August 7, 2022 • 59 mins
In his courtship of the Vermont schoolteacher, Molly Wood, the Virginian encounters a battle of a different kind
Original Air Date: November 02, 1936
Host: Andrew Rhynes
Show: Western Stories
Phone: (707) 98 OTRDW (6-8739)
Stars:
• Gary Cooper (The Virginian)
• Charles Bickford
• Helen Mack (Molly Wood)
• John Howard
Special Guest:
• Sidney Skolsky
• Richard Kline
Producer:
• Cecil B. DeMille
Music:
• Louis_Silvers
Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK
Original Air Date: November 02, 1936
Host: Andrew Rhynes
Show: Western Stories
Phone: (707) 98 OTRDW (6-8739)
Stars:
• Gary Cooper (The Virginian)
• Charles Bickford
• Helen Mack (Molly Wood)
• John Howard
Special Guest:
• Sidney Skolsky
• Richard Kline
Producer:
• Cecil B. DeMille
Music:
• Louis_Silvers
Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(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 will
focus on different Western episodes from showsthat weren't Western themselves. This episode is
going to be from Lux Radio Theater. Original airdates November second, nineteen thirty
(00:37):
six and the title is The Virginian. Hope you enjoy and again thanks for
listening, Hollywood, California, Monday, November second, The Lux Radio Theater
presents Gary Cooper in The Virginian withCharles Pickford, Helen Mac and John Howard
(01:10):
Lucks Presents Hollywood our stars Gary Cooper, Charles Bickford, Helen Mack and John
Howard. Our guests Sidney Skolsky,noted Hollywood columnist and Richard Kleine, physical
trainer of picture stars, Our producerCecil B. DeMille, our conductor Lewis
Silvers. We wish you could allbe with us tonight in our theater on
Hollywood Bulevard, not only to meetour stars, but also the many other
(01:33):
screen celebrities whom I see just beyondthe footlights awaiting the curtain of another great
show. But wherever this hour findsyou, a hearty welcome from Lucks.
This program comes to you with thegood wishes of the makers of Lux toilet
(01:53):
soap, the soulp preferred by nineout of ten Hollywood stars and is yet
so inexpensive that every girl and useit every day. Our message is to
use all the cosmetics you wish,but remove them thoroughly the Hollywood way with
Luck's toilet soap, whose active latherclenses the pores and keeps your skin soft,
smooth, always lovely. Our showopens with word from our producer,
(02:17):
Ladies and gentlemen, mister Cecil B. Demill. Greetings from Hollywood, ladies
and gentlemen. Here in the hometownof movies, we are so used to
stars who grit their teeth, clinchtheir fists, and crash their way into
the limelight that the man as shyand human as Gary Cooper is a complete
(02:39):
novelte on a Hollywood sound stage.He's as refreshing as a breeze off the
prairie. Last month, the Shyand Indians up in Lame Deer, Montana
tried to give him a name theycalled Gary Comaced. He was mighty pleased
to become a member of the tribe, until he discovered that his new name
means tall, handsome one. Garywas an unknown actor in Weston's when he
(03:04):
was called in by the Paramount Studiosfor a screen test. Entering the room,
he faced an office filled with producersand executives. The long young man
from Montana looked at the expressionless faces, swallowed hard, smiled feebly, and
bolted for the door. But hispersonality clicked. They gave him an important
role in Wings, and Gary hasbeen soaring steadily up whatever since. I
(03:28):
welcome him to Night as a fineactor, a sincere co worker, a
fearless man, and a close friend. Charles Bickford is also a most welcome
addition to our cast. Charlie leftthe stage to work for me in Dynamite,
my first talking film, and hasappeared in four of my pictures since,
including The Plainsman. Charley is nomean antagonist as a villain. In
(03:51):
fact, it took an African landto put him in the hospital. He
will be heard to Night in therole of Trampus. Our leading lady is
Helen Mack, who has been onstage agent screen since childhood and is one
of the most unspoiled young actresses inHollywood. She has heard as Molly Wood.
The role of Steve is played byJohn Howard, co star of the
(04:11):
film Valiant is the word for carryand now up with a curtain as the
Lux Radio Theater presents The Virginians,written by Owen Wister, starring Gary Cooper
with Charles Bickford, Helen Mack andJohn Howard. Wyoming in the early nineteen
(04:41):
hundreds, the dusty little town ofMedicine Ball is humming with activity, and
though it's only ten o'clock in themorning, the Maverick Cafe is filled with
a noisy, rowdy gang of cowhands whooping it up on their one day
off. From the street comes thetall, quiet, spoke on young cowboy
(05:03):
known to his friends as in theVirginia. As he steps up to the
bar, he gets a loud welcomefrom an old cow Steve. Hey,
a gol dang manzy soup bed buzzy. Who are you passing by, Steve?
Nobody else but well, Steve,you want to re load down cousin
to a bald beaver? What inlaz are you doing here? Oh?
(05:24):
Not in special bling the town abouta week ago. Well, I'm sure
glad to see you, Steve,say, it must have been four years
since we was riding together. Fouryears or more. Yes, sir,
say, I heard about you beingmade foreman of it the box X rats.
It kept me laughing for a week. Yeah. Well what have you
been doing? All the same asyours? Wolf, working some and playing
(05:46):
some. I'm mostly playing. Shureyou no good weasel. You're just the
same as always. Ain't no accountto nobody nowhere? Ain't you ever going
to settle down? B say whatfor? Hello, Nina? How are
you we be in? Hey?Let me introduce you to an old pal
of mine. Oh, hello morning, ma'am. Very handsome bro Ye just
(06:11):
a minute. Sure he's a reallady killer, Nina. Ya, you
better watched out for this ombry man. He's a low down, double barrel
liar. Don't you believe a wordhe says? Oh yeah, Hello,
what's the argument? Boy? Hello? Trampas, step right up and join
in. I don't know what it'sall about, Nina, but whatever it
is, I can settle it fairand square. My favorite whence you get
in, Trampas, Yes, blowit in a beat of time with his
(06:33):
lady. Come on in or buyyour ring. I am with these gentlemen.
You mean you were with him?Come on, no, stop,
I want to stay here. Hey, I ain't argument. We do,
sweetheart, I'm telling you, wait, I ain't no argument, Trampus.
We're getting along just fine. Notthat it's any of your business what he's
talking to you. I'm just tellingyou. Yeah. Well, when I
(06:55):
want to know anything from you,I'll let you know your long legged son
about Wait a minute, if youwant to call me that Miles getting mighty
touchy, Ain't you about something?You better be leaving Trampas? Sure?
Hell, boys, I'll turn myhide off in the game of stunt.
(07:16):
Say I wouldn't mix it done withTrampas If I would, you tramps and
me just don't mix at all.Hey, where's the Virginian? Nobody wants
me? Hey, Nebraski? Yeah, Oh hello Boston. Hey, the
why Hooman Special can't get through tothe station on account of them cattle blocking
the right away? All right,I'll send room. Come along, Steve.
Sure, I'll help you clean themup. Yet he hit him this
(07:51):
way? All right, Nebraski showget 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, m he's yours,
A fine looking female. Yeah,I'd kind of like to make her acquaintance.
(08:11):
I've seen her first, Steve.Hey, what's the matter with her?
Yeah, she's backing up like ascared care Hey, look at her.
She's scared of that milk cow downhere. Man, that cow won't
hurt you none. Wait, Steve, I'll go and rescue the fair lady.
Rescue her from what a moo cow. Don't stop me now, I'll
(08:33):
get away. Get away, please, I'll get away. I said,
Oh, get out of here,Get out of here, you honery devil
one, go on, get outof here. Well, the critter's gone,
ma'am, I reckon. You're safenow. Oh, oh, thank
you so much. It's a mightylucky thing. I happened along a wild
(08:54):
steer is an awful honery critter.Oh, I did frighten me just for
a moment. If that steerhoad seeingyou face the he's just like I'm doing
now, ma'am. He couldn't havebeen so bean. Oh thank you.
I reckon you're the new waitress atthe Lone Star Hotel. Oh no,
I'm a teacher. Oh the newschool, ma'am. That's right, I've
come all the way from the More. Well, that's sure, it is
fine. Well, thank you againfor rescuing me. Oh that's all right.
(09:18):
An't time at all, mister.What's the matter little girl? Did
you see my bossy bossy? Whyare no? She's a milking cow.
I'm leaving her home and she ranaway and I can't fight. Oh there
she is bossy here, bossy.Here, girl here, bossy. Oh
(09:39):
so that's your wilds dear, I'mmilking cow. Well you see, ma'am.
Thank you so much, mister cowboy. It was so brave of you
to rescue me from Boston. Welllook, ma'am, it was like this.
Don't you think you'd better go andrescue that little girl. I'm sure
she'd be quite impressed, but ifyou tried to make a fool of her,
she'd probably slap your face. Goodmorning, Good morning man. I'm
(10:01):
sure sorry it wasn't a real steermy Lulu girl today. See she wears
a big white hat, and I'llbet you I'm inte you for who's that
the Virginian? That's right, Jedge, I thought I recognized you the dark.
(10:24):
I wasn't sure on your way tothat welcoming party. They give him
for the new school, and Isuppose that's where I'm heading. Yet in
me too, they see she's amatter pretty girl. Yeah, she's sure
you see. The Valley Rangers hadanother meeting this afternoon about Rustler. Yeah,
the patience is plumb give out.I tell you, the country's going
(10:45):
to the dogs when it pays aman better to steal and to work.
It ain't everybody that's stealing cattle,Judge sm is, and it's up to
us to find him out. Youknow, Judge, I got an idea
that ain't going to be so awfulhard once we set our minds to it.
What do you mean you've got anysuspicions? Maybe Ooo, Well it's
only a suspicions, Jedge. Cattlerustling's a nasty thing to pin on the
(11:05):
man unless you got proof. Tellme who it is. I'll get the
proof. No, I reckon,I'll wait a while. And if I
was you, Judge, I wouldn'tsay nothing about it as a welcoming party.
Know you was spoiling the school man. Well, I guess that's where
(11:30):
we wash up tramping. Yeah,it sounds like a good timing nerve sure,
I hey, Steve, Yeah,but what I was saying before,
you ought to get smart car punching. Ain't no way for a fellow like
you to make a living. Iknow what trampers a car hands dumb and
a low coat steer, freeze allwinter and bake all summer, and for
what thirty dollars a month and key. Sure, making money's easy if you
(11:54):
know how, and if you're smart. Well, what's on your mind?
Trampas nothing? I want to talkabout now? When see me tomorrow,
I think you'll be interested. HelloSteve, Oh hello, I thought you
was gonna wait for me tonight.Oh you was late in Trampas dangle bye,
(12:16):
so I shot to come along withhim. Well, you went very
choosy about your company. Maybe he'llexplain what you mean by that nothing,
Trampas nothing. But maybe I oughtto compliment you, Trampus. You've got
so many calves this year. Ireckon it keeps you all war out branding
them. You're aliable to talk yourselfin a way. Heap of trouble my
friend? Since when was I yourfriend? Trampas? All right? That
(12:39):
suits me, see you later,Steve. Yeah, well, Steve,
how about circulating around the dance?Sure, come on, let's go in.
Hey, there's your new school momover there. Yeah, he looks
mighty pretty enough for him on dress, don't you she'd look good in an
(13:00):
engine squaw blanket. Well, heregoes Steve. You've got to ask her
for a dance, and I'm goingto get it. Evening, ma'am,
Oh, good evening. Would youcare to try a turner dancing? Hum?
I said, would you care?N't I hear you? You're from
Virginia, aren't you? Yes,ma'am? That is I was born then.
