← Down These Mean Streets (Old Time Radio Detectives)
Down These Mean Streets (Old Time Radio Detectives)
Episode 653 - Leading Men of Mystery: Glenn Ford (Christopher London & Studio One)
01:38:00
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Get this and get it straight. Crime is a sucker's road and those who travel it wind up in the gut of the prison of the grave. The story you are about to hear is true. Only the names have been changed to protect the innocent. The Adventures of Sam Spade Detective the Adventures of the Saint starring Vincent Price. Bob Bailey in the exciting adventures of the man with the action packed expense account, America's fabulous freelance insurance investigator. Yours truly, Johnny Dollar. Hello and welcome to down these Mean Streets with more old time radio detectives and crime solvers. Our month long series of Hollywood leading men with careers in radio crime solving concludes today with Glenn Ford, an actor who found big screen success in multiple genres. Noir pictures like Gilda and the Big heat, Westerns like 310 to Yuma and social dramas like Blackboard Jungle. Other movie fans may know him as Jonathan Kent in a short but memorable appearance in 1978's Superman. Unlike the other actors we've heard in this series, Glenn Ford starred in a network radio show and he played a character created for the air by one of the country's most popular mystery writers. Earl Stanley Gardner, who gave us Perry Mason, came up with Christopher London, a globe trotting private investigator whose cases took him all around the world. The series was produced and directed by William N. Robeson, a veteran of Escape and the Man Called X. And it featured a terrific supporting cast of west coast radio players. Unfortunately, it only lasted a few months in early 1950 and only three episodes of the series are known to survive today. But the surviving shows are all great, as is Glenn Ford's portrayal. Christopher London is a well produced detective drama and the international angle gave him a variety of mysteries to investigate. It's too bad the show didn't run longer and that we only have three episodes available to us. We'll hear one of those episodes today. From February 5, 1950, it's a show called the Missing Heiress. Then we'll hear Glenn Ford as a man on the run in an adaptation of the 39 steps, John Buchan's spy adventure that Alfred Hitchcock memorably adapted for the big screen. It's a radio production from Studio One for March 23, 1948. It's a pair of international adventures starring Glenn Ford and will get underway right after these messages. The doctors we heard from had this to say a laxative should be effective, gentle, close to natural acting. A medicine that can be used with complete confidence. Now, Ex Lax has been popular with many doctors and millions of people over the years because chocolate and Ex Lax is effective overnight. It helps you toward your normal regularity. Ex Lax is so gentle, so close to natural acting. There's no upset. That's why many doctors and millions of people use Exlax with complete confidence. Exlax, the laxative that helps you toward your normal regularity gently overnight. 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Remember, Quaker and Mother's Oats are the same to every woman listening Tonight, I want to say a special word about making every dinner or supper you serve taste better. I want to urge you to start serving Roma Wine with your meals. It's simple, the cost is very, very little and it works magic in making food more enjoyable. You can serve Roma wine with any meal or any time in any kind of glass you wish. Serve it chilled. Try different kinds of Roma wine until you find those you enjoy most of all. Try hearty red Roma California Burgundy or the delicately delicious Roma California Sauterne. The cost is mere pennies a glassful, but you'll find even a pickup supper tastes like a banquet. Get Roma wines today and if your dealer is temporarily out of them, please try again soon. Just ask for R O M a Roma Wines, America's largest selling wines made in California for enjoyment throughout the world. I dedicate this program to the fight against crime. Not merely crimes of violence and crimes of dishonesty, but crimes of intolerance, discrimination and bad citizenship crimes against America. The National Broadcasting Company presents Christopher London, created especially for radio by the most widely read mystery story writer in the world, Earl Stanley Gardner. Produced and directed by William N. Robeson and starring Mr. Glenn Ford. I am Christopher London, private investigator and sometimes student of the teachings of the Orient. In the far away monastery of the Moon of Yesterday in the hills of Western China, I learned many things. I like to think that one of them was tolerance. But I find it hard to be tolerant of greed and murder. Yet any man who agrees to look for a beautiful missing heiress along the San Francisco waterfront is asking for trouble, and usually he gets it. In this case, it was me. And I got started in the lavish Knob Hill home of Arthur J. Manners, attorney at law, where I had been invited on a professional basis. Fix up your drink, London? No, thanks. I asked you to come here because I didn't want to talk about this thing at the office. It's a nice place you have here. Awfully nice. Oh, it's too big, too expensive. Now, first I'd better show you the young lady's picture. To Arthur, my dear friend and guardian. Helen. Oh, she's a beautiful girl, Mr. Manners. Too beautiful, too. Too rich. Too spoiled. From the time my parents died five years ago, Helen Falconer has been a constant worry to me. And now this. This time I'm really worried. Now, let's see. You said a week ago she arrived on the plane from Mexico. Yes, for her first visit in more than a year. She wired me when to expect her. And she was on the plane. I checked. I found somebody who remembers seeing her get into a dark blue sedan. And that's all. And then she disappeared. Vanished. And just when I have to produce her in court next week for an accounting of my guardianship. What about relatives, friends? No living relatives and no friends in San Francisco. She's never here for more than a few days at a time. Doesn't live anywhere for more than a couple of months at a time. The French Riviera, Rio, New York, Acapulco. Only Diamond. Know where she is, is when she wires me for money. You've checked the hospitals, I suppose? In the morgue. Certainly. Why haven't you gone to the police? Afraid to. That's why you're here. Where did I put that? Oh, here, you better take this. Driver's license. Yeah, she applied for it last time she was here. Age, height, hair, eyes and so on. Thumbprint signature might help. It might indeed. You'll know her by a ring she wears. She never takes it off. Antique emerald ring, heavy gold setting stone engraved with a serpent and an arrow. Find that ring and you'll know who it is. Even if she has her head In a sack. Yes. Come in. There's a Mr. Lawrence Scoville. Oh, tell him to go away. I'm busy. I said I'd call him if I heard anything. Yes, sir. Scoville. I should have told you about him. London. Claims he's engaged to Helen. Met her recently in New York. Well, maybe, maybe not. Says she wired him she was coming and to meet her here in San Francisco. Spends his days mooning around my office. I wish he'd go back to New York. He gets on my nerves. Maybe I'd better start by seeing him. No. Yes. Just a waste of time. He doesn't know a thing. You interest me, Mr. Manners. Have you changed your mind about wanting me to locate this girl? Changed my mind? No. Why? Because you're stalling. I. Yes, I suppose I am. But it's because I'm worried. And I don't know how much I should confide in anybody. In that case, we're both wasting our time. Goodbye, Mr. Manners. Now, wait. No London. Sit down, please. All right. I have reason to believe that Helen has involved herself in some sort of smuggling operation for the thrill of it, nothing more. It may be that the headquarters of this gang is at a waterfront dive named El Toro or El Torero. Something of the sort, mind you. I don't say it's true, but it may be true. Now, you must have some reason for believing it. Well, I'm not at liberty to give my reasons. I. I merely warn you that searching for her may lead you into some danger. Well, In a way, Mr. Mana's danger is my business. I'll keep in touch with you. Now, say this. Nobody ever began a search for a missing girl with more clues. A waterfront dive named El Toro, El Torero or something of the sort. It wasn't in the phone book, but I thought I knew how to find it. You take a stroll along the Embarcadero in the fog and you might find anything. I'm sorry. It's okay. I didn't hurt you, did I? No. This fog is pretty thick, isn't it? What's the matter? You lost? In a way. I was looking for a place. I forget the name, stupid. Yeah. What you want there? Oh, a drink. I don't mind if I do. Well, fine. Let's go. Oh, yes, I remember it now. Oh, that's swell, honey. El Torel. El Toro. That's it. A giant. Strictly a die. You know where it is? What do you want to go there for? I told you. You. Yeah, you said a drink. What is it really? A dame. Maybe you were gonna buy a drink anyway. Certainly. Okay, honey. Only no dame you're looking for is gonna be at El. I'm gonna sit at a table. Sure. How about right here, huh? Yeah. Yeah. Okay. Yeah, I got to share here. Hey, now that I see in the light, you know, you ain't a bad looking guy. What's your name? Smith. Yeah, yeah, Smith. I