 From Hollywood, the NBC Theatre presents... Director's Guild assignment, production, the prisoner of Zenda, director John Cromwell, star Ronald Cromwell. The NBC Theatre presents the Screen Director's Guild production of a romantic fiction. The prisoner of Zenda, with its original team of screen director John Cromwell and screen star Ronald Cromwell, who co-stars tonight with Benita Hulman. From 22 years ago, the new dimension of sound threw the motion picture medium into a ferment. The call went out for experts in the spoken word, and to Hollywood came a handful of seasoned stage directors. Many of them remain to devote the full sweep of their talent to motion picture directing, helping to develop and establish the film medium we know today. Outstanding among these is our guest tonight. He is adversely respected for his brilliant direction of such films as Anna and the King of Siam, The Enchanted Cottage, Night Song, and of course tonight's story, The Prisoner of Zenda. Ladies and gentlemen, Mr. John Cromwell. Thank you very much. The Prisoner of Zenda is a story you probably won't believe. That's part of its charm and the reason why it's one of my favorites. It represents the ultimate in the field of romantic adventure. Cromwell flavored with the fantastic, equipped with all the delights of dark intrigue, high-spirited adventures, and beautiful princesses. Here then is the Prisoner of Zenda, starring Ronald Coleman as Rudolph Rassendoll and Benita Hulman as the Princess Flavio. Let Rudolph Rassendoll's own memoirs concerning his remarkable adventure speak for him. Rudolph Rassendoll was an English country squire who found himself on this fateful day toward the close of the past century, dozing beside his fishing rod in the forest of Zenda, kingdom of Ruritania. Slowly in his half-sleep he became aware of someone standing over him and then exclaiming in delighted amazement. Astonishing. Shave him and he'd look like the king. Let Rudolph Rassendoll's own account continue from there. I awoke suddenly. A large, ruddy-faced man in hunting costume was tearing down at me in amazement. He continued to watch me wearily as I got to my feet. Then he spoke again. May I ask your name? I'm Rudolph Rassendoll, travelling from England and not so long ago in the service of Her Majesty the Queen. Rassendoll? Of course. You appear to know me or know of me. I am Colonel Sapt in the service of His Majesty Rudolph the Fifth King of Ruritania and you are Rudolph Rassendoll the King's distant cousin. That's true. I wouldn't have believed it. Oh, it's quite a fact. Oh, no, no, no. Your resemblance to the king. Hmm. You could do it. Do what? Shave. What? Pretend to be the king. Nonsense. King Rudolph is at this moment in his hunting lodge in these woods, drunk as usual and I fear drug by his enemies. If he isn't at his coronation tomorrow his brother Michael will seize the throne. You must prevent that. Oh, it's unthinkable. A kingdom at stake and a throne in the balance. Nevertheless, my dear Colonel, I'm here on a fishing trip. And black Michael sits tomorrow on the throne and the king lies in prison or is grave. Is as bad as all that? Believe me, Rassendoll. After all, it would be only for a day and the next day you'll be safely across the border. King for a day. Ha ha. It'd be quite an adventure, wouldn't it? Look now, all ye assembled here upon our most quiescent and leech lord Rudolph the fifth undoubted king of this mighty realm. Receive, Rudolph, this scepter and this crown wielded and worn by the sovereigns accepting the crown and throne of Ruritenia from the cardinal himself. There I was, king for a day while the real king slept it off. I was anointed king of Ruritenia receiving court after my coronation receiving particularly the lovely Princess Flavia kneeling before me although before such serene loveliness I should have knelt. I, Flavia, do become thy vessel swearing to serve thee until death findeth me so help me God. I kissed her on both cheeks seemed quite the proper thing to do and very pleasant too and presently the ceremony here was over and I found myself in the royal carriage with the lovely Princess Flavia at my side. I thought everything went off very well, didn't you? I mean for a coronation. I must confess, Rudolph. You surprised us all today. Surprised you, Flavia? You arrived sober and really behaved like a king at last. Oh, well, yes, new leaf and all that. By the way, I'm told I've rather neglected you lately. Two picture postcards from Paris and the Riviera in three years. My fiancé has scarcely seen you. I'm truly sorry. If you hadn't appeared today for the coronation the people would have demanded your abdication. Yes, so I understand. Your brother Michael was prepared to seize the throne. Imagine that. You know how he hates you and he wants to be the king. Better be careful of him. Him and that lieutenant