“TH 39 SBS ws ft produced on sae by North Country Theate Apri 1090 at the Georgia Theatre, Rion, North erie, neu tore exten thraghontthe UK corey of Chases ‘Vance Tie nts esion, adapted by Prk Baro rn org anceps by Simon Cal and Nobby Dimon wa ft performed at the ‘Wan vse Playhouse on June 17,2005, The oil UR practi vas ected by Fa Bain “The vga London prodcton of THE 39 STEPS aerangemen ith ar Spe or Fiery Ange antec a he Toe Thea Jn Kirn Agus 10,200 eater athe Citron Fheare Inthe West End on September 14 2096 ath te allowing et andes sictanD Hany, Chats Edvard ANAALLASCAMIOTALGRE ANA. Csi Coc ‘ow Tce Sinoa Gregor ‘Lown CO per Deg Dietor = Maia Aiken Designer Peer MeKinat ging Desiger a See ‘Sou Deg Mic Pot Moremert Diet aly Seigick ‘Cain Direcor~ Sine Ree ‘TH 39 STEPS ws enbequety produced by the Rona Theser Company, (Tod Haines, Arte Director Hal Wolpert, Manag Ing Decor Jia C: Ley. Excetve Dien insect th Bb oye, Harviet Newnan Leve/Ron Nit, Stewart F.Lae/ Bonnie ‘Conte, Manocheian Golden Pralctons, Ohm Theatres Dou lac Def an Mark Cator/ Pat and se antngon Tet {Conan Nichols Ma, Artie Diet, Michel Maso lanai Deco: and Edvard Sap for Fer Ange Lite) pei ose 71, 2008 at she Anetta Aries Thee deed ty Masia Ae ‘th the lowing es sl rane es IGHARD HANNA. oases hae aad sssHLLAScinor rate. Jone Brn ow? Same Baton ‘Conus St eign = eer Mca Thing Design ~ Rein Ada Sound Design Mic Pol Original Movement Creel y= Toby Sek ‘Aion Movement Crested by ~ Cheer Baes Sige Manager= Nevin Hedley ‘Production Managenent Aro Potton. General Management = Rebeca Habel ad Roy Cabay TH 39 STEPS tequey raaerze tthe Cont There on Api 2, £208 and the Helen ayer Fes ty 21, 200 ae ae pod by Bab Bonet, Haris Newnan Lane/Row Neyo, evar Lae ‘Bonnie Coie Maexeran Glen Prac Opes Thal Dog the Denaf Pm elger/ Pat Ada, Te Ley Reel Dihinion in smocation with Rounabt Theat Company (Todd Haines, Arie Director Harold Wolpert, Managing Diet, julia G Lay xeeane Petr) andthe Hannon este Copan (Mao Mac, Ati te Dect Michael Mao, Managing Deco) ae Edward Stape fr Fey Angel intl: General Management Rey Gaby -My grandfather, John Buchan, wuld beamed an delighted that 1 pay of hs noel The Thy Sep beng pled ip ‘ety a contr afer he wot or sn amen JB heer proprietor abou his work = for exanp, he love the 1988 Ale Heheock fn ofthe book~ an the more people who fel they want {fo pron and perform what was ply theft py hl, te more Alig hemo be. Om st ote he io yn ees ‘ere ith hat th yeneerf con ey th oly expe Tors beneath and ean ht lee in ey tact oi staking ial etre est So he def te ine Ste gg inte tok (rotesor forts nef spy ime, arts harming and ele ne cou = toscana Hanan ar bee hese Dei the a ny iy the Seton inthis navel iy Paes lw puted on ‘hone theme are ntl hk grant wl eb ey ow sn aca Lay Sty Stn fl 2009 ADAPTER’S FOREWORD “Tyson of The 39 sed on J Buch’ gone Ing ore, ged cheek conic mone the eq Hea of wo ‘Noth Engl te Nbly Dion a Sion Cable of doing the ‘ot hing i jot four etn, On ero RICHARD HANNAY pied Tone ma thought. PAMELA, ANNABELLA and MARGARET Pe by one woman, Adal tr pes (estate coo 250) ply Foto men led CLOWN Vane CLOWN 2. have Incliedmost of my vgs tage directions al sceneideas. ht aie ene py we i prod 28, We Ione goat ep tthe texto the page (ach Kis fm the ‘nga Hitchnckserenply), would ect encourge ave ‘esta elt in staging one bound by the nto on ‘he ge ake a as ep o athe ent he et She the ng igs aboot weiting hs wan he chee of ur singan ene mvie on sage -complee wath rai ines, plane ees, hanya peste ee stars with le fngers ing oto enon sone ofthe a ani moments Inthe htry af nena. There nich oppor for costed ad ue bee alo sve wy. ae woman wh have Wee Tone anyone, yet mics hgh le dared feats and der tinge dices the beng of hero ue Heart That tere’ ‘en ole and esac love Ad above al Fenn ~ aso he {red by love though be dea koe a hn se sly {ali nls ponateybopronptepoliteal speech =f ook ater ‘ich oer and ook afer the wor “Lt al jut otro ey we i ml pie i! dt lA lw A lm sion let ‘crn atin! Wher iar pats il ih, ‘hr tio antigo, eal sae te wd nating hae ad her ope yaa Ike rl asin tl ety rhe fi tert tes of at th De a of ld jut ‘Wore wien ~ ely ~ 1585 by one oF Aled Heck’ seam of writers nda reson oy dy wee the “Aonon si he est comedy omer om the rates th OF ‘wait te et comedy deny seriou? Ora ply for el and 0 “he gig nt sn Buster Kenton). "Sng wherer sad what wen, Fd expel ak you remem be the tr tom. Wester behind te mayen, Pai sae mee 108CHARACTERS: ate wih dt) Richard Hany Arona Seid Panel Mang ion b Gown 2 ACT ONE Overture (The ators ren om and tate a bow. Then frantically ‘ull on thes for sone one.) (igs canes) Scene One, Hannay’s Apartment. London. (the cent ofthe stage iv large aclu, «standard lamp and o lable. On the table a half empty bottle of seotch and empty las.) (Seated inthe armchair is RICHARD HANNAY. About forty. Attractive. Pencil moustache. He addveses the ‘udince.) TANNAY, Lonclon, 1935. August. I'd been back three ‘outs in the old countzy and frankly wondering why. "The weather made me liverish, no exercise to speak fof and the tlk ofthe ordinary Englishman made me sick. I'd Ind enough of restaurants and parties and race meetings. No pal to go about with ~ which probs- bly explains things. Hoppy Bynge losin dhe Canadian “Treasty, Tommy Deloraine married off to a blonde Iieitess in Chicago, Chips Carruthers eaten by eroco- dlles in the Limpopo. Leaving me. Richard Hannay. "Thiryseven years old, sound in wind and ti. Back home. Which was no home atall ifyou want 1 know. Jota dl File vented Hlarin West One, Pordand Place ‘actly. And I yas bored. No more dan bored, Tired. ‘Tired of the world and tired of ~ life, 10 be honest. So Tailed my broker. He wast’ in, Dropped into my| ‘lub. Full of old colonial buffers, Had a scotch and soda, picked up an evening paper, put it back. Fall of ‘elections and wars and rumours of wars. And T thought = who the bloody hell cares frankly? What does ital ‘matter? What happens to anyone? What happens to tne? Noone’d mist me. f wouldn't miss me. T could ‘quite easily juse = (He takes a lug of seach, Knocks it back.) And then I thought —waita minute! Come on Hannay! Pull yourself togetaer man! Find something to do, you bloody foolt Something ‘mindless andl trivial. Something utterly pointless Something — (te has a breinssave.) =H know! A West End showt! That should do the trick! (He marches ou.) (Muse: Me: Memory Theme) (Pootights come up) 1 pestorningoutie Condon yon could wy know A vt othe ‘eater 'Atip to Laden's paar West Ea (Fv men appeat: We ca eal thse the two CLOWNS, ‘Thy play @ COMPERE. and ME MEMORY. They ae evening dress and dicky bus. Both have tothbrash ‘moustacher) ‘COMPERE. Thank you ladies and gentlemen. And now with ‘your kind attention I have the immense honour and privilege to presentin’ to you one of the most remarke ble men ever inthe whole world, Mr Memory! (caoned applause) (bak MEMORY bos.) [Evety day Mr Memory commits to memory fy new facts and remembers every one of them! Pacts from hiseory andl from geography, from newspapers and sth tetiie books. fn fat, more facts sin his brain than is possible o conceive! (canned applause) (BANNAY appear in there box Puffs at his pie. He ‘apples with the audience.) Settle dwn now pleas. Iwill also mention that before retirin’ Mr Memory has kindly consented to leaving his entire brain to the British Moseum for seientifie peposes. Thank jou. (QuEMORY bse) (conned applause) MEMORY, Thankoo, I will now place myself in a state of ‘mental readiness for this evenin’s performance andl clear my inner bein’ ofall exentrinsie and super ‘ary material. (aru rol (A woman appears nest to MANNA. Se is Beautiful ‘and nero in plunging Black 19305 evening gon “Her nae is ANNABELLA SCHMIDT.)ANNAELLA Is this seat taken? HANNAN. Not as fa aT know. (She sts. Tas out her program. Steals a glance at the ‘audience HANNAY sentenced.) (Dre rl tap.) CCOMPERE, Now then are you ready for the questions Mi: Memory? MR MEMORY. Quite ready for the questions, thankoo, ‘COMPENE. Thankoo, te tEMORY, Thaikoo, ‘COMPERE. Now then ladies and gent, Fist question pleas, Come on now please = (Looks round the audience, Paints at someone.) ‘Pardon, sir? What was that, sr? Who won the Cup in 19267 (om tewony) ‘Who won the Cup in 1920? ‘MR MENORY. Who won the cup in 1926? The ‘Tottenham Hotspurs won the cup in 1926 defeatin’ the Arsenal Gunners by Five goals to nil in the presence of His Majesty King George the Fifth, Am Iright, sir? CCOMPERE. Quite Fight, Mr: Meamory!t MBL MEMORY. Thankoo! (canned applause} ‘COMPERE. Thankoo, Next question please! (Looks round the audience, Finds someone es.) What was Napoteon’s horse called? (ome weatory) What was Napoleon's horse called? MR MEMORY. What was Napoleon's horse called? Napo- leon’s horse was called Belerophon, what he rode for the final time at Waterlooo, June 15th eighteen ‘een! Arn Fright, ie? CCOMPERE. Quite right, Me Memory! MR MEMORY. Thankoo. (canned applause) CCOMPERE, Thankoo, (points at new member of audience What was that sr? How old's Mae West? How olds Mae ‘West, Mr. Memory? Me MEMORY, Well, I know ir ~ i (He fins this very amusing.) (canned laughter) ‘COMMERE. Very good, Mr: Memory! ax MeMonY. Thankoo. ‘CoMPERE. Thankoo, Now then ~ a serious question pleas, (HANNA stands) HANNAK. Ly! CcomPEnRE Who was tha? Yes si? (ANNABELLA looks paniched. Hides bind her prom gram.) LVANNAY. How fare Winnipeg ftom Montreal? DMR MEMORY. AI A gentleman from Canada! You're wel. come st! (Audience applause, BANNAY waves. ANNABELLA ides) HANNA Thank you, ‘COMPERE. How far is Winnipeg from Montreal, Mr Memory? MR MEMORY. never tell a lady's age! 1 sir? Winnipeg from nnipeg from Mont Montreal? One thousand four hundred and fifty four miles. Am Fright i? HANNAN. Quite tight. [MRMEMORY, Thanikoo si! CCOMPERE, Thankoo st!u ‘un 39 sras (cornet opowse) sm ton, ey pston 2 (ANNABELLA points anes Ses what sh bon {comune it Pay ma, pa | Araing. Recs) ak MEMORY. know sir Dut F never tela Hay’ | ANNAMELLA Shei! (Oe Menry music) HANSA. Are you alright? Conant Tat yas Me Memo! | ANNABELLA Thank you, ye su eon. Tanko!! COMPERE, And the next question pleasel CCOMPERE, Don't forget is name now! | (ANNABEILA prlls a gun out of her handbag. Shoots | MR MEMORY. Thankoo! Thankoot | int te a Dat asm the fies. She ides ie) Conn Me Memory! | (Canned eudienepondenonivn) ee H0%: Thakoo! | rau aocaeza Di yon ear ha courme Theskat 1 | ‘COMPERE. Calm down, Ladies and Gents! Calm down. (The COMPERE prushes lim off.) PLEASE! (iu applause eto) ANNABELLA Excise me? raga) | ann. Ysr ANNABELLA. May come homie with you? HANNA What’ the big idea? AANNABELLA. Well = I'd like to ‘cours. Calm down PLEASERI HANNAY. Well, it’ rather tcky a¢ the moment. You see, i Te got de decorstor i atid — | ANNAMELLA. PLEASE! Yo have of | "HANNAY, Well, your finerall, | (She runs fom hr sea, Helos ho They exit) | (x EMORY hasn't go ver the gunshot. He i in i Sock. He ans up and dan the sage) | Mn MEMORY. What was Napoleon's horse called? Wine aipeg. What defeated King George the Filth by Five seals to nil Am Tigh ir? (COMPERE ccs hin) | ‘coment Very good, Mi: Meniory. | ‘uf MEXORY, Nest question please! } ‘court. That's enough Mi MlScene Three: Hannay's Flat, Night. (We hear HAWAW's vic in the dak) ANNAN: Never cam find dhe switel, Dammit! (QUANNAY pulls the switch om the standard lamp.) (Lights up on WANNAY's armchair and tale. Various ladders, sheet, paint pots revealed.) ANNABELLA, Tarn it off! Quickly? (HANNAY turns of the light. Now the room i illumi ‘led by svat fighting coming through the windows. Maybe @ flashing neon hate sign. She rune tothe window. Looks out) ANNABELLA, Sheisse! (ols a! HANNAY) Ble ANNAY. Sort? ANNABELLA, Bleint HANNAY. Bleint? ANNABELLA. Bint! Blin! Pu the eit! HANNAY. Oh blind! Of couse, Soy. Blind. Yes (Pals btn down. 1 snaps back, Pll it davon again. He snaps back Pulls it dwn hander It stay, He eas ‘away. The ind snaps back, He pulls i,oests with it Jams i forocionsy) HANNAN. Sorry about that, ANNABELLA, Now the light Mi; Hannay! HANNAY. Light, Right. (He sitchen the light, She marches to the dink cabi- tn. Pours href a drink, Downs i in ene.) ‘ave a drink why don’t you? ANNADELLA. That you, (Pours herself another Desens it) For you? HANNAN. Thank you, (ANNABELLA pours another Dans this one to.) ANNABELLA Mi. Hannay — LHANNAY. How do you now my name? ANNABELLA, Is iti the lobby. HANNAN. A ye (Plephone rings.) HANNAN. Hello, There's the telephone. ANNABELLA, Don’t answer it, please! HANNA. Why nos? ANNABELLA, Because I think tis for me, (QUANNAY