 The House of Squib presents Academy Award. Every week, Squib brings you Hollywood's finest. The great picture plays, the great actors and actresses. Techniques and skills chosen from the honor roll of those who have won or been nominated for the famous Golden Oscar of the Academy of Motion Picture Arts and Sciences. And now, E.R. Squibbinsons, manufacturing chemist of the medical profession since 1858, bring you one of Hollywood's best-known stars, Joseph Cotton. Tonight, you will hear Mr. Cotton in the exciting drama, Foreign Correspondent, which was nominated for four different Oscars. Yes, for best photography, best original screenplay, best supporting actor, and best production of the year, Foreign Correspondent was nominated for the 1940 Academy Award. Well, come right in, Miss Green, put on your glasses, sit down and take an epic. No, Miss Green, this is not to be an editorial for the Sunday edition. This is to be some notes on my lurid past. You see, before I came here to Springfield and bought this paper and became a substantial citizen, I was a reporter, Miss Green. Johnny Jones, Foreign Correspondent. That was long before there was even a phony war. I was sent to Europe to meet a man called Van Mier, known as the Strong Man of Holland. He had been one of the signers of a secret treaty between Holland and the Allied Powers. I was to get Van Mier to talk and to tell me what was in that treaty. My wife's maiden name is Carol Fisher. Her father was head of the Universal Peace Party. I met Carol over there and fell for her like a ton. When she went down to Amsterdam with her father, I went too. There was a conference there and I intended to kill two birds with one stone. For Van Mier was to be the principal speaker. I had met old Van Mier in Paris, so I didn't have much trouble nailing him when he got out of a cab in front of the conference building and started up the steps. He didn't seem very happy to see me. Why, Mr. Van Mier, how are you? We somehow seem to lose each other, sir. Don't you remember me? I'm the American reporter from New York. He seemed anxious to get away from me. He seemed not to remember me. Just then a photographer jumped out in front of it. Hold it. Picture. The guy pointed his camera at this Van Mier and Van Mier's eyes got very big. Then I saw the gun in the photographer's hand. It went off then. I guess I stood there like a goon just watching Van Mier fall. He was dead when he stopped rolling down the steps. This funny photographer dropped his camera and ran into the crowd. I ran after him. I looked for a car and just then my sweet Carl comes riding up in the Bentley with one of those big, blond Englishmen at the wheel. I jumped into the car, pushed Carl over and yelled at the handsome brute. Follow that car. Quick, hurry! Night is well humor him. What's the trouble? Did you have shot someone? Van Mier assassinated. Looks like it. Couldn't be worse from his point of view. There he goes around the corner. Don't lose sight of him. I thought that was him. No, there he is. No, no, we've lost him. Come on, faster, faster. Try and get around this car. That's good. There he goes. He's had the luck of the devil. We might get him here. Blow your horn! Blow your horn! I say, old girl, mind shoving your knees out of the way makes driving difficult. That's better. Not at all. Anything I can do is glad to help. I guess we're catching up on him. Shooting at us by Harry. Shattered the safety glass. What news make? Better hop into the back, old girl. Good chauffeur we've got, Miss Fisher. You two know each other? Oh, I forgot. This is Scott Foliott, newspaper man. Same as you, Johnny. Correspondent of London Post. Mr. Jones, Mr. Foliott. How to do. Here we are, old chap. Out in the country and very desolate, if you ask me. Keep on his tail. He's around that curve behind the windmill. We'll have him then, old boy. Here we go. The chap on his car disappeared. Vanished. He couldn't have. He has. Look at that. The sails on that windmill. Well, quite common over here in Holland, old boy. I could have sworn those sails were going against the wind just now. Why don't you lie down on the wet grass, old boy, and cool off? I'll cool off at the proper time. But first, would you do me a favor and go back and get the police? Police? What for? We shall need the police. I've decided not to prosecute. You're going to bring the police back here because our man is in there. And where? In that windmill. What makes you think so? Well, while I'm explaining a lot of things can happen, will you please take my word for it and get the police? I'd go myself if I spoke the language. What will you do? I'll stick around here and do some snooping. I hate to seem