of his, Rupert of Hensau. Why should you be concerned? I am to be your bride, am I not? Oh, are you? Why, Rudolph? I mean, am I worthy of the loveliest, most charming woman in Europe? You used to call me that toe-headed little scarecrow. I hope you slapped me. You remember? Well, the old Rudolph wishes to forget and to be forgotten. Black Michael, your brother will not forget. Oh, surely you're taking him too seriously. You must realize how much your life means to your country. Only my country? And your friends. Friends? And to me, your loyal servant, Flavia. Hensau. Hensau, what went wrong with our plans? There, my dear Michael, easy. I was the king at the coronation today. I told you to get him drunk. Drug him in his lodge. Keep him away. I did. Then how did the king get out of the lodge? You've heard of a Britisher named Rassendill. Rassendill? The king's distant cousin. And your own? Just what are you trying to say? Simply, my dear Michael, that Rassendill and not the king was crowned in the cathedral this morning. No. But yes. There was something strange about the fellow. But where is the king now? I moved him to a safer place. Castle Zenda. Is he safe there? Well, it's damp in the dungeon. It could be made damper, perhaps eight or nine feet of dampness. And let the English imposter reign all his life? No, no. I haven't thought of that. But if the Englishman dies first, then he's buried as the king. You would mount to the throne. And you would be next to the throne. This shows me the path to my patriotic duty. The imposter must die. Any shrewd ideas? Somehow we must lure him to Castle Zenda. How? Perhaps a forged note from the king. No, no, no. Not from the king. Rassendill is no fool. Antoinette, of course. And so there are times when we need the ladies even in affairs of state. She will write the note. Michael, darling. Come in, Antoinette. Now, come in, Colonel Zapt. Rassendill, I'm worried. Why, what's the matter? And where have you been? I've missed you. I've been back to Zenda large to see if the king is sober enough to take over his responsibilities tomorrow. Well, is he? He's gone. As he was pretty far gone when I saw him. Oh, I mean gone. Vanished, disappeared. No. And he's servant, dead. Dead? Murdered. Impossible. Duke Michael? No. Black Michael's been in the capital all day, but his swordsman, Rupert of Hensow, has been absent. They know you're an imposter. Yes. But in deadly danger, man. Well, they can't denounce us without confessing to kidnapping the real king and murdering his servant. Oh, but they may kill the king. And leave you on the throne? They wouldn't dare if they do that. They're finished. Besides, I can't carry on this masquerade any longer. And let Michael become regent and marry Flavia? Marry Michael? She'd never do that. As princess of the royal house, she'd have no choice. Oh, you can't let that happen to her. I can't prevent it. But you can. Speak to her tomorrow night at the ball. Well, of course, I'll speak to her. Good fellow. She's been expecting your proposal. Proposal? What else? I'll not propose to her tomorrow night or any other night. You've got to carry this through now, Rassendill. All the way. Lily Rudolph, you needn't have brought me out into the garden just for a romantic gesture. Oh, Flavia, if I could only make you understand. In front of everyone, the cardinal asks you when you plan to marry me and you say, oh, six months, more or less. How do you think I must have felt? Flavia, perhaps I'm the sort of man who'd take advantage of many people or even a whole country. But I could never willingly hurt you. Don't understand a word you're saying. Then without understanding, please. Please try to believe this. I love you. Rudolph. More than life for truth or honor, Flavia. I love you. Oh, Rudolph. How is it that I love to hear you say that? When I didn't even like you before, you're different. Flavia, if I were different and if I were not the king, could you love me? Other women of love men who are not king, I should be like other women. Then I must tell you, Flavia, I am not, in fact, Your Majesty. Colonel Zapt. His Eminence the Cardinal is waiting to take his leave. Yes, thank you. Faithful, faithful Colonel Zapt. Your romance progressed very well tonight, Rassendill. You struck a good blow for the king and watched to prevent me from striking a blow for myself. You're on a bound to play the king's part, lad. I'm in love with a woman who loves me. Why should I ever leave the throne? Could you expose me? I could remain king and marry the princess. You could do that, lad, but you wouldn't. Then find the king. Find him before it's too late. I may be able to do just that. Read this note. It was under the door when I came in. Read it. If Mr. Rassendill desires to know the whereabouts of the king, let him meet me tonight at two o'clock in the Royal Hunting Lodge in