 Hollywood Radio Theatre. We get many enjoyable moments out of the books we read, the sights we see, and above all the things we hear. The Hollywood Radio Theatre hopes to add to your enjoyment by bringing you each week the finest in dramatic and comedy entertainment featuring a stellar cast of movie personalities, many of whom will appear in their original motion picture roles. Now here is our producer, Mr. William Pugh. Greetings from Hollywood, ladies and gentlemen. From whistle stops to Union Station, there is a tremendous interest in the arrival and departure of trains and their passengers. And in tonight's play, Union Station, we will tell you a story of the absorbing drama that goes on behind the scenes in a railway station. The thrilling hunt for a kidnapper and his victim as the police form a drag net throughout the network of the vast terminal. As our stars of this entertaining Paramount picture, we have three of the original stars, who are also three of your favorites, the romantic team of William Holden and Nancy Olson, and that arch-villain, Lyle Betke. Now, Union Station, starring William Holden as Lieutenant Detective Calhoun, Nancy Olson as Joyce Willakum, and Lyle Betke as Beacon. The most people in a railroad station is a place where you get on or off a train. But when you've got 80,000 people doing that every day of the year, there are times when the public wants the law around. Now that's where I come in. My name's Calhoun, Lieutenant Detective, and my precinct is Union Station. We operate 24 hours a day. Men in uniform, men in plain clothes. Sometimes with a man who wears a red cap and carries your baggage. Sometimes we sell you a ticket or hand you a timetable at the information booth. But all the time, there isn't an inch of the Union Station that isn't under observation. Often we get involved in something that begins miles away from the Union Station. But if it happens on railroad property, wherever that might be, sooner or later we're in on it. And what you're about to hear is a pretty fair example of what I mean. All of this began at one of the smaller stations way out in the suburbs. It was in the middle of the afternoon. Local 42 was doing about 10 minutes. A car drew up to the station. In it, a chauffeur and two girls. Thanks for the ride, Charlie. Not at all, miss. Well, Lorna, I'll see you in a couple of days. Oh, don't go, Joyce. We can wait until your train gets here. Oh, no, you're late enough already. We should have dropped you off to the doctor's first. There's no hurry. I can tell you exactly what the doctor will say. He'll tinker with a dozen instruments. Then he'll say, turn your head up, Miss Murchison. Now to the right. Now the left, please. I don't want to raise any false hopes, Miss Murchison, but... Well, anyway, one of these days that butt is going to work for me. You bet it is. Maybe this will be the day. Take care of it, Charlie. Don't you worry, miss. I will. I'll phone you tomorrow, Lorna. Oh, oh, I almost forgot. Here's your scarf. Thanks for lending it to me. Number 42 was on time that day. It took eight or ten passengers aboard and left the station less than a minute later. The conductor picked up the tickets and was standing on the platform between the cars. Yes, miss? There's a man inside carrying a gun. Well, maybe he's got a ride to carry it. A lot of people have. I know, I know. But he and the other men were just racing the train in the car. Who else saw the gun? I don't know, but I certainly did. Oh, people are always seeing things on trains. I've got to check these tickets. Aren't you going to do anything about it? They might have done something. Maybe a hold-up. They got out of an automobile, but now they're sitting apart like strangers. I have twenty-two years in this job, lady. And I didn't keep it by minding my passenger's business. As long as... I'd rather not hear any more lecturing. If you don't intend to do anything about it, I will. All right. I'll do what the regulations say I should. I'll hire a head and have a cop waiting for you at Union Station. I'll get you the head man himself. Thank you. Lieutenant Calhoun. You can tell Willie Calhoun all about it. Something coming in for Calhoun. Oh, Frank. Conductor on Local 42. Passengers insist armed criminals are aboard. Demands you meet train and investigate. You better find Calhoun. Yeah. I guess nothing's ever done right around here, unless Tuff Willie does it himself. How long have you been working here, Adam? Oh. Oh, hello, Lieutenant. How long? Well, any 25 years before you're eligible for pension. And you won't make it. Not if you ever call me Willie. Yes, sir. About this teletype, sir. Are you busy? No, sir. 42's due on track 12. Meet me down there in 15 minutes. Right. We arranged to get the passenger off the train before anyone else. She wasn't nervous. Just annoyed. I don't know what the conductor told you, Lieutenant. I'm sure he thinks I'm crazy. Just keep your voice down, Miss, and follow me. I will stand behind the ramp. You can see the other passengers as they walk out, but they can't see us. Now, just tell me what it's all about. I suppose you think I'm a fool, too. I'm interested only in one thing, armed criminals. Well, I got on the train at West Hampton. I've been out at my employer's home. Just as the train left, I happened to look out of the window and I... There they are. The man with the suitcase has the gun. Shut up. Tell him. Yeah, only watch yourself. This may be nothing at all. Railroad doesn't want any lawsuits. All right, Miss, what's your name and address? I don't quite see why that's necessary. Well, I do. When anyone asks me to stick my neck out, I want to know who's doing the asking. Just because I was foolish enough to report something as any decent citizen would, there's no reason for me to get involved. That's all I am, too, a citizen. Only it's my business to protect the railroad, to see that they don't get stuck with lawsuits by taking information from people who refuse to give their names and addresses. My name's Joyce Willakone, 614 Carson. This is ridiculous. Any business address? 