executive, but this is serious. That's right, old boy. You shall have the police. Regiment of them. There I was on a lonely flat plane with nothing but a windmill for company. Suddenly, the mill stopped. The sails reversed themselves against the wind. At the same time, I heard the drone of a plane, then I knew. The reverse sails were a signal. The plane came into land. I crept up to the mill. There was a shed there, and in it the assassin's car. I went back and into the mill, then I heard muffled voices. I crept around some more and found a wooden staircase. I went up. There was a door with a key in it. I heard someone coming after me. I pushed backwards into the room, closed the door. I was in the transmission room, the room with the wooden gears connected with the big sail outside, and I stood there listening. Suddenly, I almost jumped out of my skin. A weak voice spoke. I mean, Mr. I whirled around in there. Tied to a ring in the floor was then near alive. I'm afraid you see me at a great disadvantage. I have just been given a drug of some sort. It affects the brain. I gave it to me when they moved me from. It's beginning now. I'm sorry. I saw you shot just now outside the conference hall. I saw it. The man you saw shot was not I. He was a substitute who looked like me. But why? They want the world to think that I have been assassinated to conceal the fact that I'm in their hands. Their hands? Who are they? I cannot explain. I am not certain. All they can tell you is that they are going to take me somewhere by plane. That man's head dropped. I jumped for the cross beam above me, pulled myself up and lay there near the big gear. The door opened, four men came in, picked up Van Mier and took him away. When they had gone, when the plane had died away, I got out of there fast. I came back with the cops and they thought I was nuts. There was no assassins, car, no assassin, no plane and no Van Mier. I laughed it off and went over to London with a big news beat in my pocket. I wanted to see Carroll's father and find out if he could help me. On a night boat, I made love to Carroll. Penny, for your thoughts, Johnny. I was thinking of those guys who came into the mill and took all Van Mier away. They sounded like Nazis to me. Ah, imagination. Maybe, darling, maybe not. I got one good look at the leader's face and, well, it wasn't from the county cork. It's hard being happy with the world falling apart. The world isn't falling apart. Just governments. The same thing. Well, only governments don't sit in the moonlight wearing shawls and looking beautiful. They're certain to march into Poland. Tomorrow, but not tonight. Look, I'm in love with you no matter who marches where. When you think of what may happen, love doesn't seem so important. I don't know. It survived a lot of wars. Now, will you forget the fate of Europe for a minute? I'm in love with you and want to marry you. I wonder what father will say. About what? The fate of Europe? No, about our marriage. You did ask me, didn't you? Been pleading for hours. I think he will be pleased. I'm sure he will. Everybody will be pleased. England, America, and me too. I had a fish's house in London and I was feeling just like a guy whose daughter is about to tell her father that you want to do that serious thing. The bottle opened the door and there was my future father-in-law having breakfast with a man whose face was the face that led the guttural voices up to take Vanmere away from the mill. Carol, my dear, what a pleasant surprise and you didn't even wire me. Father, I hope you don't mind us barging in like this. Johnny brought me over on a boat. Mr Krug, how nice to see you again. But of course you hadn't met Mr Jones. Mr Krug. Mr Krug is with an embassy here. I think I shall have to be getting along, Mr Fisher. Shall we settle on the whirling for the peace petition now or leave it till later? Oh, we might as well clear it up now. You'll excuse us. Go right ahead, Mr Krug, into my study. Father, could we have just a moment? It's terribly important. Why, certainly. I won't belong... Wait, Mr Fisher. Get the police quick. Vanmere isn't dead. Vanmere isn't? Why, that's fantastic. They kidnapped him. Then shot his double. I saw Vanmere after it in a mill in Holland. That man, that Krug, was with him. Krug? That's ridiculous, Johnny. We've known him. I know, dear, but Mr Jones says... I tell you, I spoke to Vanmere. He told me that we're taking him somewhere by plane. They must have brought him here to England. I've always felt a little uneasy about Krug. Mr Fisher. I'll keep him there. Coming, Mr Krug. Be careful, Father. Mr Jones has just suggested that I turn you over to the police, Mr Krug. Mr Jones seems to be