The 39 Steps Adapted by Patrick Barlow From the novel by John Buchan From the movie of Alfred Hitchcock Licensed by ITV Global Entertainment Limited And an original concept by Nobby Dimon and Simon Corble A Sawubt Faenent Acrine Enirion ®& SAMUEL # FRENCH SAMUELFRENCH.COMopr ©2009 by Pa aoe cove maton by Mark Thomat Fe ee teat an aa in pubescence geet wee ste ee pct nm mean cid ty a ee ge orc lecyyenerin tetera Licensing Yee a thera anoun must be pl weer the play stameainauygnaloaaaa tna ESS Sica ea ne “aan tri ‘Copying from tis book in whole ot in pari sity forbidden by stip cst sg “Rey ea a en tp oar ay Soon Ca Peta ih capi i ply ay Nos all ate ny ars poh pun of pion, Taaton a i phy os ot np a rer. Bothy Misr ow irene apy osm ech nc- beans se ting mein en pig ig, eg EgURIENTS ‘einai nih hte ia he ar by at aoe From the noel ob ca Lene FV Gta Eee id ota nga cacy St Cotes Ny Dn{nt 10m athe Cegan Tene, ton, Noh re ‘osc ec nite Om he ‘WovlorteFaphonne fne 17308 The nga UX con eve y ona tn ‘tah A a nr ei ene owes “io ego stows per eg {png ees lan Sot suai aN HE 705 ny he ae Tet spe Decora ey, ace Bet sociation va Bab ‘Cnr, Manchin Clie rod, ipa Tess Bene Ua eatan Mare } Carar Pat al he agi Peel ‘ong, Si ao Ane Dc ha Maga ha Sp i il ng we can Cate ite ‘sou ei anc “mer Fn ain Mec i ly Sih re Svan eta Taro jay oe apd hc eta ns see Diet tn pr ai eo te ce Fen mon conor “By i2p ht nove he Fee Sheng pied sn it fopinoralsbo hewn “te ample beled oc 188 Ae Frets en ofthe a= an he mare ep who et te st toga peso wha was posh he py htt he ye ‘eigen be (na eit note, tees JB aaa ey ntl rihanna ine ile bn ote J he fim and pay) tne, ds rk Pana Sy Sen jo 30 ADAPTER'S FOREWORD. saith a 1h ho a Ba nie ‘ehh ters Nobby Dana Sen Carle of dng he ‘hg oo Ou ICTARD HANNAY ae Terthcman tubo, AMELS. ANSABELLA nt MARGARET Pavone woman dale pr ot 20) pe hae ned ow my i ag icons wn ce et shat etre te py wet ar oct Whe ite ghee et one page a if oe ‘gia Hache secnpia). would evecare me ‘evar a ea tng, Don he andy the nrc ‘Seppe ft ake Sat kip on hen en te ‘Sra he tng ings san eng ven clea pe ‘iow mnrden ba yes tna hens sary ah ove anyone set miracons thn al the ded eat ae de "ed" ne gt tn he Th tap eh cae a tlt jt eis eae hi nl api hn th po el a ts tis ‘Sm st’ mu pl mg Zaresprerter hong oa vac aries ps ee (ent pings og a reese pian yo forte ‘Tare of oe an Ba et oot ord eiten—remasabh i 15 by ane af Ae ea sesteeou coment eas O ple a etAnnabel Schad Pea Margaret own Goon 2 ACT ONE Overture (Phe actors ra om and take a. Thom fransicaly rl onthe for scene on ight chang) ‘Scene One. Hannay's Apartment. Lond (Un th cnt of testes large arma, sandr Tan and tbl. On the tae a alfempty ole of seach ond empty lass) (Seated in the armchair i RICHARD HASNAY. About Jory. Atractive Prneil moustacke. He adds the ‘oudone) MANNA. London, 1995. Angut. Pd been back three ‘mont in the oll county ad frankly wondering wy ‘The weather made me lverish, no exercise wo speak ofand the lk of the ordinary Englishman made me Sick’ ad enonigh of restaurants and parties ad ‘ace meetings No pal 1 go about wth ~ which prot by explain things HoppyByuge lot in the Catadian ‘Treasiry, Tommy Deloraine married off toa blonde heiress in Chicago, Chips Carrthers eaten by croco: dies i the Limpopo. Leasing