thought it was. I'm Babe. What'll it be, folks? Make mine a ginger bourbon. I think you can find an El Toro or its equivalent on any duck site in the world. The retreat of the happy companions in Hong Kong was another El Toro. And the sanctuary of the affectionate friends in Shanghai was another El Toro. A small, dark place within the sound of the sea where men speak in low voices to each other of their plans and schemes to catch fortune by the tail. In the small, dark place, there was several seven or eight seafaring men, a couple of women sitting together quietly waiting, I think, for something that would never come. There was a piano player, a bartender and a waiter, and Babe and me. At another time, perhaps, El Toro would have been raucous with the sounds of fighting and of laughter. But tonight, well, tonight it was brooding in the fog, waiting. Hey, Babe. Been looking all over for you. You found me. Mr. Smith, this is Gus. Say hello to the man, Gus. Hello. Hello. Hello, Gus. Who asked you to sit down? My feet hurt. Just make port, Gus. Mary Maloney. Irish ship. Greek. How long you been gone, Gus? Oh, don't you remember? I should remember how long you've been gone. I never even seen you before. Babe, listen, get lost. I'm busy. I went up to the room before I come looking for you. I brought a case of some kind of Greek stuff. Greeks don't drink. Oh, they don't, huh? What? What else did you bring? We're still married, ain't we? Who says we ain't? Yeah, I brought some perfume and stuff. Well, come on then, you overgrown droop. Is it okay if I take a poke at Mr. Smith? Mr. Smith's a friend of mine. Oh, but, Babe, I just got. Okay, just one, though. Stand up. Mr. Smith, you're in the wrong port. It'll be a pleasure. Hey, Babe, where's my upper plate? Here, Droop. Oh, that's lucky. Uneven crack. That's a nice left you got, Mr. Smith. No hard feelings? No, not at all. Then try my left. I don't suppose I was out more than a minute or so, but when I came to, Gus and Babe were gone and three new customers had Arrived, two men and a girl. I sat at a table in a shadowed corner. Almost certainly the girl was the one I was looking for. Okay, mister? Yeah, I'm all right. Oh, I'll clean this up. Oh. What hit me? First day's home from a voyage. Gus always does that. He don't mean no harm. What do you have? Say, those three people over there, they just come in. Oh, yeah. While you wasn't paying no attention. Here's a buck. I guess you must have dropped it. Thanks. You know them? Not me, mister. I don't know nothing. Do they come here very often? Ah, mister, why don't you go home? We have enough trouble around here without strangers. It just ain't healthy for strangers here. Especially strangers with noses. Noses which they stick into other people's business. Oh, no. Why don't you go home? I recognized the girl from the photograph Manners had shown me. Although her hair was a different shade, she was heavily suntanned, and the clothes she wore left so little to the imagination that it was hard to concentrate on her face. But if I needed further proof, I saw the flash of emerald green as she lifted her hand to her cheek. The men with her. One was Oriental. Manchurian, probably. The other may have come from the Middle East. Suddenly, they seem to come to some sort of agreement. I got up, a Manchurian spoke an inaudible word or two to the girl, and the two men left El Toro together. Well, it seemed obvious that they would soon return, so I took advantage of the moment. Excuse me. Helen Falconer. What? Who? You're Helen Falconer? That's what I thought you said. I never heard of her. Have you got a minute? Sit down. Thanks. Now, you don't want to change your mind. About what? About being Helen Falcon. I told you, I never heard that name before. What's this all about? You know, it's funny. I got an idea that I was intended to meet you here. You were intended to meet me here? Yeah. Or Helen Falconer. Oh, we're back to that again, huh? You know, I'm getting kind of tired of Helen. What's her name already? Did you really want to meet her? Yeah. You see, she was supposed to look exactly like you. Oh, you don't know her, then? A man showed me a picture. Arthur J. Manors, an attorney. And she looks like me? Exactly. How do you like the way she looks? I like it. Have you got a name? Yeah. Christopher London. I'm now, what difference does it make? Call me Helen if you want to. Helen. What's her name? Cigarette Helen. Thanks. That's a good looking case. Gold? Yeah, I guess so. It's shiny as a mirror. Here. Take it back before it sticks to me. Thanks. Oh, there's a light. You know, I'm wondering about you. As a matter of fact, I'm wondering about me, too. What do you mean? Well, I'm. I'm wondering if I could get up right now and walk out of here. And forget me? Yeah. Yeah, and forget you. Do you want to try? Not yet. Say, it's a beautiful ring. Is it an emerald? All right. It's just some kind of green stone. Mind if I look at it? It's carved. Serpent and arrow. I imagine that's pretty valuable. Aren't you kind of taking a chance waiting around a place like this? I usually wear it turned around with a stone on the other side. Like this? Why not simply leave it at home, then? Oh, no, I never take it off. Sort of good luck charm? Sort of. Has it brought you any good luck? Yeah, all the time. Christopher. All the time. Helen. Oh, yes, that's me, isn't it? Yeah. Does the name Scoville mean anything to you? Lawrence Scoville? You know more people that I never heard of. Helen, listen, I'm serious. Do you know who you are? Do you know where you are? Where were you a week ago tonight? Oh, two weeks ago. Well, a month ago. Don't you know? Of course I know. Well, then where? Why do you care? Well, answer me. No, answer me, Helen. Can't you remember now, where you going? Don't come with me. Why? They'll be back soon, and I have to go without me. Waiter. How much? A buck, 20. All right. Here you are. Come on, Helen. Christopher, don't. Come on. Now. What are you afraid of, Christopher? Can you see in this fog? Oh, not much. Neither can I. Hold on to me, Helen. It's important. Who are the men who. Who are the men you are with? The men who are coming back. Hold me. Oh, don't you understand? You got to answer my question. I don't know. I don't know. Hold me. Christopher. Christopher. Helen, no. You mustn't ask me anything. It's not safe. If you're in danger, then. I'm in no danger. I know what I'm doing and I'm safe and protected. But don't ever try to find me again, Christian, because that's dangerous for you. Worse danger than the ghost. Where is he? Over here, Inspector. Now, you. What's the date? Well, the fifth. You know what city you're in? Oh, San Francisco. What's your name? Oh, Christopher London. I think he's okay, Inspector. He started coming to a minute ago. Yeah. Hello, London. Well, Inspector Griffith. It's too bad you weren't here a while ago. What happened? Well, I'll tell you. I was standing along here somewhere with my arms around one of the most beautiful women I ever saw. Very funny. You didn't see a Hedgeham? Know. Might have been a sailor from somewhere in the Middle East. Maybe a Manchurian. You kill me, London. What were you doing down here? You wouldn't believe me if I told you, but I seem to have been robbed. You're surprised? I see our wallet's gone. Letters, cards, money. Oh, what do you know? I missed my cigarette case. You can sign a report in the morning. How do you feel? Bad. Bad, Inspector. Not good. Get in. We'll take you home. Wanna stop the receiving hospital? Our Song will take care of me. Oh, yeah? That Chinese boy of yours, is he a doctor too? Our song can do anything and do it with quotations. The inspector. I'm gonna ask you a favor. Yeah? Here's my cigarette case of those guys missed. It's got some fingerprints on it. Well, you have them checked fast. Give it to me. Not. Careful, careful. Those prints tell your grandmother. You know, it takes a while. Even if I told you where to look in the file, that might help. A driver's license issued to Helen Falconer. This city. What's the angle? If there is an angle, you'll be the first to know. No, you can let me out here. Okay. San Francisco Police. 