picks up the phone, It goes on singing, An ‘aukward moment forthe actos.) ANNABELLA, Please don’t answer! (QUANNAY dps the phone on its eradle. The ringing fontinuss then spe) HANNAN, Now look here — ANNADELLA, Yes? ANNAN, Am [allowed to know your name? ANNABELLA, You don't want to know my name. [HANNAY. Don’t? ANNABELLA. Schmid. HANNAN, Schii? ANNABELLA Annabella Schmidt. HANNAY, So what’ the story Annabella Schmidt? ANNABELLA Mr, Hlannay? HANNAN, Yes? ANNAMELLA. May I be very ask for something to ea? [HANNAG, Hut of corse, Would you care for some haddock? ANNADELLA. Haddock would be wanderbar thank you. HANNAY, Nothing lke a spot of haddock, Now look here — ANNADELLA. Ye? npertinent for a moment and HANNAY. It vas you Whe fired that revolver Inthe theatre, ‘wasn't? Hews a great show but it wash dha bad ANNAMELLA. It was diversion. There were two men in the theatre trying to shoot me,[HANNAK. You should be more careful in choosing your gens demen fiends ANNABELLA. No jokes Mr; Hannay, please! [HANNAT. Beautifal mysterious woman pure by gu Sounds like a spystory. aera ANNABELLA, That's exactly what iti, Only 1 prefer the ‘word ‘agent’ better 'MANNAK. ‘Secret agent’ T suppose? Por which country? ANNABELLA, I have n0 country. HANNAN. Born in balloon, eh? ANNADELLA. Mr. Hannay please! Lam being pursued by 3 very brilliant secret agent of a certain foreign power who is on the point of obtaining highly confidential Information VITAL to your air defence. I racked to of his men to that Moxie Hall, Unfortunately they recognised me, HANNAN, Ever hear ofa thing called persecution mania? ANNABELLA. You don't believe me? HANNAY. Frankly I don’t, ANNABELLA. They are inthe street this moment, Beneath your English lamp-post. Take a look why don’t you? But be caf! (QUANNAY peers through the blind. The tuo clowns ‘sppen. They wear sinister wiles under the single glare ofa srt light HANNAY turns back) ANNAELLA. Now do you believe me? (QUANNAY Poors though the Blind again. The men are sill here) HANNAY. You win, ANNABELLA. Mr; Hannay, 'm going to tll yout something. which is not very healthy. Tt will mean either life, Or death. Buti ell you, then you are ~ (She gas a hi) involve! (The sound ofa 30s police arin the dstanse,) HANNAY. Involved? ANNAELLA. You wish to be ~ involved? (QIANNAY marcher fo the Bind again. Peers Uesough ‘The men are the, but lightly late MANNA sighs ir tally. He turns back to ANNABELLA.) HANNAN, Tell me! ANNABELLA, Very well, Have you ever heat of the ~ (She less her vie) = ThirgsNine Steps? [HANNA What's that a pub? ANNABELLA. Your English humour will not help Mr: Hannay! These men will stick at nothing. And Iam the only person who can stop them. If they are not stopped, itis only a matter aj, perhaps hous before the top secret and highly confidential information is ‘out of the country, And when they've gor it ont of the ‘country Got help weal! ANNA, What about the police? ANNARELLA. (laughs harshly) The police! They would not believe me any more than you di! With their boots and their whistles! Ie is up to us, Mr: Hannay! f tel you these men act quickly! You don't know how clever their chief i, Fknov him very well He has a dozen hhames! He can look lke a hundred people! But one thing he cat disguise, This part— (Us erie finger) = of his lite finger is missing. So if ever you should tect a man with no top joint there ~ (She gees at him) = be very cavefl my fiend, HANNAY. I'l remember that. (He gases bach) ANNAMIELLA Mr, Hannay? HANNAY. Richard ANNABELLA. Richa HANNAY. Yer?” ANNAELLA, May I stay the night please? (electricity betoeen them) HANNAY. OF course. You can = sleep in my bed ANNABELLA. Thank you, TVANNAY. I'l geta shakedown on the armehais, ANNADELLA, (raises an gem) As you wish, And one more thing = -ANNAY. You hacldock? ANNADELLA, Mein haddock? (She laughs.) {have rather lot the ast for haddock, No! need — ANNAN: Yes? ANNABELLA. A map of Seodan ‘MANNA Scotland? ANNAMELLA. There's a man in Scotland who I must visit, next if anything is to be done, An Englishinan. He lives in a= (looks around her) — big house ANNAN. A big house? ANNAELLA. Ata place called Alenashellach, HANNAY. I beg your pardon? ANNABELLA. Altnashellach! ANNAT. Altnashellach, And the Thirty Nine ~ ANNADELLA, Bring it my room, LHANNAY. Certainly. ANNABELLA. Good night Richa, (Corns seductively way, disppears into the dashes, BANNAY gazes after hes. Confused and mesineizd, ‘Wishing he could go with hen.) HANNAY, Goodnight Annabella Scene Four: Hannay’s Flat. Very Late, (iit clos, Wind. A ticking clock. A 30s police arf ay, A tant train whistles.) (ALANNAY tosis an ture relly in his erp crm chair) (Suddenly ANNABELLA apps. Her pale face looming ou ofthe darknes.) (Casting muse plas.) (She drifts seductively tavanls him, In her hand she olde a map.) ANNABELLA, (rly) Ricard? HANNAY. Annabella? ANNABELLA. (even air) Ob Richard ~ Richard ~ HANNAY. Now look here, Annabella. You just breeze int ‘ny life from novsiere ~ you get me all ~ you know ~ involved andl ~ well ~ actually I've never met anyone quite like you aul ~ and frankly to be ~ quite fank — (She leans over him, bathing deeply. He goes up at Ian: He inks the going to hs. He elses his ees in wadines, Scent she gasps loudly and collapse over iy glaeming fe sticking inher back, He rcs Aaron Trnshar er} ANNABELLA. Oh Richard! Richard (She ges wpa hin tds.) 1am s0 sory. So very sory. (She clutches his han) Richard ANNA. Yes? ANNANRLLA, These mits, They et quickly! They wil stop 2 nothing. Nothing! You hear me? Now there is~ (Garey tite) = no earning back! Oh, my ear Richard(Her ees siden. Wines in pain.) ANNABELLA, (con) Alla sallac!! (Her body oes into lat panasyoms, She les dead in his arms) HANNAY, Golly (He closes her eyes. Struggles aokearly from beneath Jar He sees the map, Pull it fio her ateady stiff hand, ‘Stars to open it fold by fold. The map is enermous, It Goes on opening, He wren with i, Bates with it Searches for what hes looking for: At last he finds it) AltnaShellacht (tle looks up.) Alena Shllach? (Che pone rings.) (tense muse) (QUANNAY spins ound He marches over to the phone, 1s about to pick up, Suddenly ANNABELA'S rearing swords echo in his head) ANNARELLA. There is man in Scotland...only a matter of days! (BUANNAY'S hond fines ovr the ringing phone.) Perhaps hours..before the secret is out of the coune ny. Tell you dese men...wll stop at nothing..they act ‘quickly! Quickly! Quickly! Quickly! (The phone sings ge louder and louder chiming in with ANNABELLA' ‘Quick (The phone stops singing.) (QUANNAY thinks fast. He grabs a dust-shet cover the ody, pockets the enormous map and stands alone, eet darting) (btackow) irdsong) Scene Five: Lobby. Morning. (On comes the MILKMAN whiting the MB. MEMORY theme, HANNAY bursts out of his front doo They col lide) MILEMAN. Blimey n fright. LHANNAY. Cold you use a pound note brother? MILEMAN. A pound note? A pound note? Whi THANNAG. I need your eap and coat MILKMAN. Cap and cont? Cap and coat? What's the game! Spitit out ANNAN. Tneed to make a getaway. MILKMAN. Do a bunk? ute, Whatchioo up to? T nearly died 3° ‘the catch? HANNAN, Ye. MILRMAN, Whatchoo bin up to? HANNAY, I'm going to have 10 cust you. There's been a murder committed on the fist floor MILKRIAN. A. smder? A murder? By who? By you’ HANNAY, No, no, (He pints) By those evo men over there MILIQAN. ce, So nov they're walting good as gold for a ‘copper to come and arrest ‘em, ch? HANNAN: Is quite we I tell you, They're spies, foreign ‘ers, They've murdered a woman in my flat and now they're waiting for me. MILKMAN. Ab come off it! Funny jokes at five o'clock inthe morning. LMANNAY, Alright, alight. marred? MILKQAN, Yes but don't rub it in. HANNAY. Well I'm not you see I'm a bachelor, tell you the truth, Are you MILKOUAN, Lucky you. HANNAN. But Ive been seeing this marsied woman, MILKOAN, Naughty HANNAY. Point is —MILAN. Yeah? HANNAY, She was leading me on, MILEOUAN. No! BANNAY. Ie was all a set wp, [MILKAIAN. Would you believe it) -HANNAY, See tose two men over these? MILKMAN. Td, THANNAY. You now who they are? MILKMAN. Don’t tell el -ANNAY. One's her brother. The othes's her husband! MILKMAN. Cor blimey! I wouldn't be in your shoes! “Ere ‘have my cap and coat. (aes of is eap and cont) HANNAY. Thank you, (QUANNAY puts on the cap and cont) MILKOIAN. Perfck! HANNAN. say, (ts his hand in the pack, gives hia not) ‘Take a pound. MILXMAN.A pound! Thats very kine of you! HANNAN, (ice hi anatr) Take eval MILKMAN. Two pounds God bless yer guv! Leave the pony. round the comer, You'll do the same for me one day, (QUANNAY runs off Rats. MILKBEAN loka the one. Looks at us) ‘Mang on! That's outa my coat! That's iy money you Just give mel Oi! Come back ‘eret Oi! (le chases after WANNA. Eis) Scene Six: Hannay's Flat, Morais (oun GINS the charady enter.) [MRS HIGGINS, Mornin’ Mr, ‘annayl Yow yer keepin’? What ‘lovely morning this morning its this morning, What bout this ‘ee heat wavel Never seen nothing Hike it People droppin like — (Pulls dust shes off ANNABELLA, Frees. Serans a lod cudling lent Munck sere.) (Segue into desfening tain white) (Frain music)Scene Seven: Edinburgh Train, Day. (1H COMPANY erent the rainy carvings.) (The two clowns ave now garrulous UNDERWEAR SALESMEN. They say withthe train) (Frain sounds, Hots and whist.) SALESMAN 1, Well for one thing they're much pretier than they were twenty yeas ago. SALESMAN 2. More free, SALESMAN 1. Free andl cay (They share a wink, Wink WANNAY. HANNAY srnks ‘under his ha.) SALESMAN 2. Remember the ol fashioned son? SALESMAN 1 All bones and no bends SALESMAN 2. My wife! (They roar with laughin af HANNAY. Trai whi Ms.) Look at this now! (SALESMAN 2 deo into small samples case and po duces @ 1940s white lay susponder ble Thy gate at it in wonder HANNAY gaze lo.) ur new streamlined model number one, SALESMAN 1.A glory to belioldl, Anyehing to go with 1? SALESMAN 2. Look at chi litle Beauty! (He delves some moe. Produces exotic while lary bras see. HANNA and theSALESMEN gze mesmeried as it ‘sway before them) [SALESMAN 1. Now that's sight for sore eyes SALESMAN 2. You can say that again! ‘The Two Wonders of the Modern Worl SALESMAN 1, Tell you what? Bring ‘em back when they've filled, (The SALESMEN explode with laughter Wink at HANNAY,) SALESMAN 2, Get it? SALESMAN 1, Get it? SALESMAN 2, Whien theyre filled? SALESMAN 1, When theyre filled! SALESMAN 2. Don't be shy! SALESMAN 1. Don't be shyl (ANNAY manages chuckle.) SALESMAN 2. That’ the spivitl SALESMAN 1. That’ the spisitl SALESMAN 2. Where are we now? (SALESMAN 1 loos ou of the window He rapidly ads thre passing signs) SALESMAN 1. Half... Doran... Berwick-Upon-tWweed. (He sits boc inhi set, produces a packet of biscuits.) Biscuit SALESMAN 2. Much oblige. SALESMAN 1. (1 Honnay Bisel? ANNAN, No, hank you SALESMAN 1. Suit yoursel (TheSALESMEN chomp tei biscuits in unison. They watch HANNAY ad grin broadly. Train while and stopping, iss) SALESMAN 1 Here we are. Edinburgh SALESMAN 2 That was quick! (Che rin hs, Tey al asc.) (Gaghipe sie: “Scotland the Brrwe") Town, SOREScene Fight: Edinburgh Station. Day. SALESMAN. Wonder wae won the tw otk at Windsor. SALESMAN. get a paper SALESMAN 1 Tl goto the latory. (Thy Suc nd each ote) SALESMAN 1 Fxcuse me, Sorry. Sry. SALESMAN. Sony. Sony. ANXAY. Sorry, (SALESMAN sit SALESMAN 2 stich his ed ot of {hwnd ists th his tet. SALESMAN 1 ‘edit ack on a PAPERAOY in fl cop.) APrRHOY, Evenin paper! Latest news! Bvenin paper! Tate SALESWAN 2. vein paper pease? PAPERBOY. rening paper si? Thankoo si (ees hima pater) SALESAAN 2 ie hi «fg Thankoo PAPERBOY. Evenin paper! Latest news! Bvenin paper! Tate (Est. metal bck on as SALESMAN 1) SALESMAN 1 Excuse me. (Spun. Sony. Soy SALESWAN 2 Sony, Sony ait Sry. (SALESMAN is down, He gat SALESMAN 2.) SALES 2 Helio! SALESMAN 1 eo SALESMAN 2 (es fer Go Loa SALESAAN 1 What it? SALESMAN 2. Been & woman murdered in fashionable ‘West End at (90 fs) SACESMAS 1 All these sex dramas, Don't appeal to met ‘What won? sass What won what? SALES. The oo O'clock at Windsor SALES 2 To O'clock at Windsor? (ns per oe Thy read te bac HANNA per at theft) Bachelor Boy SALESMAN 1 Good SALESMAN At seven ff00" on SALESMAN 1, Not sooo (SALESMAN 2 back ofon ge, HANSA sits back sults) SALESMAN 2 Anya where was we? Ah ye. (ad) Sta in the back she yas, Portland Mansions. Portland Place SALESMAN 1 By the BBC® Thats he place to pt someone tosleep! (hy laugh uproar. nk af RANA.) What ashe ike? One of the wa? SALYSMAN 2. (ed) Welles! woman about thie os wp Terie! SaLasaa Tes! (Thay ok at HAN.) ans Tribe SALISMAN 2 (rnd The