84th State Street. Henry L. Murchison Corporation. That's the fellow whose house you were visiting? I'm Mr. Murchison's secretary. Okay, okay. Then I told the conductor on the train that... Excuse me. Hello? Shaddock, Lieutenant. Well? I lost them, sorry. Oh, fine. But I got something you may want. Two men walked over to the parcel lockers north section and checked that suitcase. Locker number P-372. 7-2, right. Then they put the key in an envelope and dropped it in a mailbox. They went out to the street and I... Well, I lost them. Okay, Shaddock, get back up here. Stein? Locker number P-372 north section. Bring up whatever you find. Well, miss, maybe we'll learn something. You mind waiting? I'll wait. They put the suitcase in one of those parcel lockers. That's probably where your friend ditched his gun. Meanwhile, just tell me what happened on the train. You spoke to the conductor. Here's the suitcase, Lieutenant. At least it isn't locked. Open it up. Ah, it's practically empty. It's a few clothes. Curve gloves, scarf, all those berets and a no-gun. Looks like we made a mistake. Just a minute. That's Scarf. That's Lorna's. Lorna Merchison's. She came to the station with me. Their chauffeur drove us. She had loaned me this scarf. These are her things. Lorna Merchison? Boss's wife? His daughter. She was on her way to the doctors and she dropped me off at the station. How old a girl? Don't you see something's happened to her? Why the doctors? She went to the doctor regularly. Lorna Merchison is blind. Blind? You mean this blind girl, this Lorna Merchison might have been kidnapped? They must have had her in that car. The car I told you about. The one that raced after the train. Now, wait a minute, wait a minute. Lorna Merchison and the chauffeur drove you to the station. You got on the train. A few minutes later, you saw an automobile racing down the road and... Yes, yes, I've told you. The train was going slowly. The car caught up. Two men got out and jumped on. Who else was in the car? I don't know. When they got on the train, they acted like strangers. Why, they didn't even sit together. Aren't you going to do anything? Stein called the city police. Inspector Donnelly. All right, Miss Willickham. Where can I reach Merchison? What's his phone number? Merchison wasn't home. He was at the police station in West Hampton, reporting the kidnapping of his daughter. A couple of their men drove him into town. Now, we're not getting anywhere making guesses. Now, once again, Mr. Merchison, you were certain your chauffeur's in the clear. I've told you a dozen times, Lieutenant. He's been with us for 20 years. It's a miracle he's even alive the way they beat him. Okay. And neither you nor the city police have any right to interfere. My daughter's life may be at stake. Well, Donnelly, I can speak for the city police, Mr. Merchison. And I may as well be honest. You'll be dealing with kidnappers, with lice. They never keep their word to anyone about anything. They won't to you. I'll do whatever they tell me to do. I'll pay them any amount of money they want. If they give you that chance, sure. All I ask is don't protect them. Promise anything, anything that'll get your daughter back, but cooperate with us. I want you to stay out of this until I find Lorna. Mr. Merchison, the key to that locker was put in an envelope and mailed. Now, there's no doubt about what it's addressed to you. Now, with that key, they'll send instructions. But they won't make a move until you've received it. That won't be till tomorrow. So, meanwhile, we're going to put the suitcase back in the locker, and we want your permission to keep it under observation, just in case one of them should return. No, not until Lorna's found. It'll do it quietly. I've got good, efficient workers here at the station. City police are here. I'm sure that we can guarantee you... My daughter? You guarantee my daughter will be returned to me safe, alive? Oh, no, sir. I'm afraid there is no one who can guarantee that. Now, let us handle these people, Mr. Merchison. We've worked together before. We've spent our lives at it. We'll use what we know before they're ready for us. We've got till the morning anyway. No. Well, we don't want to push you into anything. After all, she's your daughter. You're the only one who has the right to decide. What do you want me to do? Well, we'll need a full description of what Lorna wore today and whatever pictures you have. Joyce, Miss Willicham here can tell you what she wore. Yes, of course. As for pictures, I told you when you telephoned. There haven't been any pictures, not since Lorna lost her sight five years ago. But you can take these if they'll do you any good. Thank you. I'd like to go home now. Maybe they'll telephone instead of waiting till tomorrow. I'll go with you, Mr. Merchison. Miss Willicham might be able to help us here if she'd stay. How, Lieutenant? Well, if someone should come to the locker, there's a chance you could make an identification. He's right, Joyce. Now, if they should phone, you'll let us know. I want my daughter, Lieutenant. I can't promise anything. We took the girl down to police headquarters, Rogues Gallery. We got nowhere. Then we left Inspector Donley to start the long, slow process of checking everyone who'd been in recent contact with the Merchison household and went back to Union Station. There's one thing about working for a railroad station, Miss. You're always near a lunch counter for a cup of coffee. What time is it, Mr. Schadek? 