 In Hollywood, California, the Lux Radio Theater presents Miriam Hopkins and Henry Fonda in Mary Byrne's fugitive, with Mary Aster and Paul Guilfoyle. This presents Hollywood, our play, the drama of an innocent girl pursued by both a gangster and the law, and how at last true love comes to Mary Byrne's fugitive. Our cordial thanks to you, ladies and gentlemen, who, by your loyalty to our products, Lux Toilet soap and Lux Flakes, have made these programs possible, for every time you purchase a cake of Lux Toilet soap or a package of Lux Flakes. You not only are telling us that you appreciate our performances, but you also are enabling us to continue these performances. So again, we say thank you. Tonight, our program stars Miriam Hopkins, Henry Fonda, Mary Aster and Paul Guilfoyle. Our music is directed by Louis Silvers, and as special guest, we bring you Hollywood's internationally known stylist, Mr. Travis Benton. This evening, we have a special announcement to make to all the women in our audience, and the men too, for that matter, but we're going to hold this announcement until the end of our program. So don't fail to keep your radio turned on until the very end of this hour, or I know you'll be greatly disappointed if you miss this announcement. I'm very happy to report that our regular producer, Mr. Cecil B. DeMille, is rapidly recovering from his illness, and will soon be back in the Lux Radio Theater. I'm equally pleased to be able to introduce again, as guest producer, the star of so many of your favorite screen classics. Ladies and gentlemen, Mr. Edward Arnold. Thank you, Melville Roick, and good evening, everyone. Of the stars on our stage tonight, Mary Aster is the only one whose success on the screen is the fulfillment of childhood ambitions. Miriam Hopkins wanted to be a dancer. Mr. Fonda, a journalist, and Paul Guilfoyle spent the days of his youth concentrating on architecture. It was a broken ankle that led Miss Hopkins to fame. When the fracture put an end to her dancing, she took up the new career of acting. The break proved a lucky one indeed. An immediate hit on Broadway, she starred there last in Jezebel, the screen version of which happens to be Henry Fonda's current success. Miss Hopkins' ability, together with her blunt and blue-eyed beauty, finds her today firmly entrenched among the screen's top-nuch favorites as a Samuel Goldwyn star. A chance visit to a little theater in Omaha made Henry Fonda completely forget printer's ink in favor of grease paint, though recognition didn't come until he appeared in New York in The Farmer Takes a Wife. Whisk to Hollywood, his star, has ascended without interruption. He's with us this week, straight from the set of Walter Wanger's The Adventurous. Mary Aster is in the Metro-Goldwyn-Mayer film, Paradise for Three. We want to thank Paramount for tonight's play, which we have adapted from their picture. Right now, they are busy over there starring Sylvia Sidney and you and me, which is another promising dramatic film. Tonight, we hear Miss Hopkins in the title role. Henry Fonda plays Alec McDonald. Miss Aster is heard as Goldy, and Paul Guilfoil, who is rapidly ascending the Heights at RKO Studios, where he's played a heavy role in every one of his last three films, and proves that he likes this type of character by enacting another such part tonight, that of Don Mason. And now, it's curtain time. The Lux Radio Theatre presents Miriam Hopkins and Henry Fonda in Mary Burns' fugitive, with Mary Aster and Paul Guilfoil. On the outskirts of a quiet little town in Maine, an attractive roadside coffee shop borders the State Highway. It's a bright May morning. Behind the polished wood counter, Mary Burns, the owner of the shop, is cheerfully waiting on our early customers. How about another cup of coffee, Mary? Sure, coming up. Say, it smells good. We should learn my wife to make coffee like this. Pern tastes like it was made in a rubber boot. Why don't you teach her? Well, if I did, I'd lose your business. Check, please. Thundy a plate, mister. Oh, oh, thanks. Come again. I will. Good morning. Hi, Mary. Oh, hello, Steve. What'll it be? Breakfast? I've been up since pretty early. How about that barbecue of beef, pickles and onions? One bar beef dressed up. Look mighty pretty today, Mary. Thanks. Steve, I've been wanting to talk for you to come in. Will you do me a favor? Well, you give me a cup of coffee, and I'll consider it. Okay. I'm expecting of this to the day. Oh, that young fella comes around the gray roadster. Yes, now look, Steve, from your service station, you can see way down the road. If you see the roadster coming along, will you yell or something so I can fix up? Sure, I'll hunk the horn three times. Hey, how about some cream? Oh, I'm sorry. Oh, that's all right. When I was young, keeping steady company, I used to get absent-minded myself. Well, I wouldn't say Don and I were keeping steady company. I only see him once every three or four weeks. What kind of business are you in, Mary? He's in the oil business. That's what keeps him traveling around so much. Oh, when you plan to get married? I don't know. We haven't thought much about it yet. All right, you take a tip for me. You can have him gripped for some of the other girls in this town lay eyes on him. Oh, I'm not worrying. Don's used to girls being crazy about him. He was a pretty big shot in college, all American half-pack. I'm not worrying. Nice to feel so sure of yourself. You ever met any of his folks yet? Why, no, I haven't. Oh, but that doesn't matter because I've met him. Don't forget, Steve. When you see the great roadster, honk three times, will you? OK. Don't you ever get tired? You've been murdering that thing ever since we left New York. I'm getting fed up. Stick to your driving. That's a love song, Joe. Haven't you ever been in love? No, I ain't. I'm too smart. Where did you see Mary? I've been hearing enough about her. She's certainly got you hanging on the ropes. You know, you lack imagination, Joe. Did you ever hear of Romeo and Juliet? Anthony and Cleopatra? Yeah. With all the beautiful Danes on Broadway, why do you want to marry a hillbilly that lives 100 miles from no place? Not one to, Joe. Going to. You know, you just don't appreciate girls like