 From Hollywood, California, the Lux Radio Theatre presents Robert Montgomery and Ida Lupino in the 39 Steps. Presents Hollywood. For your loyalty to our product, Lux says thank you, ladies and gentlemen, and brings you another hour of entertainment direct from the film capital. Tonight, we star Robert Montgomery, Ida Lupino, Isabel Gill and Jean Lockhart, with Major C.E. Russell, formerly of the United States Intelligence Service, as the evening's special guest. Louis Silvers conducts the orchestra. And here beside me, our producer and your host, ladies and gentlemen, Mr. Cecil V. DeMille. Greetings from Hollywood, ladies and gentlemen. The 39 Steps lead an old friend and a newcomer, Robert Montgomery and Ida Lupino, to the stage of the Lux Radio Theatre. Sincere last, Robert Montgomery's been rushing back and forth between two lots. One is the Metro-Goldman Mayor's Studio, where with Russell and Russell, he's completed Live, Love and Learn. The other is a lot in Beverly Hills, on which Bob has just finished building a new home with a beautiful library. And Bob is a man who really uses his library, for he's constantly seeking new screen material. President of the Screen Actors Guild, Bob devotes at least three nights a week to that organization. So this fall, he took time off to go to his farm in New York State for a few weeks of potterage and pheasant hunting. His favorite Hollywood sport is tennis, in which activity he's expert enough to be the frequent opponent of Sidney Wood, the ex-Davis Cup player. Bob is heard tonight as Richard Hane, in the 39 Steps, adapted from the Beaumont British film, which in turn was taken from the novel by John Buckin. Beaumont British will shortly release The Girl Was Young, starring Nova Filbeam, and Derrick Demane, directed by Alfred Hitchcock. Ida Lupino is a girl I've watched very closely and suggest that you do the same. For every Lupino seems destined for greatness in the theater. To American film audiences, she's the best-known representative of perhaps the oldest stage family in the world. 350 years ago, when acting was considered a crime in Italy, Alfredo Lupino, Acrobaton Troubadour, fled from Naples, turned gypsy, and eventually found welcome and fame in England. Ever since then, Lupinos have added to the excellence of England's entertainment. Ida's father is Stanley Lupino. Among London's most popular comedians, she has a sister, two cousins, three uncles, and five aunts, all noted performers. While her mother is Connie Emerald, once a celebrated dancer. Along with three-and-a-half centuries of tradition, Ida has inherited a turned-up nose, violet eyes, and blonde hair. She's an excellent musician and painter, can speak the language of the deaf and dumb, whistled as well as a farm boy, likes to wear sneakers and is a prize mimic. A highly entertaining miss, who plays Ida tonight in the role of Pamela. Isabelle Jewel, featured in such hit films as Lost Horizon and Marked Woman, is heard as Annabella. And Jean Lockhart, top-flight character actor, back from the New York stage, is Mr. Memory. And now for the play. Deluxe Radio Theatre presents Robert Montgomery and Ida Lupino in the 39 Steps with Isabelle Jewel and Jean Lockhart. A London music hall. The evening performance is on, the audience is set comfortably through the acrobats, the singers, and the whirlwind dancers. But now they're restless. The manager appears on the stage to announce the feature act. His hand is raised for silence. Now I have the honor to present to you one of the most remarkable men in the world. I present Mr. Memory. The reality commits 50 new facts to memory. 50, ladies and gentlemen, facts from history, geography, newspapers, scientific books of them. And he remembers them all. Ladies and gentlemen, test him. Ask him any questions you like, and he will answer fully and freely. Mr. Memory. Thank you. A question, please. A question from anyone in the audience. Who won the Derby in 1921? Mr. Jack Jewels, humanist. Steve Dunne, you up. One by a length, odd six to earn. Am I right, sir? Do not hesitate. Another question, please. Who was the last British heavyweight champion? 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? Mr. Memory, who won the football cup in 1926? Would you mind repeating that question again, young man? Who won the football cup in 1926? Bolton Wanderers defeated Manchester City at Wembley by three goals, to one in the presence of His Majesty the King. Am I right, sir? Another question, please. Ask him silly questions. See in the gallery, please, confine her questions to those of a more serious nature. Thank you very much. Mr. Memory. A good deep breath. Oh, thank you. You all right? Yes, sir. I had to get out of that theater, that's all. A lot of people had that idea. Oh, it wasn't the panic that frightened me. It was something else. I'm afraid I don't understand. Oh, I'm in terrible trouble. Will you help me? Trouble? What kind of trouble? I can't tell you here. Can we go someplace and talk? Well, my flat is nearby. Well, let's go there. But hurry, please. Now, if I can find this light switch. Oh, no. Don't turn on the light. What? Don't turn them on. It will be safer. I'm afraid I don't know. Will you pull down the blind, please? It just puts me doubly in the dark. My name is Richard Hanna. Any objections to telling me yours? No, it's Annabella Smith. Smith, not really. Is there anything wrong with it? Oh, just an unusual name. What's this all about? You said you were in trouble. You don't believe me, do you? I believe you're slightly hysterical. If I am, I have good reason. I was the one who fired those shots in that theater tonight. You? Why? I had to do something to create a disturbance. I had to get away from there. There were two men in that theater who wanted to kill me. Oh, come on. Oh, you've got to believe me. Why should anyone want to kill you? Because I'm what you would call a professional spy. A spy? Whom do you spy for? Anyone who pays me. I suppose you're here to dig up some big state secret. No. I'm here to save a secret. For England. Oh, go on, please. The agent of a certain foreign power is on the point of obtaining a secret vital to your air defense. I tracked two of these men to that music hall. Unfortunately, they recognized me. That's why they're after me now. You still don't believe me, do you? No, frankly, I don't, Annabella. Very well. If you will look out of that window, you will see two men standing across the street. Look, please do. All right. I'll play your game a bit further. But don't let them see you. Well? I joke you're right. Two of them. They seem to be looking up here. Come away, please. Do you believe me now? Well, I suppose I must. I'm going to tell you something that's not very healthy to know. But now that they've followed me here, you're in it as much as I am. Yeah, so it seems. Have you ever heard of the 39 steps? 