ine. Ricard Hannay “Thireyseven year ol, sound so wd and limb. Back home. Which was no ome at all you want to know. Justa dll ie rented itn West One, Portland Pace scaly. And Twa bored. No more than bored, Tired Tired of the world and tired of ~ life, to he honest. So fealled my broker He wasn't in. Dropped ito mycub, Full of old colonial buffers, Hada scotch and Soda, picked wpa evening paper pat i back. Ful of ‘leetions and wars and rumen of was. Ane thought eho the bloody hell eares frank? What doce all matter? What happens to anyone? What happens to me? Noone'd miss me. I woulda’ nis se. Pou site ey jos = (1 toes sg ofeach Knocks tack) And shen I thought = wait minite? Come on Hannay! Pull yourself gether man! Find something 1 do, yu bloody fool! Something mindless and Wivial. Something wterly pointless, Something (teas tonne) = Lknow! A West End show! That shoul do the ek (tte marche out.) (Asc Me Mewory Thome) (Fights come up) ‘Scene Two: Cockney Music Hall. London. (Lise me ee. We can ell he the eo CLOWNS, They play 4COMPERE od MR MEMORY. They ren ceveing drs and icky Brus, Both have totnush stad) ‘COMPERE. Thank you Tadis and gentlemen, An now with {our Kind attention Ihave the immense honour al Priege io present’ to you ene ofthe mast renar Able men ever in the whole world, Mr Memory! (conned applowse) (ae EMORY Bn) Every day Mr Memory commits to memory ity new facts and remembers every one of them! Facts from history and from geography from newspapers and se ‘entific nk. Infact more fics tin his brain than possible to concche! (conned applewe) (BLasnay apr in eave. Pai at is pipe, He ‘apples mh he audience} Sette down ow please, I il also mention that before retrin’ Me Memory has Kindly consented to leaving his entre brain to the Brith Mincum flor scientific rps. Thank yo (afEMORY Jo) (conned applewe) ‘MEMORY. Thankoo. Iwill now place mys in a state of ‘mental readiness for thi evenin’s performance ad dear my miner bein’ of all exentritae and auperna teary material (aus ly (A woman appears nex to HANNAY, She is ean ‘and neous plunging black 1950s ning gonANNARELLA shi sea taken? (Shes, Tabs out her rogram, Stas glee a he ‘audience HANNA is etranind) (Dram rl so.) [COMPERE. Now then are you vey fo the questions Mr Memon? Ma MEMORY. Quite ready for the questions thatkoo. COMPERE. Thankoo, MR MEMORY. Thankoo, ‘CoMFERE. Now then ladies and gents. Fist question plese, ‘Come on now please — (CLanks rund the oun Pints someone) Pardon, sir? What was that, 2 Who won the Cup in 19362 (1ommstaony) Who won the Cup in 1262 MR SEMORY, Who won the exp in 1926? The Toten Hovspurs won the cup in 1926 defeatin’ the Arsenal Gonners by Five goals t nil in the presence of His Majesty King Geonge the Fith, Ams ght i ‘COMPEE Quite ight, Me Mesnor! MR MEMORY. Thankoo! (canned apple) ‘CoMERE. Thankoo, Next question please! (Laas round the audience. Finds somrone ie) What was Napoleon's horse called? (Wont MeMORS) ‘What was Napoleon's hors called? Mn SMEMOWY. What was Napoleon's horse called? Napo leon's horse was called Belerophon, what he rade for the final me 3t Watertooo, fine 15th eighteen fiteent Ars ight, sit? CCouPEn. Quite sight Mi Memeo! MR MEMORY. Thankoo (ced apps) CCoMPERE. Thankoo. (point at mow member of edie) ‘What was that