Mary. I know enough to leave him alone when I've got more important things to do. Well, I don't. There's nothing more important to me right now than Mary. And this is the last time I'm going to tell you. OK, OK. Take it easy, Don. I didn't mean to. Save it. Well, this is the town. Pull into that service station up the road. Ethel to a regular. Ethel, fill her up. And check the spark plugs, will you? She's missing on the grades. Yes, sir. Mary, I was just coming over. Oh, Don, I'm so glad to see you. You're glad? What do you think about me? Oh, Mary, this is Joe. Hello. Hello. Come on, Mary. Hey, where you going? We're going to take a walk down to the lake where we can have some privacy. Keep your eye on that suitcase, Joe. I'm still a minute. Let me look at you. You like what you see? Mm-hmm. Been a long time, Mary. A lifetime. I thought you were never coming back. I've been busy. But I got some news for you this time. Can you stand to shock? A news quake. We're going to Canada to spend our honeymoon. Honeymoon? Or did I forget to tell you that we were going to be married? Oh, Don. Tonight. By the first minister we can find. Tonight? Yes. Listen, Mary, I have to be in Canada tomorrow. It means a lot of money to... Well, it's what I've been working for all along. For you. Well, Don, we could wait a little. You'll be back. Not for months. Maybe never. Are you going to let me go alone? But the coffee shop... Oh, forget it. Give it away. We'll have plenty of money from now on. You won't need it. What do you say? Don, you're the craziest man I ever met. I guess that's why I love you, sir. Then it's settled. You're coming with me. Well, I don't see what else I could... Don! What is it? What's the matter, Joe? Big trailers. I told you they would. We should have hit for Canada instead of coming up here. Shut up. Don, what is it? Where's the car? The spark plugs are out. I've got the suitcase. We'll make a run for the coffee shop. Come on. Well, Don, what is it? Never mind the talk and pick up your feet. But I want to know. Get in there, quick. Lock the door. Mary, bolt those windows. Don, what's wrong? What is this? What are you running away from? Never mind the talk now. Get away from that window. Hold them off, Joe. I'll kick up a fire and get rid of the bonds. Mary, where's the kerosene? Over there. Don't stand there. Get it. Here they come. There's a raft of them. Local police? No, G-man. Let them have it. You've got to keep them. Keep them out of here for a while. Keep down! There, give me that can. Cut down. Stay out of sight. We can handle them. Mary, get the bonds out of the suitcase and burn them. Don't ask any questions. What is it? Oh, I told you to stay down. You've got to make a break for it. Come on, out the back way. You'll have to help me. I can't. My leg. Oh, he's hurt. You mean you can't run? My leg. I can't make it alone. You're out of luck, Joe. No, you can't leave me. Don't let those shit guys get me. I'll squeal before they give me the hot seat. So I can't run. Oh, no, you won't. You won't squeal ever. What? No, no! I didn't mean it. Honest, I didn't mean it. I won't squeal. I won't. I'm making sure you won't. Mary, go and hold yourself. Listen to me. I'm beating it, see? I got you. But no matter what happens, don't you double-cross me, Mary. I'll be back for you. You're mine. Nobody else's. Remember that. Goodbye, kid. The question is, did you intend to marry him? Yes. Did he ever tell you he was wanted for killing a cashier and looting a federal bank? No. Where did you think he got his money? I don't know. You don't? Yes or no? First, you admit that Mason was burning negotiable bonds in your coffee shop. Yet you stated you didn't know those bonds were stolen. No, I didn't. Then why did you think he was burning them? Well, I... You didn't know the bonds were stolen, yet you let them extinguish the flames? No. Then you did know they were stolen, and you did know that you were helping a criminal to destroy evidence. Sweetheart used the protection of your coffee shop while he tried to shoot down the officers of the law. I... Is it not evidence that you did harbor and protect him against the forces of the law? Yes! Yes! And a view and example must be made once and for all. For you are as much a criminal as the criminal himself with gun in hand and murder in his heart. This court, having found you guilty, prescribes the maximum penalty provided by law. Mary Burns, I sentence you to the penitentiary for a term of 15 years. 15 years? 15 years! We can talk now. All the little jailbirds are allowed to Twitter in their cages until they turn the lights out on us. Yeah. How'd it go today, kid? Just like yesterday. From the day before. And the day before that. I wonder how long I've been here. You said about six weeks when they first put me in with you. That's two months ago. Three and a half months. It seems long enough. Oh, you'll get used to it. I'll never get used to seeing women caged up like animals robbed of everything that belongs to them. Everything they were put on earth for. Home, children. I'll never get used to that, Goldie. I know how you feel, kid. You know, I've always wondered how a nice country girl like you got mixed up with a tough ombre-like mason. It don't make sense. It made sense enough to bury me alive for 15 years. Number 17255. That's you, Mary, Matron's calling you. Mary Bones? Yes. Oh, why didn't you answer? I've got some news for you, Mary. Mr. Cameron of the Prison for Old Board has taken a personal interest in your case. He'll be here tomorrow to talk to you. I'll take you to the walk-ins office before break. Thank you. Goldie, did you hear that? It's a great break for you, Mary. Play ball with them. Tell them everything they want to know. It's your one chance of getting out of here before 1953. I'm quite sure, Mary, that I can practically promise you a parole in return for certain information. Oh, I'll tell you anything I can, Mr. Cameron. Good. Now we want to know where Mason hides out, who his friends are, all about him. But I don't know. I don't know anything about that. Mary, you're lying. Mason was in love with you. You were his girl. He must have given you his entire confidence. Well, he didn't. Honest, he didn't. You sacrifice your freedom to protect