39 steps? No. What are they? Never mind. But this much you must know. If those men are not stopped, it's only a matter of days, perhaps hours before the secret is out of the country. Why not call the police? Because they wouldn't believe me any more than you did. Believe me, how long do you think it would take them to get going? Those men are acting quickly. You don't know how clever their chief is. Clever and ruthless. Well, what's his name? He has a dozen names, and he can look like a hundred people. But there's one thing he can't disguise. The top of the little finger on his right hand is missing. Come on now, you're trembling. I'm frightened. Well, you needn't be. You're safe here, you know. What you need is a good night's rest. Oh yes, I do. You can have my bedroom. I'll sleep on the couch here in the living room. Are you sure you don't mind? Sleep on the couch while I've done it dozens of times. No. I mean, being in danger. I'm not quite convinced of that yet. Is there anything I can get you? Yes. Have you a map of Scotland, please? Map of Scotland? I have an atlas over here somewhere. If I could... Oh yes, here it is. Are you going deer stalking or just plain hiking? There's a man in Scotland I must see next if there is anything to be done. I see. Are the 39 steps in Scotland? Perhaps I'll tell you tomorrow. Good night, Mr. Henning. Thank you. Good night, Annabella. Pleasant dreams. Annabella. Annabella, was that you? Annabella, open that door. Will you open that door or do I have to break it down? Where are you? Here. Here, look at me. What's the matter? They came through the window. One of them had a knife. Knife? Don't touch me. But you're hurt, you're bleeding. Here, I'll call a doctor. No. No, it's no use. Listen, you've got to stop those men. In a few days they'll have the secret out of the country. But how will I stop them? Kenridge, a professor. Kenridge? Scotland. What's there? Who is this professor? What's in Kenridge? They're up. They'll get you. Like... Annabella. Annabella. Good God. Dummy, Anthony, Chris. Take it to Kenridge, please. One, sir. Yes, one, hurry, please. One to Kenridge, Scotland. Here you are, sir. Excuse me. Is this seat taken? Not by us. It ain't. Sit down, young fellow. Thank you. Oh, sir, Jess. Who won the two o'clock at Epsom? Here it is. Bachelor but not seven to four. Oh, Bachelor but, no. Hello. Look at this. Another woman murdered in a West End flat. Murdered, eh? Who was she? A well-dressed woman of about 25 was found with a knife in her back. The tenant, Richard Annay, is missing. If that ain't the blasted limit. Missing, eh? The police are not on the trail, and watching with careful eye, all points are departure from London. Oh, sir, that was what they were to do, eh? Who? Scotland Yard. Two plainclothes bobbies. I've seen them get on this train. Ask him plenty of questions, they was, too. Look here. Here's a picture of that Annay chap. That's a bit squinted, eh? Hmm. Well, I'm looking law-tainty. Excuse me. Here, young fellow, where you going? Don't you like that seat? Oh, thank you. I just remembered. And a bit of R, eh, wasn't he? He was that. I say. What? I say. Oh, I beg your pardon. This is a private compartment. Oh, is it? Yes, and it happens to be occupied. Yes, so I see. Very charmingly, too. Well, what do you want, please? Your hospitality for a short while. Really? Well, I'm not interested. Now will you please go? I, eh, I can't. What? It isn't safe. Listen, are you going or shall I call the conductor? No, don't do that. Stop. You're hurting my wrist. I'm sorry. Listen to me. I want your help. My help? I'm Richard Hanna. Hanna? Why, you're the man the police... Yes, but I'm innocent. I swear I'm innocent. Listen, you've got to help me. It's terribly important that I be free for the next few days. You, you will help me, won't you? Yes. Yes, of course I will. That's fine. I'm sorry if I hurt your wrist. Oh, that's all right. You say the police are on this train looking for you? Yes, that's why I forced my way in here. Oh, I see. And just how am I supposed to help you? Well, they're looking for a man traveling alone. If I stay here with you, they'll think we're together. We'll pose as men and wife, and they won't pay any attention to us. They'll pass us by. How clever you are. You'll do it? Yes, of course. Say, you're all right. What's your name? Well, what's I got to do with it? Nothing. I just wanted to know who my benefactress was. That's all. No, I'm Pamela Stewart. Pamela? Well, that's rather pretty. Suit you. Thank you. There they are now. Remember, I'll sit here and pretend to read. You do the talking. All right. Excuse me. Have either of you seen a man pass here? Young fella? Smooth shaven? Yeah. Why, no. Wait. Are you the police? That's right, miss. Then this is the man you want. He forced his way in here and told me his name was Richard Hanna. Why did I? Come here, you. Let go of me. Are you Richard Hanna? Well, speak up. Yes. Thank you very much, Mr. Stewart. Well, you didn't expect me to harbor a murderer, did you? Unfortunately, I did. And I am not a murderer. We'll see about that. Come on, Hanna. Certainly, gentlemen. I'll go with you willingly. In fact, I'll leave the way. Grab him. He's gone. Here, get after him. Open that door. He's holding it from the other side. Yeah, let me try. Together now. One. Two. Three. Get out of the way. Where is he? Where did he go? Here he is down the passageway. Stop him. Grab him before he gets to the vestibule. Come back here, you. Come back here, sir. Sir. Have you got him? No. He's gone. What? He jumped. He jumped off the train. He's probably lying dead in a ditch. Now, the last I've seen of him, he was on his two feet and running like a rabbit. During our