sin? How ol’ Mae West? How os Mae West, Mr Memory? ‘Mx ORY. Well, Low sr but I never tell ads age! tf yy ang} (nme gr courant Very goo. M: Mewar —— Couren Thon Noten = ero qeson pew et adh) sweat ease Wis we ead ma at (SABLA ihe, Hides kind bp oo sus How far Wipes om Mone tnsotone Ai A pene (latipes HANNAN wae AABELA a woo Thank you roo sauurion Wiig om Mone? Winnipeg om Mone On teas ou ae ot tac gh oe Oe tum Tato st frac Canada! You're ele 1 from Montreal, Me(canned applause) (ANNABELLA pr into audience Set what she's ben ‘iating. Rc) ANNARELLA Sheive! LHANNAY. Ae you aight? ANNABELLA. Thank you, ys, [COMPERE. And the next question pease! (AWNABELLA pull a gun out of her handbag. Shots into tha Dus fal rom the lc She ides gui) (Cone audience pandenonian.) MASA, ANNABELLA) Dil you he that? ‘COMPERE. Calm down, Ladies and Gents! Calm down PLEASE! ASNABELLA.Fuctse me? ANNA Yer? ANNABEL. May I come home with yo HANNAN. What's the big? ANNADELIA. Well =F ik to, ‘COMPERE Clim down PLEASE! ‘Mana Well, it's rather tricky atthe moment. You see, Tye got the decorators in and = [ANNABELLA. PLEASE! Yin se fo! HANNAY. Well t's your funeral (te runs rm he sat, He flies Thy eit) (mR MEMORY ha’? got oer the punhat, He isin ‘hock Herne wp and dn he sage) : MH MENORY. What was Napoleon's horse called? Wine hipeg, What defeated King George the Fifth by Bie goal toni. Am Fright, sir? (COMPERE ahs him) ‘COMPERE Very good, Mr Memory. MR MEMORY. Next question please! CCOMPERE. That's enough Me ME ‘Mi MEMORY. Bey pardon st? {COMER nt te pt) Pay ma, MRMEMORY. I aow sr but I never tell a ladys — (Oe Memory msi) CCoMPERE, That was Me: Memory. ‘Mi MEMORY. Taankoo!! CCOMPERE. Don't fonget his name som! ‘Mi MEMORY. Thankoo! Thankoo! CCoMPERE. Mr Memory? Mm MEMORY. Thankoo! CCOMPERE. Thakoo! (The COMPERE pues in of) (tase and applase ets eu) (ight chenge)Scene Three: Hannay's Fat. Night (ie ear ANNA cei the dak) HANNAN Never (HANNAY ll the schon the standard amp.) (Lights up on Waxay's armchair and tale, Various adds, sets, in pts roel.) ANNABHTLA. Tur olf! Quik! (atcosay fun of the ight. Now the rom is la ated by srt lighting coming tough the wind. Maybe a flashing neom hotel sgn. She rns to the vind Loos out) ANNABEL, Sheise! (oaks at HANNAY) Bln MANNA Sorry? ANNABELLA. lei ANNA in ARNABELLA. lit! lint! Pal he ent! HANNAY. Ob blind OF course Sor lind, Yes. (Pail ind down. 1 naps back. Pa it doen agai, snaps back, Pal i dan herder I stays. He als ay. he blnd snap back He ls i netsh jae it omc) ANAL Sort about tht. AANNARELLA, Now the light Me Hannay! asa. Light. Right (Ue suites on he light She marches othe drinks abi net Pours hr a dink Dan tin one) Have a dink why don't you? ANNABELLA Thank yo, (ows heel anata) For you? HARNAY. Than yo, (ANNARELLA four anathr Downs this on.) Fin the sic Dammit ANNAMELLA Me Hasay = -AANAY. How do you know my ANNABEILA. Ise tin the lobby HASNAY. A yes. (alephone rings) LHAXNAY. Hello, There’ the telephone ANNABEILA. Don aver it plese! MANNAy. Why ANNAMBLLA. Because I think ti for ne (BUONAY picks up the phone tgs om ringing. Ane tuk moment forthe actor) ANNABETLA. Peat dont ane! (BUBNAY drops the phone om its eral. The ringing tontinaesthen ape) HASNAY. Now look here ANNABELLA Yoo HARNAY. An allowed to know your ame? ANNAMELLA