11:00pm San Francisco Police. Ellen F, A, L C O N E R D I want that cigarette case back. You'll get it after I check. As I drag myself up to my apartment, I hope that our Song would be waiting for me with tea and many ancient Chinese quotations. He was. But he was not alone. I had a visitor in a gray flannel suit and striped silk tie. Mr. Linda, I'm Larry Scoville. I wanted to talk to you about Helen Faulkner. But the way you look, I. Well, I mean, I. Well, I guess it'll have to wait until tomorrow. It's all right. It's all right. My injuries aren't fatal. Now, sit down. I'll be with you in a minute. All right. Call me to London. I will make first aid. This warm, damp cloth will soon erase the signs of violence as the soft snow hides the scars of the gardener's toil. Are you still bleeding? There is no more blood. Now. May this helpless one inquire what happened? Hand me the towel. Thanks. I don't know. I sung it. I got an idea that this is not the first nor the last blood that will be shed in this case. Has Mr. Scoville been waiting long? Not long. Yeah. Looks a little better. All right, I'll see what he wants. Oh, bring us something to drink, will you? That's all there is to it. Mr. London, I was in Mr. Manner's office and happened to overhear something that made me think he'd asked you to search for Helen. If you can't tell me anything about where she is or if you don't know. Okay, I. I understand. But can you tell me this? Is she still alive? No good worrying, Scoville. Now, tell me again. You say somebody broke into your room at the hotel. Now, at what time? Oh, it must have been between 8 and 10:30 tonight. Nothing was taken? Nothing at all. You're sure about it? Certain. And you have no idea what they were looking for? I can't imagine. All right. Scoville, have you known Helen a long time? Well, only a few weeks, really. But it was long enough for us to fall in love. Then you don't know very much about her. I mean, who her friends are or what she does here and abroad. Well, I. No, I guess that's true, but I'll get it. I sound. Why, Mr. Manners. Good evening, London. Come in. I. I was in the neighborhood and I thought I'd take a chance that you were still awake because I. Oh, Scoville. Hello. Well, you had an accident, London. More humiliating than painful. It's nothing. Oh, sit down. Oh, no time. I'm on my way home. I. I just stopped in to tell you this concerns you too, Scoville. To tell you that I've seen my ward and talked with her. Oh, you did? Is she all right? Quite all right. When can I see her? I'm afraid. Well, I'm afraid you can't see her. She. Well, the fact is she's fallen in love with somebody else and she wants you to forgive and forget, I believe the expression goes. No, no, I don't believe it. She's very definite about it. Now, London, I'm glad to say that my suspicions were entirely unfounded. I'll send you a check in the morning. And if you'll return that driver's license, we can consider the matter closed. I'm sorry, Manners. I haven't got the license. I lost it. Oh, well, that's not important then. Good. After Manners left, I got my hat and coat in Spite of our song's protests. And then I had trouble with Scoville. You know something about Helen, don't you? You're going out to meet her now, Scoville, there's nothing I can tell you. I'm going with you. I. I don't believe. Manners. I don't believe she'd do that. Oh, it'll be all right, Scoville. We'll talk about it tomorrow. You go back to your hotel and I'll call you there in the morning. Mr. London, it is not for the trembling lamb to give counsel to the lion. But sure, sure. You don't want me to go out, huh? In the night the tender rice plants sleep and sleeping grow. Look, I know, I know. I'm taking the car. I. Song, if anybody calls, you don't know when I'll be back. I left poor Scoville standing on the street. I got my car out of the garage and headed for the waterfront. For a while I thought another car was following me, but the fog made it impossible to be sure. I parked my car about two blocks from El Toro and started to walk up the Embarcadero. I thought I heard steps behind me, but when I halted, they halted. 2. Then when I started again, they started. I'd walked about a block when. Scoville. Back a block. I found a telephone at an all night drugstore and was lucky enough to get Inspector Griffith at Homicide. Okay, London, I've got it all. Go back and wait till we get there. Just a second. Did you find out anything about those fingerprints? Yeah. I'll bring the cigarette case with me. Well, did the prints match? Yeah, they matched. I thought they would. So what? So now you know who Dame is named Helen Faulconer. Wait for us. I didn't wait for Griffith and the men from Homicide. I passed the crumpled figure that had been Lawrence Scoville, alone and shrouded in the fog. There was nothing I could do or say, so I didn't pause. He had been alive and now he was dead. But uselessly, wantonly dead. In front of El Toro there was a taxi waiting. The door was open. A girl came out, her face concealed by a veil. But I saw a flash of emerald green as she entered the cab. There was no need for me to follow her. I knew where she was going. I knew where she had to be going. And I was sure there was some fancy illegal driving I could get there first. I parked my car in the shadows. A taxi pulled up not more than a minute later. I followed her up the Gravel walk as quietly as I could and stood behind her as she knocked on the door. Yes, Arthur, what happened? I was. I'm right behind you. Now. Shall we go in? What is this? Did you come here together? Close the door. Manners, this is no time for jealous quarrels. Well, now, what is this? London? What do you want? I want to make amends for the death of a young man who died because I unconsciously led him to his murderer. We were in Manor's elegant study, the three of us. The girl still beautiful, but pale and tense. Arthur J. Manors, attorney at law, calm now, almost too self assured. And Christopher London, who probably looked as if he'd spent a night in a bowling alley as a stand in for a ten pin. Manners was being pleasant now. I'd never seen him quite so pleasant. Well, I'm glad that you and Helen could meet here. We met at El Toro. But the briefing you gave me, I couldn't have missed her. You arranged our meeting. You wrote the script and directed the play. But you didn't figure on this ending. Christopher, listen to me. What's your name? Helen. Arthur, what's he talking about? What do you mean, London? If you've got anything to say, say it. She's Helen Falconer, you know that. Christopher, I can explain about those awful men at El Toro, but it was just a silly. I don't know, I get into things like that. Why, you fool. Don't you see how transparent you've been? How clear as glass? Get out of here. Get out. Manor. Sit down. That's better. Now let's talk. Helen Falconer was your ward. You managed her estate. She was out of the country most of the time and your expenses were heavy. A house like this costs a lot to buy and to live in. And a girl like this runs into money too. I think you've been taking Helen Falconer's money for a long time. At last she became suspicious and decided to fly up from Mexico for an accounting. Well, that's true, Christopher, but I was wrong. Oh, very wrong. Now wait. Apparently you've got the absurd idea that this girl is not Helen Falconer. Well, would a fingerprint prove it to you? Not on a driver's license nor a cigarette case. You know, it was a smart idea having your girlfriend apply for a license under the name of Helen Falconer. But it only proves the murder was well planned and long premeditated. You. You, whatever your name is. Christopher, please. That's your ring on your finger. You wear it constantly. You never take it off. You both told Me that. Then why isn't the skin underneath the ring white? Why is it as suntanned as the rest of your hand? Don't try it, Manners. Don't. Christopher. Christopher, no, don't worry. I think he'll live long enough to die as a stay direct. Well, I. I just did what he told me. I didn't know why. I. I will. You. You believe me, don't you, Christopher? Sure. Sure, I believe you. And I'll bet the jury will too. I'll bet they won't give you. Yes, Hasan. You and your revered ancestors were. Well, it was so right. Oh, yes. Greed and duplicity go hand in hand with murder. Arthur Manners killed Helen Faulkner on the day she arrived from Mexico. Her body, well, may never be found. But Manners will die because he shot Lawrence Scoville. Scoville must have worried him. Oh, yes, the murderers must worry. He went through Scoville's hotel room because he was afraid the boy might have a picture of the true Helen Falconer. Then he had to kill him because he followed me. Scoville had seen the girl I thought was Helen. Well, the whole thing would have fallen apart. And the young lady? Oh, the misguided girlfriend of an attorney at law. With time off for good behavior, she will still be as beautiful when she gets out. But why were you called in at all? I was Apache. The question were ever to come up, I would have been called on to swear that I had found and identified the missing Helen Falconer and recognized, turned her to her worried guardian. That way Manners would have gone right on receiving the money from the dead Helen Falconer's estate. Only. Only what? Only Manners forgot that the phony Helen Falconer's license had been issued less than six months ago. And Manners forgot that he told me that the real Helen Faulkner had not been backed in the States for more than a year. Song. We wouldn't have made that mistake. No, would we? Oh, no, Mr. London. This humble one can manufacture his own official document when necessary. You know, sometimes our song, I think, is a pity that we didn't choose a life of crime. Oh, no. Mr. London is very appealing, but unrewarding. Remember, it is said, if a man walk even tippy toe on road of wrongdoing, his reward surely waits him at road's end. The hangman's noose. How true. But you meet such attractive gals along the way. That was Christopher London, starring Glenn Ford and created especially for radio by the world's most widely read mystery story writer, Earl Stanley Gardner. Christopher London is produced and Directed by William N. Robeson and was tonight written by Mind Writt Lord with music composed and conducted by Lynn Murray. Mr. Ford's supporting company included Joan Banks as the phony, Helen Faulkner, Ben Wright as Arthur Manners, Charlie Long as our song, Florence Halep, Ted De Courcia, Peter Leeds, Will Wright and Stacy Harris. Be with us again next week when Christopher London returns. What's on NBC today? One hour from now, you'll hear Charles boyer and Dorothy McGuire in the theater Guild. On the air, the. And then the American Album of familiar music later today. Now stay tuned for Phil Harris and Alice Fay. Then