this murderer. He's not worth your love. I don't love him. I hate him. I've hated him ever since that day. I saw him kill a man. Don't you understand? I saw him kill a man. Then if you hate him, prove it. Every moment Mason is free, innocent people are endangered. The man's an egomaniac. He'll do anything to get his picture in the papers. He'll rob. He'll kill. He's doing it now, and you can stop him. You! You have no right to put me on trial again. I never knew he was a murderer. I thought I loved him. But I don't. I don't. Then you won't help me. You won't tell. I can't. Because I don't know. Very well. Matron. Yes, sir. Take Miss Burns back to herself. Put that walking up and down. You're driving me nuts. I'm sorry. I got enough on my mind today. You ain't the only one who wants to get out of this joint. Goldie. What? Goldie, what is it? You're carrying out of that window all afternoon. What if I have? What is it, Goldie? You're not figuring on that breakup. Shut up. Come over here. See that motorboat anchor down there in the river? Yes. I'll be on that boat tonight. You're going to try it? I'm going to make it. I got friends on the outside, kid. Oh, Goldie. Goldie, you've got to take me with you. Nothing doing. You've got to. Shut up, I tell you. It's too big a chance. Goldie, please, you can't leave me here. It's the only way left. It'll be twice as hard for two of us. You'll squeal, huh? I'd do anything rather than stay here another day. Oh, Goldie, please. Well... All right, kid. Do you know what it means if we're caught? They'll give it to us in the back. I know. I've been planning this for weeks. That's why I faked spraying on my arm. Faked it? Sure. I just wanted to get a hold of some adhesive tape. Come on, start yanking it off. What for? We're going to need it when the matron makes her night rounds. What do we do? Well, here's the setup. Around 11 o'clock, the matron starts making her rounds. We'll hear her coming, and you'll be set to... Matron! Who's that? Goldie Gordon. What's the matter? It's Mary Matron. She's sick. I think she's got a fever. Oh, I'll take a look at her. She's over here. Mary. Oh, Mary, what the... She's out. She hit her head on the floor. She isn't. Are you sure? No, she's all right. Hold her arms in the back of her. I'll tape her up. We've got to work fast, Goldie. Put a strip on her mouth. We don't want her yelling when she comes to. There, that'll hold her long enough. Now, help me shove her under the bed. Through the yard, Mary. Make for the wall. And if a searchlight hits you, start... Almost there, kid. Keep in the shadow. There goes the gate open. The milk truck's coming through. Here we go, kid. Ready? Ready. Come on. Who's there? Halt! Halt! Keep going, Mary! Don't stop! The curtain falls on act one of Mary Burns' fugitive. In a moment, our stars will be back for act two. Meantime, here's a chance to test yourself on how up-to-date you are, on how much you know about the new expressions the young people are using nowadays. I'm going to ask a young high school girl in our audience to help me out in this little adventure. Miss Crow, let's start in this way. Suppose you met a very charming girl, beautifully dressed, and noticed that her slip showed an inch or two below the skirt of her frock. What would you say? Well, Mr. Ruick, I'd say it's snowing down south. The younger generation always has a phrase for it. Or you might say, you're dragging anchor. Oh, a nautical twist, eh? Yes, there are a lot of friends of mine from Ohio, says USA. USA? That's the United States of America, isn't it? In this case, it means undie showing awful. Well, well, live and learn. But whether a slip shows or not, the fastidious woman of today insists on its being dainty, fresh and lovely-looking. And that is why women are so grateful to Lux Flakes. These gentle, magical flakes remove perspiration completely and at the same time leave color and fabric fresh and bright. For their own peace of mind, in order to be sure they don't offend, dainty women luxe lingerie after each wearing. Anything safe in water, you know, is safe in Lux Flakes. May I remind you, ladies and gentlemen, that at the very end of the program, we have an announcement to make of unusual interest. And may I suggest you have pencil and paper ready. And now, Edward Arnold. Edward Arnold. Miriam Hopkins, Henry Fonda, Mary Aster and Paul Guilfoil continue in Mary Byrne's fugitive. Several weeks have passed since Mary and Goldie Gordon made good their break from prison. In a mountain hideaway, one of Don Mason's henchmen reads him a newspaper account of the escape and the search which is still going on. As yet, no trace has been found with the gangsters' sweetheart, while police and federal officers are following every lead and promise an early arrest. She sure got married, boss. Cracking out a skull like that. She must have plenty of money, huh? No, that's why I don't like it. Like what? The whole escape, everything about it. It's a phony, Luigi. They framed it for my benefit. Sure, they're using her for bait to trap me. Can't you see it? Yeah, sure, that's it. They think she knows where I am and the first thing she'll do is come to me. Not a poor kid. You know, she's probably going nuts if I knew how to get to her. Yeah, and maybe your life too. I'll find her though and I'll beat them at their own game. I'll snatch her right out from under their noses, the chumps. Mary, where you been? I've been worried about you. It's all right, Goldie, I found a job. A job? Yeah, in the kitchen of the Mercy Hospital. I start tonight on the nine o'clock shift. Well, you must be crazy. You'll be picked up before daylight. But Goldie, we are broke. I had to take a chance. I'm using the name of Alice Brown. I had to do it, Goldie. I had to do it and you won't do it. Goldie, please, I've told you over and over I don't know where Mason is and if I did, I wouldn't go to him if we stall. Don't give me any of that. Why do you think I let you make the break with me? Goldie, please. Don't Goldie me. You're not talking to the prison board or any coppers. You're talking to the dame that's sprung you, the dame that's been keeping you ever since. It's time you do something for me now. Mason's rolling in dull, big dull. And there's