You don't wat to ow name [HASNay. Dou't ANNABEILA Schmit MaNay. Seni? ANNAHELLA. Annabella Schon THAXNAY. So what’ the sory Annabella Seni? HANNAN. es? ANNABELLA. May I be very impertinent for a moment ‘ak for something toe ‘xxv. But of course, Would you cae forsome buldock? ANNABELLA Haddock wold be winder thank ou, RANA Nothing ike 3 spt of haddock. Now look here — ANNABELLA Ye HANNA Ie was you who fred that revoke in the theatre, ra Tc wat a great son ut twa that ad hear trying shoot ne vara diversion. There were wo men in theaso. You shoul Be mote ein hoon our ene een en ANNAMELLLNo jokes Mi Hannay plese! "4 esl ayseriows onan psd y ie Sows ike py aor ANNARELIA. That exaly whats, On 1 prefer the word agent beer, rage Sere agen Leapos? For whieh county? ANNABEL Thve no county. "uso. Bor na alloon, che ANNABELLA Mr Hay please! Lam being parsed by ‘er rin sere ont fa cei eg per ‘iho onthe pat of obtaining hight coda infomation VEAL w your at defence Tucked eo OF his men to that Mie Hall Unfortunately they ‘eco me ago Frere of thing called pesenion mani? ANSABELA Yo dont elie ne? rss Fran, don't ANNABEL They a inthe ree his moment Beneath Your Engl lamp. Te ook hy do out ‘But be careful! : (UA fo though the ind. The tx coens ‘to Thy so sian iw te sng la ‘Fest ih see a bak) {SABE Now do yon ew me? (QuANAY res thigh the nd again. The me ar stil thee) : ANNA You win, ANNABELLA Mr, Hannay, I'm going o tll you something shit isnot very heal Te ell mean either life, Or lea, But Tell you, then you are~ (Shera hin) “vale (The und of 30s pice car inthe dstane) Huns Involved? ASNABELLA You wish foe = involved? (BUNNY marches 10 the Hind again, Pars though ‘The men are the, bt slight late BASNAY sigh ‘abi Hears back ANNABELLA) HANA Tell me! ASNABELLA. Very wll Have you ever heard of the = (She les her sie) = ThiryyNine Steps? HARNAN: Wha’ that a pub? ANNARELLA. Your English humour will not b Hannay! These men will stick at nothing. And Tan the only person who can stop them If they are not Hopped, eis only mater day, perhaps hour before the top secret and highly confidential information is fut of the county. And when theyve got i ant of the ‘our God help alll HARNAG, What shout the police? ANNABELLA. Laughs harsh) The police! They would not believe me any more than you did! With thelr boots and helt whistes Is up to us, Mee Hannay! I tell ‘you shese men act quickly You don't know how lever their chief 1 know him very wel, He fas x dozen names! He ean look Hke a hundred people! But one {hing he cannot dlaguise. This part — (Wt hr ie igo) = of his lle finger is missing, So if ever you shold eet man with no top joint there — (he goes thin) = be very careful my frend, aay. 1 emer (He gases back) ANNABELLA Me Hasina? LHANNAY. Richa ANNAMBLLA. Richard HANNAN. Yes?ANSABELLA May I tay dhe night please? (strict bate thn) Masa, OF couse You can sleepin my bed. 4, ANNAMEIZA Thank you, HANNA. get a shakedown ox the armehai ASABELA (ise ore you WH And one moxe ‘hing 9000. Your haddock? AANNABELLA Mein haddock? (She tough.) "have rather lst the ste for haddock. No! I need = Axa Yed ANNABELLA. A map of Scotland. ass. Scotian? ANSABELLA Theres aman in Scotland who T must vst next if anything be dove. An Englishman, He (lok ro er) ~ big hose Maso. hig