3 a.m. almost. Now, don't worry about the locker. We got men watching. And you think kidnappers would come here with men on guard? Not if they could see them. But we've got places to watch them from, Miss Willicham. Telephone booths, grill work, ticket windows, dozens of places. Well, it looks like it's going to be a long night. Maybe she could go home for a few hours. Let's play it safe, Schadek. You don't mind staying, do you? No, I couldn't sleep anyway. Look, I'm going to wander around for a while. If you see anyone, don't wait to make sure. Just tell Schadek. Now that's important. This is the fourth time you've told me. I still say that if they show it all, Lieutenant, it won't be until Merchison comes back to open the locker. Never mind the ifs. If she'd noticed anything about the car, the license number, anything, we'd have something to bite into by now. I know it's all my fault, Mr. Schadek. You see, I had those two men right under my nose. But I didn't follow them. I was too busy giving my name an address to someone. Schadek was right. Nothing happened until almost noon of the next day when the mailman dropped the letter off at the Merchison house. In it was the key to the locker and a note. He came straight to Union Station, and then we got the break we'd been waiting for. Merchison was being followed. That's the man. He was with the other one yesterday on the train, the one who had the gun. Just stay where you are, Miss Wiliken. What's he going to do? Nothing. He's just making sure that Merchison is alone, that the police aren't with him, and that Merchison opens the locker. And you're just going to sit here? Why don't you arrest him? Because he can lead us to Lorna Merchison. So we're going to follow him. He's leaving. He's walking out. That's right, Miss Wiliken. So am I. The man walked for a couple of blocks to the subway station. He took a downtown local. Eight of us followed, but only one stayed close to him. At each subway stop, one of us would leave in another takeover. I don't know what we did wrong, but somehow he became suspicious. At the Fullerton Street station, he stepped out onto the platform as if he were leaving. Shattuck was right behind him, and then the man quickly went back into the car. There was nothing Shattuck could do but follow him. The man knew for sure now. Once again, he ran out of the car and up the stairs. Stairs, Calhoun. Be careful. He's got a gun. We're right behind you, Shattuck, but don't shoot. They need a life. He was running toward the stockyards. As we closed in, he jumped a fence and headed for the cattle pens. He was giving us a bad time, but he didn't stand a chance of getting away. And then he stopped and began firing at us. That was his big mistake. The sound of the shot stampeded the cattle, and by the time they were driven off, our suspect had been trampled to death. Now, Inspector Donley suggested it. He should have been home a long ago. It's too bad you lost that man. Yeah, I'd been waiting for you to say that. But at least we know who he was. His name was Gus Hatter, where he lived, fingerprints, driver's license. Donley's got men planted at the hotel and on his telephone. If anyone tries to get through, they'll take him. I suppose that's the best way to look at it now. Try not to think about the other kidnappers, the ones who are waiting for that man to get back. I wish I hadn't said anything about those men on the train. We should have stayed out of it, all of us. That's what Mr. Murchison wanted. Look, men like Donley have had years and years of experience. Yes, I know. Leave kidnappers to men and handle them. Make sure the railroad company isn't sued. Why doesn't someone think about Lorna Murchison? She's all accounts. I don't care how many kidnappers you catch, whether they're caught or not. I care about her. We all do, Miss Wellercomb. What instructions did Mr. Murchison get in that letter? He needs to be standing in front of the information booth tonight at eight o'clock. They'll contact him there. They're going to use your station again. Yes, they're going to use my station. Donley thinks you'd better be there, too. Where? My office at seven thirty. Very well. Thanks for the ride, Lieutenant. Eight o'clock, the kidnappers had said. That gave us time, Donley and me, to get our plans fairly well organized. They have it all figured out, Calhoun. They know the station is going to be jammed with weekend crowds worse than yesterday. Well, the more people, the better. We can scatter an army down there and nobody will ever notice them. Whoever engineered this kidnapping, that kind of a man won't come himself. No. He'll send someone else. Like the fellow who drove the car. Nobody's seen him, I guess, and he's probably the one taking care of the girl. What makes you think anybody's taking care of her? I wouldn't be lifting a finger, not a finger. If I could make myself believe that Lorna Murchison's still alive, I don't believe it. Not ten minutes after they took her. Well, how do we lay it out? I want your men to cover every exit and every entrance. Now we've got a dozen phones planted around the station. I'll have a man at every one. Stein will be with the station announcer. We've got signals he can give