Sam Spade on NBC. Tonight, Mr. Glenn ford stars in the 39 steps from studio one at cbs. You're a woman and you're defenseless. And you're alone on the desolate moor in the dark, handcuffed to a murderer who'd stop at nothing to get you off his hands. If that's a situation you enjoy, my lovely, have it. And welcome. We invite you to Studio One Radio, celebrated playhouse of dramatic entertainment. Featuring the world's great stories, novels and plays in special versions for listening. And now, to introduce tonight's great story, here is the director of Studio One, Fletcher Martel. Tonight we present you with a tall and shamelessly exciting story by that wizard among authors of mystery adventure, the late John buckin. With the 39 steps. We offer you spies and secrets and high doings in England and Scotland. Romantic interests aren't going to be neglected either. There are at least two mysterious ladies to be heard from. Whose charm is equaled only by the trouble in which they get themselves and a certain young man involved in our story. That young man is a personable Canadian named Richard Hannay. And tonight we have with us in Studio 1 another personable and very talented Canadian to bring Richard Hannay to life for you, Mr. Glenn Ford. With Mr. Ford, you'll be hearing Kathleen Cordell as Pamela. Mercedes McCambridge as Annabella. And Miriam Wolf as Annie. With Everett Sloan and John Stanley contributing the largest share of many villainies. The 39 Steps by John Buchan. Pleased to begin. Your seat taken? I don't think so. Well, would you mind moving your coat? Oh, I'm sorry. That's quite all right. There you are. She was rather good, wasn't she? I beg your pardon? I said, she was rather good. Oh, yes, she was. Was that the first turn? No. No, that must have been the third or fourth. I understand that this is the best music hall in London. Yes, it is. Haven't you ever been here before? No, I Just arrived from Canada a few days ago. You know, I don't usually like music hall entertainment. Please be quiet. I want to hear the next day. I beg your pardon. Ladies and gentlemen, with your kind attention and permission, I have the honor of presenting to you one of the most remarkable men in the world. Every day he commits to memory 50 new facts and remembers every one of them. Facts from history, facts from geography, Facts from newspapers, from scientific books, millions and millions of them. Think of the strain involved by his prodigious feet. His feet ain't as big as yours fell. I'm referring to his feet of memory. Attention, ladies and gentlemen. Ask him your questions and he'll answer fully and freely. Mr. Memory. Thank you. Thank you. A question, please. Ladies first. Where's the old man been since last Saturday? I'm the boo out with a good looker. A serious question, please. What won the Derby in 1921? Mr. Jack Joel's humorist, with Steve Donahue up. Won by a length, odds 6 to 1. Second and third, Craig and Erin and Lemonora. Am I right, sir? Right. Who was the last British heavyweight champion of the world? My own woman. It was Bob Fitzsimmons. He defeated Jim Corbett, heavyweight champion of America, at Carson city, Nevada, in October, 1897. He was then 34 years of age. Am I right, sir? Right. You know, I think I'm going to ask him a question. Why? Tell me about it. Another question, please. How far is Winnipeg from Montreal? Ah, a gentleman from Canada. You're welcome here, sir. Winnipeg, the third city of Canada and capital of the province of Manitoba. Distance from Montreal, 1424 miles. Am I right, sir? Quite right. I've got to get out of here. Come on, I'll help you. Please. Please. I've got to get out. Take my hand, will you? Get out of my way. Take my hand and let me clear the way for you. Thank you. Out of the way. Coming through. Give us room. Coming through, lady. Coming through. There's the door. Hurry. Hurry, please. Coming through. Who do you think they're shoving? You and lady. Coming through. Well, there we are. Thank you. Thank you very much. Don't mention it. I wanted to get out myself. May I come home with you? Did my ears deceive me or did you say, may I come home with you? Yes, please. That sounds like a very excellent idea. But what is the idea? Don't ask questions. Just take me home. I'll tell you when we get there. Well, if that's what you want. Come on, there's a bus. Well, here you are. I'll turn on the light. Not yet. Why? What's the matter? Here, let me turn this chair. Now you can turn on the light. What's this all about? Would you mind turning that mirror face to the wall? Afraid somebody outside might see you? Exactly. Oh, no. You know, I haven't that bad a reputation. I'm not worried about your reputation. Please. Well, all right, all right. You know, you don't have to go out looking for adventure. No. You carry it with you like a child playing alone. Oh, by the way, my name is Hannay. Am I allowed to know yours? Smith. Yes. All right. I'll take your coat. Thank you. Do you want to know more about me? What do you think I do for a living? Actress? Not in the way you mean. Chorus? No. Sorry. Out for adventure. That's right. That's interesting. Don't answer that telephone. Why not? Because I think it's for me. Now, listen, Malcolm. Please don't answer. All right, I'll string along. I guess I owe you an explanation. Well, I was hoping we'd get around to that. I suppose your name isn't really Smith. It depends on where I am. You may call me Annabella. Annabella Smith. A clergyman's daughter, I suppose. What makes you so nervous? Bothered by the shot in the theater? That shot was fired at me. There were two men in that theater who wanted to kill me. Oh, now, you really should be more careful about choosing your gentleman friends. No, no, you don't understand. Well, you don't make it very easy for me, now, do you? A beautiful and mysterious woman pursued by gunmen. Sounds like a spy story. That's exactly what it is. You're a spy. I prefer the word agent. For what country? For any country that pays me. I suppose you've come here to dig up some great big state secret. No. As a matter of fact, I'm here to save a secret from being dug up. A very important secret of this country. Not because I love England, but because it will pay me better that way. Thank you. On behalf of the British Empire. This is serious. A very clever agent of a certain foreign power. Is on the point of obtaining a secret vital to your air ministry. I tracked two of his men to that music hall. Unfortunately, they recognized me. That's why they're after me now. Have you ever heard of a thing called persecution mania? You don't believe? Frankly, I don't. Go and look down into the street. Then what? Go to the window, look down into the street. You'll probably see two men lounging around opposite the Entrance to this building. Well, all right, I'll take a look. Might as well give you a chance to prove your preposterous theory. Oh, you win. They're there. Yes, they're there. I'd hoped I'd shaken them off. I'm going to tell you something which isn't very healthy for you to know. Now that they've followed me here. You're in this just as much as I am. How do you mean? Have you ever heard of the 39 steps? What's that, a pub? Never mind. The important thing is that a state secret will be taken from this country unless I stop those men. Well, why don't you phone the police or something? They wouldn't believe me any more than you did. And if they did, how long do you think it would take them to get going? Oh, no. These men act quickly. And you don't know how clever their chief is. He's clever and ruthless. Who is he? What's his name? He has a dozen names, and he can look like a hundred people. There's one thing he can't disguise. Part of his little finger on the left hand is missing. And if ever you should meet such a man. Be very careful, my friend. I'll remember. Meanwhile, what are you going to do? May I stay here? Oh, you're welcome to my bed. Here, I'll catch a nap on the couch. Thank you. Now, see here, I'm going to lock you in the bedroom. No, there's no need of that. Oh, yes. After all, if your story is true, your safety is pretty important to England. I'm going to lock you in the bedroom. Then if those men force their way into the apartment. They'll have to deal with me. And they won't be able to get you. Thank you, Mr. Hannie. And I'm very tired. Do you think it would be all right if I went to the bedroom? Now, don't get up. Stay in that chair till I switch off the lights. You've certainly changed since you came in here, Mr. Hanson. Annabella. Annabella. I'm coming. Mr. Penny. Annabella. Mr. Penny, you're hurt. Here, let me help you to the bed. No, there's no time. Just hold me. They came in by the window. They couldn't open the door to get to you. But you're next. See here. Stop talking. You're too weak to talk. Oh, no. Listen. Hold me. I must tell you. Man in Scotland, in Altna. Shalek. Altna. Charlotte, go to him and tell him. Who is he? What's his name? His his name? His name? Annabella. His. Hello? Mr. Henny? Yes? Is Annabella dead? Who is this? Never mind. Is Annabella dead? Yes. You did your work well, but you won't get away with it. Have you called the police? You and I both know that the police would only arrest me. Yes, but I'd advise you to call them. If you come out without the police, we will kill you. Henny. Hey. Oh. Who's that? You the milkman? I am. Well, you're up bright and early for such a fine gentleman. Could you use a pound note? What's the catch? Well, I want to borrow your cap and coat. I want to