first intermission and while waiting for act two of the 39 steps starring Robert Montgomery and Ida Lupino, we'd like you to go with us to one of the millions of homes where Christmas secrets are in the air and listen in on a very interesting conversation. And, Sally, come here. I want to see you alone. More secrets, Betty. Well, the house is full of them. Now, the door's closed. We can talk. Aunt Sally, what can I give Mother for Christmas? Did you ask her, dear? Yes, and she just says all she wants from me is love and kiss me. Well, I did hear her say she needed more stockings. How about getting her some of the lovely shear ones we saw in the store today? But she always says shear stockings are extravagant. Not necessarily, dear. They wear very well if you're careful about washing. We just dip them in luck suds every day. Lucks keeps the silk nice and springy so it doesn't break so easily into runs. Then I'll tell you what, I'll buy some at some other I'll look for. Every time she wears them. I'll buy a big box of lucks and give a tour with the stockings. Now, that's a real Christmas gift, Betty. Okay, I'll get some luck flakes right away. And be sure to use nothing but luck flakes, dear. You know, rubbing stockings with a cake of soap is bad for them. And some soaps are strong. Too harsh for delicate silk things. Oh, thank you, Aunt Sally. You're an angel to help me. Mother's the most perplexing person on my list. Stockings for Christmas and luck flakes for stockings. A perfect combination. We return now to Mr. DeMille and our play. Robert Montgomery, Ida Lupino, Isabel Jewel and Jean Lockhart continue with the 39 Steps. Two days have passed. And Richard Hane wanted for a murder he did not commit is still at large. Determined to discover the secret of the 39 Steps, he's made his way to Scotland. The driver of a donkey cart has given him a lift. And he's now on the last leg of the journey. The outskirts of the village of Kinreach. Are you going to stay long in Kinreach, Ladi? Well, it all depends. I'm looking for work. You suppose I could find something? Ah, hey, me doots, Ladi. Kinreach is a mighty small town. What do you do? I'm a chauffeur. Well, I'm thinking you'd better try somewhere else then. What folks as need chauffeurs in Kinreach has had them for years. Oh, I see. But aren't there any newcomers? I mean, somebody told me about... Now wait a minute. I come to think of it I did hear something a retired professor moving into the big house on the edge of the moor. A professor? Yes. Yes, that's it. I can try it anyhow. Yes, sir? I'd like to see the master, please. What name shall I say? He doesn't know my name. But you might ask him if he knows Annabella Smith. Yes, sir. Will you mind waiting a minute? There's someone from me, George. Oh, yes, professor. How do you do? How do you do? My name is Hammond. I'm from London. From Annabella Smith. Oh. But do come in, please. You must be tired. We can talk in the library. My daughter's having the engagement party. I'd rather not disturb her. Yes, of course. Go right in, please. Thank you. Sit down. Will you have a drink? No, thank you. Well, what did you want to see me about, Mr. Hannae? Hannae? You know me? Yes. I suppose it's safe to call you by your right name now. What about our mutual friend, Annabella? She's been murdered. I know. Poor girl. The police are looking for you. Yes, but I didn't do it. Oh, of course you didn't. But why come all this way to Scotland to tell me about it? Well, I believe she hoped to come to see you about some air ministry secret. She was killed by a foreign agent who was trying to steal it. Oh, did she tell you what this foreign agent looked like? No, she hadn't time. Oh, yes, there was one thing. She told me the top of his little finger is missing. On which hand, Mr. Hannae? On the left, I believe. Are you sure it wasn't on the right? It might have been. Like on my hand, Mr. Hannae? Good Lord. Then you're the one she... The one she was trying to warn you against. The chief. You misunderstood her. She meant for you to kill me, not to bring me information. Yes. Well, what are we going to do about it? Ah, that's just the point. What are we going to do? You see, I live here as a respectable citizen. I should hate to have it known that I am... not what I seem to be. You understand my position. Oh, yes, quite. What makes it doubly important that I shouldn't let you go is that I'm just about to transfer some very vital information out of the country. What? Oh, yes. I've got it already. I'm afraid poor Annabella would have been too late in any case. Well, that's that, I suppose. Yes. Well, what about it, Mr. Hannae? What about what? Yourself. It seems to me there's only one way out. And what's that? I have a small revolver here. Pretty little thing, isn't it? Supposing I left you alone with this, the newspapers could then announce tomorrow morning that the murderer had taken his own life. You want me to kill myself? Yes. You're mad, I won't do it. Then I'm afraid you leave me no alternatives. You should have stayed in London, my friend. Oh, George. Yes, Professor? I want your help, please. There's a little job for us inside. Hannae? Yes. We'll cut him to the garage. When it gets dark, we can drop him off on the road somewhere. Yes, sir. Come in. Where is he, sir? Behind that table. Yes, sir? Yes. Pick him up and... I'm sorry, sir. But there's no one here. What? You can see for yourself. But I shot him. The body was lying there on the floor. The body, sir? Seems to have disappeared. What do you mean by standing in front of my car? You might have been killed. Sorry, lady. I just wanted to live. Would you mind... Well... Well, Miss Stewart, how do you do? You? Well, what are you doing here? Richard Hannae is my name. I believe we've met. On a train, wasn't it? Yes. Yes, I think so. Yes. Yes, if I remember correctly, you handed me over to the police. You did, didn't you? Oh, get away from me. Oh, don't worry. I don't hold it against you, really. Well, that's very kind of you. Yes, isn't it? What are you doing in Kinridge? I live here. It's a charming place, isn't it? You know where the local police station is? Of course I do. Well, you take me there. What? The police station in a hurry, please. Certainly. Well, I suppose you know what you're doing. Oh, yes. You