(13:20):
I always thought at seven news headstis good manners. That's correct,
ma'am. Least way to stay.They should have well. In New England,
where I came from, a manalways asked to be introduced to a
lady. Before I asked you thedance? I ask your pardon, ma'am,
Will you excuse me for a minute, Thank you, ma'am. Hey,
shutty, yeah, come here?Yeah? What do you want?
(13:43):
You know the new school ma'am?No? Sure, I know? Well,
I want you to introduce me formerly. Sure, yeah, come on
over, thanks, shorty, oh, miss Wood, Yes, miss Wood,
I'd like to present an old friendof mine to you. We called
him the Virginia. Very plea usedto meet your ma'am. Oh, yes,
you're the gallant young man who rescuedme, even the tame cow.
(14:05):
Tame cow. That's all right,shorty, I'll see you tomorrow. Huh
oh yeah yeah yeah. Well,well, well would you like to dance,
ma'am? Or should we sit down? Thank you? I am a
little tired. I'd rather talk thandance. Can't talk and dance the same
time, anyway? Should we gooutside? Very well? That's wait,
(14:26):
ma'am. Nice and quiet out here, yes, isn't it? Yeah?
Sure, m miss Wood. There'ssomething i'd like to say to you.
Do you mind if I say somethingfirst? No, ma'am. I suppose
you feel very proud of yourself andwhat you did the other day. No,
(14:48):
ma'am, well you ought to beashamed of yourself, no, ma'am.
Yes, is that all you cansay? Yes, ma'am, No,
ma'am, well I don't think you'rea bit funny. Yes, stop
it. Well that's better. Nowwe're going to get along. Fine.
You said you had something to sayto me. Well, I reckon you
(15:09):
said it already. I was justgoing to apologize to you on the kind
of acting up like I did aboutthat account. Oh I see, No,
that's all over, and we've beenformally introduced. You know. I'd
like very much to go riding withyou someday. Oh would yes, ma'am.
You ain't afraid of me, areyou? Oh? Why should I
do? No reason? Call?I'm as gentle as a plow horse,
(15:30):
and I'm powerful interested in education.Oh then I do hope he come to
some of my classes. I haveseveral little boys just your age. You're
be prop 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. Well, how do you like
(16:04):
the new horse? Oh? She'smarvelous. What's your name? What are
you laughing at? Well? Hername is Sir Henry, but I call
him Hank for short. Well he'sa night chorus. You want to get
off here for him? All right? Easy? Now where you are?
Thanks? Oh, it was wonderfulto ride out here. I love it
(16:26):
more every day we come. Ireckon I do too, never noticed the
country much before, but coming outthis way with you all the time,
I like it. Fine. Youhaven't told me about that book I lent
you last week. Did you finishit? That Romeo and Juliet, Yes,
ma'am, I finished it. Don'ttell me you didn't like it.
Well, I ain't reading the poetrybefore, but as soon as I get
(16:48):
the hangover, it'll be as easyas reading the Patent Medicine catalog. Didn't
you like the story? Well,they raised a mighty strange breed the men
in them days. But in somerespects this Romeo with a pretty good mbrea.
Oh, indeed, just a prettygood on bread yesome. He had
his enemies and he killed him.Shows he wasn't no coward and proves he
was quick on the drawer. Whyyou approve of killing your enemies for an
(17:11):
eye? No? No, notif it's an honorable way out. No
man, but them enemies was particularhonor. They had it coming to him.
Well, what else? What didn'tyou like about Romeo? I didn't
like him in that balcony scene,the balcony scene. Why acting was famous
scene in the player? Maybe so, but not for me. What's his
idea? And trapesing up and downa rope ladder? Anyhow? Why didn't
(17:34):
he go in through the front door? Don't you understand their families were enemies?
The traps and up a ladder?That ain't my idea of a real
man? Well, oh, whatwould 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 witha man to man. And if
he was too stubborn to call offthat fool feud, I'd have grabbed Juliet
right off that balcony and married it. That was just what he was planning
(17:57):
to do. Yeah, no,but he couldn't stop play an actor on
that balcony. Wasted so much valuabletime. He got them both killed.
What would you have done? Well, I ain't no Romeo, But if
I loved the gallon and wanted to, I wouldn't fritter away the time on
no rope ladder making up poetry.Well, oh what would you do?
I'll show you. I just takeher like this, let me go stop
(18:19):
it? Stop? Oh here,that's what i'd do. You're just as
sure of yourself as ever, aren'tyou. Molly. Don't play act with
me. We don't pool each other. We ain't on no balcony. Molly.
Don't you think the spring is theprettiest time of the year to be
married? I don't want to bemarried, Oh, Molly, not yet
(18:42):
anyhow. I've got my school andI'm just getting started in teach in school.
That ain't no woman's job in life, it's mine. Oh why,
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. I'm
outsider. Oh. I don't knowhow to explain it, but I just
(19:03):
feel that I'm well different. Womenare funny, Molly, I don't understand
him. Well, I'm glad you. Thank you. Dog. What was
that? Sounds like a calf bowling. I better find out what the couple
is. I'll go with you.No, you better stay here, I'll
be right back. Go on.Boy. Hello Steve, Oh hello,
(19:41):
I didn't know you was coming upthis end of the range. Oh.
I'm just kind of drifting around.I've just been putting a monogram in a
couple of strays. Yeah, soI noticed, Steve. There's no use
talking around things. You've been puttingTramps's brand on somebody else's calf. Well,
what about it? That's rustling,Steve. Ah, what's a few
(20:02):
calves more or less? Or man, it's got thousands. I'm sick and
nurse bading somebody else's cows around forno more enough to keep you on smoking
the back of don't talk that away, Steve. You and I done a
lot of local things together, butthere's some things that ain't only loco.
They're plumb wrong. Oh, youtake life too seriously. This whole country's
taken things more seriously. I ain'ttryin to lecture you or play Sunday School
(20:25):
on what's right or wrong. Butthe ranches around here are plums sicker.
Haven't their herds trimmed out? Andthey'll soon be possees out with ropes on
their saddles. Well, I'm tryinga nice limber one to make it easy
for him. If they catch me, you blame hard headed fool. What
are you gonna do? Finally,am nobody's talking about Dan? I reckon.
(20:45):
I couldn't be sought you no matterwhat you did. But listen,
Steve, you and I have beenfriends too long to find ourselves lined up
on opposite sides and anything like this, Ah shocks. How do I know
what I'm gonna do? This country'sgetting to of a lives too solemn.
Yeah, I got a notion.I'll be mosing out to the Goldfield or
someplace. No need you leaving,Steve. You know you can stay on
(21:07):
here as long as you want,just so you don't do nothing crazy.
And if I do, we ain'tgonna talk about that not till the time
comes. Only I'm just hoping thetime never does come. Gary Cooper will
(21:34):
be back in just a few momentsto continue the story of the Virginian.
But now let's go to the airportin Burbank. I'd beyond the huge Warner
Brother studio as the five thirty planetakes off for New York and the round
are two girls. Let's listen,important letter? All right? If we
should why boy out from Hollywood?Just send it off the five thirty plane.
(21:56):
Is it important? It's an airmailto deliver it to Bill Butler?
Oh? Anyway, I think asfantasy plans off, a lot of us
people do too. Look at thecrown. Well, they're not looking at
the plane. Look at those micsand lights over there. Oh, thank
you for shooting a picture. Yes, isn't that a Southern? Yes,
(22:17):
it is a Southern. Oh doesn'tshe look like a million some snappy suit.
She's wearing some snappy complexion too.I wish I had one like it.
An Southern's complexion does look lovely.It will continue to look soft and
smooth and clear because this youthful starprotects it. She knows that enemy to
(22:37):
good looks, cosmetic skin, comeswhen you're careless. Here's what this charming
star says. Of course I usecosmetics, but I don't risk unattractive cosmetic
skin. I use Lux toilet soapbecause then I know I'm safe. That's
good advice for you. Lux toiletSoap's lather is active. It removes every
trace of dust and dirt, stale, rouge and powder that might remain to
(23:00):
choke the pores. It's when thepores are choked the tiny blemishes, a
dull, lifeless look. Enlarged porestell you you're getting cosmetic skin. Remember,
put Nuck's Toilet Soap on your shoppinglist. Buy for your complexion the
same care nine out of ten screenstar hues. Once again, mister de
Mille. We continue with The Virginian, starring Garry Cooper, with Charles Bickford
(23:23):
as Trampas, Helen Mack as MollyWood, and John Howard as Steve.
Several weeks have passed since the Virginianwarned Steve against rustling cattle, but the
warning went unhidden. We find Stevenow with Trampas and two other men engaged
(23:47):
in running a herd. It's lateat night and they've made camp in a
rugged hideaway deep in the hill country. Trampus squatting beside the fire, groats
over their victory. That's so bad, hey, boys, three hundred head
of cattle worth one seventy five apiecebetter than hurting for a living, Ain't
(24:07):
it's, Steve? But I'm stillhurting them card. 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 whenwe cash in on. Hey, Pedro,
put another stick on the fire andwait him inte trampis, I'd let
that fire bee. Speaking of now, if anyone's following us, they'll see
it's shore shooting, White's eating andJim getting scared. Ain't no use asking
(24:27):
for trouble. Let the fire low, Hey, listen, I want to
fire. I'm gonna have it.Is anybody following us? There's forty miles
back too, on a heel,Yeah, hunting for cow tracks under water?
Well, I'm gonna dangle down theravine and see how grease he's getting
along night hurting them credit right back, Steve, All right, listen,
(24:48):
what's say? Ain't you never heardcattle before? Jim? It sounded like
there was being disturbed to some Calmdown, boy, you're all on it.
Sure, everything's all right? Yeah? Maybe, but I'll be glad
when we get rid of them cows. I'll tell you that. What if
they do catch us? You canonly die once? Yeah, what's life
anyway? A few winters waiting forspring, a few summers wishing they'd last,
(25:10):
and then you're a little six bythree six feet under the ground.
That's all might as well be hourslater. Hey, that ain't the way
I feel about it. I ain'titching to die just yet. Ah,
come on, let's think of somethingcheerful. Sure we sing something to cheer
you up. Now, boy,Pedro, make it low and sweet,
solidy on you? Oh boy,what's up? Boss? Stoop down there?
(25:48):
That fire? Each them eats theroasters? Easy, now the cattle.
Let's be down in that ravine,NEBRASKI take three men and round them
up. Sure, shuty, youused to get around to the north and
come up on the campfire from there. Take Honey and Bally with you,
but leave your horses here. Ohshit, boss, judge, you stick
with me when I whistle. Shorty, you and your men close in.
(26:10):
Yeah, won't they be surprised downthere? All right? Now, spread
out everybody and coming easy. Youwant to make sure we get them all
on the Oh don't Davey had ourboy? Pedro? I always liked that
(26:40):
song? What was that? Wegot a boss? All right? Now,
stay right where you are, CommosThomas, why are you calling Card's
boys? Thanks for the ditty,Pedro, It was real entertaining. Hello
(27:02):
Steve, Hello, I was afraidi'd find you here. Yeah, I
warned you, Steve. Sure it'sall right. Well, where's Trampas Trampas?
Oh? Oh, he ain't here. Me and Pedro and Jim were
hunting by ourselves this trip with fivecups. Who were there on the rock.
(27:22):
You must have been drinking with acup in each hand. Horsh oh
here, hey, we got thecattle all right, But whoever was a
night hurting them ducked? We'll getthem later. What do we do now?
Boss's string them up? Wait aminute, you got anything to say,
Steve? Oh? I guess not. You're sure of that? Yeah,
(27:45):
all right, boys, you knowwhat to do. Sure we do.