something of a troublemaker. I thought you said he'd been taken care of by our agents in Amsterdam. I thought so too, but perhaps Miss Fisher being with him caused complications. It would have been ideal if she had been in our confidence. So deucy didn't convenient he's coming here. Or dash it all, he's in my home. He must be stopped. Yes, but I always find the solid details somewhat distasteful. As usual, I shall endeavor to relieve you of them. You remember Rolly? Rolly? Oh yes, the little man who used to work in your father's stables in Austria. I shall get Rolly. Hire him as a private detective to guard Mr Jones. Guard him? Very delicate of you, Krug. Very. In just a moment you will hear the second part of Academy Award. Delightful squib dental cream is a member of the great family of squib products that every member of your family will enjoy using every day. Youngsters and grown-ups alike find it so refreshing. Let it linger on your tongue for just an instant and note that spicy tang of mint. Fragment, frosty. You can taste the refreshing difference when you use squib dental cream. Let its pleasantly brisk action wake up your whole mouth. Leave it tingling, a lie. You can feel the refreshing difference when you use squib dental cream. And soon you'll see a refreshing difference in your smile. For the polishing agent in this quality dentifice is one of the safest, softest, yet most effective known to dental science. So begin tomorrow to brush your teeth with squib dental cream. Then you'll enjoy all three ways a fine dentifice can serve you. You'll taste, feel, and see the refreshing difference. Use squib dental cream. Before we bring you part two of Foreign Correspondent we wish to thank United Artists for making this picture available. Foreign Correspondent is based on an original story written by Vincent Sheehan. And now the House of Squib presents part two of Academy Award starring Joseph Cotton in Foreign Correspondent. I should have known that about Fisher, but I didn't. And I took his word for it that I should wait and get a bigger story after we'd found Van Mere. Carol naturally sided with her father. She was afraid to let me go out alone and Fisher put on his boogeyman suit and scared me too. He sold me on the idea I needed a bodyguard and that's how I got Rowley. I didn't get wise to him even when he pushed me in front of a truck. Hey, you! Somebody pushed you, sir. It was me, sir. If I tried to pull you back you'd been caught. It was push or nothing. Oh, it's not work, Mr. Rowley. Thanks very much. After all, sir, that's what I'm here for, isn't it? I'm late for a date at the American Club. Here, let's take this cab. American Club driver. I'm not certain, sir, but I have an idea that two men have just got into another cab to follow us. I can't see any other cab. I'm not certain, sir, but I'm sure I saw them. We might give them the slip if we go the long way around. Let it stop here, sir, and we'll change cabs. Okay. Stop here, driver. Now, sir, no use waiting for them to catch up. Our job is to give them the slip. What? Let's get another cab then. Wait a minute, sir. We're in front of the cathedral. Well, let's go in there. Do you mind not going in, sir? I saw by the notice that it's a requiem mass. Oh. I used to be so fussy, sir. Oh, I say, look at the sign, sir. The lift takes you up to the tower to see the magnificent view and endless sixpence. Let's go up and look at the view then. Come on. This is pretty dangerous, this low railing, and something dropped, too. You better be careful, sir. I was a bit scared when you leaned over just now. I was once with a chap on a bridge in Switzerland. It a very nasty fall. Killed him stone dead. The walls made me a bit nervous since. Well, let's go down. I got a lunch date. Don't go down yet, sir. Oh, just a moment, sir. I believe that's the oars guard from Buckingham Palace approaching, sir. A rare and unusual sight. You're in a bit of luck, sir. Where? I can't see them. Straight down, sir. You'll have to lean over a bit, sir. Oh. See them, sir? Oh, yes. I see them now. Quite a sight, sir, eh? Quite a sight, sir. Here you go to join them, sir. I don't know what made me turn her side suddenly. One of those hunches. But just as I did, Rolly with his hands stretched out to push me when hurtling by and over the rail and down to a horrible death before the crowd below. The thing that sent chills up my spine was that I knew then that Carroll's father had tried to have me murdered. In my state of mind, it was like a double-skite seeing Old Boy foliat again. Hello, Old Boy. Congratulations on your little set, too, with Rolly. How'd you know about Rolly? Rolly and Fisher, Old Boy, and the fellow with the