over the public address system. We have four clerks in the information booth. Tonight, two of those clerks will be Shattuck and me. I think we'd better have another talk with Murchison. He's staying in town, and I just want him to be sure of it. We were ready and waiting at eight o'clock. Murchison stood at the information booth. And nearby, sitting under the clock, Joyce Willickham pretended to be reading the evening papers. For 20 minutes, nothing happened. And then... Telegram for Mr. Henry Murchison. Telegram for Mr. Henry Murchison. Mr. Murchison, please. Here, boy. They were playing it smart. A telegram instead of a contact. Murchison read the message and started walking away. But he remembered what to do. He crumbled the message and dropped it on the floor. A moment later, it was swept up by a porter. Information booth. Johnnie, the porter just brought in a telegram. They want Murchison in the main converse at a phone booth between the drinking fountain and the newsstand. They put an out-of-order sign on the booth. But a phone call will come in at 8.30. We've got three minutes. I'll give Stein the flash. Right. They've made contact. Get on the PA. Track 14 signal. Yes, sir. E. Nelson, please go to track 14. We started closing in from every corner of the station. Casually, inconspicuously. Murchison stood by the phone booth, waiting for the call. Meanwhile, Joyce Willickham was still under the clock. And then, suddenly, she noticed someone walking across the station. Look. Where did he go? Lieutenant Calhoun. I couldn't tell you, ma'am. I'm sorry. I'm Miss Willickham. I know who you are, Miss. Then tell him I've just seen the man with the gun. He's walking out of the station. And I'm going to follow him. Union station will continue shortly. You've all heard the old nursery rhyme. For one of a nail, a shoe was lost. For one of a shoe, a horse was lost. For one of a, and it goes on and on until the kingdom was lost. Such a small thing as a horseshoe nail was responsible for the losing of a kingdom. The moral of that nursery rhyme is that it's the small things that count. And these words most certainly do apply to you servicemen and women overseas, especially in your relations with people in a foreign country. You see, our foreign policy is based on our desire to promote a better understanding among the peoples of all nations. Our military policy is based on our desire to promote world peace. So if you're an American serviceman or woman overseas, you're there to support both of these policies. On-duty or off-duty, in dealing with people in a foreign country, you can't afford to neglect the small things. America is striving for mutual understanding and trust. Remember, a country is known by its people. What people think about your country depends on you. Now our producer, Mr. William Keely. Back to Union Station, starting William Holden as Bill Calhoun, Nancy Olson as Joyce, and Lyle Betke as Beacon. The man with the gun had come to the station. He had paused long enough to make sure Murchison had gone to the phone booth. Then he left and went around the block to a parked car. And following him was Joyce Willicole. He was talking to someone. All right, Marley, get over to the station. Murchison's waiting for the phone call. I want to be sure the cops aren't in on it. Maybe it's smart if I don't go in there and smell the rum, huh? What's the matter, Marley? You had the shakes ever since this started. Oh, what about Gus? I want to know what happened to Gus. You and Gus, the shaken shiver boys. He ran out, now you want the same. Okay, you're out. Margin, I'll handle this alone. Oh, wait a minute. I didn't say I wanted to quit. I can talk the angles with you, can't I? Always yammering about details. I set the details. I set myself for five years setting details. This time, nothing and nobody stops me. Make up your mind. All right, all right. I'll go on the station. All right. I'll give you time to get there, then I make the phone call. All right, I'll see you back to place in an hour. Get going, Marley. Joyce followed Marley back to the station. Murchison was still waiting for the phone call. Lieutenant. Get back under the clock. You were told to stay there. I know I was, but just in case you're interested, one of the kidnappers just walked in. Where is he? He's sitting down, facing the first phone booth. All the calls coming through. Look, find Donley. Tell him what you just told me. Tell him we won't do a thing until Murchison's through talking. And hurry, please. Murchison left the booth. If we do what we ask him to do, he'd go straight from my office now and tell Donley what he'd heard on the phone. But I couldn't wait to find out. The man facing the first phone booth had started to leave. Shaddock, Faye and I closed in on him. Got a message for you, Jack. Sorry you made a mistake. It's from Gus. Gus Hatter. Not me. We don't even know who you're coming with us. Downstairs. Where's Lorna Murchison? Lorna who? Who are you talking about? I may have to beat your brains out. I'll let you decide. But we're gonna find out where she is. Tell you, Mr. Murchison, there's no way for us to trace that telephone call. Now, what did he tell you? I'm to come back tomorrow at noon. The information booth for the $100,000. A package? He wants it in the suitcase, the one you people found in the locker. He's going to send for it, but the messenger won't know anything. He'll be watched and if anyone talks to him or tries to follow him, he said, I'll never see Lorna again. Well, just go ahead with the arrangements, Mr. Murchison. Can you get the money, okay? Yes. I know what you're all thinking, Inspector, but maybe Lorna is alive. He said she is. Please, please don't do anything to interfere. Murchison was gone when I got back to the office. But it was Joyce Willickham that I wanted to talk to. Donley, everything I know. I saw the man with the gun come into the station. When he left, I followed him. He went over to State Street and spoke to a man in a car. The one who came back here. What about him, Calhoun? You get anything out of him. Not yet, but I will. Now look, this man you saw. No question about it, huh? The same one you saw on the train? Yes. I'm almost afraid to ask you this. The car, did you think to look at the license number? I didn't trust my memory. I wrote it down. Well? Mr. Murchison asked you not to do anything. We've got to have that license number, Miss Willickham. 