Let's have your rope, Shorty.There there's a good tree right over
there. Oh no, I don'twant to die. I don't want to
die, but until you I don'twant to shut up. Jim gotta take
your medicine graceful. Well, comeon, boys, I guess we're all
set. Ain't you riding in withthis? Boss? No, I'm staying
(28:18):
here, shorty. I got Igot things to do and things to think
about. I know how you feelabout Steve. I mean, he was
my friend, shorty. I knowhe sure win game though not a whimper
out of him. He never evenlooked at me, not once. You
never said a word. I reckon. He wanted to boss. You see,
when he was gettin things ready,Steve gave me his gun he said
(28:41):
to give it a you boss tome. Yeah, there's there's a note
that goes with it. He wroteit while he was waiting. Give it
to me. Here it is II can't see so good. Would you
read it to me? Shorty?Sure? It says so long. I
couldn't have spoken to you without playingthe baby, Steve, Steve, will
(29:07):
Will you be riding in now?Boys? No? No, you go
along. I'm heading over to LordValley. What I got things to do,
and I gotta hunch that trampus wentthat way. I'm going after him.
(29:30):
Keep your head down resy we startup soon. I ain't taking old
chances of being spotted. We've gottaget away from here. I hang bed,
run Steve and Jim. We gottaget away. Rumpush. We'll make
it all right. We gotta watchour step. I'll take it easy.
We'll stay here on dock and we'reheading south after that rampersh what's the rumpush?
(29:51):
Look down there? How many iscoming? He blow? If I
ain't the Virginian see Virginia, he'swrong. Yeah, and they're not a
rival out by himself? Are youlooking for me? Well? He's looking
(30:14):
for the last time you hit him, he start come on crazy, I
reckon, we can start moving?How oh, nebraste house of Virginian.
Well he's still unconscious, but theduck says he's out of danger. Hey
(30:37):
did you bring the medicine? Yeah? Here it is. Say you know
the Virginia ought to be in ahorspital schoolmarm's house ain't no place for him.
Man, what'd they fetch him herefor? Anyway? Well, they
didn't fetch him. His horse brunghim right over there to that door.
His horse funny, ain't it ain'tfunny? Say he's been hanging around here
so much. The horse thought itwas home. Surety? Did you bring
(31:03):
him medicine? I got it righthere, ma'am. Oh, thank you.
No, you want to get someshut eye, ma'am. You look
all war out. Oh I'm allright. I'm not a bit tired.
Anyway, there's too much to do. You're sure taking good care of him,
ma'am. As long as he getswell, that's all that counts,
yes, ma'am. Oh nebrasky.I meant to ask you. Have you
seen Steve around, ma'am? AndSteve no, ma'am, No, ma'am,
(31:25):
we ain't seen Steve lately. Yousee he him? Well, he
don't work for the box age nomore. Oh, I thought it was
funny he hadn't come around. Well, if you see him, tell him
his gun is here. The Virginianhad it with him that night. Yes,
ma'am, yes, I sure we'lltell him, that is if if
I runs across him. Thank you. Excuse me? Boys, say,
don't she know Steve? Which Imeant to warn you about. There,
(31:48):
she don't know a thing, orit might be better if we didn't say
nothing. Yeah, sure, sheain't used to things like that. Yes,
she knew Steve pretty well. She'dbe pretty upset if she knew the
Virginian had a hand in on it. Well, how's the patient today?
(32:13):
O? Having up and around?Judge feeling fine? Good boy? What's
the dark say about you? All? Fixed? He says, I can
get out now anytime, only missMolly. She's been taking SIT's good care.
I mean, I kind of hateto leave. I can't say a
blame you none. You know,there's been some tot lately down around the
town. How we all might bedoing little celebrating sometime this spring celebrating what,
(32:35):
oh wedding you mean me and missMolly. How about it? Well,
I wouldn't go putting no bits upif I were you, judge.
We're saying not if I was you, you ain't getting married. Well I
didn't say that. You say,don't put up no bits? Sure you
know it don't look so good fora judge to go around gambler. No,
no, pretty sure thing. Ireckon it don't sudden. Oh morning,
(33:00):
miss Wood, good morning? Justtalking about you? Will you?
Yeah? Just this minute, Jedge, Henry, I wonder if you'd mind
leaving rest? Why no, mancertain leading, just getting ready to leave
anyhow, So long go long,Jed, see yourselves, you're hope.
So morning, miss Wood. Well, Molly, why didn't you tell me
(33:27):
what's that? Why didn't you tellme you knew? I'd find out sooner
or later? I reckon, you'retalking about Steve. I am well,
I thought you knew, Molly.I didn't know, not until this morning.
I oh, it's horrible, horrible. It had to be Molly.
You were there. Why didn't youstop it? You could have stopped it.
No, you see I was leadingthe posse. You yes, but
(33:53):
Steve was your friend. It didn'tmake much difference then your friend, and
you murdered him. Murder? Whatelse can you call it? Molly,
don't talk like that. It washard enough. Don't make it any worse.
Somebody had to do it, andI was in charge. That's our
kind of law. Does your kindof law tell you to kill your friends?
(34:15):
It ain't a question of friends orenemies. That's a question of right
or wrong. I did what Ithought was right, Molly, it was
right. Do you think I'll teachmy children to do believe that? Do
you think I'll help raising you generationto approve of murder? Where you come
from, they have policemen and courtsand jails. We ain't got that.
So when we have to, wedo things our own way. I see
(34:36):
it now. It's this life.It destroys every human feeling, a person's
god. It's destroyed you. It'smade you cruel and ruthless and cold blooded.
Well it won't destroy me. Iwon'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'reyou're leaving me too. Yes, I'm
(34:58):
leaving you too. I'm leaving everything. It's face and mean and ugly.
No, now, please get outand let me alone. Let me alone,
he paused for station identification. Thisis the Columbia Broadcasting system. It's
(35:37):
the pride of California that it producesbigger things than any state in the Union.
Hence, it was with consternation thatCalifornia learned some thirty years ago that
a baby had been born in Maine. Weighing sixteen and a half pounds.
His precocious muscles rivaled those of themythical stone crush up Paul Bunyan. There's
(35:57):
a legend back in Maine. Butwhen his mother took the heavyweight infant for
his first ride and a perambulator,that baby leaped from the carriage and,
bowing gracefully, said come on more, 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 Marinewhen only fourteen years old, and three
years later I was a strong manin vaudeville. Today, California at Last
(36:22):
claims him not only as physical directorof Paramount Studios and a radio physical trainer,
but as a singer and little theateractor as well. Ladies and gentlemen.
Richard Klein. Well, thank you, mister DeMille. What would you
(36:42):
like me to do? Sing?Act or give you a workout? I've
heard you sing, I've seen youact, and I've thrown myself on your
merses in the gymnasium. Tonight ismy turn, all right? I hope
I can take it as well asyou, Dick. Gary Cooper tells me
that you're responsible for that educated fisthe swings and the plainsman. Gary really
one of the best boxes in Hollywood, along with George raft Sir Guy Standing,
(37:04):
Jack Oakie, and strangely enough,Ida Lupino. But I'm proudest of
Gary. He's a real example ofwhat regular exercise can do. How many
people still believe that the life ofa 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, none live
a more regular, healthy life thanfilm stars. It's a matter of necessity.
(37:28):
If they didn't, they never beable 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 and exercise varies. CarolLombard and Claudette Colbert preferred tennis carry
Grant and Randolph Scott who win forpunching the bag being Crosbie and incidentally,
(37:51):
mister de Mille like the rowing machine. Glady swat Out and Adolf monsu to
lots of riding, and Molina Dietrichand may West keep their famous figures by
peddling a stationary bicycle. I've beendoing my dandist to get WC Fields inside
of the gym, but he insistshe gets all the exercise. He knees
juggling a half dozen grape fruit everymorning. My Gymnasium, by the way,
(38:14):
is one of the most historic buildingsin Hollywood. Started out as a
barn, then in nineteen fourteen misterDemil turned into a studio. It was
there that he made the first featurelength picture, The squaw Man. Keeping
fit has become so important in Hollywoodthat in the near future, every new
player at Paramount will undergo a completephysical examination when signed. All of our
(38:35):
executives will also be expected to reportregularly. Take a tip from these famous
people, ladies and gentlemen, andfind time to exercise. I guarantee you'll
be amazed at how much more workyou'll be able to accomplish, how much
better you'll feel. Do your exercisingwhere you can step into a shower immediately
after, and if you want toget the ultimate good from both exercise and
(38:55):
shower, my advice is to useLuck's toilets. I believe in physical culture
of the skin as well as therest of the body. It's part of
my business to know what's best fora healthy skin. Lucks never leaves the
skin dry as many soaps do.It has a pleasant aroma, and its
cleansing qualities are distinctly superior. Youcan be pretty certain that when the stars
(39:16):
go for something the way they dofor Luck Soap, it must be good.
And thank you, mister de Millin. So good Night's proligen. And
now back to The Virginian starring GaryCooper with Charles Bickford, Helen Mack and
John Howard. It's several days laterin the corral at the box H Ranch.
(39:46):
We find the Virginian saddling his horse. Strolling up to the gate comes
Molly Wood. She stands for amoment watching him, then speak timidly.
Good morning, Molly, I mean, good morning, ma'am. May I
commit it will be a pleasure tohave you, ma'am. You see I
(40:10):
didn't leave after all, Yes,ma'am, I am, I change 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, wild,and it takes a strong stomach to stand
for some of the things that goon out here. If you can't stand
(40:31):
it, it's best not to stayat all. You think I'm a weaklim,
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 theother day. I've looked around me at
people like Judge Henry and Shaughty andNebraski and their wives. People like that
(40:52):
can't all be wrong. They're kindand good, yes, ma'am they are,
but they don't ever let themselves forgetthe reason there here. They're building
a new country, ma'am. It'sa big job, I know, and
that's why I'm staying. I wantto help. Are we sure need it,
ma'am? Any help at all?And yours will be right. Welcome,
thank you? And now will you? Will you forgive me for what
(41:15):
I said to you? Forgive you? Well, that's easy. And will
everything be jet as it was betweenyou and me? That's up to you,
Molly. I want it to be. I've been wanting it too.
Oh God, Hey Joe, Joe, Oh hello, trampers. Ain't seeing
(41:42):
you around here for more? Yeah? I'ven't traveling set up around Joan?
Hey, crazy, come and getit? Sayin't Joe? Jim's getting mangie
with Carle Hans? What's up?They ain't no wedding. The Virginian's getting
hitched to the new school Virginian.I they think he wouldn't marry. I
heard she saved his life. Yeah, I do seem to recollect something about
(42:04):
him being shot a while ago Engines, wasn't it. Yeah, somebody plugged
him in the back. You don'tsay too bad. I didn't finish him
for good. Come on, greasydrink up? Oh boys boy? When's
the wind, miss Molly? Yeah, when's the big events? It ain't
(42:27):
gonna beat him till tomorrow. Soyou can stop pestering right now, you
bunch your main gem. Every shavemiss Molly. Do you mind if we
borrow him for his fail? Well? Can I trust you? Oh?
We'll all be very good. I'mpretty good, not too good. Boice
is the honest man, not oneof him. Please, well, all
right, I'll trust all of you. You can borrow him, but not
(42:47):
for too long. Go on ahead, boys, I'll meet you in a
couple of minutes. See your rejoiceplace for you. Don't mind me going
with him, do your honey?Well, of course not. The boys
had their rights to you just asmuch as I have. I won't be
long anyhow. We'll have plenty oftime alone. Where we're going. We'll
travel west till we find just theplace we want to make our home.
(43:08):
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 going to be my main aim
in life. Oh, I loveyou well. You better run along now.
The boys are waiting for you.Yeah, come on, I get
easy, boys, I got toget married to mine. Set him up,
(43:30):
Joe, sure, sure. Saythere's a friend of yours in town?