howe? ANNAMELLA. Ata pce called Altshellch, HaNNav. beg your patdon? ANNABEILA.ATstellacht HANNAN Altnashellach, And the Thiny Nine— ANNABEL. Bring to my room, ase. Cera : ANNABEIIA. Good night Richard, (Terns seductive, dsaears ne the dashes Manway gazes gtr hr Confused and mesmered. Wishing he could go wth her}, HANNA Goodnight Anabela ‘Scone Four: Hannay's Flat, Very Late, (Blidnght amas. Wind: A ticking dck 30 police ‘as freer. A distant train whist) {HANNAN tt ond tury nh eomped rm ‘haic) (Suey ANSABELLA apars. Her pale fce looming ut ofthe darks) (Heantng music ploy) (She des seductively towards him. In er hand she Isa map.) ANNAMELLA (husky) Richard? HANNA. Anabel? ANNABELLA. ee hier) Oh Richard ~ Richatd — Hasna, Now look here, Annabella. You just breeze into iy life fom nowhere ~ you get me al - you know — Snot al ~ well ~ actually Te never met anyone ‘quite ike you and ~ and frankly to be ~ quite frank (Ste ean oer him, Breathing dep. He ga wp at es He this thy ing tos, He ses hi ee adie. Sudo he psp loudly and elo coer im, lecming knife stk in he bac. He iin Ie Tims hero) ANNAMELLA. Oh Richa! Richard (She gues wpa hi tends) 1am so sory So very sory (She catches his hen) Richard! HANNA. es? ANNAIELLA These men. They act quick! They will sop at nothing. Noting! You hear me? Now there s— (ay die) = no turing hack! Ob, sy dear Richardt(theres widen. Wine in in.) ANNABELLA. (on Alina shallot (Her by eink laps. Shes dead in his fms) HANNA Gly (elses her ye Struts ahs fom beneath er: Hees th map. Pals from he alin if hand ‘Starts to en it fl by fold. The map 1s enorme. It {oes on opening, He ets with i. Bate with i Seas orth es ating for At ate fds it) ‘Aena-Shelac (He aks up.) Alta Shllach? (Phe phone ings) (tose mae) QUALNAY spins ound He marches oto the hone 1s about fo pic up. Suddenly ANNABELLA warning nds ck nhs hea) ANNAMELLA. There i man in Scollad..only a mater of (BANNAN hand fret oe th ing phone) Perhaps hours.-telore the scr is out ofthe con wy. Tel you these men... top at nothing..they at ‘uch! Quik! Quickly! Quek! (The phone ving et lade and odes chiming in ith ASNABELLA Quik) (Phe phone tps ining) (QUAN thinks fase He grabs dust sree the ony, pokes the mormon map ad stand alone, daring) (biadou) (sink smg) Scene Five: Lobby. Morning (On comes the MILKMAN sehisting the MR MEMORY themes HANNAY burt oul of hs front door They co tia) MILEMAN, Blimey mate. Whatchoo upto? I neatly died at ‘igh. HAXNAY Cond you mse a pound note Brother? MILKMAN. A pound note? A pound note? What’ the catch? HANNAL I nee your cap and cost MIMAN. Cap and coat Spitit out! ANA. [ced to make a getaway MIEKMAN. Do abun? any Yes MILMAN. Whateho bin pt? ANNAY. 'm going to have 1 trast you. There's been a rer commited! on the fit oor MMA9UAN. A murder? A murder? By who? By you? HUevay No, no. (He paints By those two men one here [MIEKMAN. se. So now they're wating ood as gold for & ‘copper to come al are “mc HANNAG. I's quite te [ell you, They’te spies, foreign fers They've murdered a woman in my fat ad ow they're wating For me, [MILKMAN. A cont off itt Funny jokesat ve ook ort, alright 1 fell yo the truth, Are you MSHA. Yes ut don't ub iin, [MANNAY, Well Tm ot you see, Fm a bachelor MILEMAN. Lcky you, HANNAY But I've ben seeing this maried