tenant Richard Hannay fr ising SaLISMAN 1 You do sprise ne SALESMAS 2, Approximately thirty-seven. Dar yay br Piercing blue eyes Peni moustache. (tua hide his moustache with is ht) HANNAY. Excise re? SALESMEN, Yes? THANNAY. Might Ihave a look at your paper?SALESMAN 1, Certainly -HANNAY. Thank you. (BLANNAY Las the paper Pons int it, Looks up to see ‘oth men staring at him. Thy grin unnerving) [SALESMAN 2.Think I'l pop out tothe buffet ear. Finished? (onatches ape from HANSAY) Fancy anythin’? SALESMAN 1. No thank you, LHANNAY. No thank you, SALESMAN 2. Right you are, (He laces the compartment, Squecet past) SALESMAN 2, Excuse me. Sony Sony. SALESMAN 1 Sory. Sori HANNAY. Sony (SALESMAN 1 glances oof the index) [SALESMAN 1, Good Heavens! Place i tf with police! (QIANNAY feces. SALESMAN 1 pulle down swindon Calls ot) Excuse me Constable! Caught che West End murlerer ye (SALESMAN 2 gprs in oie hat.) POLICEMAN, We'll catch him, don't you worry se! SALESMAN 1. Thac's the sprit (POLICEMAN changes ints porter’ hat) PORTER. All aboard for the Highlands! Next stop the hight lanl! (Changes nto PC hat.) POLICEMAN. Anything suspicious let us know sir SSALESWAN 1. Oh yes, Don't your worry! (PC changes into potas ha.) PORTER All aboard! All aboard (SALESMAN 1 puts on papery hat.) PAPERBOY. Final ection sir? Final edition, (PORTER changes nto SALESMAN ® at.) SALESMAN 2. No thank you! (SALESMAN 2 puts on porter hat.) orreR, All board! All aboard! (@APERROY puts on salesman fat) SALESMAN 1 Alright, alright! (@ORTER pus on poicoman hat.) POLICEMAN. Keep your eyes peeled won't you sit SALESMAN 1, Certainly will constable! POLICEMAN. Don’t forget sie! SALESMAN 1, No I won't constable, (change into paperay hat) PAPERBOY. Read all about iti! Read all about il (POLICEMAN puts on porter ha.) PORTER All aboard! All aboard (PORTER pus on police hat.) POLICEMAN. Anything suspicions, let us know sr (PAPERROY change no SALESMAN 1.) SALESMAN 1. Will do, constable, (POLICERAN puts on porter hat.) PORTER, All aboard! All aboavd! (SALESMAN 1 hanger nfo MRS HIGGINS hat) [MR HIGGINS. Is this the 941 to Reading? PORTER, Platform Twelve! MRS HIGGINS. Thankoo! PORTER. All aboard let's be havin’ yer! (blows whist) ETst cs tn (ats INGGINS puts on property het) ‘PAPERBOY. Read all about it! Read all about it! PORTER. All aboard! All aboard! (ows white) ‘PAPELRUOY. Final Edition! Final Econ! PORTER. All aboard! All ab — (blows white) (HANNA the actor can’ tae any mar) HANNAY. Oh just get on with it! BOTH CLOWNS. Thankoo! (Clowns 140 off: Train shveks, Chugs out ofthe sta- tion.) Seene Ni Highland Train. Day (The CLOWNS return to thir sats. Squese past sack ther: Suet past HANNAN.) [SALESMAN Excuse me, Sony. S SALESMAN 1 Sorry, Sony. HANNAY. Sorry SALESMAN 2, Well, ack from the bulfet! Listen to this! SALESMAN 1, What SALESMAN 2, The police are senreling the unt (BANNAY fz) Every comparnmentt SALESMAN 1 Buery compartont!? SALESMAN 2, Lise here's a corker: These was a young man from Nantucket — HANNAN, Excuse met (He leaps up, Slides open the door of the compartment.) SALESMAN 1 Hope you con't mind us talking shop? THANNAY. No, no, nota all no. SALESMAN 1, We're on the mn you se, SALESMAN 2 From one wives! SALESMAN 1. Never go house! SALESMAN 2 We ride che enilways and sell underwear! SALESMAN 1, That's all we do! (They roar with laughin) SALUSMAN 2. young man from Nantucket, grew a Venus trap in a bucket, he said when it grew, now what do Ido, do T keep ic for breeding oF — (Tin ses, HANNAN exes dln the arid) HANNAY, Sorry! SALESMAN 2 He’s in a rush (Chey whoosh into a tunnel Heghtened train noises. ‘Stage ight licker) (GIANNAY races along the corridor in the flickering lights.)| (SALESMAN 1 becomes POLICEMAN 1. Looking jnto Jmaginary compartment.) POLICEMAN 1. Excuse me please. Sorry to dats ye. Have ye ween this man? His name is Ricard Hania. (HANNAY fnzes. About tums, Fees again) (ioe SALESMAN 2 is POLICEMAN 2. Apprching rom ‘the opposite dietion. Lacking into imaginary compart- ‘ments,) POLICEMAN 2. Fxeuse me please. Sorry to distr ye, Have ye seen this man? His name i Richard Hannay, (UNNAY is trapped. Both policemen march towards him) (Simultaneously magia blight comes up on PAMELA ‘uho apes bohm in amar compartment.) (She ranoves her glasses end lets her bok fll on to her lap, She runs a hand tough her hair and gases out ofthe window. She is bathtainglybeauifi oears small ack tp and tig henge hit, HANNA ges a es entranced.) (The two POLICEMEN get closer and closer HANNAN looks atthe POLIGEMEN, lols into PAMELA compart. ‘ment. He bursts in, Sus her into his arms.) [HANNAY. Darling How lovely to see you! (He kisses her passionately, Shei to shocked to gasp.) (Romantic musi.) (The too POUGEMAN meta the dor: Stare wideeyed {aS HANNAY ond PAMELA his) POLICEMAN 1, Someone having a fee hin POLICEMAN 2. Anda free pudding, too, I wouldi’t wonder, (They titer and exit) (QUANNAY pulls back at at PAMELA slo hi aghast) (Romantic music cus ont) -HANNAY, Listen I'm so terribly sorry! But Iwas desperatel Thad to do it! My name's Richard Hannay. They're After me for murder. I swear Pm innocent! You've got {o help mel I've got to keep fee for the next few days. ‘You see the safety of ths country depends upon it (The two POLICENEN appear again atthe compartment door) POLICEMAN 1, So sorry to disturb ye but have either of ye seen a aan passing in dhe last few minutes? His name is Richard Hany. (PAMELA stores at HANNAY. At! wai while she decides.) PAMELA, Thies the man you want Inspector! POLICEMAN 1. But we came by jst noo and saw you both = ‘wel yout know. PAMBLA. He pushed in here and forced His name is Richard Hannay! POLICEMAN 2, Is your name Richard Hannay? HANNAN. Certainly not ‘POLICRMAN 2 ut this attractive young lady clearly stated — (QIANNAY pusher open the door Les out ofthe tain, PAMELA sonams. Deaening whooshing train sounds and wind effets) POLICEMAN 2, After him constable! POLICEMAN I. Right si (POLICEMAN 1 leaps after HANNAY zoho is inching along the ouside ofthe ain, hanging onto his hat POLICEMAN 1 lok denon and GASPS!) We're on the Forth Bridge POLICEMAN 2. (frm the window) I can see that constable! Grab him man! POLICEMAN 1 Very good sit (C1 lunges for HANNAY and grabs im. PE? raches from the winds, Grabs PC 1, MANNAY laps to the next carriage. Pulls BC afte him, pulling PC2 half out of the rshing train.) lf upon me, PAMELA, Cau help?POLICEMAN 2 (hanging out of the train, through the rushing ‘wind) Not ight now, iss, PaMELA.I'llstand here then. POLICEMAN 2. Very good miss (The train roars into tune. Lights licker and flash. POLICEMAN 1 battles with HANNAY clinging fo he rain, MANNAY pulls one sey, POLICEMAN 1 pulls the ‘other Pulling POLICEMAN ® father an farther out of ‘the wind PAMELA Justa thought? POLICEMAN 2, (hanging out ofthe tain) es, mis? PAMELA. What about the communication cord? POLICEMAN 2, Good idea, mis, ‘PAMELA Shall [pull i POLICEMAN 2, Best if co, sis, PAMELA. Rightho, (POLICEMAN 2 maches painfully back for the comm nication card. This ull POLICEMAN 1 and HANNAY ‘bak again, POLICEMAN 2 arm alarmingly elongates, PAMELA watches wideeyed. At last POLICEMAN 2 ‘aches the cond. He grabs the con.) POLICEMAN 2 Plling the communication cord NOW! POLICEMAN 1 (srils) No st! Not the communication — (POLICEMAN 2 ple the cord. The brates slam an. The train lures, POLICEMAN 1 les his grip om HANNAY tho lis aay. The POLICEMEN crash back nto PAMELA who seeams as the tain sree to a juddaring halt.) (Wlackows) (Muse: Ethereal, matic choirs) (Lights come up on the familie structure ofthe Forth Bridge. Magicaly erated fiom the thee decorators lad- ders perhaps I loks magnificent and awesome én the lu ight end mist) 2-7he unin chase sould be open to ingenty and resources wale 1ike the de ofthe eh don he seo the rn a a he spend ‘Wet End a ronda poster Or they cau go song the op Oren Uundeeah =n Joes aye The text shoud mont scan ‘Scene Ten: Forth Bridge. Night. (Wind sounds, The eveaking of gives. Distant foe Ins. MANNAY appears out ofthe mist. He is hanging perils on the bridge Mile above the water He inches is way, gibi on tothe col sl gies) (Che t00 ¥Cs appear Edging towards him. They got ‘doser and closes HANNAN Took at them. Looks down, Looks this slipping fingers. Looks a ws.) HANNAN, OF CRIKEY! (He plunges into Uh dashes. A long whistle. A tiny splash) (The 20 POLICES look down. Loo at each ether) (Wtackowt) (Sound: more cone eps” fil the theatre.) [RADIO ANNOUNCER. (pluniny BBC VO.) the suspect Riche ‘ard Hannay managed to jump from a tain on to the Forth Bridge just outside Halinburgh, Police pursued hima on to the bridge but he gave them the sip hang: ing rom gitders with his bare handsSeene Bleven: On the Moors. (tansy appears runing across the moors.) [RADIO ANNOUNCER. (puny BBC V0.) ..The suspect i approximately thiry:seven and about six foot one. “Although he is clearly dangerous, he is quite good ooking actually wih dark wavy hai; pievcing bive eyes and a very attractive pencil moustache. Its not known ‘whether he survived his ordeal. Police had to call off the search in the gathering darkness... (ANNAY runs out Swing mist. Mowrnfil highland wind.) Scene Twelve : Grofter’s Cottage, Outside. (CLOWN 1 oppars,He i JOHN MEEYTE cn ancient land sly Seashore peers into the mis MANNA appears The efter ches ith spon.) saw Hello there cnorren Can help ye? HANA Yes Tu ooking for work CcROFTER Whit Kind of work? HANNA man ner Iaboures exOFTER.Y'l Findon inthe HANNA Are thete no = (signa) = big hows round ere? OFTEN. No big hous. HANNAN. Sows that big house? CGROPTER What big House? HANNAN (ints) That big house? ‘CROP TER. Ob tha big house "HAN tat ig House? GROFTER That ea big house HANA So whose oof ha then? ROFTER.A profesor Ice, Profesor Jordan, (tite ing) A Eagshnan, [HANNAY. An English? wouldn't be called — (Pe takes ut the enrol map, 1s een bigger thon efor He bates wh i) Alc Shellac, would i? cxorrer, ft woul HANNAY, Right! Well ~ehanks very much. I'l uy there. Chet. cROFTER. Ye won't tonight! HANNAY. Won't (CROFTER, I's fourteen miles, The other side ofthe loch, HANNAY. No really! (CROFTER, Margaret! sue P' be(MARGARET appears. An incmdiby pry Scotch gir) MARGARET. Ay? (CROFTER. Come here! We have a visitor MARGARET crosses Hem, hod lower. She looks at HANNAY. Blusher) MARGARET Good evening, sir (QUANNAY sees how ineribly prety she is. He smiles handsomely) ANNAY. Good evening, (MARGARET blush even more.) (CROFTER. You could stay heve if you wanted, -IANNAY. Well on second thonights that be very kind. ‘CKOFTER. Can you eat the herting? ANNAY. could murder halla dozen right now, (CROFTHE, Can you sleep in a box bed? HANNAY. [can ry ‘CROFTER Two and six. ANNA. Done, ‘GROFTER. See to the gentleman ard be quick about i THANNAY. Your daughter? (CROFTER, My wite! HANNAY. Well done, (MARGARET and HANNAY lot a each other They lak ‘avey.) ‘ckoFTER, Prepare the herring, MARGARET: Ay, (CROFTER.T'l see to the coos, ANNAN. Sort? CROFTER. I'll see to the coos! HANNA sill doesnt undotand) Right (TheeROrrER stomps off) MARGARET. Will ye come in? HANNAY. I'd love to, Scone Thirteen: Crofter’s Cottage. (UANNAY looks around the miserable cottage. The ‘moaning wind rates the windows. MARGARET is ove {aed ith shyness. She points to the armchaiz.) MARGARET There's your bed (BUANNAY loos athe archi) HANNA. Marvellous MARGARET Cold ye slep there d'ye think? ANNAY.I could sleep anywhere right now. (QUARGARET Bushes.) MARGARET, Won't you sit down please whilst I go.on with ‘our supper? [ANNAT. Thank you (Ue sits down. She busi herslf with supper) Tsay? MARGARET. Yes? [HANNAY, Yous wouldn't have today’s paper? MARGARET My husband has the paper HANNAY, Right (MARGARET sy lye the tale, He watches her) So crim been in these parts long? MARGARET No, I'm from Glasgow. HANNAY. Glasgow? MARGARET. D'ye ever see I? HANNAY. No I newer eld MARGARET. Oh ye should, Ye should see Sauchiehall Steet ‘on a Saturday night with all is fine shops and the trams and the lights, And the cinema palaces and the crowd (a faraway oak) Ie Saturday night tonight, THANNAY, Well I've never been to Glasgow but I've been t0 alinburgh and Montreal, And London« MARGARET. London! THANNAY.I could tll you all about London at supper MARGARET, (sudtenly entranced) Covi ye? HANNAY. Certainly could, MARGARET: face clouds) No, John would nae approve o° that I doubt [MANNAY. Jolin? MARGARET: My husband, He says is best not to think of such places and all the wickedness thar goes on there, [VANNAY, Or ~T could tell you nos. MARGARET: Now? (fle gece at hor) HANNAY. Ifyou