Yeah? Yeah, tell her nameTrampus Frampus Did he mentioned he was
a friend of mine, He said, plenty about you, all lit up
and talking me said he'd drop inagain. Any cases any interest to you?
Well it ain't. I think he'slooking for trouble myself. Wouldn't it
(43:52):
be just too bad if you foundit? Say, boss, we'll take
this thing off your hands if youwant, yes, and shave you the
trouble. Just say the word anyall all of us. No thanks,
boys, This is the matter betweenus two. I'm only hoping they don't
drift around. But a fella don'tget married every day. That's just it.
You bet to think of her andwills am I thinking? Now?
(44:14):
Boss, coming in the door,Well, look who's here? Go your
place? Get the sort of chromy, ain't it. I'm a use letting
Mangie Foreman hang around kind of trampaseasy, shorty. It's all right about
Joe, oh gracy. It seemsto me I hit of a feller around
here who got shot in the bag. Well, as far as I know,
the only way that can happen toour fellas when he's running away she
(44:38):
running away me handle is will youboss? No? I don't want no
trouble in the dressing. I'm sickof this flaver and around. Listen,
hear you. You're speaking to meetTrampas. Yes, you, you've been
spreading a lot of talk around aboutmy dealing and cattle. I'm having a
showdown with you here and now,Trampas. I'm trying not to have any
(44:58):
trouble with you, Jess now.Yeah, you've been dodging it for five
years. You've been talking plenty oftrouble to keep on my way. But
I got your corral now and I'mcalling your hand. All right, what
did you get? I've got thebelief you're a lion, white lived skunk.
This country ain't big enough to holdthe two of us. I'm giving
you little sundown and get out oftown. It's too bad you had to
(45:20):
say that trumpets. 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 inthis by not interfering. Sure we
understand, sun Now, let's listento half an hour. Now. I'm
going to tell miss Molly not toloot's over. If you wouldn't understand about
this, she's raised different. Well, we won't say nothing, boss.
(45:45):
I got Steve gunned over the hotel. I reckon that'd be the one to
use. I'll go over now andit come in. Oh here you are
(46:07):
sure, Molly. Oh, it'sbeen 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. Iwanted to run out and find you,
but I didn't. I waited quietlyin my room. I'm sorry I had
to be worried, Molly. Itdoesn't matter. Nothing matters except that you're
here. Let's don't think about it. What should we do now? No?
(46:30):
Nothing, now, it ain't quitesundown yet. I know it's a
heat force for you. I wish, I wish you didn't have to wait
alone, but it won't be forlong. What do you mean? I
did my best. I let himsay things to me no man ever said
before. If I hadn't been thinkingharder you, I reckoned. I killed
(46:51):
him then. I gave him achance 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 lethim shoot me, but so 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, Ithink what it means, killing in
cold blood. You don't think Iwant to do this or I try to
(47:12):
forgive the other killing those cattle thieves, then, Steve, I'd forced myself
to think of it as you did, law and order. But this isn't
the sane. You don't have todo this. If folks came to think
me a coward, I couldn't lookhim in the eye ever again. Or
you either, Well, that's justpride. I don't know what you call
it, but it's it's something inthe feelings of a man, deep down
inside, something a man can't goback home. If anybody happened to say
(47:36):
I was a thief, I couldn'tlet 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 ownhonesty to fight for it. And it's
to be like this always. Whenwill it ever end? There'll always be
killing to do. Until this countryain't a meeting place for men like trampus.
Then think of us, I liketogether, that's what I am thinking
of your life has always been yourown, but now it isn't. You've
(48:00):
given it to me, don't takeit 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 gotto be done. Oh no,
don't go. Come back, Pleasecome back. You can't leave me like
this. Yeah, hello, hello, Shorty, and its sundown. Yeah,
(48:28):
I've just seen trampers. He's inJoe's place. Yeah, I just
don't think a walk down that way. Listen, Boss, stay on the
sidewalk. You don't want to bestepping in one of them mud holes when
you're taking aim. I'll be allright. I'll walk with your piece and
as if you don't mind, ofcourse not come on. Watch out for
the loose boards, Boss, thiswalk is full of them. I'll watch
it. Beat all right, it'sfine. We're all with your boss.
(48:52):
I know it. Yah. Therehe is just coming out the door.
He sees your boss. Yeah.I'll go on from here alone. Shorty's
your boss and lots of luck.Thanks Sundown, Virginian. I know it,
(49:13):
Trumpus. I warned you. Well, I'm waiting. You won't have
long, all right. You nevertouched me shorty. You've got him,
boss, he's dinner in a coldmacrol Yeah, I reckon he is?
Where is he all at me?For? Please? Please let me miss
(49:34):
Molly. Molly. Oh you're safe. Oh thank god it wasn't true.
Thank god, it's all right,Molly. No need to cry. Don't
ever leave me ever again. Butwhat you said before about their none being
any tomorrow, don't that count?Nothing counts except that I love you.
Promise me you'll never leave me.Commas. Sure I promised, But I
(49:58):
still don't understand women. We takeour leave of the Virginian, but not
of Gary Cooper and Helen Mack,who come back to the microphone a little
later. Activities of the motion pictureworld draw a more newspaper man to Hollywood
(50:22):
than national affairs draw to Washington.Outstanding among them is Sidney Skolski, whose
column Hollywood appears daily in the NewYork News and in many other papers here
and abroad. Formerly author of thecolumn Tintype in the New York Sun and
Behind the News in the Daily News, sid has also been press agent for
(50:43):
such dispenses of duty as Sam Harris, Earl Carroll, and George White.
He would probably be offended if Isaid he is the best liked film reporter.
Sid is a member of that resoluteminority who believe in hewing to the
line of news and letting the quipsfall where they make Ladies and gentlemen.
Sydney Skotsk. When you call methat, Pardners smile, Well, Hi,
(51:09):
you're Skokie. I've got myself exactlywhere you want me, and you
will never get there as scots Imean, I'm as nervous here as I
make you when I visit your movieset, right, you look like one
of my pictures. All a frightenedpeople are far them. I sound like
a straight man, And when acolumnist goes straight at something, that'll be
enough. Skotsk, get on withyour Hollywood wash, pretty subtle. Nobody'd
(51:31):
ever think you were talking about lucks. Can you do better? Well,
I don't use publicity blurbs in mycolumn, and I don't intend to start
with this program. But I cantruthfully say I've seen luck soap and homes
of movie stars that I've visited,and I don't believe actresses keep lucks 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
(51:53):
Kay Francis now keeps her diary inshorthand, where Glorious 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 thehostess, I had a lovely evening,
but this wasn't it. Where FrancisX. Bushman, who was once the
(52:14):
clock Gable and Robert Taylor of hisday, now on to Hamburger stand opposite
the twentieth century Fox Studio and isstill 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 TheMagnificent Brute, was told to run up
a flight of stairs and then fallwhen the villain fired the first shot from
his gun. McLaughlin failed to dothis, and when asked why by the
(52:37):
director Victor Ranson, I'm McLoughlin.It takes more than one shot to get
me. It is a town whereSimon Simon doesn't pull down the shades in
her apartment, and rents have goneup 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 ofthe sick guards he gives you. It's
(52:58):
a town where you can drive into a drive and stand and bring home
a cake of ice wrapped in cellophane. Where the first thing Robert Taylor had
to do to be a picture starwas to pluck his eyebrows. We're at
the preview of the picture Pigskin Prey. They had a singing shown girls going
to Yale. But don't get mewrong, I love Hollywood. Hollywood is
(53:19):
a place where Ginger Rogers for awild evening, goes bowling with James Stewart
on Wilshire Boulevard, where John Barrymoregives a great performance, ordering a cup
of coffee in the brown Derby.It is a town with director Van Dyke
making the flicker Escuemo took artificial snowto the Arctic, where Jeane Hollow wears
a mink coat and with nothing underneathit but a pair of silk pajamas.
(53:42):
Where Gene Fowler now signs his letters. Gene Fowler, author of Jack London's
White Fang. But don't get mewrong, I love Hollywood. Hollywood is
a place where Charlie Chaplin keeps ahuge dictionary in his bathroom, Where Gobble
and Rex O'Malley doing a dancing Camillefell to the floor. O'Malley helped Gobble
up and rather embarrassed that to gretit. Oh dear, how could I
(54:04):
have tripped over your tiny little feet. It is a town where joseph On
Sternberg raised a bid and, whenasked why, answered I'm tired of looking
at my face and I'm not theonly one. But don't get me wrong,
I love Hollywood. Hollywood is aplace where Carol Lombard can be seen
reading a story in a fan magazinetitled clark Gables Romantic Flight. It is
(54:25):
a town where Irving Berlin, ata party, asked what song the feller
at the piano was playing, onlyto be told it was Alexander's Ragtime Band.
Where Ted Healy asked his stude JimmyBruster, who do you think we'll
get in Roosevelt or Landon? AndBruster 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 longas it supply such fud coffee. Good
(54:50):
night, thank you, good night, said we bring back the Virginian,
Gary Cooper and the school mom HelenMatt. The only thing I met to
night was seeing Gary ride a horseas he does when he really gets out
in the open, real riding somethingextra special. Helen. Back home in
(55:14):
Montana, we learned to ride themmost when we were kids, and more
kids rather are pushing the kitty car. I guess they kept my first teeth
on saddle. Letter, Is thatwhy you picked Gary for the part of
wild Bill Hiccock and the placeman misterthe mill or partly Helen? Actually he's
a perfect portrait of Hiccock in looks, size, and manner. Then there's
a similarity between the Virginian and wildBill. The Virginian is the ideal American
(55:35):
character in romance, short on speechand long on action, and wild Bill
Hiccock is the ideal American character.In fact, Hiccock 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 sixty
and one hundred men, not countingIndian, and nobody counted Indians in those
days. Oh, they were justused for practice. Probably. The fact
is Hiccock killed only in defense oflaw and order. And he said himself
(56:00):
back in the eighteen seventies, there'sno Sunday west of Junction City, no
law west of Hayes, said he, or no God west of Carson said.
It was to change all as tobring respective law to the west that
Hiccock devoted his life, finally losingit when shot by Jack McCall, who
killed him for the strangest reason everheard, because he admired him so much.
I guess it's because all this istrue that I got such a kick
(56:20):
out of making the picture. Itwas real, including the danger and riding
between two horses to escape an Indianambush. I think you did something many
stars would have avoided. However,that was in the script. What wasn't
in the script was your stopping thesix 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 withwas me, while you were running away
(56:44):
with a picture. I hope we'llsoon have another picture for you to steal.
Glynn, Gary steals a picture ofour broadcast. It's really grand lost
to me. As far as I'mconcern, I wish this program could go
on for another sixty minutes. Anythingafter your performance to Night, Helen would
be an anti climate. I canadd is that when it comes to radio
programs and soap Jimmy Lusty, everytime they're both tops. I bought the
(57:05):
same ticket and include you, Helen. Thanks Gary, goodnied everyone go Hi
Helen, good night. Flames nhave the thousands of stories that relate the
adventures of a modern robin hood.None has won such enduring popularity has Alias
Jimmy Valentine, which comes to usnext Monday Night with Pat O'Brien in the
(57:29):
title row, with Pat Our,three other Hollywood stars, Madge Evans,
Alan Jenkins and William Frawley. Oursponsors, the makers of Lux Toilets Hoape,
join me in inviting you to bewith us again next Monday Night,
when the Lux Radio THEA stars PatO'Brien and Alias Jimmy Valentine with Madge Evans
(57:50):
and an all star cast. Thisis Cecil B de Mills saying good night
to you from Hollywood, the announcerof the Melville Road. This is the
Columbia Broadcasting System. This has beenan a presentation of OTR Westerns dot com
(58:37):
and we hope you enjoyed. Pleasetake some time to like and rate our
shows in your favorite podcast application.Follow us on Facebook by going to OTR
Westerns dot com slash Facebook. Joinin the conversation by going to OTR Westerns
dot com slash Discord, and don'tforget to send us an email podcast at
OTR Westerns dot com. This episode'scopyright under the attribute should non commercial sharelight
(59:00):
copyright. For more information, goto OTR Westerns dot com slash copyright,
have it right Day, and again, thanks for listening.