nobody he'd rather give a to than you. I'm through sneaking along alleys, hiding in this rat hole, eating this garbage when all the time we could be living like human beings. You and all the law can't make a crook out of me. You double-crossing little heel. After all I've done for you. Goldie. I'm sorry I did that to you. It's all right. Forget it. I've got to get back to the hospital. Good night, Goldie. Good night. You can come out now, Mr. Cameron. Any chance of her coming back? No. Well, you hurt her. She don't know where Mason is. Maybe she's suspicious of you. No, she ain't. I've been careful. All right, we'll have to change our tactics a little. Well? We'll have to make Mason come to marry Burns. How? Through you. The underworld knows you as an escaped convict. You've got to plant the information somewhere. The Burns is hiding here, waiting for Mason to contact her. Can you do it? I'll do anything for a parole. All right, then. Get busy. You frightened me. I called you loud enough. Seems to me you're awfully jumpy. Never mind cleaning that up now. My patient wants some coffee right away. Another cup? This is his third, isn't it? He says it's the only good coffee he's had since he came here. You bring it up to him. I'm expecting a phone call. I'll be glad to. Don't put the prey on his table and don't speak to him. He can't stand the sound of women's voices. I think his operation left him a little peculiar. Oh, what's the matter with him? Well, so far as I can find out, he came near blowing himself up in some kind of a chemical explosion. He can't see yet, so put the prey where he can reach it easily. All right. It's room 314 at the end of the corridor. Tell him I'll be up. Come in. Who is it? It's your coffee. Oh, thanks. That's half it, will you? No cream or sugar? No. Good. Smells like coffee. Tastes like coffee, I hope. It is coffee. I'm glad you like it. Say, you're not my nurse. No. Who are you? I'm sorry. Your nurse told me not to talk to you. Why? Why did she say that? Well, she said you didn't like the sound of women's voices. Oh. Did you ever listen to Miss Jennings' voice? Why? Yes. Well, there's your answer. I was never conscious of funny noises until they put this bandage on my eyes. Her voice isn't exactly soothing. But yours is, so go ahead and talk. Thank you. You know, if I ever get married, it'll be to a girl who makes coffee like this. Delicious. What's the matter? What are you laughing at? Oh, I'm sorry. Don't be sorry for a laugh like yours, but you didn't answer my question. Well, I laugh because I'm the girl who made the coffee. Are you? Well, you're the world's champion coffee maker, and I am the world's champion coffee drinker. How do you do? My name's McDonald. What's yours? It's Alice Brown. I work in the kitchen. I've got to get back now. Well, I'll make as much as you want. That wasn't what I said. I asked if you'd bring me some. I'll see what I can do. Miss Brown? Yes, Miss Jennings. Are you going back in there for that prey? I know. I was just coming out. Don't bother. I'll go in and get it myself. You get back to the kitchen. Yes, Miss Jennings. Oh, back so soon? Come here. You know, you're a very nice girl. Oh, I miss the McDonald. Oh. Yes. Put down on my chart that my mind wanders at times. I was lying here, day in and day out, drinking mud. And then you came along. I'll never forget you for this, Alice Brown. I'm glad. How are your eyes today? They hurt a little. Oh, that's because they're getting better. I hope so. The doctor's going to take the bandages off in a couple of weeks and we'll know whether or not I'll ever see again. Oh, you will, I'm sure of it. After what happened? It's a little explosion between scientists. I'll probably blow the roof off the lab some day. Want to come around and watch? No, thanks. I'd better get back now. No, not yet. Sit down. I can't. If the superintendent sees me here... Let's let her. The doctor said I was to be human and everything. All right? I'm being human. You know, Alice, I can't see you, but if you're anything like your voice, you're very lovely. When I lie awake at night, I try to picture what you look like. I imagine you're rather tiny. What color eyes have you? Blue. And your hair is a lovely chestnut. No, much lighter. Well, there's one thing I'm sure of. There's a twinkle in your eye. Mm-hmm, and I have big feet. Is there anything else you'd like to know? Yes, Alice, are you married? What? No. That's fine. I've been a little worried about that. Mr. McDonnell, I have to go now. Can you hold me by the hand and guide me over the rough spots? But I'm not a nurse. I don't need a nurse. I need somebody I like to talk to. And I'm to be human. Well? I'll speak to the superintendent. And here's the money for the rent, Goldie. I guess that covers everything. Yeah. I feel like a prize heel using your dough like this after the way I rousted you around. Well, you rousted me out of jail, too. I'll never forget that. Sure is a miracle you haven't been recognized. I hope our good luck lasts. That's all. I haven't even been thinking about it. I guess when you see other people suffering, you forget your own troubles. Is that it? Or is it that guy you've been walking through the park? He's suffering too, Goldie, but you'd never know it. He may be blind for life and he jokes about it. You ain't going soft on him, are you? A lot of good at doom, he wouldn't have. The way things are now. Yeah. Well, I've got to beat it. You seeing him again? I said if it was a nice morning. Yeah, don't take any chances. And their flowers coming out over there by the fountain. John Cools, I think they are. And the grass is so green and so fresh. Yes, I can smell it. Do you want to sit down now? There's a bench right here. All right. It's almost as good as being able to see having you with me. Better, maybe. I'm going to miss you when I leave here, Alice. Are you? You're supposed to say you'll miss me, too. I will. Isn't there something we could do about it? How about you coming along with my assistant? I don't even know what a chemist's laboratory looks like. That automatically makes you an expert. Or maybe you could be my secretary, or companion, or... I could make you professor of coffee. Don't think that's any small job. A house is never