woman, MILAN, Nav. HANNA Point = rrMAU Yeah? RANA She was leading me on MALIBU No! MASAKI all ase up, MILKMAN, Would you believe MINAS. Don't el me! LMANNAY. One's er brother The other's her husband [MILAQAN. Cor blimey! I wouldnt Be in yor shoes! "Ere have my cap and ost aes off his cp and cnt) ANNAN. Thank yo (RIANNAY ts onthe cap ad ot) MILAN. Perfck! ANNA I, (shit hand inthe peck, gives him a nate) Take a pound, MIAGIAN. A pound! That's very kind of you! HANNAY. (gis hi another) Take wo! MILKMAN. Two pounds! God Bless yer gus! Leave the pony ‘round the corner You'll da the she for me one ay. (BANNAN runs of: is MILRMAN tot a he money oaks a) Hang ont Thats ona my coat! That's my msiey you, Just give me! Oi! Come back ‘eve! Oi (He hae fr UANNAS. Eis) ‘Scene Six: Hannay’ Flat. Morning. (hens NS te hardy exis) smc Moi’ Mi ‘nt hep? Wha Shout ner Beat ware! Neve seen mong ke People droppin ike (Pals dutshet off ANNABELLA. Fr, Some sang sent Nich he eam) (Seu int deafening ain whi) (Train music) orScene Seven: Edinburgh Tran, Day. (COMPANY erate he any aig.) (The 100 cloens are now gorrdous UNDERWEAR SALESMEN. Thay may withthe rain) (Prin sounds. Hoot and whites) SALESMAN 1 Wel for one thing theyre much preter than they mete twenty year ago. SALESMAN 2 More fee SSALESIAN 1 Free and ea (They share ink, Wika RAXNAY,HANNAY shrinks tndar his hat.) SALESuIAY 2. Remember the old fshioned sore SALESMAN 1 All bones adn bends SALESUAN 2 My sie! (The oar with eg wink at RANNAY, Trin shi te) Look a this now! (SALESMAN 2 der into mal samples case and r= tures 1940 shite lacy suspend ble Thy ge at Sn wonde RANA tte) ur new streamlined model number one SALESMAN 1. glory Behold. Anything to go wih it? SALESMAN Look at hile Beaty! (He ds some mae Proce an xt wht lary bras Sie HANSA the SALESMIEN ge sneer it sy jth.) SABSMAN |, Now tha’ aight for sore eye! SALESMAN 2. You can say that agin! The Two Wonders of the Modern Wor SALESMAN 1, Tell you what? Bring “em back when they're filed, “ (The SALESSEEN explode with Langer. Wink at asa) Er SALESMAN? Get i? SALESMAN 2 When theyre fle SALESMAN 1. When theyre fille SALESMAN 2 Don't be by! SALESMAN 1 Don't he by (HANNA manage a hace) SALESMAN 2 That's the spirit (SALESMAN 1 Tks ut of th windows Herp eds the passing igs) SALESMAN 1. Half... Durham... Berwick ponTweed, (He ie back in hi st, prada paket of but) SALESMAN 2 Much obliged SALESMAN lo Hannay Bact? MANNA No, thank you. SALESMAN. Suit yourel (The SALBSQHEn chomp tir bias unison, Ty ‘och HANNAY ad grin Ira. Trai eis and oppo mises) SALESMAN 1 Here we ae, Edinburgh Tow, SALESMAN 2 Tht wa ic! (Phe train ha. They al larch) (aghite Mac: “Ssland the Bre’)‘Scene Fight: Edinburgh Station. Day. SALESMAN 1, Wonder what won the two o'clock at Winds, SALESUAN 2 get a paper, ‘ SALESMAN 1 go to the lavatory (The et up. Squee rund ach ther) SALESMAN 1 Excuse me. Sorry Sorry. SALESMAN? Sorry Sorry. ANNA Sor. (SALESMAN 1 xis SALESMAN 2 tks is had ot of ‘the wind Wises through is eh. SALESMAN | immediatly back ona PAPERBOY lat co) PAPERBOY. Evenin paper! Latest, ates = SALESMAN 2 Even paper please? wes! Evenin paper! PAPERROX. Evening paper si? Thankoo itt (sie im ater) SALESMAN 2 (er hi any Thankoo. aPrapOY. Esenin paper! Latest news! Evenin paper! Latest = (sits, Immo