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 will
focus on different Western episodes from showsthat weren't Western themselves. This episode is
going to be from Lux Radio Theater. Original airdates November second, nineteen thirty
(00:37):
six and the title is The Virginian. Hope you enjoy and again thanks for
listening, Hollywood, California, Monday, November second, The Lux Radio Theater
presents Gary Cooper in The Virginian withCharles Pickford, Helen Mac and John Howard
(01:10):
Lucks Presents Hollywood our stars Gary Cooper, Charles Bickford, Helen Mack and John
Howard. Our guests Sidney Skolsky,noted Hollywood columnist and Richard Kleine, physical
trainer of picture stars, Our producerCecil B. DeMille, our conductor Lewis
Silvers. We wish you could allbe with us tonight in our theater on
Hollywood Bulevard, not only to meetour stars, but also the many other
(01:33):
screen celebrities whom I see just beyondthe footlights awaiting the curtain of another great
show. But wherever this hour findsyou, a hearty welcome from Lucks.
This program comes to you with thegood wishes of the makers of Lux toilet
(01:53):
soap, the soulp preferred by nineout of ten Hollywood stars and is yet
so inexpensive that every girl and useit every day. Our message is to
use all the cosmetics you wish,but remove them thoroughly the Hollywood way with
Luck's toilet soap, whose active latherclenses the pores and keeps your skin soft,
smooth, always lovely. Our showopens with word from our producer,
(02:17):
Ladies and gentlemen, mister Cecil B. Demill. Greetings from Hollywood, ladies
and gentlemen. Here in the hometownof movies, we are so used to
stars who grit their teeth, clinchtheir fists, and crash their way into
the limelight that the man as shyand human as Gary Cooper is a complete
(02:39):
novelte on a Hollywood sound stage.He's as refreshing as a breeze off the
prairie. Last month, the Shyand Indians up in Lame Deer, Montana
tried to give him a name theycalled Gary Comaced. He was mighty pleased
to become a member of the tribe, until he discovered that his new name
means tall, handsome one. Garywas an unknown actor in Weston's when he
(03:04):
was called in by the Paramount Studiosfor a screen test. Entering the room,
he faced an office filled with producersand executives. The long young man
from Montana looked at the expressionless faces, swallowed hard, smiled feebly, and
bolted for the door. But hispersonality clicked. They gave him an important
role in Wings, and Gary hasbeen soaring steadily up whatever since. I
(03:28):
welcome him to Night as a fineactor, a sincere co worker, a
fearless man, and a close friend. Charles Bickford is also a most welcome
addition to our cast. Charlie leftthe stage to work for me in Dynamite,
my first talking film, and hasappeared in four of my pictures since,
including The Plainsman. Charley is nomean antagonist as a villain. In
(03:51):
fact, it took an African landto put him in the hospital. He
will be heard to Night in therole of Trampus. Our leading lady is
Helen Mack, who has been onstage agent screen since childhood and is one
of the most unspoiled young actresses inHollywood. She has heard as Molly Wood.
The role of Steve is played byJohn Howard, co star of the
(04:11):
film Valiant is the word for carryand now up with a curtain as the
Lux Radio Theater presents The Virginians,written by Owen Wister, starring Gary Cooper
with Charles Bickford, Helen Mack andJohn Howard. Wyoming in the early nineteen
(04:41):
hundreds, the dusty little town ofMedicine Ball is humming with activity, and
though it's only ten o'clock in themorning, the Maverick Cafe is filled with
a noisy, rowdy gang of cowhands whooping it up on their one day
off. From the street comes thetall, quiet, spoke on young cowboy
(05:03):
known to his friends as in theVirginia. As he steps up to the
bar, he gets a loud welcomefrom an old cow Steve. Hey,
a gol dang manzy soup bed buzzy. Who are you passing by, Steve?
Nobody else but well, Steve,you want to re load down cousin
to a bald beaver? What inlaz are you doing here? Oh?
(05:24):
Not in special bling the town abouta week ago. Well, I'm sure
glad to see you, Steve,say, it must have been four years
since we was riding together. Fouryears or more. Yes, sir,
say, I heard about you beingmade foreman of it the box X rats.
It kept me laughing for a week. Yeah. Well what have you
been doing? All the same asyours? Wolf, working some and playing
(05:46):
some. I'm mostly playing. Shureyou no good weasel. You're just the
same as always. Ain't no accountto nobody nowhere? Ain't you ever going
to settle down? B say whatfor? Hello, Nina? How are
you we be in? Hey?Let me introduce you to an old pal
of mine. Oh, hello morning, ma'am. Very handsome bro Ye just
(06:11):
a minute. Sure he's a reallady killer, Nina. Ya, you
better watched out for this ombry man. He's a low down, double barrel
liar. Don't you believe a wordhe says? Oh yeah, Hello,
what's the argument? Boy? Hello? Trampas, step right up and join
in. I don't know what it'sall about, Nina, but whatever it
is, I can settle it fairand square. My favorite whence you get
in, Trampas, Yes, blowit in a beat of time with his
(06:33):
lady. Come on in or buyyour ring. I am with these gentlemen.
You mean you were with him?Come on, no, stop,
I want to stay here. Hey, I ain't argument. We do,
sweetheart, I'm telling you, wait, I ain't no argument, Trampus.
We're getting along just fine. Notthat it's any of your business what he's
talking to you. I'm just tellingyou. Yeah. Well, when I
(06:55):
want to know anything from you,I'll let you know your long legged son
about Wait a minute, if youwant to call me that Miles getting mighty
touchy, Ain't you about something?You better be leaving Trampas? Sure?
Hell, boys, I'll turn myhide off in the game of stunt.
(07:16):
Say I wouldn't mix it done withTrampas If I would, you tramps and
me just don't mix at all.Hey, where's the Virginian? Nobody wants
me? Hey, Nebraski? Yeah, Oh hello Boston. Hey, the
why Hooman Special can't get through tothe station on account of them cattle blocking
the right away? All right,I'll send room. Come along, Steve.
Sure, I'll help you clean themup. Yet he hit him this
(07:51):
way? All right, Nebraski showget 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, m he's yours,
A fine looking female. Yeah,I'd kind of like to make her acquaintance.
(08:11):
I've seen her first, Steve.Hey, what's the matter with her?
Yeah, she's backing up like ascared care Hey, look at her.
She's scared of that milk cow downhere. Man, that cow won't
hurt you none. Wait, Steve, I'll go and rescue the fair lady.
Rescue her from what a moo cow. Don't stop me now, I'll
(08:33):
get away. Get away, please, I'll get away. I said,
Oh, get out of here,Get out of here, you honery devil
one, go on, get outof here. Well, the critter's gone,
ma'am, I reckon. You're safenow. Oh, oh, thank
you so much. It's a mightylucky thing. I happened along a wild
(08:54):
steer is an awful honery critter.Oh, I did frighten me just for
a moment. If that steerhoad seeingyou face the he's just like I'm doing
now, ma'am. He couldn't havebeen so bean. Oh thank you.
I reckon you're the new waitress atthe Lone Star Hotel. Oh no,
I'm a teacher. Oh the newschool, ma'am. That's right, I've
come all the way from the More. Well, that's sure, it is
fine. Well, thank you againfor rescuing me. Oh that's all right.
(09:18):
An't time at all, mister.What's the matter little girl? Did
you see my bossy bossy? Whyare no? She's a milking cow.
I'm leaving her home and she ranaway and I can't fight. Oh there
she is bossy here, bossy.Here, girl here, bossy. Oh
(09:39):
so that's your wilds dear, I'mmilking cow. Well you see, ma'am.
Thank you so much, mister cowboy. It was so brave of you
to rescue me from Boston. Welllook, ma'am, it was like this.
Don't you think you'd better go andrescue that little girl. I'm sure
she'd be quite impressed, but ifyou tried to make a fool of her,
she'd probably slap your face. Goodmorning, Good morning man. I'm
(10:01):
sure sorry it wasn't a real steermy Lulu girl today. See she wears
a big white hat, and I'llbet you I'm inte you for who's that
the Virginian? That's right, Jedge, I thought I recognized you the dark.
(10:24):
I wasn't sure on your way tothat welcoming party. They give him
for the new school, and Isuppose that's where I'm heading. Yet in
me too, they see she's amatter pretty girl. Yeah, she's sure
you see. The Valley Rangers hadanother meeting this afternoon about Rustler. Yeah,
the patience is plumb give out.I tell you, the country's going
(10:45):
to the dogs when it pays aman better to steal and to work.
It ain't everybody that's stealing cattle,Judge sm is, and it's up to
us to find him out. Youknow, Judge, I got an idea
that ain't going to be so awfulhard once we set our minds to it.
What do you mean you've got anysuspicions? Maybe Ooo, Well it's
only a suspicions, Jedge. Cattlerustling's a nasty thing to pin on the
(11:05):
man unless you got proof. Tellme who it is. I'll get the
proof. No, I reckon,I'll wait a while. And if I
was you, Judge, I wouldn'tsay nothing about it as a welcoming party.
Know you was spoiling the school man. Well, I guess that's where
(11:30):
we wash up tramping. Yeah,it sounds like a good timing nerve sure,
I hey, Steve, Yeah,but what I was saying before,
you ought to get smart car punching. Ain't no way for a fellow like
you to make a living. Iknow what trampers a car hands dumb and
a low coat steer, freeze allwinter and bake all summer, and for
what thirty dollars a month and key. Sure, making money's easy if you
(11:54):
know how, and if you're smart. Well, what's on your mind?
Trampas nothing? I want to talkabout now? When see me tomorrow,
I think you'll be interested. HelloSteve, Oh hello, I thought you
was gonna wait for me tonight.Oh you was late in Trampas dangle bye,
(12:16):
so I shot to come along withhim. Well, you went very
choosy about your company. Maybe he'llexplain what you mean by that nothing,
Trampas nothing. But maybe I oughtto compliment you, Trampus. You've got
so many calves this year. Ireckon it keeps you all war out branding
them. You're aliable to talk yourselfin a way. Heap of trouble my
friend? Since when was I yourfriend? Trampas? All right? That
(12:39):
suits me, see you later,Steve. Yeah, well, Steve,
how about circulating around the dance?Sure, come on, let's go in.
Hey, there's your new school momover there. Yeah, he looks
mighty pretty enough for him on dress, don't you she'd look good in an
(13:00):
engine squaw blanket. Well, heregoes Steve. You've got to ask her
for a dance, and I'm goingto get it. Evening, ma'am,
Oh, good evening. Would youcare to try a turner dancing? Hum?
I said, would you care?N't I hear you? You're from
Virginia, aren't you? Yes,ma'am? That is I was born then.
(13:20):
I always thought at seven news headstis good manners. That's correct,
ma'am. Least way to stay.They should have well. In New England,
where I came from, a manalways asked to be introduced to a
lady. Before I asked you thedance? I ask your pardon, ma'am,
Will you excuse me for a minute, Thank you, ma'am. Hey,
shutty, yeah, come here?Yeah? What do you want?
(13:43):
You know the new school ma'am?No? Sure, I know? Well,
I want you to introduce me formerly. Sure, yeah, come on
over, thanks, shorty, oh, miss Wood, Yes, miss Wood,
I'd like to present an old friendof mine to you. We called
him the Virginia. Very plea usedto meet your ma'am. Oh, yes,
you're the gallant young man who rescuedme, even the tame cow.