wanted. MARGAREE. Aye. (She gazes back) Ye could, (Romantic sie) THANNAY. What would you like to know? MARGARET. I true that all the ladies paint their toenail? -HANNAY. Some of them. [MARGARET And put rouge and lipsticks on their Faces? HANNAY. They do yes, [MARGARET Do London ladies look beautiful? HANNA. They wouldn't you were beside therm, (MARGARET catches her breath, Turns to him. Their ees net. A moment of turned sexual longing.) MARGARET You ought not o sy that. (The CROFTR burst in, He caries an evening news apes) (CROFTER. Ought not to say WHAT!? (Romantic music cus aut.) (QLANNAY and MARGARET spring a) HANNAY, Olt L yas ~ oF — just saying to your wife that T ‘prefer living in the town to the county. ‘CROFTER, God made the country HANNAN, Certainly id ‘CROFTER, Supper ready woman? MARGARET. Al CCROFTER. Then bury yesel (The GROFTER thrs the paper on the table Thee is THANNAYS poo om the front. HANNAY frees.) HANNAN, Do you mind IFT Look at your paper? CCROFTER. Suit yoursell HANNA. Thank you (HANNAY picks up the sper Hides the photo, Reads the story at nonchalantly as possible The CROPTER swathes hin suspicious) (CROFTHR. Ye did nae tell me your name, ANNA¥. Ob ~ umn ~ Hammond. (CKOFTER. Mr‘O* Him Hammond, HANNAY. No. Hammond! MARGARET, Here we ae: (She produce hee hersings,) HANNAY, Splendid ‘CROFTER. I'll say a blessing afore we begin -HANNAY, Good idea! (They ast ond the table, Clas there.) CcROFTER, Ob most mighty ane unforgiving father: Sanetily these bounteous and wndeserved mercies tows mise: able sinners, Make us bow on bended knee, make 0s twaly thankful forall (QUANNAY apene his ee. Thies fo ead the paper again. MARGARET opens ler ees. Nees him rang.) = hy mvanifold lessings (QUANNAY notes her noticing him. Now she ols at the (paper: Ses the phot, Realises eho he is, Her yes flash ‘with onic.)CROFTER. (cont) And continually (urn our loathsome Incas from wickedness ~ (QUANNAY looks Back at her: Reassuring her with his one) (The CROFTER opens his ayer and sos thom gosing ‘earnestly a each ater He tilces madly and finishes sme.) = beat our gluttonous thoughts and lash our lustful Aesives, a8 with a three forked flailing stick, pressing ‘our bestial noses to the grindstone and blinding one ‘eyes to the tavery beads and baubles of all worldly Wicked things, Amen, MANNAY & MARGARET, Amen. CROFTER. Ach! (Hej) {jst remembered I forgot ~ er= Tock the bar, Tl goand—ockit ana Right ye a (Fe goes out, whiting nonchalantly, Almost inne tatty his mad paranoia ges pear rough the indo HANNA nd MARGARET do no note in Thay tart miming ernst and passion to ech othe HANNA hd or hs. Beging ero bie isn The ROFEER wathes aghast! Hi es lsh and sac) Scene Fourteen: Crofter’s Cottage. Midnight. (BUANNAY asl in is ramp el) (Soune of «car drawing to a hat outside, Headlights las across he windows.) (MARGARET rns in. Laos ut ofthe windams. Runs to HANNAY. Gingely shes him.) MARGARET, (whips) Wake wp srl Wake up please, sil [HANNAL. (delighted) Oh hello! (MARGARET. Oh no, si, not I don’t mean ~ Ie’ the police, sif, Mr O° Huns Hammond! Wake up 1 beg of ye sir HANNA log up) The police! MARGARET You must go now while theres sill a chancel (She grabs his hand. The COPTER appears én his ‘nighigron) CGROFTER, Ay! Tighta knownt Making love bebind my ‘ack! (onannsy) Get oot! (omancane) And For ye — (ses fit) HANNAN: (tapping btwern thom) Nor so Fast my fiend MARGARET. Nol Go go! It's your only chance of liberty! -MANNAY, Listen! You're all wrong about thist She's only taying to help mel CROFTER. Ay! To bring shame and disgrace upon my howe! THANNAY. Actually Ifyou want wo know Pur on the rn from ‘the police! CROFTER. The police! ANNAX. They're after me for murder! ‘CROPTER. Murer! Paice?(neck noc knock from the dr) (The CROFTER rns the door, Pes though ech Herens back} (CROFTER. They're right outside! HANNAY. Don't le dhem in! Say 'm not hevel (Knock oc hnoc,) (The CROFTER is overheating vielen) cRorren. Ach! (He runs tothe door) HANNAY.T'l make it worth your while (CROFTER isto 4 hat.) (CROFTER. How much’? FHANNAX. Five pounds (CROFTER. (etic) In cash? HANNAY. Will ou take a cheque? (CROFTHR, Don't be funny wi? me! -MARGARET. Pay him pay hima! HANNAY. (ales ou a fve pound note) Herel! (nach knock knock.) , (The CnoWTER grabs the note, runs tothe door and ams i behind hin) MARGARET Och, Idina ust him! Listen! (MARGARET runs tthe door and listens. We oa mut tering ouside. She runs back to HANNA.) MARGARET. Ay was right! He's double crossing ye! Quick! Now's your time! Through the window! (YANNAY ruses upstage.) MARGARET. Not that window! HANNAN, Which window? MARGARET. The rear window! Wait! HANNAY. What? MARGARET Your jacked! THANNAY. My jacket? MARGARET. I's tenibe light coloured HANNAN, Oh is i? 1 the latest Harvis Tweed. (MARGARET. I'm afeart they'll see you on the dark moors. ‘Best take this one! (She gies him a dak oveoat) -HANNAY. This is our husband's coat! [MARGARET: Ay, his Sunday best, Ie’ so black they'll never se you! HANNA, (brings out smal lack Book) Whats this? MARGARET His hyn book. ‘HANNAN, Ica stg hymn HET get frightened MARGARET: Don’t joke I beg of you. (He olds hes She mats int hm.) HANNAY. Wh MARGARET: Don't worry about me! (Music ils.) (hey gave at each other) happen to you? HANNAN. wish T could take you away from all thist MARGARET: (She looks at him yeasningly.) No. ‘This is my home. MANNAY. What's your name? MARGARET: Margaret, HANNAN. Goodbye, Margaret, (He kisses hr) 1 never forget you for this! (Ue kises hor agin. More passionately, She surrenders Beneath him, Pls ay at last) MARGARET. Go now! (QUANNAY expe though the winder)(nmetiately the 100 policemen rush though the door owing whistles. Thy spt hi through the window) FOLICEMAN 1. There he ist After him! (Phe police rush out ater HANNA.) (MARGARET watches in agony.) (The ohstes disappear ido the distance) (Lights fade on MARGARET, her haunted face at the windows) (Chase muse) Scene Fifteen: Scottish Moors, Davin. (Lights upon HANNAY on the ren. He dats end dadges ‘across the Scottish moors. The policemen appear with ‘dogs om lads. They spot him. MANNAY runs off. The police ond dogs give chase.) [RADIO ANNOUNCER, (V.0.) We are sorry to interrupt this programme of popular Seouish romantic music 10 set {your heart aquiver to bring you an important news fash, Richard Hannay, wanted in conection with the Portland Place murder has been spotted on the moors rneat Loch Crimond, Police have warned he is almost, ‘certainly armed andl dangerous, Here is his descrip: tion once again, He is approximately thirty-seven and about six foot one. With dark, wavy halt piecing blue ‘eyes and of course his very attractive pencil mous: tache, His time on the moors has actally made him slightly more rugged-looking, whieh makes him took ‘ven better looking than he did before (QIANNAY rushes past midchase, He happens 0 hear ‘his, He miles modesty Dafne renning on. The radio continue) ‘The suspect Richard! Hannay is current on Foot in inhospitable terrain and police can assure listeners that they are closing in with specialist squads in ug tive apprehension by foot, road ancl = by ait! (QUANNAY stops to catch his bath, Looks around. Alt ‘appers clear Has he exc? Sudden Uris sound in the distance, The ominous buss of singloengined Tiger Moth. BANNAY spins round, Looks up. The sound builds.) (A plane appears, De plane gts casez) (HANNAY slats to ran The plane chases HANNAY.) (Qver the P/A we hear the pitts radio conversation.) Pior 1. There he is, Over there! PILOT 2, Which direction’ that then?Por 1, North-by.North West! PILOT2, North-byNorth West! Why that's the ditection of - PILOT 1. Profesor Jordan's howe! PILOT 2, Profesvor Jordan's house? Why's he going there I wonder? PILOT 1. No ideat MLO, He's disippeared again! PILOT 1. Oh no! PILOT, There he is PILOT 1. Shoot man shoot! (Raite of machine gun fire. HANNAN ducks and dives Dodges the bulls. Runt on.) (sic buts) PILOT 2. Missed hin! Damn all this impenetrable Scowish sis (More machine gun fie. HANNAY dives to the floor agin.) (Phe plane whines dangerous) PILOT 1, Wait a minute! Ob my God! mora, What? PILOT 1 We're 100 close tothe ~ Oh not rior, What? PILOT 1. Ghange dietion! Change dieton® PILOT can't I ean’ PLOT 1. Oh no! Oh nol (Plone nosedive. Serches deafening.) PLOT, We going to— Piior 1. OH GOD! PILOTS 1&2. AMAAAAGGGGHHTEHI (Plone explodes in a spectacular conflagration of smoke and fir) (usc clinass) (The stage fl with mae.) (A figure opens. 1 is HANNAY, He is exhausted but sill wmning) (A grand front door appoars. And a signs “ALT NA SHELAGH") (Ue stubs oars the dove Straighten his i. Presses ‘he door el) (oon chines: Ding dong!)| | } Scene Sixtecn: Alt Na Shellach (A sever looking grey haired lady in taweds opens the dor RS LOUISA JORDAN. Play by CLOWN 1.) Mn JORDAN. Yes? -HANNAY. Iam so sorry to disturb you but I'm looking for the professor. Professor Jordan 1s JORDAN. Professor Jordan? Im the Professor's wif, Louisa Jordan, . HANNAK. I do beg your pardon Mrs Jordan, May I sce che Professor? Ir really quite important. DMRS JORDAN. May I kuow your name? [HANNA Yes, My tame is Hammond, Tell him a friend of Miss Annabella Shinde MRS JORDAN. Miss Annabella Schmidt? Come in Me Han ‘mond ifyu would please. HANNAY. Thank you, ‘Scene Seventeen: Alt Na Shellach. Interior, (She loads him trough the baronial cordon, HANNAN Took about hin) HANNAY. Lovely house. MRS JORDAN, (smiling gracious) We ike i (Thy march rough several enormous rooms.) Mus JORDAN, We're just having a few drinks with some fiends to celebrate my daughter Hilary's birthday. A number of welltoxo acquaintances of my husband. Including the Sheriff of the County. Later we're ong izing a shooting par. Peshaps you'd you care co join HANNAY. Thank you, [MRS JORDAN. Shall we pop into the party? (She opens the dane. Wild shadows dance across their faces) (Cocktail Party sound effects fiterbug type muse) (She has second thoughts. Close the daoe) (Muse stops.) Ms JORDAN. On second thoughts. Ifyou woulda’t mind, ‘waiting in here Mr; Hammond, Pl fetch my husband directly, HAnsay, Cerny (She opens the doo) (Muse starts again.) (Shadows dance, She loss the doo ond her) (busi stops.)‘Scene Eightecn: The Professor's Study, INAY tats. Looks around. Tentatively opens the NAY it Zaks mun. Ta een (Muse starts) (Shadows dance. He doses the door) (sie stop.) (tries agin) (Musie starts) (Shadows dence. He lass the doar) (Musi stop.) (4 Last tiny lok) (Muse tor) (Shadows dence. He dacs the doa) (Musi sop.) (4 voice fom behing him) VOICE. Mr, Hatnmond? (HANWAY swings round. PROFESSOR JORDAN is salad in an arnchate} [PROFESSOR So sor to have kept ou. -HANNAY. I's quite alright. PROFESSOR So you're from Annabella Schinid? ANNAY. am yes, PROFESSOR. Do you have any news? -HANNAY. She's been murdered PROFESSOR. Murder? Ob dea, yes, of course. The Port- land Mansions affair Quite dreadful. And now the police are after you HANNAN. They are rather! PROFESSOR. Well don’t worry about them. I managed 0 ‘put dem off the scent, They'l be far away by now. MANNAY. Thanks afl, PROFESSOR. (smiling kindly) Not we all old chap. LHANNAY. didn’t do it PROFESSOR. OF couse you didn’t do it Me: ~ Me Hannay, [suppose it’ safe to call you by your real name now? HANNAN. Quite safe. PROFESSOR. Jolly good. Hut tell me ~ why did you come all the way to Scotland to tell me about it? HANNAN. Becatse [believe she was tying t tll you about ‘some secret top secret ar ministy...secret and she was killed by a foreign agent who was interested too. PROFESSOR Really? Well Pm so glad you told me! And risk ing your life ito the bargain! How ean I ever thank you? (BANNAN soier modesty, Th prser on urgent) LHANNAY. The thing is professor; she was looking for some: thing! PROFESSOR. Yes? ANNAY. Something called — PROFESSOR Go on, ANNAY, The ThirypNine Steps! If we can find out what the Thiry-Nine Steps are then = (Che profesor stands, Sil smiling.) PROFESSOR, So — let me get this quite clear ~ oh I'm $0, ‘sorry = you must be exhausted! Do take a seat Mr. Hannay: (Ue stonds, Profi his own asc: MANNY sits ‘ther aula, The PROFESSOR soils.) PROFESSOR. Better? HANNAY. Thank you PROFESSOR. So did she tell you what this foreign agent looked ike? -HANNAY. There wasn't time, Ob! There was one thin of hie ile finger was missing. PROFESSOR, Which litle finger? HANNA. This one [ think, Pant(olde np a ile finger) PROFESSOR, Are you sure it wasn't ~ this one? (He holds up his own He finger. 