a home without a good cup of coffee. Your home must be lovely. It is. It's a little town called Kent up in Connecticut. My friends call it McDonald's Folly because it's mostly barn. That's the lab. The rest of it's not much, really, but it's enough for me. I've never been very good at making money or wanting to. I can understand that. Can you? A lot of people can't. Most people lie. Others cheat. Some even kill for it. But would you sell your happiness, peace of mind, contentment right now for any price? Bet you wouldn't. What's the matter? Alice? Nothing. You crying? No. Go on talking. Please. Alice, what do you think about coming home with me? Do you really want me to say yes? So much so that I'm afraid. Afraid of what? I have a premonition. I have a feeling that when I take the bandage from my eyes, that you'll have vanished. Will you, Alice? I don't know. Don't you think it's time we were starting back? All right. Thanks for the walk, madam. It's been grand. You can't do it. You can't leave here now. Where would you go? I don't know. Somewhere as far away as I can get. You'll start all over, Goldie. Yeah, you'll start all over in the pen. Fourteen years and eight months. That's what you'll start. Mary, what's the matter with you? You've been lucky here. Is it that guy that's got you going? Is that it? He asked me to marry him. Marry him? You can't. I know. That's why I'm leaving here. I don't want him to ask me again. I want to see him just once. Then I'm clearing out. You're not going to tell him anything. I want to see him. That's all. Who is it? Manager. He wants out on us. Who are you? Okay, John. Wait outside. Hello, Mary. Let me look at Johnny. John. You didn't expect me here, did you? The cops did, though. I slipped through a whole army of them. I'll do it any time to get to you. Cops? Where? They're thick as flies all around the block. That's the way we're going back. I told you they couldn't keep us apart. We're together now, you and I, and we're going to stay together. Go ahead, kid. What have you got to lose? Who's she? She's my roommate. Will she talk? Do I look silly? No. You look smart. Too smart. Go ahead, Mary. Get some things for her. No, you can't do this. You can't. It's half done now, honey. I'm taking you right out of their teeth, just like I said I would. Come on. I, uh, give me a few minutes. I'll, I'll pack my things. Go ahead, but don't be long. I'm hot as a rivet around here. No, I don't be long. Hey, you, get away from that window. Don't be given any signals or I'll drop you. Signaled? Who'd I be signaling on the cops? Why not? You wouldn't be the first stool pigeon to win a parole by double crossing a pal. What do you mean by that? Shut up. I had your number before I ever stepped in here. That was a nice break you made out of stir, wasn't it? Nice and easy. With the guards shooting over your heads. The cops must think I am trying to hook me with a stunt like that. But I'm not, Goldie. I'm smart. Hey, boss. What? Boss, a couple of cops heading for the door downstairs. I seen them from the window in the hall. They know we're here? They don't look, but we better blow. Get Mary out of that room. Tell her to make it fast. Yeah. Hey, the boss says she ain't here. What? She's gone. Look, the window's open. She went down the fire escape. Gone? Oh. You did that, didn't you, Goldie? You gave her the nod, didn't you? No. No, sir, help me, I didn't. She must have been scared that talk about the cop. She was scared, that's all. Yeah. Boss, no. Boss, not with those guys downstairs. No, boss, don't do it now. Open the door. No, boss. Open it. I ought to let you have it. No. No, no, don't. Please. Don't crawl. You can thank those guys in the street for getting away with this. And you can tell them that I'm going to find Mary Burns. No matter where she is, I'm going to find her. Tell them that. Come on. Identification. This is the Columbia Broadcasting System. We've finished act two of Mary Burns' fugitive. Before getting into the third act, we observe an old custom and hear from another personality from behind the scenes of Hollywood. Next Sunday is Easter, one of the most important religious holidays. A day of happiness and rejoicing. An interesting sidelight is that tradition has decreed it to be the official opening of spring styles, a sort of premier performance of new clothes. We figure you'll be interested in hearing what one of the screen's capital's best known authorities has to say about styles. He's Travis Banton. Mr. Banton has created clothes for Paramount Stars for 13 years. He is largely responsible for the style influence wielded today by celebrities like Claudette Colbert, Marlene Dietrich, Carol Lombard, and tonight's star, Miriam Hopkins. As a husband, Travis, and the father of two daughters, I have a marked interest in women's clothes, an interest which reaches tremendous proportions about the first day of every month. So go ahead and tell me what kind of clothes I'll be paying for this spring. It may sound strange, Eddie, but the individual exerting the greatest influence on new styles has been dead for 18 years. Her name was Eugenie. She was Empress of France 75 years ago. Do you remember those hats? I've been trying to forget them. However, I think her ideas for dresses are decidedly more sensible, and apparently the rest of the fashion world agrees. For this Easter will see a great deal of middle-nineteenth-century styles. You mean those willowy, romantic thingamajigs with the come-hither look? Well, that's one way of putting it. Dresses with snug bodices and full billowing skirts, only we don't call them thingamajigs. We call them Winterhalter dresses. Mr. Winterhalter being the court painter during Eugenie's reign. The point to keep in mind about Winterhalter dresses is this. It's very fine to go back in history for style ideas, but be careful how you apply these ideas. Don't go completely 19th century or you'll give the impression of dressing for a masquerade. Make certain you incorporate a modern touch in your hairdress and accessories. What are these Wintergarden dresses going to be made of? The name is Winterhalter. And the materials will be the same as in Eugenie's day. Tafters, heavy sattons, nets, correct streetwear in Hollywood at Easter