(14:05):
Tame cow. That's all right,shorty, I'll see you tomorrow. Huh
oh yeah yeah yeah. Well,well, well would you like to dance,
ma'am? Or should we sit down? Thank you? I am a
little tired. I'd rather talk thandance. Can't talk and dance the same
time, anyway? Should we gooutside? Very well? That's wait,
(14:26):
ma'am. Nice and quiet out here, yes, isn't it? Yeah?
Sure, m miss Wood. There'ssomething i'd like to say to you.
Do you mind if I say somethingfirst? No, ma'am. I suppose
you feel very proud of yourself andwhat you did the other day. No,
(14:48):
ma'am, well you ought to beashamed of yourself, no, ma'am.
Yes, is that all you cansay? Yes, ma'am, No,
ma'am, well I don't think you'rea bit funny. Yes, stop
it. Well that's better. Nowwe're going to get along. Fine.
You said you had something to sayto me. Well, I reckon you
(15:09):
said it already. I was justgoing to apologize to you on the kind
of acting up like I did aboutthat account. Oh I see, No,
that's all over, and we've beenformally introduced. You know. I'd
like very much to go riding withyou someday. Oh would yes, ma'am.
You ain't afraid of me, areyou? Oh? Why should I
do? No reason? Call?I'm as gentle as a plow horse,
(15:30):
and I'm powerful interested in education.Oh then I do hope he come to
some of my classes. I haveseveral little boys just your age. You're
be prop 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. Well, how do you like
(16:04):
the new horse? Oh? She'smarvelous. What's your name? What are
you laughing at? Well? Hername is Sir Henry, but I call
him Hank for short. Well he'sa night chorus. You want to get
off here for him? All right? Easy? Now where you are?
Thanks? Oh, it was wonderfulto ride out here. I love it
(16:26):
more every day we come. Ireckon I do too, never noticed the
country much before, but coming outthis way with you all the time,
I like it. Fine. Youhaven't told me about that book I lent
you last week. Did you finishit? That Romeo and Juliet, Yes,
ma'am, I finished it. Don'ttell me you didn't like it.
Well, I ain't reading the poetrybefore, but as soon as I get
(16:48):
the hangover, it'll be as easyas reading the Patent Medicine catalog. Didn't
you like the story? Well,they raised a mighty strange breed the men
in them days. But in somerespects this Romeo with a pretty good mbrea.
Oh, indeed, just a prettygood on bread yesome. He had
his enemies and he killed him.Shows he wasn't no coward and proves he
was quick on the drawer. Whyyou approve of killing your enemies for an
(17:11):
eye? No? No, notif it's an honorable way out. No
man, but them enemies was particularhonor. They had it coming to him.
Well, what else? What didn'tyou like about Romeo? I didn't
like him in that balcony scene,the balcony scene. Why acting was famous
scene in the player? Maybe so, but not for me. What's his
idea? And trapesing up and downa rope ladder? Anyhow? Why didn't
(17:34):
he go in through the front door? Don't you understand their families were enemies?
The traps and up a ladder?That ain't my idea of a real
man? Well, oh, whatwould 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 witha man to man. And if
he was too stubborn to call offthat fool feud, I'd have grabbed Juliet
right off that balcony and married it. That was just what he was planning
(17:57):
to do. Yeah, no,but he couldn't stop play an actor on
that balcony. Wasted so much valuabletime. He got them both killed.
What would you have done? Well, I ain't no Romeo, But if
I loved the gallon and wanted to, I wouldn't fritter away the time on
no rope ladder making up poetry.Well, oh what would you do?
I'll show you. I just takeher like this, let me go stop
(18:19):
it? Stop? Oh here,that's what i'd do. You're just as
sure of yourself as ever, aren'tyou. Molly. Don't play act with
me. We don't pool each other. We ain't on no balcony. Molly.
Don't you think the spring is theprettiest time of the year to be
married? I don't want to bemarried, Oh, Molly, not yet
(18:42):
anyhow. I've got my school andI'm just getting started in teach in school.
That ain't no woman's job in life, it's mine. Oh why,
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. I'm
outsider. Oh. I don't knowhow to explain it, but I just
(19:03):
feel that I'm well different. Womenare funny, Molly, I don't understand
him. Well, I'm glad you. Thank you. Dog. What was
that? Sounds like a calf bowling. I better find out what the couple
is. I'll go with you.No, you better stay here, I'll
be right back. Go on.Boy. Hello Steve, Oh hello,
(19:41):
I didn't know you was coming upthis end of the range. Oh.
I'm just kind of drifting around.I've just been putting a monogram in a
couple of strays. Yeah, soI noticed, Steve. There's no use
talking around things. You've been puttingTramps's brand on somebody else's calf. Well,
what about it? That's rustling,Steve. Ah, what's a few
(20:02):
calves more or less? Or man, it's got thousands. I'm sick and
nurse bading somebody else's cows around forno more enough to keep you on smoking
the back of don't talk that away, Steve. You and I done a
lot of local things together, butthere's some things that ain't only loco.
They're plumb wrong. Oh, youtake life too seriously. This whole country's
taken things more seriously. I ain'ttryin to lecture you or play Sunday School
(20:25):
on what's right or wrong. Butthe ranches around here are plums sicker.
Haven't their herds trimmed out? Andthey'll soon be possees out with ropes on
their saddles. Well, I'm tryinga nice limber one to make it easy
for him. If they catch me, you blame hard headed fool. What
are you gonna do? Finally,am nobody's talking about Dan? I reckon.
(20:45):
I couldn't be sought you no matterwhat you did. But listen,
Steve, you and I have beenfriends too long to find ourselves lined up
on opposite sides and anything like this, Ah shocks. How do I know
what I'm gonna do? This country'sgetting to of a lives too solemn.
Yeah, I got a notion.I'll be mosing out to the Goldfield or
someplace. No need you leaving,Steve. You know you can stay on
(21:07):
here as long as you want,just so you don't do nothing crazy.
And if I do, we ain'tgonna talk about that not till the time
comes. Only I'm just hoping thetime never does come. Gary Cooper will
(21:34):
be back in just a few momentsto continue the story of the Virginian.
But now let's go to the airportin Burbank. I'd beyond the huge Warner
Brother studio as the five thirty planetakes off for New York and the round
are two girls. Let's listen,important letter? All right? If we
should why boy out from Hollywood?Just send it off the five thirty plane.
(21:56):
Is it important? It's an airmailto deliver it to Bill Butler?
Oh? Anyway, I think asfantasy plans off, a lot of us
people do too. Look at thecrown. Well, they're not looking at
the plane. Look at those micsand lights over there. Oh, thank
you for shooting a picture. Yes, isn't that a Southern? Yes,
(22:17):
it is a Southern. Oh doesn'tshe look like a million some snappy suit.
She's wearing some snappy complexion too.I wish I had one like it.
An Southern's complexion does look lovely.It will continue to look soft and
smooth and clear because this youthful starprotects it. She knows that enemy to
(22:37):
good looks, cosmetic skin, comeswhen you're careless. Here's what this charming
star says. Of course I usecosmetics, but I don't risk unattractive cosmetic
skin. I use Lux toilet soapbecause then I know I'm safe. That's
good advice for you. Lux toiletSoap's lather is active. It removes every
trace of dust and dirt, stale, rouge and powder that might remain to
(23:00):
choke the pores. It's when thepores are choked the tiny blemishes, a
dull, lifeless look. Enlarged porestell you you're getting cosmetic skin. Remember,
put Nuck's Toilet Soap on your shoppinglist. Buy for your complexion the
same care nine out of ten screenstar hues. Once again, mister de
Mille. We continue with The Virginian, starring Garry Cooper, with Charles Bickford
(23:23):
as Trampas, Helen Mack as MollyWood, and John Howard as Steve.
Several weeks have passed since the Virginianwarned Steve against rustling cattle, but the
warning went unhidden. We find Stevenow with Trampas and two other men engaged
(23:47):
in running a herd. It's lateat night and they've made camp in a
rugged hideaway deep in the hill country. Trampus squatting beside the fire, groats
over their victory. That's so bad, hey, boys, three hundred head
of cattle worth one seventy five apiecebetter than hurting for a living, Ain't
(24:07):
it's, Steve? But I'm stillhurting them card. 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 whenwe cash in on. Hey, Pedro,
put another stick on the fire andwait him inte trampis, I'd let
that fire bee. Speaking of now, if anyone's following us, they'll see
it's shore shooting, White's eating andJim getting scared. Ain't no use asking
(24:27):
for trouble. Let the fire low, Hey, listen, I want to
fire. I'm gonna have it.Is anybody following us? There's forty miles
back too, on a heel,Yeah, hunting for cow tracks under water?
Well, I'm gonna dangle down theravine and see how grease he's getting
along night hurting them credit right back, Steve, All right, listen,
(24:48):
what's say? Ain't you never heardcattle before? Jim? It sounded like
there was being disturbed to some Calmdown, boy, you're all on it.
Sure, everything's all right? Yeah? Maybe, but I'll be glad
when we get rid of them cows. I'll tell you that. What if
they do catch us? You canonly die once? Yeah, what's life
anyway? A few winters waiting forspring, a few summers wishing they'd last,
(25:10):
and then you're a little six bythree six feet under the ground.
That's all might as well be hourslater. Hey, that ain't the way
I feel about it. I ain'titching to die just yet. Ah,
come on, let's think of somethingcheerful. Sure we sing something to cheer
you up. Now, boy,Pedro, make it low and sweet,
solidy on you? Oh boy,what's up? Boss? Stoop down there?
(25:48):
That fire? Each them eats theroasters? Easy, now the cattle.
Let's be down in that ravine,NEBRASKI take three men and round them
up. Sure, shuty, youused to get around to the north and
come up on the campfire from there. Take Honey and Bally with you,
but leave your horses here. Ohshit, boss, judge, you stick
with me when I whistle. Shorty, you and your men close in.
(26:10):
Yeah, won't they be surprised downthere? All right? Now, spread
out everybody and coming easy. Youwant to make sure we get them all
on the Oh don't Davey had ourboy? Pedro? I always liked that
(26:40):
song? What was that? Wegot a boss? All right? Now,
stay right where you are, CommosThomas, why are you calling Card's
boys? Thanks for the ditty,Pedro, It was real entertaining. Hello
(27:02):
Steve, Hello, I was afraidi'd find you here. Yeah, I
warned you, Steve. Sure it'sall right. Well, where's Trampas Trampas?
Oh? Oh, he ain't here. Me and Pedro and Jim were
hunting by ourselves this trip with fivecups. Who were there on the rock.
(27:22):
You must have been drinking with acup in each hand. Horsh oh
here, hey, we got thecattle all right, But whoever was a
night hurting them ducked? We'll getthem later. What do we do now?
Boss's string them up? Wait aminute, you got anything to say,
Steve? Oh? I guess not. You're sure of that? Yeah,
(27:45):
all right, boys, you knowwhat to do. Sure we do.
Let's have your rope, Shorty.There there's a good tree right over
there. Oh no, I don'twant to die. I don't want to
die, but until you I don'twant to shut up. Jim gotta take
your medicine graceful. Well, comeon, boys, I guess we're all
set. Ain't you riding in withthis? Boss? No, I'm staying
(28:18):
here, shorty. I got Igot things to do and things to think
about. I know how you feelabout Steve. I mean, he was
my friend, shorty. I knowhe sure win game though not a whimper
out of him. He never evenlooked at me, not once. You
never said a word. I reckon. He wanted to boss. You see,
when he was gettin things ready,Steve gave me his gun he said
(28:41):
to give it a you boss tome. Yeah, there's there's a note
that goes with it. He wroteit while he was waiting. Give it
to me. Here it is II can't see so good. Would you
read it to me? Shorty?Sure? It says so long. I
couldn't have spoken to you without playingthe baby, Steve, Steve, will
(29:07):
Will you be riding in now?Boys? No? No, you go
along. I'm heading over to LordValley. What I got things to do,
and I gotta hunch that trampus wentthat way. I'm going after him.