49R280. I'll send a B alarm. No teletype or radio. Let every precinct captain give it to his men. When we're through with that customer down in the basement, we'll know a little more. I'll join you there in five minutes. It took a little doing, but in time, Marley was ready to talk. He had plenty to tell us. No, no, no, wait, wait. Well, I'll tell you whatever you want to know. The girl's all right. She hasn't been hurt. You're lying. You killed Lorna two days ago. No! No, no, honest. They got her in a roaming house on the south side. 2115 Mulberry Street. Second floor. In the back. Who's got her? I want names. Beakham! Joe Beakham and his girl. Joe Beakham? You got a record? Yeah. Stein, get some pictures on him. Now, what made you pick the station for the payoff? Joe Beakham. He used to work here around the freight yard. You're going to take us to Mulberry Street, Marley. You're going to take us right to Joe Beakham now. It was a fair bet that Marley was telling the truth that Lorna Murchison was alive. It took us a few minutes to set up the raid. Then we started out for the south side. A roaming house on Mulberry Street. Second floor. Lorna, don't be a dope. Just stay put and shut up. He's coming back. I can hear his feet on the stairs. I can tell by his footsteps. You let Joe find out you can identify anything about him and that'll be all for you. You got a chance to live because you can't see because you're blind, can't you understand that? Oh, stop it, won't you? You'll go home just as soon as we collect from your father. You'll pay the money, won't you, honey? You'll pay it. You'll pay it. Right on schedule. I hope he doesn't. And get rid of me now. I don't care. Marge, put that towel around her mouth and keep it there. You're going to kill me anyway. Do it now. I don't care. Give me that towel. Go ahead. Kill me. Get rid of me. I stopped off at the store here. Pick some sandwiches. Where's Marley? How do I know? Well, he ought to be here by now. He said in an hour. This time tomorrow, Joe. A hundred thousand dollars. Yeah. Any coffee? It's birking. You know what, honey? It'd stack up two stories high in one dollar bill. I just figured it out. I'm worried about that Marley. He didn't want to go into the station. I bet you'll tend to when he ran out. Just like Gus. Looks like you're the only one I can depend on, baby. You always could. You're going to send that kid home, aren't you, Joe? I mean, after you collect. Yeah, she'll go home. If they ever fish her out of the river. Let's have some of that coffee, huh? She'll know. No, you can't do this. I said I want some coffee. We threw 20 men around the rooming house. Then four of us went in through the cellar and started up the stairs. Now? Go ahead, Marley, knock on the door. All right. Joe. Joe, it's me, Marley. Joe? You've got a key. Use it. The place was empty. We got there too late. Sure, sure, they got scared waiting for me to show up and he blew. Now, you see that chair? That's where he tied up the girl. I wasn't lying, mister. The girl's alive, I tell you. Coffee bought the kitchen, Inspector. It's still warm. Well, you've got to call off that alarm, Donley. Forget about his car. Why are you so personally... We've gone left. We can't gamble anymore. Beacom's not the kind to go down alone. Once he knows we're on to him, the girl won't stand a prayer. Let him pick up the money tomorrow. We'll try for him later. I just thought I'd drop by and tell you. We missed him. They were gone by the time we got there. But Lorna Merchison's all right. I mean, she's alive. She's alive? Yeah. Donley called off the alarm on the car and we won't interfere with the payment tomorrow. Well, I just thought you'd like to know. Joyce, come in, won't you? Oh, thanks. This is my mother. Mother, this is Lieutenant Calhoun. Oh, yes, it's a policeman. You said Lorna's alive, or I'm sure you'll get her safely back. You will, won't you? I hope so. Won't you sit down, mister? Bill, Mrs. Wellacum. Why, my husband's name was Willie, too. Joyce tells me you're with the railroad station. Yes, ma'am. It must be very interesting, Willie. I'm probably like everyone else in and out of the station a hundred times and never really looking at it. It's awfully big and crowded, isn't it? Oh, yes, it is. It covers over six acres. Counting the daily commuters, we handle about 80,000 people a day. And that doesn't include the people who are just wandering through it, you know, using the station as a shortcut. Go right on, Willie. But you'll excuse me, won't you? I have the water boiling for tea. You're still sore. They know, don't they? The kidnappers. They know now that the police are after them. Look, there wasn't any choice. Not for anyone. There was a good chance we could catch up with them. We took that chance. You