1s cutoff atthe Teche) TANNA. Pi not sare, Ehink — (The profesor pulls outa gun. WANNAY gay!) PROFESSOR. Mr: Hannay — I'm afraid I've been guilyy of Teading you down the garden path. Or should 1 ay ~ up. Inever can remember HANNAY, It seems to be the wrong garden alight, PROFESSOR. Yes, I'm afiaid it does. Mr: Hannay, you've forced me into a very dificult position. You see I live here asa respectable ctzen. My very best fiend i the Sheriff of the Couy. You must realise my whole exis tence could be jeopardised i it became known that T vas not ~ how shal I say ~ not what I seem. You see there's my wife and daughter to think of, Bu what makes it doubly important that I simply can’t let you gos that 'm just about to convey some very vital infor imation out of the country. Oh yes, I've got it alight. Vm altaid poor Annabella would have been far too late, So it seems there is only one option, Mr Hannay, (He cocks the gu, aims pont blank a ANNAY.) (04RS JORDAN sal in.) (Giterug music.) (She takes inthe gu Doe’ flick an ei.) ‘Mies JORDAN, I shall be serving lunch divecty, deat: The Sheriff has to go at three. Will Mr Hammond be stay ing? PROFESSOR. I don't think so deat (tks JORDAN smiles ant lev.) (Ouse stops.) PROFESSOR. Unless of course you decide to join us, (Ligh «cigarette ina lac holder) sUanNA, For neh? PROFESSOR. Very good, Mr: Hannay: You sce you're just the kind of wan we eed. Sharp. Intelligent. Col blooded. Ruthless, When the war comes these will be the exact qualities we need, HANNAN. War? PROFESSOR. Ohi yes! Well have quite a show of it. LHANNAY. And what fT don believe in chose qualities? PROFESSOR. What other qualities ave there? ANNAY. Well. .buman qualities. PROFESSOR. Honan qualities! What human qualities? MANNAY. Loyalty, selflesness, sacrifice (peuse) love PROFESSOR (He laughs a crue laugh.) Lovel? Oh please Mr: Hannay! When have you ever faved anyone? Ie’ not in your nacre, old sport. Never has been, las i? You Ihave no hea, do yor Hannay! But you know this, (BANNAY sie shake, How doe he profesor hnaw his ees fears?) So si, ist it? No-one to love. No one to care for, No hhome to go to (The professor comes clase to HANNAY, pinned nthe tarmohain Ble smoke ints his face) Buc there is you see, There is~ or Home! HANNAY. Ou PROFESSOR. That isthe only place you will ind “love ok ‘hum, Where you really and tly belong. ne? (We notice German accent subtly emerging fiom the profesor’ cultured British tones, HANNAY stares in For a he tal stats to dwn) (Oh we will yive you love, Hannay. And in return? You will love wll The master race, On one great unstop pable marek, Commanded eternally by destiny ise! Well old sport? What do you say?? Will you join us? Hannayle?(The PROFESSOR rats excite. HANNAY thinks. The ‘loc ticks inthe carmen HANNAY decide.) -HANNAY: Alright Professor IFyou think I'm suitable mate ial PROFESSOR. (iliopsdeligitety) Oh T dot Ido, old sport How unutterably spend I wil cell Mrs, Jordan, (He caches with pleasure. Rant the door) -HANNAY, Oh. There's jus one thing. Sorry PROFESSOR. Of course, Anything! -HANNAY. One litle question, PROFESSOR. Ask vay! HANNAY. Before I sign up. PROFESSOR. Absolitely mein leibing [MANNAY. What exactly is erm = PROFESSOR. Yes yes yo? HANNAN. =the ThiryeNine Steps? PROFESSOR. The Thiry-Nine Sip! The Thity+Nine Steps — though I say itmyself— is mein ov builiant idea! The very soul ofthe entesprise! The very ~ (He gasps. Realises MANNAY's ruse.) Brat wait minute! Wait @ mint! You ~ you ~ think you ‘ean pl ze yool? Ach! You thought you could joe and then FHANNAY. Master race? J dps youll! (The PROFESSOR staggers back clucing his ches) PROFESSOR. Ach! You are as bal as she was! Anabella ‘Schmidt! With all her outmoded sentimental notions, Her high-minded DEMOKRATIKISCH BOVEN. SHEISSEDRIWLE! | thought for a moment you might = but no! Nott You = yost = pathetie ~ pi ~ peuy:minded ~ (Hees dirty a BANNAN ert.) (QUAN stagyers: Reali he's bon shot) ( HANNAN. Ob bugger (le sinks tothe floor The PROFESSOR watches. Cigo: ‘ete sake siting about him.) (BUANNAY le prenagled below him.) PROFESOR, The Thisty-Nine Steps? I tell you Mr Hannay. YOU VILL NEVER BVER KNOW! (The door flies open. MBS. JORDAN in her te) (Giterdug music, Very loud ane raucous.) (The PROFESSOR grasps MRS JORDAN'S hand. They start dancing. Thay stamp and shout. They become wilder and wilder A tribe conflagration envelop the ‘tage. The flames ick around the stamping Jordans.) (HIANNAY' Body es matonts.) End of Act OnePo. TO ACT TWO (Overture) Scene Nineteen: Sherif's Office, (CLOWN 2 hax his it up on the table and is laughing Io, He is the SHERIFF OF THE COUNTY. Another ‘man fas his back fo ws.) SSHERIFE. Cigarette cases, Pocket watches. Spectacle hold ‘ers. Ha ha hal But never a hymn book Mr: Hannay! (The ecer man turns, We seit is RICHARD HANNAY, ‘Mirnculouly record. And laughing to.) Who'd a'thought a hymn book could stop ~ (Hold up a ster lle, Tes iim.) a bullet! Sil, 'm not surprised. Some of those hymns are terible hard to get through, (They both tagh agin.) ‘An to think I was drinking the sllain's champagne ‘only half an hour before! HANNAN, Right SHERIF. canna barely believe it, Tea, Mr Hannay? [HANNA No thank you, SSHERIFE. Calling himnselfa professor! Wheteas all along he ANNAN. A spy! SHERIF. A spy! Wellies lesson to sal! Prety slick sleuth ing for an amateur Me: Hannay! HANNAN, Thank you SHERIFE Sure about the tex?HANNAY. Quite sure, dank you! Look heve, sheriff, I don’t ‘want rush you oranyahing but oughta't we be aking steps? This is serious you know. fit weren't you don’t suppose I'd put myself in your hands with a murder change hanging over me? SMERIFE, Ach! Never heed the mutder Mr; Hannay! I doit doubt you'l be able ro convince Scotland Yard of your innocence as easly as you've convinced ine. All I need isa short statement to forward to the proper author iy. Pve someone coming from the police station next door to take it down, Biscuit? ANNAY, No biscuit thank yout SHERIFF, Nice Gaba FANNAY. Listen, sherif, here's no time to be Tost He's got the information! And it's absolutely vital to the safety of (CLOWN 1 dusts trough the door as the CHEE INSPEC- Ton.) INSPECTOR, Are you wishing to see me, shes SHERIFF, Indeed 1 am, Chief Inspector! Do you think 1 enjoy playing for ime with a MURDERER”! HANNAY. MURDERER??? (HE INSPECTOR. MURDERER! SHERIFF, Richard Hannay, you are under arrest! On the ‘charge of wifil murder of a woman unknown in Port land Mansions London om Tuesday Ins. "Take bin ¢© the county gaol! HANNAN. You lieard my story I's tue! Every word of it! SHERIFF, Listen, Hannay! We're not such imbeciles in Scotland as some smart Londoners may think I cou’t believe your cockand:bull story about the professor! ‘Why he's my bes fiend inthe district (iets up pane) Get me Professor Jordan! LHANNAY. Ifthe professor didn’t shoot me — where did his bullet come from? (Ue holds up he ble, The SUERIFE and INSPECTOR ‘mci owen.) SHERIF Gratin men? (The wsPecroR grabs HANNAN.) SHERIFE, (atl oldng the phone) Ol ho ho! You're in dee ‘water Hannay and it's geting deeper by the second! (Fe hears a voice on the pone. He snap ito the sie) 1s? Who's there? This the hes of de county hee nl il thnk you to A Profesor! (Praline, Bos te pone) 1 do beg your pardon most humbly, i, Just 0 Le you know rz We have apprehend! de ila, sk Indeed me have, drys st hank you Kindy anata dat you allow me ape the Fo ign Offic fn London SHU, ouphng Foreign Olice i London! Ym ata noc Df Hany. ands tpt, plese! (fhe wisrecTOn cls ne hand on lo ANNs msoecTon, Come slong que si pleats SHOU on poe Hanis goign D0 awa! dn hin! (Wh anh ofr MANNY pss He NSERC ‘Tom int te ERY They bl rsh oe fle) (A win oes. BASSAS dct seca eap though) INSPECTOR He's escaping! Sop hil Sop hacia (UANNAY run ou. The INSPRETOR fs Ki ae Ing hs whist "The SUEY stars he lone non hr Pst et) SHERUFF, No no, Everything's under contol, st. Everything tickety boo, profesor. Indeedy indeed itis, sr(Laughs in abject er Stats chomping biscuits) (police white in ditonce) (chase wasc) Scene Twenty: Cly Streets (BUANNAY it running thagh testes.) (Shadows of policemen apes at every turn. The police shadows give chase HANNA runs madly on. The shad- ont get taller aed aller Gradually enveloping the whole ste) (Sound of a marching band. He watches as they ass Hej in. scapes) (Lights up)1e Twenty-One: Assembly Hall, (An enormous banner across the back of the stage “VOTE MeCORQUODALE” ) (One ofthe owns appears. MR. DUNWOODY Mester of Cemmomies. Fury and daddery, he caries a chai) (PEANNAY suns on bls) ANNAY. Excuse me! I wonder if you ean help me = I'ma staid Pim DUNWOODY. With you in a minutell ‘MANNA. Right! Absoltely! Can I help? DUNWOODY. No thank ye. HANNA. The thing is you see — DUNWOODY, Ifyou don't mind HANNAY. Sony, (tn. places the chair atthe side of the sage.) DUNWOODY. There we aFe now. -HANNAY. Right. Anyway I'm in a bit of pickle you see and ~ DUNWOODY. (Looks at HANNAY. Whoops with delight) Why! ello chere! Helloo! Helloo! HANNAY, Hello DUNWOODY. You're here at ast HANNAN, An P DUNWOODY. So good of you to comel We're all here! We're all here! Look! He's here Me Macgquaric! (oe the other CLOWN appears. He i the Chairman [ME MCQUARRIE, Buen more ancient and daddery, He isimgging on a ier.) MCQUARRIE. Ah! He's heret He's here! Thank the Lord! ‘Thank che lordl Thank the ord DUNWOODY. Take a seat take a seat take a seal -MANNAY. Thank you. (The to en pon hm in he cha eaten his hair ‘and straighten his te, BANNAY st, No idea where he is orsohat he's ding.) (DUNWOODY grasp te acter, beams atthe auionce.) (conned applause) DUNWOODY, Ladies and Gentlemen, it it now my extreme pleasure to call ypon our ever popular eairman Mt McQuarrie to say a few choice words about this eve- ‘ing’: illustrious special guest speaker! Mr. McQuarrie ityou would plese (cansed apples) (MKOQUARRIE grasp the leter. Proce to adress the ‘audience but emily naib.) MCQUARRIE. Thankee ye...thankee.,.well Ladies and Gen: ilemen there's no need for me to tell ye of our special gest speaker's many and remarkable ~ DUNWOODY. Mr MeQuartie, si: McQuane. Ay? DUNWOODY. Speak up sr MCQUARIUE. Speak up? uNwoony. Speak up. Ay [MCQUARRIE Speak up. Ay (Corres om a exactly the same level of inaudiiliy. The ‘audience might pickup the odd word but that’s al.) = special guest speaker's many and remarkable qual Uies, His brilliant record a8 solder, statesman, pioneer tind poct speaks for itll. He is now one of the most foremost figures in the diplomatic and political word {nthe great city of London and the perfect gentleman {o tell ye in no wmcertain terms how important it is for this constisiency at this crucial by-election that our candidate shouldbe returned by an adequate majority. So without further ado Jet me call upon our illus ‘ous gucst speaker for this evening ~ Caprain Rob Roy MeAlistaiet— (wit comnts (Phat en nd af MANNAY ut sits the sing He lets ound or Cotta Mest Rares they sean ti, Looks oghase ali he’ nothing ee ort ‘Approach te crn) HANNAN Wl adie and gendemen I must apologise for ny. tesaion in adreting you tutto tel you the eth ened te Inte to the Chatman faterng description just mow to reale he wa ling. about ne (conned nuh) ‘hank you. Thank you very much, Anpray when er joumeyed pt Scand a fe = days ag, tar Tingon the Hightand Byprss over that maguieent structure the Forth ge = (Roa is hae. Hasty hides) 14 no iden that ina feds I shouldbe address jngan important pica meeting. Bot may from the boom of my heart andthe times since ow dllighted sd elleved lam o find mycin your pres nce a this momen (Suny AML ent. Sh waves ef MCQUARR and ‘owwOO NN lt er) (hello, Do take a seat Yn us aboot wget the tat = (He scognze har She recognizes hi.) Good heavens! Hell, PAMELA, Hello, (They gaze at one another for & moment, Remembering that is. She snaps out of. Runs ou) -HANNAY, So ~ anyway, usm — what was I saying? Ah yes — delighted. Not to say ~ relieved. Because s0 long as 1 stand on this platform Yam delivered for the moment from the cares and anxieties dat are always the lot of 4 man in my position, Anyway ladies and gentlemen as you kntow we're here tonight to ~ to = discuss erm, = wie shall we discs? I know ~ let's discuss er — how bout = the hevring trade? Or baaddock perhaps? Or the idle rich! Not that I ean fal about that beesuse Fm not rich and I've never been ide. (canned laughter [HANNAY, (cont) Thanks aul, Well 've been preay busy all my life realy, Well acwally not recently. Recent ve heen i a bit of slump to be honest. Catching rnyself nthe lonely hous, full of damned ~ thoughs and what have you, Well hot that recently. Recentl the Last few days ~ (PAMELA repre, Whispers fv to