dress myself up like a milkman. What's the big idea? I want to make a getaway. Ah. Do a bunk. Yes. Yes. I say, what have you been up to? Well, I. I'll have to trust you. There's been a murder committed on the first floor. By you? No. No. Did you see two men hanging around across the street? Yes. They committed the murder. Oh, I see. Now, I suppose they're waiting there as good as gold for a copper to come and arrest them. Yes, it's quite true. They're spies. They've murdered a woman in my flat and now they're waiting for me. Ah, co. Come off it. Funny jokes at five in the morning. But I. All right, all right, I'll tell you the truth. Are you married? Yes, but don't rub it in. Well, I'm not married. I'm a bachelor. Well, congratulations. There's a woman living here on the first floor. Is there now? Yeah. Yes, yes, I paid her a call last night and I've been wanting to go home since midnight. Well, what's preventing you? Those men. They're her brothers. Now do you see? Oh, God. Why didn't you tell me before, old fella? I only wanted to be told. Trying to kid me with a lot of talk about murders and spies. Here, put this on. And put on my little hat. There you are. Here, take the pound. Well, thank you, Gabner. Here's my bottle. Just leave my pony and cart around the corner. So long, old sport. Thanks again, Rocket. Giddy up. A first class ticket to Aberdeen, Scotland, please. How do you do? Well, good day, sir. The conductor tells me this is my compartment. Is the room. Of course. Sit down. Thank you. You a traveling man? No, no, I am. I travel in women's underwear. You interested? Oh, always. I've got a new corset I'm selling this trip. The streamline. You know, I can never understand how people put up with the old fashioned sort. All bones and no beds. Not mine. Put a pretty girl inside of mine, sir, and she needn't be ashamed anywhere. I say, I must be boring you. Yes, I guess I'll look at the paper. No, no, you're not boring me. Hmm. I say, there's been another woman murdered in West End flight flat. What? Woman murdered in the West End flats. Portland Mansions and Portland Place. Oh, yes, I know what that is. A well dressed woman of about 30 with a knife in her back. The tenant, Richard Hennay is missing. Ha. Missing. He did it. All right. What do the police say? The police theory is that 10. Well, if that isn't the blasted limit, what is? Is there no honesty in this world at all? Now look here, sir. Look at this advertisement. Now I ask you. The new body line. Rubber panty corset on sale today at MacPherson Brothers. Seventeen and ninepence. Why? Why? They're underselling us. Do the police say who did it? Brazier to match. 4 and 11. Yes, yes, that's too bad. But what about that murder you were telling me about? Blast the murder, sir. I've got to look through this paper at all the other ads. Now, let me see. Now here. What. Where could I get a paper? Well, we're coming into a station. Why don't you get off and buy one? Yes, I'll do that. Pardon me. Oh, pardon me, conductor, but have I time? What is it, sir? I was wondering if I have time to. Conductor. Conductor. Yes, sir? I'm from the police. As soon as the train starts again, I'll want to search every compartment. Oh, yes. We're after a man named Richard Hannay. A West End murder. Right, sir. Now, what was it you wanted, sir? Oh, never mind. The train's starting. It's too late now. Oh, pardon me, May. May I come in? Well, I'm sure there are other compartments not in use. Well, I'm afraid I'll have to make use of this one. And you. I beg your pardon? Look, I'm desperate. The police are looking for me. But I'm innocent. When they come into this compartment, you take your cue from me and do exactly as I want you to. I shall hand you over. That's what I shall do. You do and I'll. You'll die one second later. Darling. Darling, of course I love you. Of course I love you, darling. Kiss me, darling. Guess there's no murder in here. You. You. I. I'm terribly sorry. I'm sorry. I had to do it. Now look here, my Name is Hannay. They're after me. But I swear I'm innocent. You've got to help me. I've got to keep free for the next few days. I don't blame you for slapping me, but please listen. You're despicable. You've got to let me stay here. It isn't just for my sake. Beg pardon, you two. What is it, officer? I'm sorry to disturb you again. But have either of you seen a man come by here the past few minutes? This is the man you want. I think. What? She's joking. But when I looked in just a moment, he launched his way in here and forced me to kiss him. Tell me his name is Hannay. Oh, is your name Hannay? No. It is. He just told me so. He said he's wanted for murder. I told you I was innocent too, didn't I? Why do you leave that out? Your name is Hannay, then? Of course it is. You're under arrest, Mr. Hannay. And it's my duty to warn you that anything you say may be used against you. Now, Officer, may I smoke? Go ahead. Want one? No, thanks. You know I'm innocent. I don't know anything of the sort. No? Well, you seem to trust me. Do I? Yes. Yes. You haven't handcuffed me. If I handcuffed you, then I'd be handcuffed too. And I ain't. Handcuffs. Oh, well, that's quite understandable. You couldn't do anything anyway. The door's locked. Oh, that's quite true. What did you kill her for? I didn't kill her. Oh, come, Orfie, this ain't official. I'm just curious. Why do you think I killed her? Oh, well, because you're in love with her. Well, that's a strange reason for killing a girl. Or maybe she was in love with you. You couldn't get rid of her. That's it. That's it. Oh, I thought so. Yes. Yes. She was always. Always pestering me. Wanted me to kiss her all the time, tell her I loved her. You know how it is. No. No. Yeah, Well, I. You know, I couldn't even eat a meal in peace. I couldn't take her to the theater unless we sat way in the back row. You know, really. She. She was always getting me to take her to the zoo. Now, do you realize how many lonely places there are at the zoo Where a woman can trap a man? You don't mean it. Yes. Fact is. Remember? And the night I murdered her, it was. Well, I'll tell You. That was just the last straw. What happened? She came to my apartment. I didn't expect her, you understand. I wanted to be alone with my chest set. But she came in. When I heard what she wanted, I couldn't stand it anymore. Everything went red before me. I was blind. I was blind with rage. Good, Evans. What did she want? She wanted me to take her to the zoo again. See here. Are you trying to pull my leg? Of course I am. I told you I didn't murder her. I'll give up. Oh, are. Are we coming to a station? No, no. Just slowing down for the bridge. Sure you won't join me in a cigarette? Oh, might as well. Here you are. Oh, thanks. Hey, let's go. So long. Hey, don't jump out there. You'll get killed. Don't jump. Hold your fire, you fool. Bro, it's in. He's undercover. Sonny is a smart man. Probably crawling from one bush to another on the side of the hill. I was only trying to shoot when I last seen him. Well, don't do it. I wish those other fools had stopped shooting, too. He's bound to come out in another place. Well, still an old sire. I don't see him. Here. Wait a moment. There he is. Wait a moment. Don't shoot. You see, he's up on the brow of the hill, out of rifle range. We'd best get after him. No, no. Wait a moment. Look. You see there? He's gone down the other side of the hill. We'd best get after him. That's what I said. No, no, no. Wait. I have a better plan. We'll never catch him that way. He's got too big a lead. And besides, he'll go down the hill on the other side a lot faster than. We can never go up on this side. But what are we to do? We're going to count on the sack, that's. But he's a human being. He'll get tired. He'll get hungry. He's been running around all day, and he hasn't eaten since before he got on that train. He's going to have to sleep somewhere tonight. That's when we'll catch him. How, sir? You go round up the others. We're going to stop in at every farmhouse and every barn in the whole countryside. Tonight? Aye. Good day, sir. Could you direct me to Altna Shalluck? Aye. Straight along the road and cross the loch. Thank you. Are you looking for work? Yes, yes. I'm a chauffeur. You'll find the work in Altness. Shallach. No big houses around here. Only Sir Andrews. And he wouldn't be wanting you. He's had the same shuffle for 40 years. No. I see. Are there no newcomers around? Aye. There's an Englishman, a kind of professor. Professor? Aye. He lives at Alt Nashella. Oh, thanks. I'll try that. You'll not try tonight. It's 14 miles. Well, could you put me up for the night? Free? Oh, no, no. I'll pay. Aye. Then can you eat the herring? I could eat half a dozen right now. Can you sleep in a box bed? I can try. Two and six. Take it now. Thank you. Come in. Thank you. Woman. Ay. What is it? This gentleman will stay with us till the morning. Go make up the buck's bed better. Well, your daughter? My wife. Oh, you'd best go in with her and see your room. Yes, I'll do that. Thank you. Hello. Hello. This is your bed. Could you sleep there, do you think? You try and stop me. You'll be tired. Oh, I'll say I am. Won't you sit down, please, while I make up the bed? Thank you. You've been in these parts long? No, I'm from Glasgow. Do you ever see it? No. No. You should see. See Sack hall street with all its fine shops and Argyle street on Saturday night with the trams and the lights and. And the cinema palaces and the crowds. And it's Saturday night tonight. Like to be