high-necked sweater. Matter of fact, followed them here to London. I see, then. You believe me now about Van Mere? Oh, of course. I'd suggest we work along from here together, Old Boy. First thing I'd suggest after that would be that you kidnap Fisher's daughter. What? Well, all right, Old Boy. No offence. It'd give me a chance to bear down on Fisher. He doubts on her, you know. Maybe he'd talk and tell us where Van Mere is. Hey, who are you, anyway? I mean, what are you? British subject, Old Boy, Patrick, and all that. My country's on the verge of war. I see. OK, pal, I'll kidnap Carroll. That is, I'll go through the motions. Where'll I take her? Uh, take her to Cambridge. I'll get your digs at the College Arms. Oh, wait. Now, what happens after you get Fisher talking? I'll phone you, Old Boy, and let you in on the kill. It's a deal. Johnny, what's the matter with you? Oh, nothing. I'm just relaxing here in the College Arms. Better be nicer. I'll send you back to your own room without supper. OK. Look, Carroll, we gotta talk. There's something hanging over our heads, and before it falls, I want you to know that no matter what happens, I... Johnny, what's wrong with you? What are you talking about? Wait. Hello? Oh, hello, Old Boy. This is me. Oh, yes, yes. What happened? Fisher's gone. Our people found out where he went. Take this down. 242 Charlotte Street. 242 Charlotte Street. I think you'd better get there as fast as possible. I think that's where they have Van Mier, right? Check. What is it? Carroll, I've got to go back to London fast. I want you to stay here until I come for you. Oh, no, you don't. I sense trouble, and I'm not letting you out of my sight. I'm not going to try and talk you out of it, but I remember this. No matter what happens, I love you, darling, with all my heart. Here is Van Mier. Those lights in his face. Can't you cut them down? Yes, cut them. Thank you. Thank you very much. You are like my friend, Mr. Fisher. I am so sorry. It is so dark. I cannot tell. But you are like my friend. I am Fisher, Mr. Van Mier. I am your friend. I am so glad. How did you get here? Am I going in vain? Thank you, Mr. Fisher. Thank you. Are the police here? They mustn't get away. You mustn't let these people go. Pardon me, gentlemen. I represent the Jupiter Life Assurance Company. Can I interest you in a small policy? Did you have to bring him up here? I didn't know what to do. He tried to get away. You mustn't blame him, Corky. He's nervous, and he had a pistol in my back. I came easy. But go right ahead, gentlemen. Don't mind me. I'll sit right down here. What is that? Is it the police? Tell me where I am. You're in London, Mr. Van Mier. These people think I'm working with them. You and I must play a little game. A little game? Yes. They want you to tell me something. Just one little clause in the treaty. Clause 27. Clause 27. Come, Mr. Van Mier. But it's the secret clause. I know clause 27. But they mustn't know it. It would help them if they make war. War. You don't want them help, do you? Don't tell them anything, Mr. Van Mier. He's not your friend. Who was that? You are not my friend. Oh, I see, I see. You cried peace. Peace, and there was no peace. You very liar, Fisher. A cruel, cruel lie. I will never talk. Do what you want with me. Well, it's useless. Better try your methods, Krug. Bring him over here. I talk. I talk. Then talk. Oh, in the event of invasion by an enemy power, the Majesty's government solemnly pledges that... Steady, Van Mier. Steady. I thought we'd get him. That's a number, but it's a restaurant. Hey, Doc. Foliott wouldn't kid me. This must be the place. I say, sir, are you Mr. Jones? Yes, what? Mr. Foliott said we would expect you, sir. We should get a signal from Mr. Foliott any moment now, sir. Say, what is this? Who are you and who is Foliott? Sorry, sir, but Mr. Foliott will explain. That is, if Mr. Foliott is still alive. There it is, sir. The signal. Stay here, Carl. No, my father is in there, too. What's got Foliott said to you on the phone? I'm coming. Come on, sir, we're closing in. Carl, you're not coming. Darling, I love you, but I've got to do this. Over! Right into my arms. I had to do it. Had to sock a holder. I'm going in. We're trapped. Yes, old boy, you are to put it in so many words. No, I've got to get out of here. Too late, the place is surrounded. Then this man must die before they get here. What about us? You will pay the price your country asks. The work is not finished. I must go on. Very well. This is war. Think nothing of it, old boy. Go ahead and shoot. I'd feel silly if I were you, Krug, taking the rap, holding the sack as it were for Fisher. He wants to sell out, sir, as his daughter won't