Zenderwood. If he neglects this invitation, he may harm the princess Flavia. Oh, it's an obvious trap. Read on. If Mr. Rassendill fears a trick, let him ask Colonel Zapt what woman would do most to prevent Duke Michael from becoming king and marrying the princess Flavia. Signed A. Antoinette. Who's Antoinette? French woman madly in love with Michael. Don't ask me why. She'd definitely lose him if he became king. Lose him to Flavia? Definitely. We'll meet Antoinette at Zender Lodge tonight. But I must speak to Flavia first. Poor hunting Zender would, Rudolph, again? Are you offended with me, Flavia? What right have I to be offended? Tonight you made me feel every hour away from me was wasted. But bore hunting, that's a different thing. Do you think I want to go? I'm sure you don't. It's the boars. They're simply pining for you to hunt them. Perhaps the boars will hunt me, Flavia. What? Perhaps they'll catch me. You're not touched by that danger. I don't know what you mean. Oh, my darling, did you really think that I was leaving you to go bore hunting? Then you're not going hunting? Not for bore. Then what do you bring? Rudolph. It's Michael. Well, there's something hatching in Zenderwood. Well, you mustn't go. Send someone else. What sort of a king would do that? I'm sorry. You see, I've never been in love before. Ah, that's better. Oh, darling. Princess. You won't let Michael hurt you. No, sweetheart. Or keep you from me. No. And you'll come back. Shanta Man, come back to the loveliest lady in all the world. Now, let me go quickly. Turn away, darling. Don't look back. If I see your eyes, I might forget to be a king. You are listening to the Screen Directors Guild production of The Prisoner of Zender, starring Ronald Coleman and Benita Hume. And introducing the director of the film, John Cromwell. It was early when Colonel Zapt and I arrived at Zender Lodge. Rather too early for our rendezvous with Antoinette. Zapt drew the bar, the heavy walnut door. It was quite black inside. Black as the pit and humid with danger. Black as blast for me in here. What about lighting a lamp? Never, my gentlemen, about lighting a lamp. Antoinette. I'm glad you came earlier than we had planned. Why? Because you have been led into a trap. I knew it. Oh, I had to write that letter at Duke Michael's orders. Three men are coming here to kill you. Where is the king? Oh, before I tell you, will you give me a word of honor that no harm will come to Michael? If you tell us the truth, yes. The king is in a dungeon in Michael's castle, Zender. That's what I wanted to know. But wait. If the castle is openly attacked, the king will be instantly killed by his guards and no trace of his body ever found. The castle must be taken by craft and guile rather than by force. How? One of you must go for help. The other must get into the castle to lower the drawbridge for your men to cross when they arrive. Yes, yes, but how? Swim the moat. Climb to my room where a light will be burning. Then I will show you the way. How many men guarding the king? Two. How many others in the castle, two opposers? Tonight, only Michael and... and... And who? Rupert of Anso. Anso? I despise a treacherous dog. Oh, I fear and love him with my soul. He kills so willingly. Can we trust you? If Michael becomes king, I will lose him. We can trust you. Of war, Ascendal. Follow me in a few minutes. Castle Zenda. A monster of a medieval fortress rotting slowly against the sky. The water in the moat looked as though it had stagnated there for centuries. Slimy things stirred within it and the gases of decay bubbled slowly to the surface. I looked up and saw light burning in a high window Antoinette's window. I saw the drawbridge drawn up by its enormous chains and then with a shudder I slipped into the water armed only with a knife. I reached the other side. I began to climb. I climbed and clung to the sheer granite walls scratching for a hold making desperate hand traverses like a mountaineer and then something happened that almost made me lose my hold. Antoinette. I scrambled up the wall breaking my nails slipping and scraping and gasping for breath but at last I was there on the sill of Antoinette's window. I dropped to the floor inside Antoinette was crouched on the stone floor her hair and clothing disheveled and at her knees a man who looked so much like me and the king that I knew he must be black Michael, the king's brother Antoinette's lover. Michael was dead. Antoinette. What's happened? I told you he was a fiend. What happened? Ensar came in when I was alone. He tried to make love to me. Michael came in before I could warn him before Michael could door his son. Ensar and him through killed him. Where did Ensar go? To the parapet. What parapet? By the drawbridge above the moat. But I've got to cut the drawbridge ropes. I tell you he is there. The monster, the killer. Then I must face