have a different viewpoint. A cop can't be sentimental, Joyce. Not if he's going to do his job. Your job? Your railroad station? That's all it counts. Sure, I have a different point of view. Yesterday, you called yourself an ordinary citizen, but you're not. You're a policeman 24 hours a day. Willie, do you take cream or lemon? Lemon, Mrs. Wellicum. Lots of lemon. I like things good and sour. Joyce, too, when she was little, she liked to eat lemon. I think she still does. I'm sorry, Bill. It's just that I'm so scared that Lorna... Come on. Let's be friends and have some tea. While I sat there drinking tea, Beacon, his girlfriend, and Lorna Merchison were on their way to another hideout. The alarm for Beacon's car had been canceled, but some of the patrolmen walking their beats hadn't gotten the word. And one of them spotted it. Drugstore. I want to make a couple of phone calls. I got to find out where that Marley is. Keep the kid in the floor and put the blanket over. I'll be back in a few minutes. Is this your automobile, lady? It's my friend. What's the matter? Can't we park? Just stay where you are, miss. What's that on the floor, under the blanket? Oh, it's nothing. Nothing at all. Get out of the car, lady. Sorry, but I've got to take a look. Yes, yes, yes. Just a moment, please. A man wants to speak to Lieutenant Calhoun. Oh, oh, thanks. You see, they don't all call me Willie, Mrs. Wilcombe. Uh... Hello? Donnelly. Hospital? Beacons? Who shot her? I'll give you all of it when you get here. I'm on my way. Not Lorna. No, no, Beacons' girlfriend. I'll call you later. When I got to the hospital, Donnelly told me. Patrolmen had found Lorna, but just then Beacon walked out of the drugstore. Marge yelled to him and Beacon started shooting. One of the bullets hit Marge, and the others killed a patrolman. Beacon left them both on the sidewalk and drove away. The doctor said she hasn't got a chance. But when you questioned her, she said that Beacon was going to kill the Merchison girl, but not until after he got the money. Now, where, where would he have taken her? That's what I was asking her when she blanked out. Inspector. Well, that's all we'll get out of her. She's dead. Maybe she wasn't telling the truth. She knew she was dying, Mr. Merchison. Oh, I don't think she'd lie. What do you want me to do? Give up hope entirely? Oh, let me drive you home, and after you've had some rest. Thanks, but I'd rather go alone. I'll be at the station at noon tomorrow. Maybe it's only one chance in a million, but I'll be there with the money and my prayers. Prayers. You know, Calhoun, when I first started as a cop, I never believed much in praying. I found a night stick was a lot more reliable. But, well, a man gets older. Tell me something, Inspector. Do you ever get criticized for doing your job? By everybody. From my wife down to the commissioner himself. Somebody, uh, been belaboring you? I'm a cop 24 hours a day. All I care about is my railroad station. Well, a good cop ought to be working full time, but a man has to be careful. He doesn't become all cop. Yeah. Tell me that, uh, that patrolman who was killed. He have a family? Four kids. I should never have tackled a setup like that alone. A guy doesn't jump into fire feet first. Sometimes a man has to jump. Feet first or head first? A foolish man. You were in the war, Calhoun. Were you ever pinned down by mortar fire? There was always someone, some foolish man, who'd stand up and walk right into it. That's how wars are won. That's how fellas wind up on slabs before their time. Don and me, what's gonna happen tomorrow? Beacon will collect $100,000. Let's see the four of them at the start. Beacon, Hatter, Marley and the girl. He's the only one left. He's got to make that collection alone now. Maybe so. He'll have to show himself when he picks the money up from the messenger. He must have his hands full with that poor, blind kid. Why? Why should he? There's a thousand places to unload a bunch. I still don't believe it. He wouldn't risk our finding a body before he has a crack at the money. And he knows now that we know all about him. His girls had he planned to kill her as soon as he got the money, but he made that plan before he knew we had a line on him. The man's a criminal. He'll do things the criminal way. I'm going home and get some sleep. I'll see you at Union Station in the morning. As we had stood there in the hospital talking, across the city at the freight yards, a car was coming to a stop. This was late Saturday night. The place was deserted. Underneath the huge warehouses is the municipal freight tunnel. A man got out of the car leading a blind girl. He had once worked here. He knew just where he was. A few moments later, they were on the freight elevator, going down into the tunnel. We pause now for station identification. Curtin rises on Act 3 of Union Station, starring William Holden as Bill Calhoun, Nancy Olson as Joyce, and Lyle Betker as Beacon. Joyce met me the next morning. We had breakfast in the station restaurant. I just spoke to Mr. Murchison. He went to the bank. The FBI men arranged it for him. Yes, I know. He should be here in about a half an hour. Bill, I... I think he believes that... that Lorna's... Well, he wants you to take your position in the main concourse at 11 o'clock. Everybody be ready by then. Please tell me. Do you honestly think that Lorna's all right? I don't know the answers. Nobody does. Then it's all over. You don't know that? Even you know. I'll tell you one thing. If Lorna's all right now, she's going to stay that way. Nobody's going to get a chance to hurt