MESSHS 0 & MEQ. They lero the stage ogee BANNAY caries on. He’ rater going into i) = wel the lst day really, everything’s gone a bit hay ‘wre frankly, Wouldn't say is been easy. Petey daunnes! liffient dually. Buc che odd ching is ~ the odd thing i= you carty on! And it’s pretty bracing when you do. Pulls chap out of himself if you know what I mean ‘There hie is, No ea what's happening, Who to cus. Where « air, Whether i'l be worth it atthe end of i all, But something = don’t know = stirs the old bones! (Ue ips the ler.) Gees the ol ticker pumping again! And there's no dime to think. Ane! your mind's singing. And your heart’ racing. And you're meeting people. Real people! Doig the best they ea Yes! Doing the best they ean in all the terrible siations the world throws at them! Sulering things no mon oF woman ought to suffer! And yet they cary ont They don't give up! They damn well keep going! And I'l tll you what else they do. They do the best they cin for olker people to! Whatever prob leans they've got, they damn well look after each other Is that such (Ge nomembers the profesor’ words) = ‘outmoded sentimental notion’ Is ie? Wel i? So look here =eT ” | (use: Hubert Parry’ Jerusalem” fades up.) ANNAN. (cont) ~le'just all et ourselves resolutely to make this world a happier place! A decent world! A good ‘world! A world where no nation plots against nation (@eaMnLA appears again. This time accompanied by the ‘uo clowns wa have nm changed into eo HEAVIES i tribes end tence cots. HANNAY caries on laying for time. But inspived to.) Where no neighbour plots against neighbour, where there's no persecution or hunting down, where every: body gets & squate deal and a sporting chance and where people try to help and not to hinder! A world where suspicion and cruelty and fear have been for ‘ever banished! So I'm asking you ~ each and every one of you here tonight — (He points members ofthe audience.) you and you and ~ (Be searches und) = you and you and you and — (He searches round.) = definitely you! Is that the sort of world you want? Because that's the sort of world E want! What do you think? Let's vote on it! Come on! Vote for a good world! A better world! Anew world! And above all vote for Mr. — (Ue tuts his mac, lots bind him atthe anne) MeGrocodile! There! That's all I have to sy. Thank you (Jerusalem lines.) (Wild applause. HANNAY looks delighted and Bows, Pamela tps forward.) PAMELA. This s the man you want inspector! HANNAY, Where (le makes a bol for it. The vie ge chase. At last they grab him. Pi him don, Pull hi up) we Theard those words before? Scene Twenty-Twor Assembly Hall, Foyer, (The tnvtEs drag WANNAY fo PAMELA.) HEAVY He's the one, miss? PAMELA Yes definitly He's the one. HANNAY. [suppose you think you've been damn devert PAMELA, Officer kindly tell your prisoner not to insult me plesse! HEAVY 2. Come along now srt HANNAY. Don’t you see Las speaking the tnth in that ai way carriage! You must have sen Tas genuine! [HEAVY 1. That'l be all ma'am and thank you for your help. PAMELA. Don't mention it. Goodbye officers. (The HEAVIES start o pull HANNAY out.) LMANNAY. Alright just listen please! You have to! There's an ‘enormously important seeret~ savy 2. That'll do now! HANNAN. — being taken oUt of this country by a devilishly iant foreign agent! I can't do anything myselh bhecatse of these fool detectives! But if you telephone Scotland Yard immediatly and tell dhem this = PAMELA, Goodbye, Mr: Hannay! [HEAVY 1, Actually beg pardon, Miss ~ er — PAMELA, Edwards, Pamela Eawards. THPAVY 1, ~ on second thoughts Miss Edwards we should Tike you ta came, too, PAMELA. Me? Whatever for? HEAVY To identity the prisoner, Mis. PAMELA, But I've (ld you who he ~ [HEAVY 1. Just tothe police station Mis HEAVY 2 Ifyou woulda’t mind miss. PAMELA. Well, where isthe police station? [HEAVY 1. Inverary, Mis ‘PAMELA. Inveraryl! But chats nearly ~LMANNAY. Forty mils. PAMELA. FORTY MILES? THIAVY 1, You keep ott of th HIAVY 2, He's to be questioned by the Procurator Fiscal personally miss, PAMELA. Procurator Fiseal personally? [HEAVY 2 It's essential for public security mis PAMELA Essential for publi seeulty? savy 2. Thats right miss. PAMELA. Well if t's absolutely necessary! [HEAVY 1."Thank you mis. Ifyou ike to elim into the ear please mis? PAMELA, The what? (The CLOWNS look at each other They realize they've forgot thecaz HANNAS the actor sighs. The CLOWNS hastily improvise car out of chars, armchaiy,whate rs hand.) HEAVY 1. The cx (BIEAVY 1 starts the motor HEAVY 2 ges in beside hi, THANNAY and PAMELA it ehind them, HANNAY gives PAMELA a delighted grin. Sticks his pipe in his mouth.) HANNAY. Hello (PAMELA souls) Tm Richard by the way. PaMeLa I'm not talking 0 yo0. HANNA, Right. (They look out of thir eprtve windows.) Scene Twenty-Threet Police Cat. Night. (Cor motoring noise. The es serach, Occasional lights ‘ash onthe faces. ANNAY drops off Nods annoyingly ‘om PAMELA shone) (Suddenly she spots something, Calls out) PAMELA, Wait a minute! This isthe wrong road! This is the surely. road south, Inveraty’s nord (BANNAY wakes witha start) [HKAVY 2 There's a bridge fallen down on that road, Mis. We shall have to go round. The man knows the way, Mis. HANNAN. Excuse me, Inspector? HEAVY 1 What? HANNAY. Might [see your warrant? [HEAVY 1, You shut your mouth! (QUANNAY ohstes the Mir Memory theme.) ANNAY, Would you like ¢@ have & small bet with me Pamela? PAMELA sighs.) Alright, have it with you Sherlock, P' lay you a handled to one that your Procurator Fiscal has joint of his litle finger missing. (HEAVY 1 turns and whacks HANNAY. PAMELA. gasps LHANNAY rubs ie face and grins.) Iwi, top (Phe car babes sec) PAMELA. What ate we stopping for? (Phe car tures ta hale)w& Scene Twenty-Four: Police Cat/Moor, (Wind, Beating shop sounds.) mAVY 2, Damned sheep! Get oota the vay -HANNAY, Well, well. whole flock of detectives. AVY 2, Wel, there's nothing else for it, We'll have to leat them avy, [HRAVY 1 (spooked) Stange they have no shepherd HEAVY 2, Come along man! [HEAVY 1. Not so easy in allthis thick fog. Look how its sud denly come down, (Fag comes dour.) Out of nowhere, [HEAVY 2. jumping out of the cr) suid come on man "Heavy 1, What about him? (OWEAVY 2 thinks a moment. Unloke HANNAN’ hand- ‘uff Locks it on to PAMELA, HANNAY and PAMELA are now handcuffed together) PAMELA. What on earth are yon doing! Unchain this hand: cut! Avy 2. There you are, Miss. Now you're a special con: stable, As long as you stay ~ he taal (oneavy 1) Come on! Clear the road (to shep) Get off the road ye mangey beasts HEAVY 1. Awa" awa’ ye bleating brutes! (They chase away the sheep and eit.) HANNAY. And as long as Igo you gol COME ON! (He juonps out of the car, pipe Detwoen is tet, Pals PAMELA with hin.) PAMELA, What are you doing! LHANNAY. Now you listen to me! (Takes the pipe out of his mouth tick tin her back) Peel this - pitt? PAMELA, Yes! HANNAN. Do you want mie to shoot you stone deal? PAMELA, Not partculay no. VANNAY. Then gota move on! (BANNAY pushes rout Thay ei.) (The to HEAVIES rw bac in. Soe Ue empl cs) Mkavy 2. They got away! HEAVY 1, Where'd they gol? [HEAVY 2, How do I knowl? Ife don't find them = HEAVY 1. Yes? HEAVY 2. ou lives wont be worth living! HEAVY 1, Oh my God! (QREAWY 1 starts tor ou HEAVY 2 pull hi back) HEAVY 2 Wait watt HEAVY 1, What wh? HEAVY 2. The cat the cat! HEAVY 1. Where? Where savy 2 Therel There! (He ples he chi, armchair oF whaler was sed for 1h conto HEAVY 1.) Take ie take it AVY 1. Pn king i'n tking th HEAVY 2, Gota il “em Gotta fd “ent [HEAVY 1, Gota ine “em! Gta fin “et HEAVY 2.1 jus adda! [HEAVY 1.1 know you js said dat! navy 2 Well don’t say it again! [HEAVY 1, Alright! Aight! HEAVY 2. Now come on come on! HEAVY 1, Come on come on! (CLOWN 2 charges out, leaving CLOWN | loaded wth Uh ee CLOWN Tats off age. The i defen ‘rush ashe dip theca the wings.)ee | | | | | | | | Scene Twenty-Five: The Dark Moors, (QUANNAY appar ith PAMELA They are endef Uogether as they cress the dake moors. He i ping her ster him.) HANNA, Come on! (PAMELA sinks ina bog.) PAMELA. Ie stuck! I cat move! HANNAN. Yes you cant (PANNA pulls at her hana. Pulls her ou.) PAMELA. Owl! (callout) Help! [MANNAY. (pushes his hidden pipe into her sds again) Listen! ‘One more peep out of ou, Fl shoot you fist and myself after. mean it Now come on! PAMELA. Now I'm in a puddle! LHANNAY. So you are, (He pls her out. She shi.) PAMELA, Pm soaked throwgh! LHANNAY. I never sid il be easy Pamela, my dear as dep breath) ‘Snell chat heather! Makes you glad tobe alive doesn't a PAMELA. Lovely yes, ANNAN, Come on! (Ue pulls her flr hi.) PAMELA, Will you stop doing that! (He stots to shill Me Memory Thema) And do stop whistling! Look what are you doing allthis. for? You ean’t possibly escape! What chance have you 0 tied to me? ANNAY. Keep that question for your husband if T were you. PAMELA T don’t have a husband! HANNAY. Lucky him! Come along! (ovis again) ‘What 1S that tune! Right. Under cis stile PAMELA. Ow! (He drags er under lle. She gts jammed, He comes ‘ris help, She gets more jammed. Now he gets jammed. ‘iy become envi. All these they banter awe.) HANNAN. We seem a itl stuck. PAMELA, Is that HANNAY. Hang on. PAMELA, Wha? MANNA. IF you go ~ the = wait a minste— Je’ start again — PAMELA, I sy what is dhe se ofall his? (BUANNAY full PAMELA squeaks) ow (@UANNAY whites.) ‘Andi please stop whistling! Those policemen will get you as soon as it's ight yous know, a8 soon as daybreak claws -HANNAY. They're not policemen, PAMELA. Ob relly? So when did you find chat ou? HANNAN. You Found it out yourself.’ never have knovwn that was the wrong road to Inverary! They were taking ‘aso their boss with the lite finger missing and God help either of ws if we meet him! PAMELA, So you're sill sticking to your penny novelete spy story! (They ane now completly entsined. He rounds on he) If go ~ no that doesn’t work7% HANNAY. Listen! PAMELA. Ow! HANNA. There are twenty million women in this island and ve got to be chained to youl I'll say it ane more tine, ‘There's a dangerous conspiraey against chis island and we're the only people who ean stop it PAMELA. The gallant knight to the rescue! -HANNAY. Alright chen you're alone on a desolate moor in the dark, manaeled to a plain common murderer who stabbed an innocent defenceless woman four days ago. and can't wait to get you off his hands! If tha’ the sit. tation you'd prefer then have it my gel and weleomel PAMELA. I'm not afiad of you! (She snes.) Alehoo! HANNAN. Bless you PAMELA. Thank you [HANNAY, Pleasure (or a second they are very close. They gaze at one another They wonder that todo, He pls her hough the stile and wrenches her yp PAMELA squat.) PAMELA. OWI! You're horvibet!! You just don’t care do you! You just walk into my life and look at ane! Pin ‘old and I'm wet and I'm miserable and my wise hurts and I didn’t do anything to hurt you! You're utterly hori and beastly and heartesl You don’t eare about anything except your pompous, selfish, horrible, heals sel! (Te wind rages. HANNAY looks at her She Los a im.) TMANNAY. Yes well, that's the kind of man Lam, I'm afaid. PAMELA, Well, Gol help your wife, that’ all ean say! ANNAY. Yes, God lp her! (Phey stand miserably chained togaher i the wind) (Scotish pipe music) (A flickering neowit sgn rather majestically fis in ‘ough the mist. “THE McGARRIGLE HOTEL ~ A Warm Weleome Arai: ¥") (The °0" on “HOTEL.” has fused} (Trough the dry ice CLOWN 2 in hilt and Highland garb mimes the Bogpies,) (On the other side CLOWN 1 appears as MRS MOGAR- IIGLE, pushing on the Hotel reception desk) (CLOWN pts dawn his bagpipes and joins her a MR MOGARIIGLE,)| | | \ Scene Twenty Six: MoGarrigle Hotel (hse Rs MCGARRIGLE Listen wide aed othe raging ‘wind outside) Ds MCGARIIGLE. I's terrible Highland night, Willy! MR MCGARRIGLE. Aye, ‘MRS MCGARRIGLE. All at rain and wind rushing down the ilen! Wouldn't want to be out alone tonight! MBL MCGARRIGLE, No, HANNA ff Hellooo! (Tre MCoaRGLES so) ‘Mri MCGARRIGLE, Did ye hear that? [MR MCGARRIGLE. Aye. HANNAY. (ff) Hellooo! MUS MCGARIUGEE. There it goes again! (QUANNAY and PAMELA enter She is even more soaking ‘and bedvaggal than eve) Ach, ye poor dears! Look Willy. It's a young couple ‘come outa the night! Come avy in st, come aay inl ‘Ach dear the poor young lsi'strvible wetl My poor wee dears! HANNAY. Thanks awfully! We had an accident with our ear ‘few miles back, ‘MIs MOGARRIGLE. (with song accent) Have ye no liggage? ANNAY. Sor? MIS MCGARUGLE. Have ye no huggage? (ANNA staes back Blank.) MRMICGARRIGLE, Have ye no luggage? [HANNA Oh yes! OF course! MNS NCGARRIGLE. In the car of course. Anyway welcome: to the McGarrigle Hotel, Tam Mrs MeGartigle, This is any husband Willie MeGarrigte. DMR MCGARHUGLE, Aye ls —in the ca [HANNAY, How eo you clo, Anyway = DMRS MCGARRIGLE. You can be certain that atthe MeGar rigle Hotel «warm McGarvigle welcome awaits ye [HANNA Thankyou. As Eas — DMRS MCGARIIGLE, In" tas right, Wile? MR MOGARRIGLE, Aye HANNAY, Marvellous, Anyway — [MRS MCGARRIGLE, Despite It being offseason. HANNAN. Yes. Um we'd lke (© say the night if you cout accommodate ws [MRS MCGARKIGLE, Ael welll Let us se. Let us gee, Let us {pers at boat) Well — we've jst the one bedroom lef. With the ~ er ~ one bead ini (Ste booms ces, PAMELA fees) but ye'l not be minding tha? ANNAY. No no, Quite the reverse [MRS MEGARRIGLE. You ie mia and wife I suppose? HANNAY. Ob yes, (vudges PAMELA) PAMELA. Er. MRS MCGARKIGLE, (hing) drought ye were! I dhough ye were! Ifye would ne mine registering please? Willi the book 2 MCGARIIGLE. Ay! (oun MCGARRIGLE opens the Gest Bonk.) ANNAY, Thank you (He ves to write nthe veistor but eases his vight Ian isco PAMELA'S ef.) Al! Un, can’ aclly write with wy sight hand, Got abiter= [MR MEGARRIGLE. Bruised?