(29:30):
Keep your head down resy we startup soon. I ain't taking old
chances of being spotted. We've gottaget away from here. I hang bed,
run Steve and Jim. We gottaget away. Rumpush. We'll make
it all right. We gotta watchour step. I'll take it easy.
We'll stay here on dock and we'reheading south after that rampersh what's the rumpush?
(29:51):
Look down there? How many iscoming? He blow? If I
ain't the Virginian see Virginia, he'swrong. Yeah, and they're not a
rival out by himself? Are youlooking for me? Well? He's looking
(30:14):
for the last time you hit him, he start come on crazy, I
reckon, we can start moving?How oh, nebraste house of Virginian.
Well he's still unconscious, but theduck says he's out of danger. Hey
(30:37):
did you bring the medicine? Yeah? Here it is. Say you know
the Virginia ought to be in ahorspital schoolmarm's house ain't no place for him.
Man, what'd they fetch him herefor? Anyway? Well, they
didn't fetch him. His horse brunghim right over there to that door.
His horse funny, ain't it ain'tfunny? Say he's been hanging around here
so much. The horse thought itwas home. Surety? Did you bring
(31:03):
him medicine? I got it righthere, ma'am. Oh, thank you.
No, you want to get someshut eye, ma'am. You look
all war out. Oh I'm allright. I'm not a bit tired.
Anyway, there's too much to do. You're sure taking good care of him,
ma'am. As long as he getswell, that's all that counts,
yes, ma'am. Oh nebrasky.I meant to ask you. Have you
seen Steve around, ma'am? AndSteve no, ma'am, No, ma'am,
(31:25):
we ain't seen Steve lately. Yousee he him? Well, he
don't work for the box age nomore. Oh, I thought it was
funny he hadn't come around. Well, if you see him, tell him
his gun is here. The Virginianhad it with him that night. Yes,
ma'am, yes, I sure we'lltell him, that is if if
I runs across him. Thank you. Excuse me? Boys, say,
don't she know Steve? Which Imeant to warn you about. There,
(31:48):
she don't know a thing, orit might be better if we didn't say
nothing. Yeah, sure, sheain't used to things like that. Yes,
she knew Steve pretty well. She'dbe pretty upset if she knew the
Virginian had a hand in on it. Well, how's the patient today?
(32:13):
O? Having up and around?Judge feeling fine? Good boy? What's
the dark say about you? All? Fixed? He says, I can
get out now anytime, only missMolly. She's been taking SIT's good care.
I mean, I kind of hateto leave. I can't say a
blame you none. You know,there's been some tot lately down around the
town. How we all might bedoing little celebrating sometime this spring celebrating what,
(32:35):
oh wedding you mean me and missMolly. How about it? Well,
I wouldn't go putting no bits upif I were you, judge.
We're saying not if I was you, you ain't getting married. Well I
didn't say that. You say,don't put up no bits? Sure you
know it don't look so good fora judge to go around gambler. No,
no, pretty sure thing. Ireckon it don't sudden. Oh morning,
(33:00):
miss Wood, good morning? Justtalking about you? Will you?
Yeah? Just this minute, Jedge, Henry, I wonder if you'd mind
leaving rest? Why no, mancertain leading, just getting ready to leave
anyhow, So long go long,Jed, see yourselves, you're hope.
So morning, miss Wood. Well, Molly, why didn't you tell me
(33:27):
what's that? Why didn't you tellme you knew? I'd find out sooner
or later? I reckon, you'retalking about Steve. I am well,
I thought you knew, Molly.I didn't know, not until this morning.
I oh, it's horrible, horrible. It had to be Molly.
You were there. Why didn't youstop it? You could have stopped it.
No, you see I was leadingthe posse. You yes, but
(33:53):
Steve was your friend. It didn'tmake much difference then your friend, and
you murdered him. Murder? Whatelse can you call it? Molly,
don't talk like that. It washard enough. Don't make it any worse.
Somebody had to do it, andI was in charge. That's our
kind of law. Does your kindof law tell you to kill your friends?
(34:15):
It ain't a question of friends orenemies. That's a question of right
or wrong. I did what Ithought was right, Molly, it was
right. Do you think I'll teachmy children to do believe that? Do
you think I'll help raising you generationto approve of murder? Where you come
from, they have policemen and courtsand jails. We ain't got that.
So when we have to, wedo things our own way. I see
(34:36):
it now. It's this life.It destroys every human feeling, a person's
god. It's destroyed you. It'smade you cruel and ruthless and cold blooded.
Well it won't destroy me. Iwon'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'reyou're leaving me too. Yes, I'm
(34:58):
leaving you too. I'm leaving everything. It's face and mean and ugly.
No, now, please get outand let me alone. Let me alone,
he paused for station identification. Thisis the Columbia Broadcasting system. It's
(35:37):
the pride of California that it producesbigger things than any state in the Union.
Hence, it was with consternation thatCalifornia learned some thirty years ago that
a baby had been born in Maine. Weighing sixteen and a half pounds.
His precocious muscles rivaled those of themythical stone crush up Paul Bunyan. There's
(35:57):
a legend back in Maine. Butwhen his mother took the heavyweight infant for
his first ride and a perambulator,that baby leaped from the carriage and,
bowing gracefully, said come on more, 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 Marinewhen only fourteen years old, and three
years later I was a strong manin vaudeville. Today, California at Last
(36:22):
claims him not only as physical directorof Paramount Studios and a radio physical trainer,
but as a singer and little theateractor as well. Ladies and gentlemen.
Richard Klein. Well, thank you, mister DeMille. What would you
(36:42):
like me to do? Sing?Act or give you a workout? I've
heard you sing, I've seen youact, and I've thrown myself on your
merses in the gymnasium. Tonight ismy turn, all right? I hope
I can take it as well asyou, Dick. Gary Cooper tells me
that you're responsible for that educated fisthe swings and the plainsman. Gary really
one of the best boxes in Hollywood, along with George raft Sir Guy Standing,
(37:04):
Jack Oakie, and strangely enough,Ida Lupino. But I'm proudest of
Gary. He's a real example ofwhat regular exercise can do. How many
people still believe that the life ofa 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, none live
a more regular, healthy life thanfilm stars. It's a matter of necessity.
(37:28):
If they didn't, they never beable 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 and exercise varies. CarolLombard and Claudette Colbert preferred tennis carry
Grant and Randolph Scott who win forpunching the bag being Crosbie and incidentally,
(37:51):
mister de Mille like the rowing machine. Glady swat Out and Adolf monsu to
lots of riding, and Molina Dietrichand may West keep their famous figures by
peddling a stationary bicycle. I've beendoing my dandist to get WC Fields inside
of the gym, but he insistshe gets all the exercise. He knees
juggling a half dozen grape fruit everymorning. My Gymnasium, by the way,
(38:14):
is one of the most historic buildingsin Hollywood. Started out as a
barn, then in nineteen fourteen misterDemil turned into a studio. It was
there that he made the first featurelength picture, The squaw Man. Keeping
fit has become so important in Hollywoodthat in the near future, every new
player at Paramount will undergo a completephysical examination when signed. All of our
(38:35):
executives will also be expected to reportregularly. Take a tip from these famous
people, ladies and gentlemen, andfind time to exercise. I guarantee you'll
be amazed at how much more workyou'll be able to accomplish, how much
better you'll feel. Do your exercisingwhere you can step into a shower immediately
after, and if you want toget the ultimate good from both exercise and
(38:55):
shower, my advice is to useLuck's toilets. I believe in physical culture
of the skin as well as therest of the body. It's part of
my business to know what's best fora healthy skin. Lucks never leaves the
skin dry as many soaps do.It has a pleasant aroma, and its
cleansing qualities are distinctly superior. Youcan be pretty certain that when the stars
(39:16):
go for something the way they dofor Luck Soap, it must be good.
And thank you, mister de Millin. So good Night's proligen. And
now back to The Virginian starring GaryCooper with Charles Bickford, Helen Mack and
John Howard. It's several days laterin the corral at the box H Ranch.
(39:46):
We find the Virginian saddling his horse. Strolling up to the gate comes
Molly Wood. She stands for amoment watching him, then speak timidly.
Good morning, Molly, I mean, good morning, ma'am. May I
commit it will be a pleasure tohave you, ma'am. You see I
(40:10):
didn't leave after all, Yes,ma'am, I am, I change 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, wild,and it takes a strong stomach to stand
for some of the things that goon out here. If you can't stand
(40:31):
it, it's best not to stayat all. You think I'm a weaklim,
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 theother day. I've looked around me at
people like Judge Henry and Shaughty andNebraski and their wives. People like that
(40:52):
can't all be wrong. They're kindand good, yes, ma'am they are,
but they don't ever let themselves forgetthe reason there here. They're building
a new country, ma'am. It'sa big job, I know, and
that's why I'm staying. I wantto help. Are we sure need it,
ma'am? Any help at all?And yours will be right. Welcome,
thank you? And now will you? Will you forgive me for what
(41:15):
I said to you? Forgive you? Well, that's easy. And will
everything be jet as it was betweenyou and me? That's up to you,
Molly. I want it to be. I've been wanting it too.
Oh God, Hey Joe, Joe, Oh hello, trampers. Ain't seeing
(41:42):
you around here for more? Yeah? I'ven't traveling set up around Joan?
Hey, crazy, come and getit? Sayin't Joe? Jim's getting mangie
with Carle Hans? What's up?They ain't no wedding. The Virginian's getting
hitched to the new school Virginian.I they think he wouldn't marry. I
heard she saved his life. Yeah, I do seem to recollect something about
(42:04):
him being shot a while ago Engines, wasn't it. Yeah, somebody plugged
him in the back. You don'tsay too bad. I didn't finish him
for good. Come on, greasydrink up? Oh boys boy? When's
the wind, miss Molly? Yeah, when's the big events? It ain't
(42:27):
gonna beat him till tomorrow. Soyou can stop pestering right now, you
bunch your main gem. Every shavemiss Molly. Do you mind if we
borrow him for his fail? Well? Can I trust you? Oh?
We'll all be very good. I'mpretty good, not too good. Boice
is the honest man, not oneof him. Please, well, all
right, I'll trust all of you. You can borrow him, but not
(42:47):
for too long. Go on ahead, boys, I'll meet you in a
couple of minutes. See your rejoiceplace for you. Don't mind me going
with him, do your honey?Well, of course not. The boys
had their rights to you just asmuch as I have. I won't be
long anyhow. We'll have plenty oftime alone. Where we're going. We'll
travel west till we find just theplace we want to make our home.
(43:08):
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 going to be my main aim
in life. Oh, I loveyou well. You better run along now.
The boys are waiting for you.Yeah, come on, I get
easy, boys, I got toget married to mine. Set him up,
(43:30):
Joe, sure, sure. Saythere's a friend of yours in town?
Yeah? Yeah, tell her nameTrampus Frampus Did he mentioned he was
a friend of mine, He said, plenty about you, all lit up
and talking me said he'd drop inagain. Any cases any interest to you?
Well it ain't. I think he'slooking for trouble myself. Wouldn't it
(43:52):
be just too bad if you foundit? Say, boss, we'll take
this thing off your hands if youwant, yes, and shave you the
trouble. Just say the word anyall all of us. No thanks,
boys, This is the matter betweenus two. I'm only hoping they don't
drift around. But a fella don'tget married every day. That's just it.