see, I know who killed Annabella Smith. Is that so? The same man who shot me a few minutes ago. Shot you? Yes. Where? Right in the cigarette case. See? There's a hole in one side of it. Hand it to the thing's cigarette cases. If I hadn't been carrying it about in my vest pocket, the hole would have been in my chest. And who was this arch-villain? A gentleman called the Professor. The Professor? Oh, now you don't mean Professor Bartlett. I didn't stop to inquire his last name. Oh, that's very kind. Oh, come now. It isn't as funny as that. Do you actually mean you're going to the police for this story? The Professor Bartlett shot you? That he's the one who killed Annabella Smith? Of course. Why not? Oh, and you expect him to believe it, I suppose. Well, you don't evidently. No, neither will they. Professor Bartlett, a murderer. Why, he's one of the best like men in the village and a very good friend of the sheriffs. I'm sure the sheriff will be interested in your story, Mr. Hanay. Yes. Yes, I see your point. It hadn't occurred to me that... Stop the car, please. I'm getting out. Oh, no, you're not. Stop this car. You said you wanted to go to the police. Well, that's just where you're going. And if you touch me, I'll make a move to jump. I'll turn this car into a ditch. Well, aren't you the sweet little thing? Ah, you just sit tight, Mr. Hanay, and don't make any sudden gestures. We're going rather fast. You haven't the nerve, of course. Haven't I? No, I mean... All right, I will. Don't touch that brake. Hang on. Where are you? Are you all right? I'm all right, thank you. You little fool, we might have been killed. Hello there! There's someone coming. Keep down. Let go of me. Hello there! Why, you... There, Hanay, we've got you. And don't try any funny business. Stand up. Yes, of course. Are you the police? We've been looking for you, Hanay. Put the bracelets on him, Joe. Right you are. Put out your hand. Now put out the other one on the girl. Yeah, what are you doing? We are handcuffing you to your friend here. Any objections? Now see what you've done. Oh, shut up. Listen, you can't do this. I don't even know this man. You're right around the country. We are in a car. But you don't know him. Of course you don't. Yes, but I'm telling you, I... Take your mouth shut. All right, Joe. Take him to our car. It's a good day's work for us. Will you please move over? Are you talking to me? Yes, I am. Very well. Well, you asked me to move, and if I move, you move with me. It's a scientific fact that when two people are handcuffed together... Officer, must I be chained to this man? Aye, you must, and keep quiet about it. Wait a moment. Where are you taking us? This isn't the way to the Sheriff's office. Will, we're not exactly going to the Sheriff's office, eh, Joe? Not exactly, no. Well, where are we going? Well, it's the real head we are going to see, the Sheriff's principal. Aye, Joe. Aye, the Sheriff's principal. I don't understand. Would you like to have a small bet with me, Pamela Stewart? What do you mean? I'll bet you a hundred to one that the man they call the Sheriff's principal has the top joint of his little finger missing. Am I right, gentlemen? You shut your mouth, young fellow, or I'll shut it for you. For good. Ah, you see, Pamela, I win. They're taking us to your old friend, the Professor. Charming gentleman, the Professor. Best like man in the village and a personal friend. Oh, be quiet, will you? What are we stopping for? Sheep, a whole flock of them across the road. Well, boy, you're hard. Maybe that'll scare them. Dog and beast, they won't move an inch. Well, come on. We'll have to get out and shoe them off. He'll get on there, shoe, get on there. Go on, go on, get you to the way. Go on. Now's our chance. We'll make a run for it. Ron, how can we? Come on, when I say jump, jump and run for your life. If the bell catches. Go on, jump. Hey, look, you're getting away. Stand where you are. Let the elderly go. Give it to him. They're shooting at you. Come on, you little fool, run for it. Please, don't go so fast. You're hurting my wrist. Shut up. I can't go any further. I've lost my shoe. Oh, yeah. Oh, back there. Well, forget it. All right, sit down. Sit down for a while. You think we've lost those men? It's like a pitch on this moor. They'll never find us now. You know, this is all very silly. You can't escape. What chance have you got? Handcuff to me. Keep that question for your husband when you get one. Meanwhile, I'll admit that you're the white man's burden. Oh, yes, I know. And I can't tell you how it comforts me. Why don't you give yourself up? To whom? Oh, give yourself up to Scotland jar. Thank you. But it's a little impractical at the moment. Listen to me. I told you the truth on the train. And I'm telling it to you now. There's a dangerous conspiracy against this country. And I'm the only man who can stop it. I don't believe you. All right. I'm just a plain common murderer who stabbed an innocent defenseless woman in the back in Portland Place, London. I don't know how innocent you may be. But you're a woman. You're defenseless. And you're alone on a desolate moor in the dark. And you're a manical to a murderer who would stop at nothing to get you off his hands. If that's the story you prefer, have it, my lovely, and welcome. Well, I'm not afraid of you. Why not? For all you know, I murdered a woman. You listened to a bit of advice. From now on, you do everything I tell you to do and do it quickly. No, you wretched boy. I admire your pluck, but you keep a civil tongue in your head. Otherwise, I might feel the next killing was a bit overdue. All right, on your feet now. Well, where are we going? I see some lights over that way. We'll do a little investigating. Well, I won't go. I'm going to stay right here. Pamela, are you forgetting I murdered a woman? Well... Don't you strike me. I'll... I'll go. What kind of a place do you think this is? I don't know. Looks like an inn. I remember what I said. A civil tongue or else. And you back me up in everything I say I do. You understand? Yes. Stay close to me and hold my hand. It'll hide the handcuffs. Good evening. Good evening. Welcome to King's Head Tavern. And what can I do for you and the lady? We had an accident with our car a few miles back. That's too bad now. You want