will reveal an abundance of light colors, pastels and rose beige light gray blues. Dresses will follow very simple tailored lines. Materials will be crepes and sheer woolen. Tell me, Travis, are women skirts getting any shorter? No, they'll stay about the same. And speaking of skirts, the proper place for one to end is the middle of the calf, not any set number of inches from the floor, because they would have to vary out of necessity, but what about these things they call cocktail dresses that aren't street or evening dresses and yet come down to about the ankle? My advice is to steer clear of cocktail dresses. They've been in and out for the last six years, but a woman will look better for late afternoon and dinner if she chooses a regulation-length dress in formal fabrics such as velvet or lamé with a simple cloth-coater fur jacket. Of course, that's only my own opinion and some well-dressed women with me. There are a few other things I don't like in styles which make me look a little foolish, because I had so much to do in making them popular. For instance. Well, veils. I designed some for Marlena Dietrich on the screen and for a while they were fine, but now let's forget them for a while. Ms. Dietrich also set a style and I gave her a bunch of carnations to wear on her hair, but I think it's time we put flowers in vases and keep them off of a girl's head and fancy gloves. I'm all for gloves, but let them be simple. I'm also a staunch believer in women spending as much money as possible. Take it easy. Take it easy. Let me finish. I just want to suggest that if women spend their money on good materials and forget about doodads and ornaments, they'll dress much better and will actually economize. Paris doesn't quite agree with me, because at the moment they're advocating buttons made of walnuts and check-ins for hats and they're putting lobsters on the fronts of their dresses. A sort of a combination of solonite. By the way, did you ever taste my sour-brotten? No, I don't want to. That's too bad. Eddie, looking as you remind me of waistlines. It's waistlines. So you're sure again me tonight, aren't you? Not at all. You really prompt us out. The trend today is toward a high waistline. That's practically all right. Addresses should emphasize the natural waistline also. An address can do both easily. As Patrick Colbert shows you in Bluebeard's eighth wife, your own waistline is a pretty good asset and don't let fashion deprive you. I'll back you up on that, Mr. Manton. You look at Mr. Arnold. Any other remarks? Yes, one more, which is pretty important. Give the care of clothes the same attention as you give the purchase of clothes. Did I hear the word luxe coming up? You certainly do. I can't tell you why luxe flakes are so fine, but I can tell you that they leave washable materials looking smarter than anything else I know. And more washables will be worn this summer than ever. By smarter, I mean that colors stay fresh and alive when you use luxe and fabrics retain their new looks so much longer. You can be pretty sure that's why luxe is in all the big studio wardrobes in Hollywood. And one parting bit of advice. When you buy a hat or a dress or a pair of shoes, bear in mind that for other clothes you're going to wear that hat or dresser's shoes. Only through the coordination of good taste will you dress properly. Thank you very much. And once again, Mary Burns Fugitive starring Miriam Hopkins, Henry Fonda, Mary Astor and Paul Gilpoil. More weeks have passed. Weeks of terror for the fugitive, Mary Burns. Hunted by the police, hunted by an insane killer, she walks in the shadows. Never showing a face, startled by every footstep. Now in desperation, she turns to the only refuge left to her. The home of Alec McDonald in Connecticut. As she stands in line at the railroad ticket office, the news boys scream unnamed from the street. Hey, I'll read all about it. Killer defies police. Don Nation will get Mary Burns and Spider-G-Man. Hey, I'll read all about it. Next, please. One ticket to Kent. Round trip? How much is that? Four eighty. No, one way, please. Here you are. That's two ninety-two. Hartford special, leaving on track two. Hartford special, all aboard. Hartford special, leaving on track two. Yes, a minute. May I come in, please? What you want? Mr. McDonald, is this his house? Yes, ma'am, but he ain't been well. He just come from the hospital. Who is that, Jerry? Lady here, sir, says she want to see you. Oh, yes? What is it, please? Don't you... don't you know me? No, I don't. You can see me now. Don't you know my voice? Alice, is it really you? Yes. Catch her, Jerry. Yes, sir. What's the matter, Alice? Alice, what is it? Carry her inside, Jerry. Yes, sir. I wish you, Mr. Knight. Is she all un-fainted yet? You'll be all right. Fix a cup of tea, will you? Yes, sir. Right away, sir. Alice? Why do you look at me so curiously? Do I seem so strange to you? You're exactly as I've always pictured you. Except that you're much lovelier. How did you come here? Please, don't ask me anything now, Alex. I've been sick, that's all. I thought it'd be quiet here if it had me for a while. I'll have you for a long while, you just try and get away. Thank you. I'll make you happy here. It may be lonesome at first, but I'll... Oh, no, that's just quiet. What? Nothing. It's a good place for a rest. That's what you need, don't you? Rest, yes. That's what I need. Lick me, Alice, that jar with the tubes. Blew up on me. Well, now I've licked it. It's been worth every minute. I'm glad. Did you finish all the notes? Yes, the ones from last week, too. Good, we can go right ahead now. I've got a lot of ideas on this stuff. It may take a little time, but... What's the matter, Alice? What are you thinking about? Well, I can't stay here indefinitely. I've got to leave, Alice. Why? Because... well, because I must. Alice, look at me. Is there something you want to tell me? Is there? No. Then I'll tell you. I love you, Alice. You can't leave me now. I love you more than anything in the world. You mustn't say that, Alice. I will. It's not right. Why isn't it? Why, Alice? Don't love me. You love Alice Brown. And I'm not Alice Brown. I'm Mary Burns, an escaped convict, fugitive. I tricked you, fooled you. I've used your house