her. Thanks, but you don't have to pretend for me. I know it's too late. Inspector Donnelly knows it too. Oh, he does, does he? Well, who does Donnelly think he is to give up for Willie Calhoun? Ahem. More coffee? No. No thanks. Ah, come on then. Let's get up the office. The next few hours held all the answers. Meanwhile, once again, the waiting. The long, endless waiting. Someone else was waiting too. Just a mile away from us. Lorna Murchison. Come on, stop your ballin' cookie. I got something to tell you. I'm pretty soon. Now I'm going to be leaving you. This place, oh, it's so cold and damp. Kept you guessing for quite a while, didn't I? You ever hear the municipal tunnel? It's kind of a busy place. Every day except Sunday. And it's a lonely place, not a sound. Except maybe some water dripping. And a crackle of electricity. Oh, yeah. It's all electric down here. High tension to run the switching engines. Real dangerous unless you can see your way around. Oh, please tell me, please. Are we really going to meet my father? I used to sneak down here when I was a kid. Rob the freight cars. Once I get a dozen pairs of shoes, you know something? Not one of them fit me. Didn't think I'd ever graduate into the hundred grand class. You're not taking me to my father. You were lying to me. Bring your head off cookie. It's Sunday and you're 40 feet underground. Go on and scream. For two days now, I've had to listen to you yapping about wanting to die. Well, here's your chance. When I go, there'll be no one around. Nothing. Nothing but you and a flock of high tension wires. They got signs painted on the walls. Danger, high voltage. Don't say I didn't warn you. Now get out of your coat. I said get out of your coat. That's it. Coat goes into the suitcase. Cookie needs a little weight. Now it's exactly like the suitcase your old man's going to bring me. Boy, that place is going to be full of cops. All looking for me, 30, 40, 50 cops. And I'm going to make them all look like suckers. You'll get your money. Please, please don't leave me here. Nothing wrong with your feet, is there? You want to get out? Okay, start walking. You'll fry so fast it'll curl your hair. Go along, Cookie. We'll find you tomorrow if you're still around. 20 minutes later, the clerk on duty in one of the parcel rooms of the Union Station heard a door close behind him. He turned around, facing him wearing the jacket and cap of a railroad breakman. Hey, just a minute. You've got no right in here. Okay, friend, now you know the score. Next time I use the gun. What do you want? Keep your mouth shut, stay clear of your window and do exactly what I tell you. Now sit down. How do I get an outside line on this phone? Nine. You dial nine. Operator, Western Union, please. This is River 2-4599. You're shaking, friend. It's okay. You're doing fine. I'll be out of your hair in a little... Hello, Western Union? I want a messenger. Yeah, I want a messenger to pick up a suitcase. Union Station. The information booth in the main concourse. You got that? The information booth in the main concourse. Now, he's to take the suitcase to the East entrance parcel room. He's to go aboard the Pioneer Limited. Yeah, okay. Now, suppose you repeat all that. At 12 o'clock, Murchison stood in front of the information booth. On the counter, in the suitcase, was $100,000. At two minutes after 12, a Western Union messenger walked up. Is that supposed to pick up? Yes. Wait a minute. Do you have a message for me? Nobody said anything about a message, mister. Very well then. Take the suitcase. From every part of the station, Rem stood watching the messenger. We saw him carry the suitcase to the East entrance parcel room. But then something happened that held us back. Well, you bring the suitcase here. Just to go on the Pioneer Limited. Well, I don't care what they told you. Give them back the suitcase, friend. Yes, take this suitcase back. We don't handle baggage here, not for the Pioneer Limited. Well, this is the parcel room, isn't it? You're to take the bag to the other parcel room. The one directly across the station. Okay, okay. Give it here then. Bill, look, he still had the suitcase. He's taking it somewhere else. It's all right. He's being followed. But why would he... That's not the same suitcase. That piece of cloth sticking out is a coat. But that's long as coat. Stay here with Mr. Murchison. Where's your cage, friend? Where's the messenger now? He's walking to the other parcel room, about halfway there. Anyone following him? I said anyone following him? I'm not sure. I can't tell. You know, I'm kind of proud of myself. Switching bags like that? Anyone coming this way? Yes, though. It's a man. You just keep in front of that window. I'm right next to your friend, and this gun's loaded. Hey, you parcel room! What's with that messenger? He wanted to check through for a train, Lieutenant. We don't handle train baggage on this side. He's here, isn't he? He's in there with you now. Honest, Lieutenant. There's nobody here. Drop to the floor. Come and get me, sucker! This game's through here. Slug me up. I don't know where he went. Is there any other way out of this power place? Wait, wait a minute. There's an air shaft in the back of the transformer. It goes through the city tunnel. Where? To the right, Lieutenant, behind the transformer. Now, look. Call my office. Get Inspector Donnelly. Tell him that Beakham's been wounded. That he's somewhere in the tunnel. He's got a gun, Lieutenant. Wait for help. It's dark in the tunnel. Just an occasional light glowing in the distance. And the cold gleam of the tracks. Far off, I could