to stay the night, I suppose. Yes, we do. And will it be two separate rooms or one? All two separate rooms. One room, please. One. Well... Which? One, thank you. Oh, one. And what's the name? Hawkinson. Hawkinson, yes. Henry Hawkinson and Mrs. Hawkinson. Well, come along, Mr. Hawkinson. The rooms are at the top of the landing. Thank you. Nice place you have here. It'll do. Here's the room. Oh, thank you. Well, good night to you. Well, wait. Now, wait, please, you... You mustn't go. What's the matter, Lash? Is there anything wrong? Yes, well... Of course there's nothing wrong. She wants to tell you something, that's all. Yes, I want to know. Yes, we... You see, we're a runaway couple. Ah, yes, now. Yes, yes. As a matter of fact, we've been running all night. If anyone inquires for us, you won't give us up, will you? That I won't. I was young Michelle once. Good night. Good night. Good night. Good night. Inside, Pamela. Of all the outrageous things. Listen, you don't think I'm going to spend the night in this room with you. Personally, I don't see how you can help yourself. Stop jerking my arm. I'm so sorry. I want to take my shoes off. My feet are tired. You'd better stand here by the fire and get warm. You'll be catching cold. What if I did? Stand by the fire. Don't yell at me like that. I didn't ask to come with you. I didn't invite you. But here we are. Well, aren't you afraid the men will find us? I'm not thinking of that so much as some way to get out of these handcuffs. Oh, I have a nail file in my pocket. Maybe that'll help. Oh, that would be dandy. If you file 24 hours a day, 10 years from now, we might be free. Imagine, tied to you for 10 years. It's a horrible thought. I've had enough of your insult. I'm going to tell the inkkeeper the whole story. You want me to hang for a murder? I didn't commit. As long as you hang, I don't care whether you committed it or not. What a bloodthirsty creature you are. Haven't you any pity? No. Ow! What are you up to now? I'm merely trying to file a handcuff. Well, don't jab me in the wrist that way. I don't like it. I'm sorry. You're going about it in a very amateurish fashion anyway. I can see you know nothing about filing handcuffs. I'm sure you do. Tell me, how did you start being a criminal? So you want the story of my life? It's really very interesting. Oh, I'm sure it is. I was born a poor orphan boy. From the beginning, I hadn't a chance. Ouch! I'm sorry it slipped. Accidentally? Accidentally, go on, please. I started by pilfering pennies out of other children's lockers at school. And a little pocket picking and car pinching. And it blasted my efforts for reward and I graduated in the straight burglary. With diploma? With diploma. Oh. I killed my first man when I was 19. It scared me at first, but I soon got hardened to it. Lady, you wouldn't believe me if I told you. It was your fault. The whole thing was your fault. My fault? How do you make that up? If you hadn't stopped the car for those blasted sheep, we'd have had the two of them in the professor's parlour right now. We'd better run there as soon as what I say. The professor was anxious about Hanne. Knows too much, he said. Get him. Get him. We had him. And the girls too. Didn't suppose they'd had you somewhere, do you? Stop at a tavern, I mean. They might in this weather. There's a place about four miles back. Kings Head Tavern, it's called. Kings Head Tavern. That'd be somewhere near where they gave us the slip. Turn around. You'll find out. Right. And if we see them again, blast you. Shoot straight. I will, all right. You can depend upon that. By little and year by year, I sunk lower and lower. And you got better and better. That's right. You might have read about me in the papers. They call me Hanne, the Cornish Bluebeard. And that, my lady, is the horrible story of my life. Dear, dear, and you have such a nice face. How many people have you killed altogether? Uh, nine. If you don't watch the point on that nail file, it may be 10. Ouch! At least I'm trying to do something. Well, if you don't mind, I'm going to try and get some sleep. I haven't had a wink for 48 hours. Well, I'm not in the least bit tired. Besides, I have to stay with the fire and get dry. All right. You don't mind if I stretch out in the chair, do you? No, not at all. Thank you. Good night. Good night. I... I don't see how you can sleep at a time like this. Mm-hmm. I said I don't see how you can sleep at a time like this. Uh, I'm hardened to it. That's all hardened crimin will sleep anytime. Listen. Listen, did you hear that? There's a car out there. It just drove up, a car. It's your imagination. It's not my imagination. I heard a car. Oh, all right, if you don't care. Don't care. Just don't care. Oh! Don't do that! What's the matter with you anyway? Oh, I'm so sorry. You mustn't get frightened, Pamela. I have awful nightmares. I guess it's my conscience bothering me. Good night. This is Station Identification. This is the Columbia Broadcasting System. We pause now between the scenes of the 39 Steps. Robert Montgomery and Ida Lupino will be back shortly when we raise the curtain on Act 3 in this play about spies. Spies may be roughly divided into two classes. They're the mercenary spies who traffic in state secrets, selling them for cash to the highest bidder. And there are patriots who risk their lives solely for the protection of their country, who receive the smallest monetary rewards and whose names never get into the newspapers. The Richard Haney of our play belongs to this second group and so does tonight's guest, Major C.E. Russell of the United States Army, retired. Before this country entered the World War, Major Russell temporarily loaned his services to Scotland Yard as one of their American operatives. Back in the United States Army during the war, he served on a special staff in France. He later instructed our Army officers in the art of espionage to be author of a standard military textbook on this subject. With such a background, Major, there should be no better authority to answer the question just what are the qualifications that make a valuable spy? The qualifications today, Mr. DeMille, are exactly the same as in biblical times and the instructions which are taught follow very closely those which Moses gave to his men when he sent them