there? Aye. You certainly don't get all those things out here. No. Do you always miss them or just on Saturday nights? I. I dunna like to say. Well, now, I've never been to Glasgow, but I've been in Edinburgh, Montreal and London. I'll tell you all about London at supper. My husband wouldna approve of that. I doubt. Why not? Oh, he says it's best not to think of such places. And all the wickedness that goes on there. Then why not listen? Now, what do you want to know? Well, is it true that all the ladies paint their toenails? Some of them. And the London ladies look beautiful. Oh, they do? Yes, they do. Oh, but they wouldn't if you were beside them. You ought not to say that. What ought he not to say? I was just saying to your wife that I prefer living in the town rather than the country. God made the country. Come, woman, get supper for us. More pudding, sir? No, thank you. I'm. Oh, I've been extremely well fed, thank you. You want to look at the weekly paper. It just came today. Yes, I'd like to very much. Thank you. You best look at it right away. I'll want it when I come back. I'm going to water the cattle. Woman. Get the dishes done, you hear? Hi, John. Wouldn't you care to look at the paper? No, thank you. I read it this afternoon. Indeed? I'm surprised. Does your husband allow you to read the paper? I best clear the table. You haven't told me your name, sir. Oh, Hammond. It wouldna be Honey, would it? What made you think that? You're greatly interested in that murder in London. You looked almost greedy reading about it. And you fit the description of the murderer. What makes you think that he's a murderer? What makes you think that he's guilty? Is he not? No. I want to believe that. It's true. The poor man. Everybody chasing him now. Everybody against him. If he did not commit the murder. He didn't. He needs a friend. Yes. He needs someone who knows what it is to be friendless. Someone who has warm human sympathy. Because she has suffered herself. Because she has needed warmth and sympathy herself. I know too well what you mean, Mr. Honey. Hammond. Excuse me. Hammond. This man they're looking for. You know, I imagine the police are combing the Scottish moors for him. I imagine they're knocking on the door of every house and asking the people if they've seen this man. It would be lucky for him if someone misdirected them. Yes. Someone who has sympathy. Someone who has received sympathy from him. We're a full 15 minutes late to bed tonight. We are that. We've earned twice the money that beggar paid us. Him eating, reading her paper and keeping us up. He was no bother, John, was he? No. You took a fine fancy to that lady Buck. Woman. No, John. Yes, woman. I know when you're thinking sinful thoughts. And I know a sinful man when I lay my eyes on him. Please, John. What you're saying isn't true. Are you coming to bed now? In a minute. Why do you keep watching out the window? No reason. Just thinking you're sinful thoughts. No, John. Well then, blow out the candle. Come to bed. I. John. Mr. Honey. Mr. Honey, wake up. What is it? What is there? A car's coming. That'll be be the police. You'd best be going. Thank you. Thank you. Hurry up and don't let them catch you. I'm ready. I'm ready. I slept in my clothes. I'll never forget you for doing this. On which way do I go? I'll show you. Hey. Making love behind my back. John. I might have known. Get out, woman. Just a moment. Yes, and you, sir, get out of my hoots before I go. Go and leave you like this? It's your chance of liberty. You. Both of you. You don't understand. Now look here, you're all wrong about this. She was trying to help me. I to bring shame and disgrace upon the hoods. She was trying to help me escape from the police. The police? Yes, the police. They're after me for murder. What? Now they're here? She only came to warn me. I. I told her about it this evening. Don't let them in. Please say that I'm not here. I'll make it worth your while. How much? £5. You got that, butch? Yes, yes. Give it to me after they've gone. Give it to me. No, or I'll turn you over to them. Right. Here it is. All right, Buck, into the bed. Shut him in, woman. Hide him. Donna, get into bed. I do not trust him. But he took the money. I could not resist it. Here, let's open the window and listen. Portland Place. Murder. How should I know what of a murder? You didn't see anybody go by him? Well, no, I might or I might not. Is that a reward? I believe there is, yes. Right. He's asking if there's a reward for you if you get catched. How much is it? Oh, blast him. He'll argy a bit before he lets them in. That's little enough for catching a murder. Now's your time. All right, show me the way. Here. Oh, your jacket's terrible light colored. I'm afraid they'll see you. Here. You'd best take this black one. Is this your husband's coat? Ay, his best Sunday coat. But never mind. They mustna see you. But what will happen to you? Well, I'll say I couldn't stop you. He'll not ill treat you. He'll pray at me. Now, no more. Go now. What's your name? Annie. Goodbye, Annie. Bless you all the days of your life for this. The dogs will get him, sir. They've got his saints. Yes, I know, but they're going to lose it. This Hannay is no fool. He'll go into the lock. Then what good will the dogs be? That farmer said Hannay was inquiring about the professor out in the Shalloch. Well, if we lose him, we'll go straight to the professor's cottage. Hurry, hurry, hurry. Oh, please hurry. How do you do? You're the professor? Yes. Let me in, quick. I don't believe I will. Who are you? You wouldn't Know my name, But I come from Annabella Smith. Oh, come in. Thank you. Have a chair. Thank you. Well, sir, what about our mutual friend, Annabella Smith? She's been murdered. Murdered? I'm so sorry. But then in our line of work. Tell me about it. Haven't you read the Portland Mansions affair? So that was Annabella and the man. I was the man. Excuse me. Someone at the door. Someone not so impetuous as to pound as you did. I suggest that you sit quietly in the far corner. So that you'll not be seen at the door. Ready? Yes. Gentlemen. Where are the police? Have you seen any strangers about this morning? This morning? No. You haven't seen any suspicious looking bodies? No. No one called at the house? No. No one looking for a job? No one at all. Get rid of them. Get rid of them. We're looking for a murderer. We thought he might come here. Mentioned your place. Said he might look for job here. Then if he's a very wise murderer, he won't come near my house. I'll let you know if he does. Thank you, sir. Good day. Well, Mr. Hannay. I suppose I can call you by your right name now. I think the police will bother you no longer. I want to thank you very much, sir. Not at all. Now tell me more about Annabella. Why did she send you to me? I wasn't even sure it was you. I just knew that it was somebody in Altneshalik. She was coming here about some Air Ministry secret. She said it would be smuggled out of the country. Unless we could see someone in Altashalek first. Some foreign agent is going to take the secret out of the country. Unless we can stop him. Did she tell you what the foreign agent looked like? No, no, no, she. Oh, yes. Yes. There was one thing. Part of his little fingers missing. Which one? Oh, I. She. I believe she said it was his right hand. Are you sure it isn't the left hand? No, I'm not sure. Why do you ask? Because it is the left hand. You see, you. Yes, Mr. Hannay. I'm afraid I've been guilty of leading you down the garden path. Or is it up? I never can remember. Why didn't you turn me over to the police? Because you would tell your story. They wouldn't believe it, I suppose. But they might check it. They might. They just might find that you were telling the truth. That would be very embarrassing to me. What are you going to do with me? That's just the point. What am I going to do with you? You're an engaging fellow. Mr. Hannay, I'd hate to hurt you. But you see, I'm just about to convey some very vital information out of the country. Then Annabella was right. Oh, yes. Annabella was an excellent secret agent. I often tried to get her to work with me, but she wanted too much money. Well, that's neither here nor there. The question is still, what am I going to do with you? And I'm afraid I know the answer. All right, let's have it. I don't think this revolver could be traced to me. You're going to shoot me? I'm afraid there's no alternative, Mr. Hannay. All right. What a pity. He was such a young man. From Studio One Radio, celebrated playhouse of dramatic entertainment. You are hearing Glenn Ford starring in the 39 steps. A version for Listening by Robert Senadella of the John Buckin novel. Studio One will resume after the customary pause for station identification. This is cbs, the Columbia Broadcasting System. From Studio One, we continue tonight's full hour dramatic entertainment. Mr. Glenn Ford stars in Fletcher Markle's production of the 39 Steps. Woman, I cannot find my hymn book. Your hymn book? Where did you leave it? In the breast pocket of my overcoat. It was hanging here. Oh, John, I'm afraid I gave your coat to that gentleman who was staying here that night. That murderer? You little fool. Cigarette cases? Yes, Sheriff, but I've never seen it happen to a hymn book before. I have never encountered such a peculiar set of events in all my years as sheriff of Alt Nishalloc. Oh, that's not surprising. You know the bullet this professor fired. Stuck in the hymn book, eh? Yes. Well, I'm not surprised, Mr. Hannay. Some