes of those behind
the screen. So before Frederick Marchand Jean Arthur return, we'll have a
word with Mary Husbane as Baby Marie. She was the Shirley Temple of fifteen
years ago, but old age causedher to retire at the age of ten.
Miss Husbane holds one of the unusualjobs found only in pictures. She's
one of our better known stand insfor one of our more famous stars,

(55:42):
Ginger Rogers, Ladies and gentlemen,Miss Mary Husband. Thank you, mister
Demel. I suppose the most logicalthing to do is to explain first just
what are the duties of a standin. Well before a scene is shot,
it is often necessary to spend considerabletime arranging lights, cameras and microphones
to get the proper perspective. Ratherthan tire the star. While this is

(56:05):
being done, a stand in standsin. However, a satisfactory stand in
requires more than the ability to standfirst on one foot and then on the
other. Yes, she must havethe same height, weight and coloring as
a star for whom she is standingin, the same features, make up,
clothes, and the same complexion.Complexion is really very important. If
the star had a light complexion andthe standing was dark, lighting would be

(56:29):
inaccurate and the camera improperly focused.And that brings me around the subjects of
keeping your complexion like the stars,which is just another way of saying with
luxe toilet soaps, there are threereasons why I use lux toilet soap.
Mister Denil first because Ginger Rogers,who has one of the loveliest complexions in
Hollywood, uses it. Second becauseit's the official soap in the dressing rooms

(56:50):
the Rcaale studios, just as itis in every big studio, And third
because it happens to be the finestcomplexion care I have ever found in all
since there see, I know ofnothing better for removing makeup and keeping this
skin smooth and soft than Luck's toiletsoap. But getting back to miss Rogers,
Yes, how did you start yourcareer as a stand in? Well?
Ginger's mother, Leela Rogers, nowin charge of our Hill's Little Theater,

(57:14):
had written several stories for me whenI was on the screen of Baby
Marie. When I was about eleven, I went on a personal appearance to
her, and Missus Rogers visited mebackstage in a theater in Texas. She'd
brought Ginger along and we met thenfor the first time about three years ago,
with our positions quite the reverse.I met Missus Rogers and Ginger again,
and Howywood told him that I wantedto get back in pictures, and

(57:37):
Ginger made me her standing then andthere. She's one of the finest friends
the girl could have, and that, mister de Mill, is a story
of this standing. Many thanks forbringing me here, have your standing,
Marie. And now a little crossfire from our leading man and lady,
Frederick March and Jean Arthur. Jean. Now that you've done the plansman on

(57:59):
both the screen of the air,which did you enjoy, Mark, Well,
that's not so easy to answer,mister de Mill. Making the picture
was considerably more exciting, I suppose, since you had me driving a stagecoach
and captured by real shy and Indiansand practically living in the same thrilling incidents
that Calamity Jane experienced. Yes,but Gin there's an intimacy about radio that

(58:21):
you can't find anywhere else. Forinstance, I'm told that Gary Cooper is
listening in to Night, and Ionly hope that as while Bill Hiccock I
was one half the man on theair that he was in the picture,
I also hope that Gary is asquick in his recovery as Hiccock as he
was on the trigger. So saywe are, my thanks and good night

(58:42):
to you both. Good night tonight, Thank you, Frederick Martin Gene
Marker, this is your announcer ladiesand gentlemen Melbourn Road, who were the
stars for Next Monday Night. What'sthe play going to be? Well?
In just one moment, mister deMill will answer those questions. Mister March
appeared through courtesy of Selznick International Studios, where he is about to make a
new technical a picture with Carol Lombard. Mister de Mill Paramount Studios, where

(59:06):
Jane Arthur has completed Easy Living.Joan Fontaine's next ARKAO film is You Can't
Beat Love. Lewis Silvers is fromtwentieth Century Fox, where he's in charge
of music for This is My Affairand here's mister Demil. One of the
most dramatic events in modern history,the Russian Revolution, comes the background of
Next Monday Night's play in the LuxRadio Theater, when we present that amazing

(59:29):
story of international spies British agent suggestedby Bruce Lockhart's best selling book. Screened
by Warner Brothers, This exciting andromantic play brings two of your favorite stars
back to our microphone, Errol Flynnand Francis Farmer, our sponsors to make

(59:52):
us a lux toilet, soape joinme in inviting you to be with us.
Again next Monday night, when theLux Radio Theater presents Errol Flynn and
Fama in British Agent Missus Cecil bDemo saying good night to you from Hollywood.

(01:00:23):
This is the Columbia Broadcasting System.This has been an a presentation of

(01:00:45):
OTR Westerns dot com and we hopeyou enjoyed. Please take some time to
like and rate our shows in yourfavorite podcast application. Follow us on Facebook
by going to OTR Westerns dot comslash Facebook. Join in the conversation by
going to ot R Westerns dot comslash Discord, and don't forget to send
to us an email podcast at OTRWesterns dot com. This episode's copyright under

(01:01:07):
the attribution non Commercial Sharelight Copyright.For more information, go to OTR Westerns
dot com slash copyright Have it RightDay, and again, thanks for listening.