forth to spy out the land of Canaan to learn what the land contained, the strength of the enemy, the content and how strong were the walls. Then, as today, spies had to have powers of observation, of memory and description. These are the three traits that must be developed in a capable espionage agent and are the least developed of all human traits. In addition, we must have common sense, a good general education and ability to take orders and preferably a knowledge of foreign languages. I've noticed that the opinion held of a spy varies greatly. Some people have only the greatest respect and admiration for a spy. Others consider them vicious double-dealing scoundrels who stop at nothing to attain their end. How well do I know that? But I think these people would change their minds if they only realized that spies are one of the greatest forces for world peace. I am, of course, referring to patriotic spies, not mercenaries. I believe that a patriotic spy by keeping his country informed of military activity in other lands enables his own nation to properly prepare itself, and a properly prepared nation is a nation seldom attacked. The war that they are ready for rally comes. If what I've observed is true, you soldiers who fight with your brains instead of bayonets are finding more and more women as your co-workers. How does a woman compare with a man as a spy? Very favorably, up to one point. A woman's heart will rule ahead much more quickly than a man's. Today, there is probably one woman to every two men in the world's espionage service. We've learned that if you want to make a man talk, send a pretty woman. And when we want to make a woman talk, we make her jealous. Both theories work amazingly well. It would appear to me that spying is one activity which provides little or no room for modernization. Along with qualifications, I presume that methods have changed little since the days of Moses. That's very true, Mr. DeMille. They remain essentially unchanged, but there have been radical technical changes in carrying out those essentials. For instance, there's a machine recently developed in this country so delicate and so accurate that it can etch an invisible secret message on a surface no larger than a grain of corn. Or to employ a commodity with which perhaps you're more familiar, it could etch the map of an entire country on a single luxe flake. And that's probably the finest thing and most fragile thing I can think of for the moment. I know that you can read through a flake of luxe major. It's actually only two one-thousandth of an inch thick. I see. Almost as amazing as this machine I'm speaking of. Luxe flakes remind me of women. And women in turn recall an amazing spy story I encountered during the World War. It concerns a Swiss opera singer who volunteered in the French Red Cross as an entertainer. For two years, she made periodic visits to her home in Switzerland, each time using the same route over the French border. One day, she started to cross and found a new officer in charge. He took a good look at her and immediately ordered his women assistants to search her. They returned with a petticoat of this famous singer, suspecting that it might contain invisible writing. The lieutenant called for hot irons and himself applied them to the petticoat. The heat revealed what had been invisibly written in lemon juice, the complete working drawings of a new French war tank. The reason the lieutenant had suspected Madame was that before the war, he had been a style designer in Paris. One of the first things he observed about the singer was that while she was dressed in the height of fashion, she wore a starched petticoat and starched petticoats had been out of style for ten years. To me, one of the truest utterances of the great French general, Marshal Foch, was his statement to a group of his espionage agents. You will die a thousand deaths, he told them, before oblivion comes, while the man in the trenches dies but once. A no better example can be found, Mr. DeMille, in that patriot of Revolutionary War, John Honeyman. Two older carry-arms, he became a confidential spy at Washington's urgent request and posed as a Tory. Despised by his wife and family, ostracized by his friends, he became a cattle buyer for the British Army. American soldiers were ordered to shoot him on sight, but John Honeyman kept his promise never to disclose his real identity. Once, he allowed himself to be captured, knowing he might be shot, but there was a chance of being brought before Washington first. This fortunately happened, and Honeyman was able to disclose to Washington how some of his own men were on the verge of assassinating him by placing poison in their general's food. And it was John Honeyman who on Christmas Eve, crossed the Delaware alone, ended Trenton, discovered the condition of the Hessian troops and reported back to Washington on the other side. On Honeyman's unsupported testimony, Washington made his celebrated crossing, won his celebrated victory that turned the tide. Honeyman returned to his New Jersey home after the war, still an outcast, still an object of hate and scorn. His magnificent services were never announced, until Washington himself made a special trip to Hackensack and publicly proclaimed him one of the greatest heroes of the American Revolution. His example will always remain a shining light to Americans who seek to serve in a silent, secret, and sometimes inglorious ways of espionage. I thank you. Thank you, Major. That's very interesting. Once again, the 39 steps starring Robert Montgomery and Ida Lupino with Isabelle Jewel and Jean Lockhart. It's early the following morning. Richard Hane stares restlessly in the armchair and rubs his eyes sleepily. Suddenly he jumps from the chair and stands in the middle of the room, staring down at the handcuffs which are dangling from his wrist. Pamela Stewart on the other side of the room smiles cheerily. Good morning, Mr. Hawkinson. Looking rather dazed this morning. How did you get free? Oh, very simple. A little matter of work while you had your nightmares. I suppose you filed the handcuffs. No, darling, I picked the lock. I was trying to do the same for you, but the file broke. Say, what's wrong with you? Oh, nothing that I know of. Oh, you mean my shoes. Yes, they're