You bet to think of her andwills am I thinking? Now?
(44:14):
Boss, coming in the door,Well, look who's here? Go your
place? Get the sort of chromy, ain't it. I'm a use letting
Mangie Foreman hang around kind of trampaseasy, shorty. It's all right about
Joe, oh gracy. It seemsto me I hit of a feller around
here who got shot in the bag. Well, as far as I know,
the only way that can happen toour fellas when he's running away she
(44:38):
running away me handle is will youboss? No? I don't want no
trouble in the dressing. I'm sickof this flaver and around. Listen,
hear you. You're speaking to meetTrampas. Yes, you, you've been
spreading a lot of talk around aboutmy dealing and cattle. I'm having a
showdown with you here and now,Trampas. I'm trying not to have any
(44:58):
trouble with you, Jess now.Yeah, you've been dodging it for five
years. You've been talking plenty oftrouble to keep on my way. But
I got your corral now and I'mcalling your hand. All right, what
did you get? I've got thebelief you're a lion, white lived skunk.
This country ain't big enough to holdthe two of us. I'm giving
you little sundown and get out oftown. It's too bad you had to
(45:20):
say that trumpets. 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 inthis by not interfering. Sure we
understand, sun Now, let's listento half an hour. Now. I'm
going to tell miss Molly not toloot's over. If you wouldn't understand about
this, she's raised different. Well, we won't say nothing, boss.
(45:45):
I got Steve gunned over the hotel. I reckon that'd be the one to
use. I'll go over now andit come in. Oh here you are
(46:07):
sure, Molly. Oh, it'sbeen 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. Iwanted to run out and find you,
but I didn't. I waited quietlyin my room. I'm sorry I had
to be worried, Molly. Itdoesn't matter. Nothing matters except that you're
here. Let's don't think about it. What should we do now? No?
(46:30):
Nothing, now, it ain't quitesundown yet. I know it's a
heat force for you. I wish, I wish you didn't have to wait
alone, but it won't be forlong. What do you mean? I
did my best. I let himsay things to me no man ever said
before. If I hadn't been thinkingharder you, I reckoned. I killed
(46:51):
him then. I gave him achance 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 lethim shoot me, but so 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, Ithink what it means, killing in
cold blood. You don't think Iwant to do this or I try to
(47:12):
forgive the other killing those cattle thieves, then, Steve, I'd forced myself
to think of it as you did, law and order. But this isn't
the sane. You don't have todo this. If folks came to think
me a coward, I couldn't lookhim in the eye ever again. Or
you either, Well, that's justpride. I don't know what you call
it, but it's it's something inthe feelings of a man, deep down
inside, something a man can't goback home. If anybody happened to say
(47:36):
I was a thief, I couldn'tlet 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 ownhonesty to fight for it. And it's
to be like this always. Whenwill it ever end? There'll always be
killing to do. Until this countryain't a meeting place for men like trampus.
Then think of us, I liketogether, that's what I am thinking
of your life has always been yourown, but now it isn't. You've
(48:00):
given it to me, don't takeit 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 gotto be done. Oh no,
don't go. Come back, Pleasecome back. You can't leave me like
this. Yeah, hello, hello, Shorty, and its sundown. Yeah,
(48:28):
I've just seen trampers. He's inJoe's place. Yeah, I just
don't think a walk down that way. Listen, Boss, stay on the
sidewalk. You don't want to bestepping in one of them mud holes when
you're taking aim. I'll be allright. I'll walk with your piece and
as if you don't mind, ofcourse not come on. Watch out for
the loose boards, Boss, thiswalk is full of them. I'll watch
it. Beat all right, it'sfine. We're all with your boss.
(48:52):
I know it. Yah. Therehe is just coming out the door.
He sees your boss. Yeah.I'll go on from here alone. Shorty's
your boss and lots of luck.Thanks Sundown, Virginian. I know it,
(49:13):
Trumpus. I warned you. Well, I'm waiting. You won't have
long, all right. You nevertouched me shorty. You've got him,
boss, he's dinner in a coldmacrol Yeah, I reckon he is?
Where is he all at me?For? Please? Please let me miss
(49:34):
Molly. Molly. Oh you're safe. Oh thank god it wasn't true.
Thank god, it's all right,Molly. No need to cry. Don't
ever leave me ever again. Butwhat you said before about their none being
any tomorrow, don't that count?Nothing counts except that I love you.
Promise me you'll never leave me.Commas. Sure I promised, But I
(49:58):
still don't understand women. We takeour leave of the Virginian, but not
of Gary Cooper and Helen Mack,who come back to the microphone a little
later. Activities of the motion pictureworld draw a more newspaper man to Hollywood
(50:22):
than national affairs draw to Washington.Outstanding among them is Sidney Skolski, whose
column Hollywood appears daily in the NewYork News and in many other papers here
and abroad. Formerly author of thecolumn Tintype in the New York Sun and
Behind the News in the Daily News, sid has also been press agent for
(50:43):
such dispenses of duty as Sam Harris, Earl Carroll, and George White.
He would probably be offended if Isaid he is the best liked film reporter.
Sid is a member of that resoluteminority who believe in hewing to the
line of news and letting the quipsfall where they make Ladies and gentlemen.
Sydney Skotsk. When you call methat, Pardners smile, Well, Hi,
(51:09):
you're Skokie. I've got myself exactlywhere you want me, and you
will never get there as scots Imean, I'm as nervous here as I
make you when I visit your movieset, right, you look like one
of my pictures. All a frightenedpeople are far them. I sound like
a straight man, And when acolumnist goes straight at something, that'll be
enough. Skotsk, get on withyour Hollywood wash, pretty subtle. Nobody'd
(51:31):
ever think you were talking about lucks. Can you do better? Well,
I don't use publicity blurbs in mycolumn, and I don't intend to start
with this program. But I cantruthfully say I've seen luck soap and homes
of movie stars that I've visited,and I don't believe actresses keep lucks 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
(51:53):
Kay Francis now keeps her diary inshorthand, where Glorious 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 thehostess, I had a lovely evening,
but this wasn't it. Where FrancisX. Bushman, who was once the
(52:14):
clock Gable and Robert Taylor of hisday, now on to Hamburger stand opposite
the twentieth century Fox Studio and isstill 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 TheMagnificent Brute, was told to run up
a flight of stairs and then fallwhen the villain fired the first shot from
his gun. McLaughlin failed to dothis, and when asked why by the
(52:37):
director Victor Ranson, I'm McLoughlin.It takes more than one shot to get
me. It is a town whereSimon Simon doesn't pull down the shades in
her apartment, and rents have goneup 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 ofthe sick guards he gives you. It's
(52:58):
a town where you can drive into a drive and stand and bring home
a cake of ice wrapped in cellophane. Where the first thing Robert Taylor had
to do to be a picture starwas to pluck his eyebrows. We're at
the preview of the picture Pigskin Prey. They had a singing shown girls going
to Yale. But don't get mewrong, I love Hollywood. Hollywood is
(53:19):
a place where Ginger Rogers for awild evening, goes bowling with James Stewart
on Wilshire Boulevard, where John Barrymoregives a great performance, ordering a cup
of coffee in the brown Derby.It is a town with director Van Dyke
making the flicker Escuemo took artificial snowto the Arctic, where Jeane Hollow wears
a mink coat and with nothing underneathit but a pair of silk pajamas.
(53:42):
Where Gene Fowler now signs his letters. Gene Fowler, author of Jack London's
White Fang. But don't get mewrong, I love Hollywood. Hollywood is
a place where Charlie Chaplin keeps ahuge dictionary in his bathroom, Where Gobble
and Rex O'Malley doing a dancing Camillefell to the floor. O'Malley helped Gobble
up and rather embarrassed that to gretit. Oh dear, how could I
(54:04):
have tripped over your tiny little feet. It is a town where joseph On
Sternberg raised a bid and, whenasked why, answered I'm tired of looking
at my face and I'm not theonly one. But don't get me wrong,
I love Hollywood. Hollywood is aplace where Carol Lombard can be seen
reading a story in a fan magazinetitled clark Gables Romantic Flight. It is
(54:25):
a town where Irving Berlin, ata party, asked what song the feller
at the piano was playing, onlyto be told it was Alexander's Ragtime Band.
Where Ted Healy asked his stude JimmyBruster, who do you think we'll
get in Roosevelt or Landon? AndBruster 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 longas it supply such fud coffee. Good
(54:50):
night, thank you, good night, said we bring back the Virginian,
Gary Cooper and the school mom HelenMatt. The only thing I met to
night was seeing Gary ride a horseas he does when he really gets out
in the open, real riding somethingextra special. Helen. Back home in
(55:14):
Montana, we learned to ride themmost when we were kids, and more
kids rather are pushing the kitty car. I guess they kept my first teeth
on saddle. Letter, Is thatwhy you picked Gary for the part of
wild Bill Hiccock and the placeman misterthe mill or partly Helen? Actually he's
a perfect portrait of Hiccock in looks, size, and manner. Then there's
a similarity between the Virginian and wildBill. The Virginian is the ideal American
(55:35):
character in romance, short on speechand long on action, and wild Bill
Hiccock is the ideal American character.In fact, Hiccock 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 sixty
and one hundred men, not countingIndian, and nobody counted Indians in those
days. Oh, they were justused for practice. Probably. The fact
is Hiccock killed only in defense oflaw and order. And he said himself
(56:00):
back in the eighteen seventies, there'sno Sunday west of Junction City, no
law west of Hayes, said he, or no God west of Carson said.
It was to change all as tobring respective law to the west that
Hiccock devoted his life, finally losingit when shot by Jack McCall, who
killed him for the strangest reason everheard, because he admired him so much.
I guess it's because all this istrue that I got such a kick
(56:20):
out of making the picture. Itwas real, including the danger and riding
between two horses to escape an Indianambush. I think you did something many
stars would have avoided. However,that was in the script. What wasn't
in the script was your stopping thesix 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 withwas me, while you were running away
(56:44):
with a picture. I hope we'llsoon have another picture for you to steal.
Glynn, Gary steals a picture ofour broadcast. It's really grand lost
to me. As far as I'mconcern, I wish this program could go
on for another sixty minutes. Anythingafter your performance to Night, Helen would
be an anti climate. I canadd is that when it comes to radio
programs and soap Jimmy Lusty, everytime they're both tops. I bought the
(57:05):
same ticket and include you, Helen. Thanks Gary, goodnied everyone go Hi
Helen, good night. Flames nhave the thousands of stories that relate the
adventures of a modern robin hood.None has won such enduring popularity has Alias
Jimmy Valentine, which comes to usnext Monday Night with Pat O'Brien in the
(57:29):
title row, with Pat Our,three other Hollywood stars, Madge Evans,
Alan Jenkins and William Frawley. Oursponsors, the makers of Lux Toilets Hoape,
join me in inviting you to bewith us again next Monday Night,
when the Lux Radio THEA stars PatO'Brien and Alias Jimmy Valentine with Madge Evans
(57:50):
and an all star cast. Thisis Cecil B de Mills saying good night
to you from Hollywood, the announcerof the Melville Road. This is the
Columbia Broadcasting System. This has beenan a presentation of OTR Westerns dot com
(58:37):
and we hope you enjoyed. Pleasetake some time to like and rate our
shows in your favorite podcast application.Follow us on Facebook by going to OTR
Westerns dot com slash Facebook. Joinin the conversation by going to OTR Westerns
dot com slash Discord, and don'tforget to send us an email podcast at
OTR Westerns dot com. This episode'scopyright under the attribute should non commercial sharelight
(59:00):
copyright. For more information, goto OTR Westerns dot com slash copyright,
have it right Day, and again, thanks for listening.
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