him there. All I have is a knife. Michael's sword. Take Michael's sword. Yes, of course. Of course. Let me try it. Excellent. Excellent. Rassendill. Rassendill. The play actor. I swam the moat. Surely not with a heavy sword. No, just a knife. A knife. Oh, you would fight with a sword against my Nyer. Well, you may as well face it, Rudolph. I am not a gentleman. And it's inconvenient now for you to live. Therefore, on guard. Nyer, you have a sword. I borrowed Michael's. And I thought you were a gentleman. Break. Miss. I see a game now. Try to slash the bridge rope, will you? You're a clumsy fellow at this, aren't you? I do my best. Break. Why won't you let me kill you quietly? I'll let you kill me at all. Amateur. No, listen. My horsemen are below, hence our... They'll never cross the moat. Only that rope stands between us in success. You'll never cut the rope. We'll see. Break. And the rope. You dog! Success. Success. Goodbye for that. I was a fool to prolong this. You'll die. Touche, hence our... My side. Goodbye, Rassendil. Come, you fool. Sorry. Beginner's luck, you know. Play. Act. Rassendil. Here, Zapt. Good man, you killed a swine. But you're wounded. I'll never mind that. You know where the dungeons are. You, you're king. My work's over. Rassendil. Your majesty. Come in. At your service, sire. You could not have served me better, cousin. I know what you've done for my country, and for me. Tell the princess, Flavia, that you have taught me how to be a king, and that I shall not forget. She's waiting for you in the drawing room. Rudolph. Flavia, they've told you... That you're not the king? Yes, but you're hurt. They never told me that. My only hurt is the thought of the pain I've caused you. Flavia, from the first moment I saw you in the cathedral. I've loved you with all my heart and soul. But forgive me... It would have made no difference if I'd known. It was always you, never the king. Oh, Rudolph, do now. I must go away tonight. No, no, not tonight. I must before people have seen me. Flavia, come with me. Oh, if I could. If only I could. Why not? I love you. But Rudolph, help me. Is love the only thing? If love were all, I could follow you in rags to the world's end. If love were all, you would have left the king to die in his cell. Honor binds a woman to Rudolph. My honor lies in keeping faith with my country and with my house. I don't know why God has let me love you, but I know that I must stay. I think God shows His purposes to such as you. Your heart will always be in my heart and the touch of your lips on mine. Your heart will always be in my heart and the touch of your lips on mine. May God comfort you, my darling. Goodbye. It was a great film drama. Night has a thousand eyes with its original team of screen director John Farrell and star Edward G. Robinson with William Demerist. And now, here again are tonight's stars Ronald Coleman and Benita Hume and screen director John Cromwell. Ronnie, it was wonderful to hear once again the clash of swords in the castle of Zenda, the strains of the waltz and the undying romance of Rudolph and Flavia. And we made the picture together, John. By the way, your love scenes were as good as ever. How do you do it? I like that. How does he do it? Ah, there speaks my beautiful wife. Well, it's easy, John, with all the rehearsal we've had since we were married. Well, of course, I should have known. But as a director, Benita, what do you think of Ronnie's performance? Didn't you feel it was just a trifle, shall we say? Well, I thought I detected a touch of... This is mutiny. Darling, I was only going to say a touch of the old maestro. Ah, my princess. But, John, what did you think of Benita's Flavia? Ah, delightful. I know you've done some fine work on the stage and screen, Benita, but how did you get your radio experience? Oh, that's on account of the laundry. Laundry? What on earth has that got to do with radio? Well, I go on Jack Benny's show and he does our laundry. Ah, John. John, may I thank you and all the cast for their grand work tonight. Zenda was one of my favorite pictures and I'm glad to have this opportunity of saying that a great part of its success was due to your splendid direction. Thank you, Ronnie. Good night, John. Good night, everyone. Good night. Good night. And good night to you, Ronald Coleman, Benita Hulme and John Cromwell. Ronald Coleman is currently starring in A Double Life, The War. Tonight's radio adaptation of The Prisoner of Zenda was based on David O. Selznick's dramatic production of the distinguished novel by Anthony Hope. The Prisoner of Zenda will soon be re-released along with several other David O. Selznick screen masterpieces. Listen again next week when the NBC Theatre presents Screen Directors Guild Assignment Production Night Has a Thousand Eyes Director John Farrell Star Edward G. Robinson The National Broadcasting Company