as a hideout. Well, you couldn't love Mary Burns a gangsta's girl. Are you a gangsta's girl? Well, don't you read the papers. Don't you know? The papers say that Mary Burns is a gangsta's girl. Are they right? No. I love you, Mary. Don't, Alice. If I married you, I'd be responsible for your death. Won't you understand? Don Mason says I'm his. He'll never give me up. He'll kill you. He's insane. He'll kill you. I'm not afraid of Don Mason and you're not. You've got to tell me you're not. But I am. I know what he'll do. Elick, why don't you be truthful? If you'd known I was Mary Burns, you'd never have fallen in love with me. Wait a moment. There's something I want to show you. You see these? Newspaper clippings. Shall I read you the headlines? Mason Marl escapes police. Mary Burns fugitive from justice. Mason swears... Don't, please. You knew all the time. The police questioned me at the hospital after you disappeared. I learned everything about you. I followed every step of your flight through the newspapers. Why didn't you tell me? I've been waiting for you to tell me. If you'd been able to forget everything out of married Alice Brown, kept her here where she'd be safe and free, not haunted. But you can't forget. It's hanging over your whole life. That's why you've got to go back, Mary, and clear yourself. I won't go back. They didn't believe me once. Why should they now? Mary, listen to me. I want to do everything in my power to make you happy. I want to make up to you for everything you've gone through. But you don't know what it's like. You have the courage and strength to tell me who you were. You have the courage and strength to go back there. It's the only way. Our future together is up to you. We can go away where no one will ever find us, so we can stay here and face it bravely and honestly. Which will it be, Mary? I... I'll go back. Mary. Mary, darling. Long distance, please. Hello. Get me the Federal Bureau of Investigation, Washington, D.C. Nobody's ever taken anything from me that I wanted. She doesn't love that guy. The G.Heat Panitor, and she wants security. And that's what I'll give her right now, for her and for me. Come on, Miss Scrammon. You're dope, Mason. That place is 1,500 miles. They're planes, aren't they? I'm going to give those newspaper pals a minor headline that'll throw the world. Did you ever hear of Pagliacci? No. Well, never let it be said that Mason is a Pagliacci. Come on. Well, I guess you know what you're doing, McDonald. I guess I do. The wedding's to be right in this room. No guards around the place. No outward signs of protection. But why? Psychology, Mr. Cameron. I'm expecting an uninvited guest. All right. You're the boss. Where's Mary? We're almost ready. Upstairs with a matron. I'm not completely sure. Things in my life, Mary, but never one like this. It's too bad you'll have to be separated. Then as Mr. McDonald says, it'll only be for a little while. He's a fine man. He's the finest man in the world. And you're a brave kid. Have you got everything? You know, every bride should wear something old, something new, something borrowed, and something blue. Well, I've everything but something borrowed. Would you lend me something? Sure. Hand me my bag. I'll let you have my handkerchief. Thanks. Here you are. Hmm. Hanky matches you. Why, Mary, what's the matter? Nothing. That revolved in your bag. I have to carry it, Mary. Oh, I know. It just made me remember. I'm not just a happy girl getting married. I'm Mary Burns, fugitive. Ellick. Hello. Nervous? Well, isn't every girl nervous at her wedding? I suppose so. Don't be frightened, dear. I'm not. Ellick, this marriage is too unfair to you. It's what I want. Thank you, darling. They're waiting. Come on, Mrs. Kelly. Do you take this woman for your lawfully wedded wife to love, honor, and cherish as long as you both shall live? I do. If there be anyone who knows why this man and this woman should not be joined together in wedlock, let him now speak or forever after. I'll speak. Shut up. Oh, shut up, everybody. Stand where you are. Mary, come here. Mason, you can't get away with this. You poor sap. Did you think I was going to sit by and let you marry my girl? Mason, you're nothing but a chief grandstander. Yeah? I'm the most famous guy in the country. That's all. You're insane, Mason. I'll show you how insane I am. Mary, come here. Ellick. You'd better go, Miss. Yeah, make it snappy, kid. We've got to get going. You, McDonnell, that crack about my being a cheap grandstander is your last crack. But I'm going to give you a memory to take with you. Mary, show that Sir Gallowhead you were kidnapped. Show him who you really love. Show it to him with a kiss, Angel. All right. Yeah. What do you think of that, Sir Gallowhead? Come on, kid, let's land. Wait until I get my handbag on the table. I'll make it snappy. Mary, that's my bag. Shut up, you. Hurry up, baby. All right, Don. Are you ready? Yes, Don. Get back. Get away from him. You got him, Mary. He's dead. Dead? I killed him. I've killed him, then. Oh, my God! All right, Mary, don't cry anymore. I had to do it, Ellick. I had to. He'd have killed you. That's all I could think of. His life against yours. Oh, I don't care what happens to me now. I don't care what... Darling, don't look up here. Oh, sorry. Come in, Cameron. I'm leaving for Washington in a little while. I'd like to speak to you, Mary. I know. I'll be ready in a few minutes. Oh, there's no rush for you. What? I just phoned headquarters. They're pretty proud of you, Mary, and they'd like to show their appreciation. The chief cut through a little red tape and had a paper drawn up. It isn't absolutely legal yet. Let me see. This is to certify that the prisoner known as Mary Burns has been granted complete and full pardon and has been remanded to the custody of and is responsible. Read it, Mary. To the custody of and responsible to Ellick McDonald. Husband. Thank you, Miriam Hopkins, Henry Fonda, and Mary Fonda. Thank you, Mary. Thank you, Miriam Hopkins, Henry Fonda, and our all-star cast. In just a moment, Mr. Arnold will bring our stars back for a curtain call. And remember, right after the chat with our stars, you will hear the announcement, which was promised earlier in the program. Edward