hear Beakham running. Then the footsteps stopped. I started after them. Beakham! Beakham, listen to me! Those shots were for me. The girl was still somewhere in back of him. I made my way to the wall of the tunnel and clung to it. On the wall, a few feet ahead, was an intercom phone. I pressed the buzzer. Lieutenant Calhoun Railroad Police gave me through to my office. Yes, sir. Beakham, can you hear me? I'm listening. You're hurt, Beakham. I didn't miss up there in the partial office. So you got away and come towards me with your hands up. You think I'm hurt? Yes, sir. Police will find us. They'll cover every exit and every entrance. It's a percentage, Beakham. You always have a better chance if you walk out. Calhoun, I think she's all right. Not coming from the Rutgers Street entrance, but be careful with your shooting. I'm coming after you, Beakham. You got any bullets left? You're better safe than for me. Can you hear me, Calhoun? We've blacked out the tunnel, Inspector. Anything else from Calhoun? He started after Beakham. The watchman's located them, sir. Somewhere between the station and the Rutgers Street exit. The proud car should be there by now. Stand by this phone, Stein, just in case. Come on, Shaddick. We'll go down through that air shaft. All right, Lorna. It's all right now. Where is he? He's here, Lorna, but he'll never harm anyone again. He shot you, didn't he? You're hurt. A little nothing to worry about. You hear them? That's the police. Calhoun! Over here. You can use your lights. Beakham's dead. The girl's with me. She's all right. Beakham's over there near the switch. Come on, Donley. Get us out of here. All right, easy now. Just get him to that elevator. This is very broken, Calhoun. Same elevator he used to take her down there. Yeah. Where's Lorna now? Well, she's with her father. Over there at the ambulance. Now, it's head of shock. She's going to be okay. Bill! What are you doing here? Never mind what I'm doing here. And where do you think you're going? I want to go and get cleaned up. You sit down on that crate. Go on, sit down. Yeah, she's right, Bill. What about that shoulder? That's all right. Don't worry about it. What about the money, Calhoun? Do you have it on him? It's in the tunnel. A couple hundred feet up the track. Just don't stand there, Inspector. Get the doctor. He's in the ambulance. Yes, ma'am. Oh, stop making a fuss. Tough Willy. And don't call me Willy. Now, hold still. I've got to get your coat off. I suppose it's the tough reputation you have. Tough Willy. Afraid to holler, ouch. Ouch! Now, look, please. When anyone's around, don't call me Willy, will you? Can I make a suggestion? Grab her, Willy, while you can. Head first or feet first. There's always some foolish man who walks right into it. In a minute, our stars will return. Most everyone knows that education is divided into two parts. Part one, we might say, consists of book study. And part two consists of putting the knowledge gained from books into operation. Part two in our schools and colleges is usually referred to as lab work. For example, the young student doctor reads and memorizes the working to the human body, then moves on to become a hospital intern to put that knowledge into action. The botanist reads about a certain type leaf or plant formation, then lays down his textbook and turns to his microscope, where he studies a specimen of this particular plant light. You know, in a certain sense, you men in the armed forces overseas are being studied under a microscope. And on the top side of that microscope are millions of people who have heard a lot or read a lot about Americans. Now, perhaps for the first time in their lives, they have an opportunity to do some lab work. So let them see a good specimen, a true specimen, a true picture of the United States. Remember, a country is known by its people. What people think about your country depends on you. Now here's Mr. Keely with our stars. And here they are at the footlice for their curtain call. William Holden, Nancy Olson, and Lyle Betka. Well, Bill, what's doing over on the Paramount lot? Willie, what's doing over on the Paramount lot? Well, we're pretty busy making pictures, Bill. I just finished another exciting crime story called the turning point. Imagine, Bill, having the nerve to make a picture without me. You have made some fine pictures together. And just what was the turning point in your career, Lyle? So far there's been none, Bill. I just go right on playing died-in-the-wool villains. Like your new picture, the greatest show on earth? Well, Cecil B. DeVille did give me the greatest break of my career by casting me in the picture, but I'm still the villain. And what a villain! So stick around, Lyle. I know Paramount will come up with a turning point for you. I think we've arrived at one right here. What's the show for next week, Bill? Well, Nancy, when spring arrives, romance can't be far behind. And so next week, we have an enchanting love story, royal wedding, and starring in one of MGM's most successful musicals, singing and acting her original role will be delightful, Jane Powell. And as co-star, one of the most popular actors in Hollywood, George Murphy. Oh, that's going to be a wonderful show, Bill. Good night. Good night. Good night. The Hollywood Radio Theatre is produced by Mr. William Keely. Our orchestra is directed by Rudy Schrager. This is John Milton Kennedy inviting you to join us again next week at this same time for another presentation of the Hollywood Radio Theatre. Hollywood Radio Theatre is a presentation of the United States Armed Forces Radio Service.