| | | | | | | ANNAY. Sorry? ‘MB MCGARRIGLE, Cranking the car? HANNAY. Cranking the car! Quite right! Tell you whar? Wriy ‘don't you sigh my davling? The sooner you get used to writing your new name the better. Remember what ivi? PAMELA. No, [ANNAY. Yes T think you do actualy, don't you davling? (Ue presse the stem of his pe into hr back, PAMELA Finches) ‘Mr and Mrs, Henry Hopkinson ~ (PAMELA writes, MR MRS MCGARRIGLE be away ‘at she does.) = Hollyhocks~ (he thinks) Hammersmith ~ (he thinks) = Hampshire. (PAMELA finisher) HANNAY, Well done darting ns. MCGARIUGLE, And there we ave! [HANNAK. So anya T think we'll be ~ er ~ DMRS MICGARRIGLE. (very fast) Will ye be needing yer sup- pers? HANNAN. Sony? MRS MEGARRIGLE, Will ye be needing yer supper? (ava passe) MR MCGARRIGLE. Will you be needing your spperst LHANNAY, Oh yes! Splendid, Thank you, Ifyou coud sen ‘apa large whisky an soda and afew sandviches, Ol and a glass of mil MRS MCGARRIGLE Of course ofcourse Ach the young doves, ‘Would you care 1o follow me to your room now please? HANNAN, Certainly. Dasling? (PAMELA rss. HANNAY foes the Pe nto her back “Togather they follow the MOGARRIGLES.) Scene Twenty Seven: Hotel Bedroom. (nats MCGARRIGLE lathe into her room.) MRS MCGARRIGLE, There we are now. Already for ye. A Fine roaring fivel (A burning lg fire starts to flicker: fw seconds to late, They all wait ili lights.) HANNAN, Marvellous! (They all rub ther hans.) MRS MCGARRIGLE. Now dear off with that wet skirt of ‘yours and I'l have it dried in the kitchen, PAMELA. No don’t worry. lel dry by the five just 25 well thanks all the same MRS MCGARRIGLE, No doubt the gentleman wil take good care of yor. (teams naughty) Goodnight sr. Goodnight madam. HANNAY. Goodnight. (He ndges PAMELA.) PAMELA. Goodnight. (ORS MCCARRIGLE lerves, closing the door gently ehind her) (PAMELA rounds on HANNAY,) PAMELA. Look! Ifyou think I'm going to spend the whole righ with you in this toomt a that — [MANNAY, What else ae you going 10 do? PAMELA (wronches at her handcuff) Let me go! (Knock noc onthe dooe) (QIANNAY pulls PAMELA ver fo chat Sits heron is Fee) HANNAY. Come (AIRS MCGARIUGLE appears carrying @ tray of over Tage sandavichs, «glass of whisky and tumble of mil Assume they are cuddling. Looks ely atthe grown)MRS MCGARRIGLE, Och, excuse mel -MANNAY. I's quite alight. We were just getting warm by the fire. (ouages her) Weren't we dating? PAMELA, What [HANNAY. Weren't we dang? PAMELA Yes. -HANNAY, Darling PAMELA. Darling! DMRS MCGARRIGLE. Ica sce that. Anyway here's your wee: sandwiches, your whisky and your glass of milk, HANNA. Thank you [MRS MCGARRIGLE, Will there be anything else? LHANNAY. No thank you PAMELA. say please don go! (Boaryone fee} us MCGARIUGLE. Why ever not? Is anything wrong? -HANNAY. OF course there's nothing wrong, She wants tell you something tha’ all (shining fst) We're a runaway couple MRS MCGARRIGLE. Och! I ken’ i all he time, HANNAY. Sor? DMRS MCGARRIGLE. I kendall the ie. (sigh use) HANNAY, Anyway you won't give us avay will you? MIS MCGARRIGLE. OF course we won't give you away! You're secver's safe with ws. Yell nae be disturbed. (Tipoes ou op Pamala sco.) MANNAY. Come along wick inl What do you want? (looks inside sandichs) Ham and tomato or ~ ham and tomate? PAMELA. Ham andl tomato, HANNAY. Ham and tomato, Then T'H have ~ ham and (They wolf dwn the sandtiches,) Linen you better get that skirt off PAMELA. [beg your pardon? ANNAN. I Don want co be tied (0 & prewmonia ease om top of everything ele! Take it off I don't mind! PAMELA. shall Keep it om thank you! (They chomp exvay in silence. The wind moans ouside) Actually I wil take my shoes ff (She tals her shoe of his have dangling by hers. They Dah eat ey while she dos this,) ‘And my stockings. (de says nothing She looks at him Tentatively its or ‘ir to the suspenders of one thigh. She ves to undo the suspenders sil holding the sandwich) ANNAN, Can Ie of assistance? PAMELA. No thank you, HANNAN. Aluight (She tres again. Gives up) PAMELA. Hold this. (She gives him her sandwich. She lifts her shiet again ‘an nds the sspender He doesnot loa.) (msc) (She rls the stocking al the wry don to her ele and hides it off His hand traits lightly with hers. Neither ys a word, We become aaa ofthe wind Iuting the ‘windows The crackling fie in Ue rate. Now she lifts her shirt om the ether thigh. Flicks open the suspenders Starts to soll down te stocking. Once again his hand tral ight along beside hes, down he thigh, ove her Ines, daw er shin to her nl. She glides off Once again neither say word. She gat up. He fllos her ‘She hangs dh stockings in front ofthe fe. One fal. He pics it up)HANNAY. Here, PAMELA, Thankyou. THANNAY. Wout you like your milk now? PAMELA, Thank you (He gives tt hee She dike her ill. He dink his sohisy) HANNA, Warmer now? PAMELA Yes thanks, (They stand looking a the fie.) HANNAN, Well come along, (He leads her to th bd She floes compliant for dnoment. Then stops sunt} PAMELA, What are you doing? LHANNAY. Going to bed PAMELA. Grtainly not! a not bing on hat bd? -HANNAY. So long as you're chained to me, you lie where I lie, Som, (PAMELA lke rood the rom, Relies the’: nowhere tise. Sighs loudly and clambers onto the bat, pulling him afer es They don essed.) PAMELA. I want you to know I hate you! HANNAY. Right, (Se tis to ture ey fom hi The hand pull her back) PAMELA, Ov! (Grudingly she les on her side facing hom. She elosee Jer eyes, Thies to sp) (QUNNAY starts Imig again.) (PAMELA opens her eset) PAMELA. Will you stop doing tna! HANNAY. There I go again! I wish I could get that dasa tune out of my head. [wonder where I heard i? (patos loudly) HANNAY, D'you know when I ast slept in a bed? Saturday hight. Whenever that was, Then T only gota couple of hours PAMELA, What woke you? Dreains? [imagine murderers have tertile dreams. HANNAY, Ob [sed to, Fuse to wake mp in the mille of the night screaming. Thinking the police were after tne, Funny that! You see when I firs took toa life of crime, Las quite squeamish about it A most sensitive chil (uns PAMELA, You do surprise me. LHANNAY. but I soon got hardened, Before long L vas an 01 ‘and ott ili, Wanted on tive continents (te yawns agin. He starts to snore PAMELA. surepl tiouly ul thir chained writs tas er He wakes.) Just think in years to come, you'l be able wo take your igranlehielren to Madame Tassauds andl point me out PAMELA, Which section? HANNAY.Invererate, uteformable noshopers. Wedded to 8 Tie of erin. Thav’s me, Pamela my darling. And the sad story of my life, Poor litle orphan boy who never Inad a chance. Ivedeeniable. breclaimable. enon) Uuerly hors and beastly (She gases cl him, He muersexay ith led ey.) al get away from me ae quick as you can i was you (eons) Oh no, you (aus) Oh wel ean you? (Ee nor louly Se yrzes down at hi tender for a ‘moment, Then pulls href togethe, gins to test on ey hare. Painfully jgylng, she inches the hand uff ever ar wre, AL Tat she rrencas it of She laysthe emply handeuf beside HANNAY. With a groan he role over and enbraces her in slesp. She gasps. Gently {ips his arm and puts it back, Sidr silently af the be. Grosses the 0m, thinks of something, Pus bar hand in his pocket Takes out his pipe, Slams it ersly on the table. Tiptcs tthe door and slips out) Scene Twenty-Eight: Hotel Lobby. Night. (The to MeAVIES oe rote at the weption desk One ling went into the phone) teavy2 Mrs. Jordant Please listen! We had wo take the gi well {MRS JORDAN voice sis indaciphraly om Ue plane {Smind or actor's noo bhind hat.) Unfortunately not. We los oth her and Hannay, Ym Mid (Lover shiking fom MRS JORDAN) (PAMELA ofa in the shadows, She tens widey) Hell have told her the whole plot by ow! She kaw ‘arena the el ple! (PAMELA gp iy) (Big shrek from MRS JORDAN, HEAVY 2 holds phone ‘from hi) Dispose of thein both when we Find dhe? Certainly Mr Jordan! PAMELA cap hd ahr moth) Beg pardon, madain? Has he? Doct hel? I het Yea indeed, madam! Certainly tnadamat Goodbye, madam! Thank you, nada, (Slams dwn recive) [HRAVY 1, Wel? Spill the beans HEAVY 2. The professors got the wind up. He’s cleared ont already! HEAVY 1, Cleared out already? HEAVY 2. Thought it was too dangerous with Hannay and this grt on the loose. He's warning the whole Thirty ine Steps. HEAVY 1 The whole ThirysNine Steps? Does he have the — ‘you know? MKAVY 2, Certainly does!-—— eee Se HHLAVY 1. Thank God for that! HEAVY 2, Yes! And he’s picking up our friend from the London Palladivm! Tonight! On the way oul ‘eavy 1.On the way out! Right. ‘HEAVY 2 Right! I'l start the ca You check che negate HEAVY Right. (amave ext) (AREAVY 1 rings the el) (EAVY 2 returns as MR MCGARRIGLE in his nigh shit) MRL MCGARRIGLE, Ay? Can Lhelp ye? [HEAVY 1. Yes was wondering if you might have happened to have hada young couple saying here MR MCGARRIGLE. Might have had had happened to have had have had a mighty young couple staying? Well now you mention it= HEAVY 1. Yes? MR MCGARRIGLE, But eat I take your coat by the way? HEAVY 1, Thanks very much, (om MC starts taking HEAVY 1s cot) HEAVY 1, You were saying? 1M MCGARIUGLE. Well, now you mention it, we do have a young = (QNEAVY 1 Dscomee MRS M, She sri) DMRS MCGARRIGLE, WILLIE!" DMR MCGARKIGLE.Aye!!7? MIS MCGARRIGLE. What ae you doing out here! MR MCGARRIGLE. The gentleman wanted to know = MRS MCGARRIGLE, Standing there in your nightgown for all the world to see! Put your coat ont And ity your. self (arses him in the Hoy’ coat) Getin the kitchen man! ee MR MEGARRIGLE. Aye (BARS MCG jane ly on MR MCG. Turning him in Heavy 2.) MRS MCGARRIGLE. And as for yell! Whoever ye arell! It thank ye to get oota ma hose! Waking people up all hours of the might Have ye have no bed to go to? HEAVY 2 (backs ay, alarmed) Right. No. Sorry. Thank you (eRAvY 2 exits hastily. She shouts afer hin,) MRS MCGARRIGLE. Thank ye nl goodnight (CLOWN 2 runs back as WILLIE. his nightgown.) MR MCGARRIGLE, And goodnightt (Sound of car raving aay. PAMELA emerges fom the shadows. MRS. MEG beams swell at het Takes her hand) Mis MCGARRIGLE. Nothing to worry about now dear, Willy? MB MCCARRIGLE. Ay? MRS MCGARRIGLE. Ye woukln'ae give away a dear young couple, would ye? [MR MCGARRIGLE, No! [MRS MCGARIIGLE. Ye old fool ye! To your bee! man! (She sos him of. As he goes, PAMELA Rises him om the chek. He turns othe audience aed beans.)‘run as snes « ‘Scene Twenty-Nine: Hotel Bedroom. (HANNAY slope on oblivious.) (PAMELA was in. A changed woman.) (musi) (She goss a him onde) (ight change Birdsong) (QUANWAY take, He notices the empty handeuff, Leaps off the ed) PAMELA. Morning LHANNAY, What's the idea! How did you get out ofthese? Why didn’ yous ran away? PAMELA. I did. Then just as I was going I~ well, I discov ‘ered you'd been speaking the truth, So I thought I sy. FHANNAY. May I ask what earthquake caused your brain 10 ‘work at last? PAMELA. "Two policemen came here Inst night, The ones from the ear. overheard them telephoning, They're not policemen! [HANNAY. I know they're not policemen! I std they weren't policemen! PAMELA, Sorry. [HANNAY. So what did hey say? PAMELA. Ob — um ~ yes! A lot of tuff about ~ something ‘with a number, Un ~ ewenty ~ thirty. Thityl Thingy = -HANNAY. Nine! PAMELA. Thisty Ninel That's right. Thirypnine ~ [HANNAY, Steps PAMELA. Thirty-nine steps! How did you know that? Some- ‘one’s going to warn ther! HANNA. WHAT? PAMELA. How can you warn steps? FHANNAY. Never mind, Go on! PAMELA. Unt ~ yest There was another thing. So got the wind mp and is = leaving ott An = and = 1 know! They're picking someone up from the Londos: Palladino LMANNAY, London Palladivini? London Palladium? Who's tag, ! wonder? Is thatthe Professor? Our friend with the Tle finger missing? Whar’ he want to go there for? Funny thing fora masterspy o do! (They smile each ober The look at Ue floor) (Romantic music) PAMELA. I'm sorry. [feel sich an afl fool for Hot having believed you ‘Manav. That's alright, Well — PameLa. Well~ HANNAY.