find out. He's been a Nazi spy. Sir, the daughter, eh? Do as you're told. That's an order, crew. I should be die, unless you get away because your daughter doesn't know about you. I have a daughter, too, in the homeland. Shoot, you fool. Quickly! Yeah, I shoot! Then where are all of you? Drop those guns. Fool, you all right? Hello, old boy. Might be happy to see you. Fisher. He's been shot. Yes, sir, boy. I talked Krug into it. He's dead. Yes. Take those people away. Mr. Van Mier, Van Mier. He's just barely alive. But he didn't give us away on that treaty. Was Fisher really? Yes. He was in charge of those Nazis. Carol? Oh, innocent, old boy. Doesn't know a thing. When am I going to tell her? Fisher was a Nazi, lonely half German. She's all English, old boy. You could tell her... tell her her father came here to talk to Van Mier and was trapped. That true. Well, yes, old boy. Only it was we who trapped them. British intelligence, old boy. Better get a cable, get to a cable office. You have a whale of a story for your paper. Yeah, and a whale of a story to tell Carol too, old boy. Well, I must have found out that they were keeping Van Mier a prisoner there and torturing and trying to get him to tell what was in the secret treaty. Father went there and Krug killed him before we could break down the door. Goodbye, Johnny. I love you. I shall always love you. Now, goodbye. What are you talking about? Goodbye. I know you love me too. That's why you're lying to me. My father was a Nazi agent and he was shot by Krug as subordinate. But you didn't know your father was... No, I didn't. Not until he hired that man to try to kill you. Then I began to suspect. When I heard earlier, call your Cambridge. I knew. That's why you came with me. Yes. I was going to try and talk you out of going in there. I was going to try and make a go back to America before... before you knew. I am going back to America. Oh. Oh, yes, of course. I'm going back with my wife. Johnny. Carol, Carol, my darling, if you couldn't possibly help what your father was or did, I've got the tickets and we'll start all over again back in America. No, Johnny, no. Killing is just beginning. England is at war tonight. And I'm going to stay and help make up to her some of the things my father did against her. After the war, it was still alive. No, darling. Come back to England and ask me again to be your wife. I see. I guess I see. All right, darling. I'll be getting along on my boat. Until tomorrow, Johnny. Whenever that will be. Yes, darling. Until... whenever that'll be. For greater health and happiness, thousands dedicate themselves to the service of others through scientific research in the field of medicine. Playing a vital role in this vast scientific effort, the House of Squibb maintains at New Brunswick, New Jersey a great research institute separate and distinct from the business activities of Squibb, the Squibb Institute for Medical Research carries on investigations in the same spirit and in the same manner as the laboratories of universities, foundations and endowments all over the world. The Squibb Institute is evidence of unceasing faith in the progress which can be generated through untrammeled scientific research. Your doctor knows how much the Squibb Institute has aided in the development of many of the newest weapons in the victories over disease and pain. He knows, too, that the Squibb products he uses reflect the same high principles the same devotion to the search for perfection that is behind the Squibb Institute for Medical Research. And you may use, with the same confidence, the many everyday health necessities Squibb makes for your medicine cabinet. To make sure you're getting Squibb quality, ask for it by name. Ask for Squibb, a name you can trust. Next Wednesday, another great picture. The House of Squibb will present Academy Awards starring Olivia DeHavilland and Jean-Pierre Oman in Hold Back the Don. Today's performance of foreign correspondent was written for radio by Frank Wilson with an original musical score composed and conducted by Leith Stevens. Our producer director is D. Engelbach. We wish to thank Mr. Joseph Cotton for his splendid performance tonight. Joel McCray, who was previously announced, was unable to be with us because of last-minute changes in his motion picture production schedule. Mr. Cotton appeared through the courtesy of David O. Selznick and may soon be seen in Mr. Selznick's technicolor production, Duel in the Sun. This is Hugh Brunvedge, bidding you goodnight until next Wednesday at the same time when you're invited to listen again to Academy Award presented by the House of Squibb, a name you can trust. This is CBS, the Columbia Broadcasting System.