of these hymns are terrible hard to get through. I've stuck at them myself before now. Hymns that have helped me. That's a good one, Mr. Hanni. That's fine. And to think that I've had drinks with that professor. Accepted his hospitality. That's a lesson to us all. And how did you escape? Well, of course, he thought I was dead. And while I was still unconscious, he dragged me into the dressing room. When I came to, I got out of the window and came here. Now, Sheriff, I don't want to hurry you or anything. But oughtn't you to be taking some sort of action? This is serious, you know. I know. Well, I mean, if it weren't, I'd never put myself in your hands with a murder charge hanging over me. Never heed the murder, Mr. Hannay. I don't doubt you'll Be able to convince Scotland Yard of your innocence. If, as you've convinced me, I've sent for someone at the police station next door to come and take your statement down. Thank you. Were you wishing to see me, Sheriff? Yes, indeed I was. Do you think I enjoy playing for time with a murderer? Murderer? Certainly, honey. You're under arrest on charge of wilful murder of a woman unknown in Portland Mansions, London, Tuesday last. Inspector, take him over to the county jail. Aye, but, Sheriff, you heard my story. You believed it. Come along now. It's true, every word of it. Honey. We're not so daft in Scotland as smart Londoners may think. Do you think I believed your cock and bull story about the professor? Where's my best friend? But if the professor didn't shoot me, where did that bullet come from? That's easy. From one of your pursuers on the moor. Isn't that so, Inspector? Ay, that's so, sir. I had a shortage in myself. I demand that you allow me to telephone the High Commissioner for Canada. A trunk call. A murderer. Too expensive. Come along. Come along. Take your hands off me. Hey, Stop him. Oh, the idiot. Out the window. After him. Excuse me. Who are you? Get out of this car. Oh, don't tell me it's you again. That stupid girl on the train can haven't. Listen. Listen. They're after me again. You've got to believe me this time. I didn't do it. Now, you get that through your head, can't you? I didn't do it. And unless I'm kept from the police. A vital secret of this country will be smuggled to a foreign power. Now start this car and drive me to safety. I will not. All right, then, I will. Let me get in that driver's seat. No. Help. Move over. Move over. Help. Help. Help. What is it, miss? This man. He's a murderer. This is Richard Henny. Oh, Hannay. Raise your hand. Oh, you little fool. I suppose you think you've been clever. Are you an officer? Yes, ma'. Am. Will you please tell your prisoner not to insult you? Try and stop me. That's enough, Hannay. You come along with me. Couldn't you realize that I was speaking the truth in that railway carriage and just now I prefer not to talk to you. All right, all right. But in all frankness, will you put a call through to the High Commissioner for Canada in London. And tell him that an enormously important secret. An enormously important secret Is being told out of this country by a foreign agent? Has that penetrated? Right to the Funny bone. Haven't you any sense at all? Put that call through and refer them to me. Will you do this? No. Good night. Beg pardon, miss, but I'd like you to come too. Whatever for? To identify the prisoner formally. I'll take you both to the police station in my car. Then I'll drive you back here, miss. Oh, well, all right. If it's absolutely necessary. Let's get it over with. Isn't that the police station on the corner? You're running past that officer. Tell the driver the driver knows where he's going. We're not exactly going to the police station, miss. Well, then where are we going? Inveraray. Inveraray? Yes. This man is to be questioned by the Sheriff Principal. Well, how far is it to Inveraray? 40 miles. Keep quiet. Her name. I'm sorry. Look, isn't a man going the wrong way? Surely inverees to the the lift. There's a bridge fallen down on that road. Miss. You say you're a policeman. Might I see your badge? You shut your mouth. No, I won't. I want to make a bet with you. I'll bet you haven't got a badge. And I lay you 100 to one that the man you're taking us to has the top joint of his little finger missing. What about it? You shut your mouth. I win. Hello. Yes, this is the professor. Yes. You say Hobbes has him? Good. You're sure you saw him taken yourself? Fine, with a curl. Oh, dear me, that's too bad. Why? Well, you great booby. Simply because I don't too much mind killing Hannay again, so to speak. I should regret very much disposing of an innocent girl. Go ahead. Tell the young lady who your boss really is. You shut your mouth. Yes, I wish he would too. And officer, if he doesn't, I hope you gag him. I think he's off his head. All right, all right. Oh, blast it. What are we stopping for? Tribal. It's a flock of sheep. They're all over the road. Yes, we never get through them. Well, can't we go back the other way? No, I told you, the bridge is down. I'll have to get out and scare them off the road. There are too many of them. I'll help you. What about Henny? Oh, don't mind me. I'll fix Henny. Miss, how'd you like to be a special constable? What do you mean? Handcuffs? Don't put those things on me. What are you doing? Come on, Henny. Hold out your wrist. I suppose I Must. No. No. There we are. Now, miss, as long as you stay, he stays. Come on, Bradfield. Yes? Well, how do you like being handcuffed to me? I'll thank you not to talk to me. You don't think I intend to stay here, do you? Well, you can't get away as long as we're handcuffed. Oh, no. All right, I'm gonna keep my hand over your mouth. And you, you may as well not struggle. We're going to run. All right, let's go. Come on. Run. Run. I think we got away all right. What chance have you got tied to me? Oh, keep that question for your husband. You know those policemen will get you as soon as as it's daylight. They're not policemen. Oh? And when did you find that out? Well, you found it out yourself. I wouldn't have known that was the wrong road. They were taking us to their boss. And heaven help you or me if they ever catch either of us again. Still sticking to your Penny Novalette spy story? No. There are 20 million women on this island, and I've got to be handcuffed to you. Now, look here. I'm telling you the truth. I told it to you once on the train and again this evening. Now I'm telling you for the third time. There's a dangerous conspiracy against England. And we are the only people who can stop it. Please don't tell me that stupid lie ever again. All right, all right. Look, I'm just a plain, common murderer. Who stabbed an innocent, defenseless woman in the back not four days ago. How do you like that story? I don't know how innocent you may be. But you're a woman and you're defenseless. And you're alone on a desolate moor in the dark. Handcuffed to a murderer who'd stop at nothing to get you off his hands. Now, if that's the situation you prefer, my lovely, have it and welcome. I'm not afraid of you. For all you know, I may murder one woman a week. So listen to a bit of advice. From now on, do every single thing I tell you to do. And you do it quick. You big bully. You know, I like your pluck, but I don't like you much. Come on. There's an inn. What of it? We're going in there. What? Poor. That's my business. We're Hancocks. Come on. Shut up, will you? Now, remember what I said. You backed me up in every single thing I say or do. Now, has that penetrated your pretty head? Only just. All right. Come on now, pull yourself together. Put your hand in my pocket. Come on, put it here so they won't see the handcuffs. Come on. Hello. Hello. Oh, come in, Mom. Come in, Sarah, my Margaret. The young lady's terrible wet. Well, we had an accident with our car a few miles back. Oh, then you'll be wanting to stay the night? Yes, with just the one room left. With the one bed in it. But you'll not mind that? Oh, no, no, no, no. Quite the reverse. You're man and wife, I suppose? Oh, yes, yes. Aren't we, dear? James? Ay, ay, I'm coming. James. Here's a young couple wants to register. Ay, ay. Well, here's the book. I'll way up and light the fire for you. Will you sign the book, sir? Oh, innkeeper. Aye, sir? Could you get us a large whisky and soda and a few sandwiches and a glass of milk, please. Oh, yes, yes, a glass of milk. Aye, sir. I'll do that while you're citing the book. Good. We got rid of them. I can't write with my left hand, my dear. You take the pen. Come on. Go on, take it. The sooner you get used to writing your new name, the better. Mr. And Mrs. Henry Hopkinson, the Hollyhocks, Hammersmith. I tell you, I can't stand this any longer. I'm going downstairs to tell the whole story. Do you think you can drag me with you? Oh, do you want me to hang for a murder I never committed? Well, so long as they hang you. I really don't care whether you did it or not. Carol. Come in, come in, come in. As we were just getting warm here before the fire. I can see that. I thought you might like this hot water bottle to your bed. Oh, thank you. Thank you very much. You'd like a hot water bottle, wouldn't you, my sweet? Yes, darling. Well, good night. Oh, I say, please don't go. Why not? Is there anything wrong? You've got to help me. What's the matter? Well, she wants to tell you something, that's all. We're. We're a runaway couple. I knew it all the time. You're so much in love, I could see it. Are they after you? Yes, yes, but you won't