rather large, aren't they? I borrowed them from the innkeeper's wife. Oh, no, no, no. It's not the shoes. Why are you being so nice? You don't feel ill or anything, do you? No, why should I? You were very anxious, too, if I remember correctly. Well, something happened last night that convinced me you've been telling the truth. May I ask what earthquake caused your mind to work at last? When I got free, I went downstairs. That car you said I imagined belonged to our pursuers. They were sitting downstairs when I got there. Did they see you? No, I hid behind the counter. But they asked the innkeeper about us. What did he say? He said he hadn't seen us. Then they ordered something to eat. And while they were eating, they talked a lot about... Oh, about the 39 steps. Oh, don't ask me what it means, because I don't know. Anything else? Well, they said the professor was clearing out of the country. Then he has got the secret. Did they say how soon he was leaving? No, but they did say that he was going to London first to pick up someone at a music hall. 39 steps. London music hall. It doesn't make any sense. Which room are these men in? Over left. When? About four or five hours ago. And you let them go after hearing what they said? Oh, you button-headed little idiot. Don't you speak to me like that. My dear girl, I'm accused of murder. The only way I can clear myself is to expose those spies. Then why don't you go to Scotland Jard? What's the use? You said yourself that no one would believe me. Well, then why don't I go to Scotland Jard? Why not? They'd listen to you. Of course they would. Come on, we'll get the next train for London. You wish to order now, sir? No. No, thank you. I'm waiting for someone. I beg your pardon, sir. Your face looks familiar. Are you in the cinema? No, I'm not. Bring me a bottle of ale, will you? Very good, sir. Oh, make that too, please. Yes, ma'am. Pamela, sit down. Did you think I was never coming? Not exactly, but I was getting nervous waiting. Well, what happened? Did you go to Scotland Jard? Yes. Well? Pay yourself for a shock. Why? They've checked every possible channel. The Air Ministry are positive that no papers are missing that will be of any possible use to spies. But that's incredible, are you sure? Well, that's exactly what they said. I don't know what to make of it. I think you've been tricked. Well, certainly it's all very bewildering. Oh, I'm sorry, Richard. Really, I am. Look, I think you'd better go now. Go where? Oh, any place. Leave the country. I'll help you. You? Oh, I know it sounds funny, but somehow I couldn't bear the thought of them catching you again. Why, Pamela? Oh, I don't know. I guess I've just changed my mind about you, that's all. Of course, you're as vain as a peacock and I couldn't stand you for any length of time, but... You're not so bad. Well, you're not so bad either. If I were in this jam, I'd... Nothing. Come on, let's get out of here. No, no, you better stay. I'll run and get you a ticket for Liverpool. There ought to be a boat trip soon. Pamela. Well, what's the matter? What are you staring at? Look out the window. Do you see that billboard across the street? Yes, is there anything strange about it? A list of acts playing this week at the Palladium. The feature attraction is Mr. Memory. But I don't understand. Come on, we're going to get out of here. Well, where are we going now? To the Palladium. But why? I don't know, but we're going just to say it. Here are your seats, sir. There's two on the aisle. Thank you. Sit down, Pamela. This is silly. In the first place, the show is almost over. Anyone sees you here? What are you looking for? Be quiet. I'm just playing a hunch, that's all. You're playing a fool to ask me. Ladies and gentlemen, with your kind permission and attention, I now have the honor to present to you one of the most remarkable men in the world. I present Mr. Memory. Look at that right hand box near the stage. You see that small man sitting in front? Yes, it's... It's the professor, the professor himself. You better get out of here before they see you. No, no, no. Sit down, listen. Every day, he commits a memory, 50 new facts. And he remembers every one of them. Facts from history, from geography, from newspapers, from scientific textbooks. Pamela, I've got it. I've got it. Why? The details of this Air Ministry secret have been borrowed, memorized by Mr. Memory, and then put back again before anyone could know. That's it, of course it is. But there's a gentleman who would like to speak to you. Who, me? You, Richard, aren't you? Well, I... You're under arrest. Wait, officer. Listen, there's something here you ought to know. Get out of here, Danny. Come along to us. But you must listen. When that man on the stage... Come on, we don't want any excitement here. All right, I'll go quietly. Richard, you're not... Pamela. What's the use? 24 miles, am I right? You're not as he takes. Your question, please. Wait a minute. Mr. Memory. What are the 39 steps? Come on, answer up. What are the 39 steps? The 39 steps... The 39 steps is a... secret organization aided by... Where is he? There's a man up there in the box. He's the one who shot him. Stop that man! Stop that man! Stop him! Stop him! I want to see Mr. Memory, please. Where's his dressing room? Number five, but... You can't go in now. Well, I'm afraid we have to. Detective, have you a pencil and a piece of paper? Yes. I want you to write down everything you hear. But listen here, I... Do as he tells you, please. I'm going to prove to you that the man who shot Memory is the murderer of Annabella Smith. What is it? We want to see Mr. Memory. How is he, Doctor? Very bad. Did they get the man who shot him? We got him all right. He rang for it, too. Oh. Mr. Memory. Mr. Memory, can you hear me? Yes. Mr. Memory, there's something I'd like you to tell us, please. Yes. What was the secret formula you were taking abroad? Will it be all right, my telling you? It was a big job learning it. The biggest I've ever tackled. I don't want to throw it away, sir. It will be quite all right. The first feature of the new engine is its greatly increased ratio of compression presented by the formula in gamma minus one, whenever I represent the ratio of compression in gamma dimensions of cylinders. Diameter. This device renders the engine completely silent. The exhaust gasses impinging on a series entirely eliminating all of my rights. That's quite right, old chap. I'm glad it's all my mind. Memory. Mr. Memory. Richard, what is it? The Air Ministry secret. We'll never leave England. This way, please. We can pick up the police car in the corner. The police car? Where are you taking us? The Scotland Yard, of course. Scotland Yard. But you can't do that. You hobbled that man, said he didn't kill anybody. Easy now, easy. He'll be all right. All we want is to put the story on the record. Oh, that's better. You've nothing to worry about at all. Be a free man in there now, Mrs. Hane. Hane? Well, what are you talking about? Well, I... Mrs. Hane. I thought... That would be just fine, that would. We were together for one day. One day, and we fought for 24 hours. 