— we ought 1 be ~ PAMELA. Yes HANNAN. - going I suppose Pata (Chey aerator lose. Neth mars.) HANNAY. Right PAMELA. Yes? HANNAN, Which = PAMELA. What? HANNAN, — p00 Panet. Who? HANNA. What? PAMELA. Who? HANNAN. Those two men? PAMELA, Sorry? (Phyo cower end eos) ANNAY. The to mien yous overhead PAMELA, Staying in? HANNA. Min, re ney staying in?PAMELA. Wel, dhey're not HANNA Sorry? PAMELA. They went away a8 soon as they'd telephoned. They drove off nto the night, Rather fst acta Awa (Hardly listening Abot to is her) Where? PAMELA. Where? Don't know. Sony (Clases her) Does it matter? (Eis liar touching har. Suddenly his snap open. He loks a ht Reales whats happening.) HANAN, DOES IT MATTERUITE? (Msi cuts ot) PAMELA, What? (He leaps up) HHANNAY, WHAT DO YOU MEAN DOBS IT MAi PAMBLA.T'm sorry = -HANNAY. You buttonsheaded litle idiot! Why didn't you stop them? PAMELA. Whit? HANNA This is unbelievably appalling! PAMELA (caning her head) Buton-headed? ANNAN. Oh my God! PAMELA, Somyl! FHANNAY. Why didn’ you stop them for God's saket PAMBLA Because I wanted 10 se yout! HANNAY, Well that was a stupid thing todo wasn’t i ‘PAMELA. Apparently yes! HANNAT. So where did they go? aMFLA.T don't know! The Loudon Palladium I suppose ‘awn The London Palladium? When? PAMELA. Tonight! On he way out! HANNAN. On the way out? On the way ou of whae PAMELA. I con't know whl! HANNAY, Well that’s four oF five precios hours wasted PAMELA, Well - well ~ if they're all leaving the country that's ine isn't Just Leave well alone! [HANNAY, Leave well alone! Leave well alone! Iam accused ‘of murder! The only way to clear my name isto expose these spies! aa. There you go pin yous! Sih fai at HANNAN. What? PAMELA, Hoarty, bast hori and ssl? ANNAY. But MUGH more important than that! Much ‘more important than clearing my name! They are about to leave the country with a secret vital 0 the safety of fourair defense? PAMELA. WELL IM VERY VERY SORRY! LHANNAY, WHICH SHOW MATINEE OR EVENING! PAMELA. DON'T KNOW! HANNA, WELL THANKS FOR YOUR HELP! GOODBYE PAMELA. GOODBYE! (QUANNAY marches to he door) HANNAY, GOODBYE PAMELA. AND DON'T EXPECT ME TO COME WITH Youn AUNNAY marches back ther) HANNAK I WON'TH PAMELA. GOOD!!! MANNAY. GOOD! ANNAY exis frist) PAMELA. M NOT SURPRISED YOU'RE AN ORPHAN! (She Dust into tas.)Scene Thirty. London Palladium Stage. (Music: “Sunday Night at the London Palladivon” heme) ANNOUNGER. This he London Pallant (Tabs flyin, A fromt cloth at isin fl sing > (HANNAY apes inthe audience A changed man from the fst BANNAY. Evhauced, harowed, onthe rss bu ful off and heart He ist look normal. Takes out «pair of binoculars, Scans the that, Stops suddenly ‘Trains the binoculars om slags bas.) (Therein a spotlight isa false hand holding a Black eigarete holder. A cal of difting make. )* (PAMELA appear in the ight behind HANNAN.) PAMELA. Hello, (ANNAY spins round) FHANNAY. Good Lord! Thought you'd run off PAMELA, You ran off HANNAN. Well I vas bloody furious. (She turns go.) PAMELA. go then, shall HANNAY. No no ~stay now you're here, (They hold each others ge, Sil.) PAMELA. Alright [HANNA But now look here! I've found his! PAMELA. Who? HANNA. The professor 5 The nae of heat the cole ofthe dow, Aage a wile ‘mbt at, comedy dace act Something sii or on verbal A omen igh ret before the story rah cits, {nan dea wrt, Clown 2 should appear the profewor in dhe ‘box eteh te he is mendoned. Wihowt the need fo ke aa etl. Ths depend entey on your dei, ann of ting space and te actor's lel of Ofjpan Res. sie att of th ‘how depends on your stove of Onan Hines Kehoe proved an inal do weg PAMELA. The profesor! Where? HANNAY. There! In that box. Do you see? (Spot up on false hand and cigaratelder)® PAMELA. Gosh, yes! (oemenber) Buc waita minute? HANNAY. Wha PAMELA. You can't do anything about itl T've been to Seot land Yard, [ANNAY. Scotland Yard? PAMELA. My uncle's chief commissioner, actualy. FHANNAY. Chief commissioner? PAMELA. Yes, Uncle Bob. THANNAY. Uncle Bob? PAMELA, Yes. -HANNAY. Bob's your uncle? PAMELA. Yes. And he said nothing’s been stolen from the air ministry. No Top Secret information or anything! -HANNAY. But you heard those men sy the professor's go it PAMELA, Well they've checked and they're absoliely certain, (QUANNAY looks round with hi binoculars. Members of the eompany appear in police hela) MANNY. (springs bac) POLICE! What are the police doi hhere? They didn't follow you here dil they? ‘PAMELA. Oh deat: Sorry. HANNA. That if then, Tha’ tf (COMPERE enters though the tabs. Bows.) (applanse) CCOMPERE. Good evenin’ Ladies and Gentlemen, And now with your kind attention I have the immense honour and privelege to presentin’ to you one ofthe ‘most remarkable men ever in the whole world, Mr. MemosPO (Muses Me: Memory Them) -MANNAY, Wait a minute! That's che damn tune T couldn’ ‘get out of my head! (On comes MR MEMORY, Canna applause. COMPERE ceils) THANNAY. Mz Menory! MK MEMORY, Thankoo, Thankoo. Twill now place myself ina state of mental readiness for ths evenin's perfor. ‘mance and cleat my inner bein’ ofall extinstrinsic and supermernumary material. (Tabs dep tet. Closes hse.) (rant) (A0R MEMORY survepitiousty opens an eye and lols tus at the spot ax. The professor apps from behind the drape, Te makes coded signal o MR MEMORY. THANNAY sings his binoculars fo the ox, back fo MR. MEMORY, MR MEMORY ods fo the bos. HANNAY gasps ninphanty) LHANNAY, ve gt itf PVE GOT TT! OF course they don't know ‘anything's missing! All de information’ in Memory's hheadl That's why the professor's here tonight, To take Memory out ofthe count. (Dnunvols ends.) Mr MEMORY; Thankoot ‘Thankoo! First question pleaselt (He points ina audience) ‘eg pardon sir? Who built St. Pauls Cathedral? Who built Se, Paul’ Cathedral? Sir Christopher Wren but St. Paul's Cathedral He done iti the yea sixteen sixty— (Cater INSPECTOR ALBRIGHT enters down a aise.) ‘Auanactrr Sorry to disurb the show Ladies and Gents, (oan aEaORY sts ifm) (aumnicHtr scons audience, He spots HANNAN.) Richard Charles Arbuthnot Hannay? Iam Detective ‘Chief Inspector Albright sit New Scotland Yard st: am arresting you on a charge of MURDER! PAMELA, ut you do'e under or Albright! ‘AUMRIGHT.I think T do, miss. Now come along quietly, sr “These'sa good chap, siz [HANNAG. stands Urovely) Alvight alight Albright PAMELA, He's innocent Fell you! THANNAY. mn sony Pamela there's no other wayl ALBRIGHT, (looks smug) Very wis, sit, Now if you'd just — (BANNAY vanishes ALORIGHT spins round) Hana! He exe! QUICK! feats out) Block all dhe exis! Block all he exits! (oMEMORY) any on as no) ‘Memon, Thaisk you sit, Rights: nd Detective Chiet Insp al please sit (ALBRIGHT rushes oul iho! prs. AUD the ushers fol hi Uowing thee whistles.) ‘As Lae sayin’ before bein’ interrupted in my flow, Si {Christopher Wren built St, Pauls Cuthedal, He done i in the year sixteen sixty (AANNAY rappers onstage Shouts a MEMORY.) [HANNAY, WHAT ARE THE THIRTY.NINE STEPS? (048 MEMORY fet.) MMORY. Sixeenrsity ~ ANNAN, [SAID WHAT ARE THE THIRTYNINE STEPS? (04K MEMORY enltoni, Terr fl his fect.) HANNA, Cone ont man! Answer up! (G4R MEMORY looks up at the profesor: box bn bind jpanie, Looks at MANNAY. Looks out font. Mops his ry, tranbing) Mn MEMORY. The..dhe..the ThiryyNine Steps si? HANNAN: Yes Mr Mesnory! For the last ime! WHAT Ab THE THIRTY NINE STEPS?(04K MEMORY clicks into automatic. He turns to the audience) Mn MEMORY. The ThirtyNine Steps is an organisation of spies. They collet information on behalf ofthe Secret Service of =| (The PROEESSOR apes inthe box.) the Secret Service of- (The PROFESSOR tales out a en, Shools MEMORY. MEMORY clutches is eat and sinks tothe ground. [HANNAY pnts at the PROFESSOR.) HANNAN, There! Thats the man you want Detective Chief Inspector! (The PROFESSOR realizes he is exposed, He swings the [gun on fo HANNAY. Shark like tp animal) PROFESSOR, I don't think so, Hannay! No no! This is not ‘your story. Ths is my tory! And T decide how it ends. You don't destroy me, Hannay! And you don't get the girl! Oh no! You lose the gill You lose the girl and you dic of grief! All alone in your dull lite rented Port- land Place fat! You thought you found love, Hannay? faid not old sport You will never ind i you sec, Never in all eternity! Sorry! (The PROFESSOR sseings the gu Dack (0 PAMELA. PAMELA scrsams Ray Way style) PAMELA, Richer Richard (But HANAY ie nowhere to be ser, She looks desperatly round for him, Suadenly he appears i in the rofeso’s x.) HANNAY. Oh no you don', Professor! (GUANNAY and the PROFESSOR sore in the bos Rowand round hey go. The bt for the gu.) (A shot rings out PAMELA shrieks, Both men stare at teach other At Tat the PROFESSOR gosps and totes. He Aisappear behind the curtain. He appears doing ever ts snore extravagant death throes. At the last moment he dnurs replica dummy of himself ou ofthe bo into the ‘audience (conned serans) (04K MEMORY is sinking on sage. Braves hexping the show going) MR MEMORY. Keep your seats please! No need for panic ladies and gentiemen! Bring on the dancing girl cal! Seay eal! 7 (Dancing Gist music) (The Tabs flyout, trea.)sot Scene Thitty-One, London Palladium. Backstage. GIANNA ad PAMELA run on with the COMPERE. "Ty heel beside MR MEMORY. MR. MEMORY is fading Jest) CCOMPERE Take it easy, old chap. There's a good chap, DMR MEMORY. Jus a srately, Ber, I'l be aleight. (Herwines.) HANNAY. Me. Memory? MR MEMORY. Yessir? HANNAN. What was the secret formula you were taking out of the connty? Mi MEMORY, Will ic be alright me telling you, si? LHANNAY. IO il, Mi: Memory Mr MEMORY, Iwasa bg jb eo learn it st The bigest job ever hid to ackle! And I don want co throw i€ all away sit LHANNAY. OF course not old man, [MR MEMORY. Te ft feature ofthe new engine Isis greatly increased rao of compression, represented by r minus Tover to the power of gamma and 9 sequenced to the power of xy squared duplicated by 82 point, 71 point land 88 point recurring reduced by 19 alpha providing ‘equal cubes of epsilon in serial circumference aligned to three double governor valves flowing radially to the point of 8/65 ~ arranged in series ~ (Ue gasps, fades. They bw this heads. He revives.) = with concentric rows of blading, alternating with fixed rows on the diaphragms. The longitudinal pres. sure exerted on the turbine shafts is counterbalanced bya grooved piston at dhe HP end of the shat, excess pressure being taken by the adjustable thrust block which locates the rotor to the power of 900abh/7 and Seen in end elevation the access ofthe tue line of ey indlers isan angle of 65 degrees. This device renders the engine ~ completely stent! | (ALANNA gasps he realise the fl Aviles ofthe roesor’s plot. MR MEMORY gases up af HANNS.) [MR MEMORY. (cnt) Am Tight, sh? HANNAN. Quite right, old chap. Mn aEatoRY, Thank you sit mn last, sit oar sony dle.) (The COMPERE sls over MBL MEMORY’ body. Lights dawn) (HANNAY and PAMELA seoeabed al the front of the stage.) Us off my mind at| ‘Scene Thirty-Two. Outside Palladium, Night, HANNA, Well PAMELA. Well..you're a fee man anyway. -HANNAY. Right PAMELA, Saved the county to. THANNAY. We bot did that. PAMELA. Not really. [HANNAY. Anyway...betes be wm = PAMELA Right. [HANNA D'you want to ~ Paseta. What? (AUANNAY look tha: She lok a him.) HANNAY. Not PAMELA. Quite HANNAY. Better be going, PAMELA Yes. -HANNAY, Got the decorators in and ~ you know, PAMELA. Certainly do, [HANNAY. Well = hye, PAMELA. Bye. (PAMELA gos HANNAV's fe il of rg) el ‘Scene Thirty-Three: Hannay’s Fat, Night (MUANNAY was ints his rom. Bact as ws a te ginning. Hess in his armchaiz) HANNAY. So that’s me, And the sad story of Hannay. redeemable. Ire (omartic music) (PAMELA wai, She guze atin.) PAMELA, Uerly horrid and beastly (Shekels bse i.) Poor litle orphan boy who never had a ebance, (She takes his hase aud hse it.) ‘This is the man I want inspector (A lite Chrisinas re trends in. The te lights wp.) HANNAN. Happy Crisonas darling. PAMELA. Happy Christnas darling. (A bay eis.) (PAMELA smiles a HANNA, He pul ar tard i, Thay his) (Snow fas athe window.) The En