give us away, will you? Of course not. A good night to you both. You'll not be disturbed. You try anything like that again and you'll get hurt. All right, you won. Don't rub it in. No. Can't we get these handcuffs off? I want to very much in the morning. Why not now? Because I'm sleepy. Well, I'm not. If. If we got these handcuffs off, I'd have to stay up all night watching you. Would that be so terrible? No. No, I like watching you. If only I weren't so sleepy. Come along. Come along. I'm going to bed. It's going to be a little difficult, isn't it? No, I don't think so. I'll stretch out. Well, I'm going to sit up. Well, you'll have to sit on the side of the bed. Come along. Come on. Here we'll both be comfortable. You're really most inconsiderate. What are you doing with that hairpin? Well, I've heard that you can unlock handcuffs with a hairpin. You're welcome to try. Don't let me disturb you. Go right off to sleep. Good night. Hello. Ay. I'm coming. What is it? This is a hotel? Aye. I suppose you get a few old people this time of the year. Aye. You didn't happen to have anyone tonight, did you? Aye. They weren't by any chance a young couple, were they? Them two old maids? They was. And stale, too. Could we have a couple of whiskies and soda? I'll fetch it from the back room. Have you got a public telephone? Right there behind you. Thank you. Alton Shadock, 532. Queer Place, this. Hello. Hello, Professor Jordan. No, it hasn't gone well. The girl handed him over to us thinking we were detectives. We had to take her as well because he told her everything. They got away. Yes. Yes, I see. I see. You're going where? Well, good luck, Professor. Goodbye. What now? The professor's going to clear out. It's too dangerous with Hanay on the loose. He's warning the whole 39 steps. Be able to get the secret out of England. Yes. He's picking up our friend at the London Palladium tomorrow. Everything's going to be all right. Pamela. Pamela. Good Lord, she's gone. No, I haven't gone. I'm over here by the fireplace. What's the idea? How did we get out of these handcuffs? I told you. I'd opened them with my hairpin. Why didn't you run away? I did, but just as I was going, I discovered you were speaking the truth. So I decided to stick with you. Well, may I ask what earthquake caused your brain to work at last? When I left the room and went out on the landing last night, those two men were downstairs and I heard them phoning. What did they say? A lot of stuff about the 39 steps. Somebody's going to warn them. How can you warn Steps? Go on. Well, somebody called the professor. Taking the secret out of London. He's picking up someone at the London Palladium today. The London Palladium? I don't know what a theater has to do with it, but come on, we're going to lose. You're quite right, madam. It's true. The Air Ministry has a new thing that quite a lot of people are interested in. Well, then, please. But they're positive that no papers are missing about it. That would be of any use at all to a spy. But I tell you, I'm quite certain there's a man leaving the country tonight with something. Since you telephoned from Scotland this morning, we've made the most extensive inquiries. Well, it's obvious that I'm wasting my time here. Just a moment, please, Miss. There is one thing you haven't told us. Where's Richard Hennay? I haven't the faintest idea. I see. Well, you're in the telephone book, aren't you? Yes. If anything crops up, we'll give you a ring. Thank you. Goodbye, Commissioner. Goodbye. Henry, get a couple of men and follow that girl. She'll lead us to Henny. Richard, I'm glad you've come. Listen, the professor's in that box up there. I've been to Scotland Yard. They refuse to do anything. They say there are no papers missing. Wait a minute. Listen. I've heard that tune before. The music hall. Annabella. Ladies and gentlemen. With your kind attention and permission. I have the honor of presenting to you one of the most remarkable men in the world. Every day he commits to memory 50 new facts. And remembers every one of them. Same little man. I've got it. I've got it. All the information is inside me. Mr. Memory's head. I don't understand. Don't you see? The papers were borrowed, memorized by Mr. Memory and then replaced. Yes, Mr. Hennay. Thank you. Police. Come along. The police. Listen, there's something you ought to know. Come quietly. Oh, yes. But that man on the stage, the hero man. You don't want to cause trouble and spoil other people's entertainment, do you? Now, Ben, come. Quiet. One at a time, please. One at a time. One question, please. Now, wait a minute, officer. Mr. Memory. Mr. Memory. What are the 39 steps? Come on, answer up. What are the 39 steps? The 39 steps. Answer me. What are the 39 steps? The 39 steps is the name of an organization of spies. Collecting information on behalf of the Foreign Office of The professor. Who's the professor fired that shot. Come on. All right. He's still conscious. We got the man who shot him, sir. Good. All right, Mr. Ann. What was it you wanted to ask him? Mr. Memory? What was the secret formula the professor had you memorize? Will it be all right me telling you, sir? Yes. The professor sent me. I'm the man you're to tell it to. Big job to learn it. Biggest job I ever tackled. Don't want to throw it away. It will be quite all right. The first feature of the new engines. Its greatly increased ratio of Compression, represented by R1 minus 1 over R to the power of gamma, angle of 45 degrees. Dimensions of cylinders as follows. This device renders the engine completely silent. Am I right, sir? Quite right. Thank you. Thank you, sir. I'm glad. Tickets. Tickets, please. Oh, I have it right here. Well, going to Scotland, eh? Yes. Holiday? No, live there, unfortunately. Well, have a good trip, miss. Thank you. The dinner will be open in another hour. I don't believe I want your dinner. Ticket, please. But I just gave my ticket. Richard. May I sit down? Well, of course. What are you doing on this train? I'm going back to Scotland. Holiday? No. Well, you certainly don't live here. No. Richard Hannay, we're not starting this all over again. They're not after you again? No, no. This time I'm not being pursued. Well, what then? This time I'm doing the pursuing. Come here. Oh, wretched. I think I'm going to like Scotland this time. From Studio One at CBS, you have just heard Mr. Glenn Ford starring in Fletcher Markle's production of the 39 Steps by John Buchan. Another of the world's great stories from radio. Celebrated playhouse of dramatic entertainment. Tonight's script was prepared by Robert Sanadella and the original musical score was composed by Lana Domian and conducted by Alexander semler. Now again, Mr. Markle, may a producer identify the principles in tonight's cast? In the foreground, Richard Henny was played, of course, by Mr. Ford, who has currently starred in Columbia Pictures film comedy the Mating of Millie. Pamela was played by Kathleen Cordell. Annabella was Mercedes McCambridge. The crofter was played by Everett Sloan. The professor was John Stanley. Arnie was Miriam Wolfe. Mr. Memory was Hedley Rennie. Mr. Hobbs was played by Lauren Gilbert, frantically active in the supporting cast were Robert Dryden, Neil Fitzgerald, John Merlin, Brainerd Duffield, Alan Devitt, Iva Francis, Mary Michael and Louis Quinn. The music hall divertisements were performed by Ms. Jean Tighe. Next week from Studio One, the return to our microphones of a great American novelist and a great American actor. They've been a very fortunate combination before on this series and we're sure they will be again. Our story is Sinclair Lewis's provocative portrait of a middle class businessman whose name was Babbitt. And our star is the magnificent and quite irreplaceable Mr. Walter Houston. We hope you'll be with us. And now until next week, until Walter Houston starring in Babbitt by Sinclair Lewis. This is Fletcher Markle with a good night and thank you from all of us in Studio One, A program you won't want to miss. That's Report Card, the next production of the famed CBS documentary unit. Tomorrow night over many of These stations from 10 to 11pm Eastern Standard Time, Columbia presents a one hour inquiry into the state of our nation's schools. Be sure to hear Report Card. This is Lee Vines and this is CBS where 99 million people gather every week. The Columbia Broadcasting System. We just heard Glenn Ford in Christopher London and the 39 steps. That will do it for this week's episode. Thanks so much for joining me. I'll be back on Sunday with more Old Time Radio crime solvers. In the meantime, you can check out stars on Suspense, my other Old Time Radio podcast. New episodes of that show are out on Thursdays. If you like what you're hearing, don't be a stranger. You can rate and review the show on Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com meanstsotr I'll be back next week with more old Time Radio detectives. But until until then, good night and happy listening. Now here is our star, Vincent Price, ladies and gentlemen. In a prejudice filled America, no one would be secure in his job, his business, his church or his home. Yet racial and religious antagonisms are exploited daily by quacks and adventurers whose followers make up the irresponsible lunatic fringe of American life. Refuse to listen to or spread rumors against any race or religion. Help to stamp out prejudice in our country. Let's judge our neighbors by the character of their lives alone and not on the basis of their religion or origin.