20? You were asleep for hours. Can you imagine what it would be like? Fight for breakfast, fight for lunch, fight for dinner. One long, drawn-out battle for the next 30 or 40 years. 30 or 40 years. Do you think we could keep it up that long? I mean, really. Well, we could try. Robert Montgomery and Ida Lupino have completed the 39 steps. But they'll take a 40th when they return later to the microphone. First a word from Melville Royck. Thank you, Mr. DeMille. Just a moment for a suggestion to the women who begin when winter comes to be bothered by rough, chapped hands. Perhaps they don't realize that the trouble may start in the simple daily task of washing the dishes. Here's the reason. There are oils in your skin which give it a protective coating against cold weather outdoors and steam heat indoors. If you use a strong soap in the dishpan, these oils are dried up. Your skin gets rough and red. To protect these beauty oils, simply change from your harsh soap to luck's flakes. Women find the difference between luck's and ordinary soap's for dishes almost unbelievable. They feel it the moment they put their hands in the dishpan. There is no sting in the very gentle, soothing luck suds. Almost at once your hands will begin to look smoother and whiter. Begin tomorrow to keep your hands lovely by washing dishes with luck's flakes. I turn you back now to Mr. DeMille. At the moment, both are stars. Robert Montgomery and Ida Rufino having a breathing spell between pictures. Bob is back after six weeks in the East. And Ida's been indulging in her favorite avocation, composing music. And not just simple little ballads, Mr. DeMille, but the real thing. Not so long ago, the Los Angeles Philharmonic Orchestra played Ida's symphony, a laden and the lamp. Oh, thanks for the nice boost, Bob. You know, composing's really very exciting, although I hadn't thought of attempting it until two years ago. It was just about this time of year I was riding in a taxicab down Hollywood Boulevard. The street was crowded with Christmas traffic. And all of a sudden, the noise seemed to take the form and tempo of a melody. Well, I rushed right home, worked straight through the morning, and there it was and I've been at it ever since. What's your latest composition? Something I've just sent to London, a score and book for musical comedy. Look, I hope no one's going to get the impression that I think I'm a great musician. In fact, I know so little that I often use a code to take the place of notes and musical symbols until I have time to figure out what I'm trying to do. I use the letters of the alphabet for a code. If you ever saw one of my scores, you'd think someone had spilled alphabet soup on an orchestration sheet. But I think our listeners are a lot more interested in what Bob's next picture is going to be than in my music. How would you tell them? Well, if I knew, I'd be glad to. I'm having story difficulties at the moment. Don't we all. Can't you find the right one? Well, the trouble is I've found the right two. And MGM and I can't make up our minds, which will make the better picture. Number one is a light comedy, the type of story that audiences have been favoring so much lately, plenty of laughs and sophistication. Number two, also a modern story, presents a definite problem of living that any one of us might have to face. A very interesting story for an actor, but the question is, will it interest an audience? And in the meantime, you're a question of fancy. Exactly. And since that's not a very comfortable spot to be in, perhaps the Luxe Radio Theatre audience will help me out. I'd really be very grateful if you'd drop a card or a note to Metro-Goldwyn-Mayer, to me or the Luxe Radio Theatre, and let us know which of these two types of pictures you prefer to see. A light comedy or a story with a social problem. In the meantime, my thanks and good night. Good night, Mr. DeMille. Good night, Ida. Good night, Ida. Thank you, Robert Montgomery and Ida Lupino. Ladies and gentlemen, this is your announcer, Melville Rueck. Mr. DeMille returns in just a moment with news of next week's play and stars. In our cast tonight, we're Leonard Muedy as Professor Bartlett, Reginald Sheffield, Herbert Evans, and Keith Kenneth as detectives, Lionel Belmore as innkeeper, Vernon Steele as cart driver, Edgar Norton as manager of the music hall, Eric Wilden and Raymond Lawrence as cockney travelers, Ward Lane as butler, Eric Snowden and Norman Ainsley as Scotchman, Sybil Harris as a rowdy, and Phyllis Coughlin as a woman. Louis Silvers appeared through courtesy of 20th Century Fox Studios, where he was in charge of music for the new picture, Love and Hisses. And now, our producer. One of the most glamorous beauties of the screen that the screen has ever known appears in the Lux Radio Theatre next Monday night, Marlena Dietrich. Our play is taken from the highly successful motion picture in which Ms. Dietrich starred, the Song of Songs, the love story of a Viennese girl and the three men who tried to win her. Ms. Dietrich will be surrounded by an all-star cast headed by Douglas Fairbanks Jr. with Lionel Atwell. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Marlena Dietrich, Douglas Fairbanks Jr. and Lionel Atwell in the Song of Songs. The special guest of the evening will be the creator of Mickey Mouse and the Silly Symphonies, Mr. Walt Disney. This is Cecil B. DeMille saying good night to you from Hollywood. This is the Columbia Broadcasting System.