Arnold. Thank you. A word now with Miriam Hopkins and Henry Fonda. I want to thank you, Mr. Arnold, Mary Aster, Paul Guilford, and everyone who worked with Henry Fonda and me tonight. I appeared in Seventh Heaven. That was the first broadcast of the Lux Radio Theater. And you've beaten me by a few years, Miriam. Tonight was my first. Well, I'm sure you'll come back again if you liked it as much as I did. This was my third time here. I used to wonder if people in general had a real interest in listening to drama on the air. But the marvelous success of the Lux Radio Theater has proved beyond a doubt that they have. Thank you, Miriam. And I know that's going to help Mr. DeMille, our regular producer, get better a lot faster. By the way, Eddie, how's Mr. DeMille getting along? I'm glad to say splendidly. He'll be back here next Monday night. Fine. And what's the play going to be? Well, I'm going to tell you that in a minute or two. And I'm sure you'll agree that both the show and the cast will be playing for next Monday night a very unusual. We're really very proud of it. Well, just in case that's a hint to sit down, I think you and I, Hank, had better end our performance now. And thank you again. Yes, the lady's right, Eddie. Good night. Good night, Henry. Thank you, Miriam Hopkins and Henry Fonda. And now, while we are waiting for Mr. Arnold to come back and tell us what has been planned for next week's performance, I'm going to make our special announcement to you. For a long time, the sponsors of this program have been trying to think of some means of expressing their appreciation for your enthusiasm and loyalty. To do this, we have searched for something beautiful and yet practical, something that would have a real value so that it could be kept for many years, something that would be part of your everyday lives. Well, it wasn't easy to get. But finally, the makers of Lux Flakes through the cooperation of the world's largest silversmith have been able to obtain one of the most beautiful sets of teaspoons I have ever seen. They are original Roger Silver plate, guaranteed by the International Silver Company. These teaspoons have been specially designed in an exclusive pattern called Allure. This pattern is new, dainty and modern. Its delicate wheat motif sweeps gracefully from bowl to tip. It is not ornate, but has just enough design to add character to the sparkling beauty of the silverware. And of course, there is absolutely no advertising on the spoons in any way whatsoever. We knew that you would want enough to go around. So while the supply lasts, you may get six spoons, a complete half dozen, in the easiest way imaginable. And a written guarantee of satisfaction from the International Silver Company is enclosed with each half dozen spoons. Just let me read you part of what it says on the guarantee. Every piece is guaranteed to give satisfaction in family use and will be replaced without charge at any time it does not conform to this guarantee. Now, these teaspoons are really valuable. The kind of spoons that you buy thoughtfully with the idea of having them give you a lifetime of beauty and service. While the supply lasts, you can get these spoons simply by sending to Luxe, Meridon, Connecticut, 50 cents in coin, the top from a package of Luxe, large size, and your name and address. Let me repeat that. Luxe, Meridon, M-E-R-I-D-E-N, Meridon, Connecticut. This offer is good only in the United States. Be sure to send a top from the large size box of Luxe. The large size is more convenient and economical, too. And here's more good news. Many local dealers have sales on Luxe flakes right now, so you will be able to save money on buying Luxe at the same time you get these spoons. Now, let me repeat. Send the top from a large package of Luxe, print your name and address clearly on a piece of paper, wrap 50 cents in coin in the paper, and mail to Luxe, Meridon, Connecticut. That's L-U-X, Luxe, Meridon, M-E-R-I-D-E-N, Connecticut. This offer is good only in the United States. We are so sure you'll be delighted with these spoons that as an extra guarantee, if for any reason you don't like them, just return them and your 50 cents will be promptly refunded. So send in at once and in no time at all you will have a complete half-dozen of these really beautiful, original Rogers silver plate teaspoons doubly guaranteed. This is a guarantee by the makers of Luxe and a written guarantee by the International Silver Company, the world's largest silversmith. And now, here is Mr. Edwin Arnold with news of next week's show. And here, ladies and gentlemen, is another announcement that I'm sure will delight you all. On this stage next Monday night you'll hear one of the most popular stars the screen and radio has ever produced. It will be her first appearance in the Luxe Radio Theater and she comes to you in our air version of her current motion picture Mad About Music, which is making such a tremendous hit today throughout the country. I refer to Deanna Durbin and we bring you not only Ms. Durbin, but three other stars seen with her in this grand play of song and sentiment. Herbert Marshall, Gail Patrick and Mr. William Frawley. Our sponsors, the makers of Luxe Flakes join me in inviting you here next Monday night. When the Luxe Radio Theater presents Deanna Durbin, Herbert Marshall, Gail Patrick and William Frawley in Mad About Music with Cecil B. DeMille back here as usual as your host and producer. This is Edwin Arnold sending thanks to you all and good night. Edwin Arnold appeared tonight through courtesy of BP Schubert. His next picture is Columbia's You Can't Take It With You. Lewis Silvers is from 20th Century Fox where he was in charge of music for Rebecca of Sunnybrook Farm. Paul Guilfoil will be seen next in The Saint in New York. The screenplay, Mary Burns Fugitive, was written by Jean Towne, Graham Baker and Lewis Stevens. Our cast tonight included Earl Gunn as Cameron, Sybil Harris as the matron, Eddie Edward Mar as Luigi, Justina Wayne as Miss Jennings, Perry Ivins as Steve, Roger Drake as Joe, Lou Payton as Jeremiah, Lou Merrill as District Attorney and Frank Nelson as Judge. On tonight's program was thanks for the memory from the big broadcast of 1938. This is the Columbia Broadcasting System.