hack on as SALESMAN 1) SALESMAN 1 Facute me, (Specs past) Sony: Sorry. [SALESMAN 2 Sorry. Sor HANNA Soy. (SALESMAN 1 ws dan, He rs SALESMAN 2.) SESIAN 2 Hellot SAEESUAN 1 Helo? SALESMAN 2 (fens paper) Good Lord SALESIAN 1. What i it? SALESMAN 2. Been woman murdered in a fashionable ‘West En fat! (muses fs) ——- SALESMAN 1 A ‘What won? Sane 2 What won what? SALESMAN 1. The two O'clock at Windsor SALESMAN 2. To O'clock at Windsor (Tams per ve They rad the back. MANSY es at theft Bachelor Ro. SALESMAN At ver tofour on, SALESMAN 1 Noto good, (SALESMAN 2 bask to font page HANNA its ack wily) SALESMAN 2. Amway where was we? Ah yes. (ead in the back she was, Porand Mansions, Pordand Puce SALESMAN 1 By the BIKC? Tha the place to put somone vo seep! (Phe ough uprroush, Wink a WANNAS.) What was she ike? One ofthe usual? SALESWAN 2. rnd Welllressed woman about they ve dak fp) Terie! SALESMAN Teil! (Phe tk HANNS) HANAv. Tere! SALESMAN 2 (a The tenant Richard Haranay easing SALESMAN 1. You do suprise me! SALESMAN 2. Approximately thitryseven, Dark wany halt ereng bie cyes Penell mossache (BANNAN hides ir mouse with is hal) se sex dramas. Don't appeal to me! abbed SALESMEN, Yes? HAS. Might have a look at your paper?SALESWAN 1 Certs ‘aNnAt. Thank you, (RUANNAY foes the per Poe ni Laks ufo we ah mon staring at inh rn nergy) SALESMAN 2. Think I'l pop out to the bullet car Finished (snatches arf HANNA) Fancy anythin’? SALESMAN 1. No that you MANNA. No thank yo “SALESMAN Right you ae (He eves the compton. Spee pas.) satzsMtan 2 Excuse me. Sorry: Sony SALESWAN 1 Sorry. Sorry axnay. Sor. (SALESMAN 1 gins oof th ind) SALESUAN 1, Good Heavens! Plce iti with police! (QUANNAY fers, SALESMAN 1 ple down indo (Calls nt) Excuse me Constable! Caught the West End murderer (SALESMAN? appears ft hat) POLICEMAN. We'll ach him, don't you worry set SALESMAN 1 That’ the spit! (POLICEMAN change indo porters hat) PORTER All aboard forthe Highlands! Next sop the high: Tan (Change indo PC ha) POLICEMAN. Anything sumpicions let wx know sir SALESMAN 1, Oh yes. Don't you WoHy! (change into pre's at) PORTER All aboard! All aboard! : —~ (SALESMAN 1 fs om pry hat.) PAPERBOY. Final elton si? (PORTER changes nfo SALESMAN 2 ht.) SALESMAN 2 No than (SALESMAN 2 puts on porte a) PORTER All aboard! Al aboard! (PAPERBOY pus on salma hat.) SALESMAN 1 Alright alight! (mone juts on pation ht) POLICEMAN. Keep your ees peeled won't om sir SALESMAN 1 Certainly wl enable! POLICEMAN, Dont forge it SALESMAN 1 No T won't constable (change into papery ha) PAPeRWOY. Read ll about it! Rea all out i! (POLICEMAN puts on porte hat) PORTER All aboard! AI about! (PORTER us on pte hat.) POLICEMAN. Anything sispcious, let ws know se (PAPERBOY change info SALESMAN 1.) SALESMAN 1. Will do, comable (POLICEMAN puts on porter at) PORTER. All aboard! All aboard! [SALESMAN I changes to MRS HIGGINS ha.) ‘MRS HIGGINS. I this the 9.41 0 Reng? PORTER. Pasform Twehe! Mas HIGGINS. Thankoo! PORTER All ost e's be havin’ ye (bs)fas cms pts om pape at) PAPERBOY. Read all abot il} Rea all about i PORTER. All aboard! All aboard! (bus whist) ‘arennor. Final Editon! Fi PORTER All aboard! All ab (Ola hie) AUNNAY the ator can tae any mane.) HANNAY. Ob ust get on wth et OTH CLOWNS. Thankoo! (Chensr0 off. Tain shiks. Chugs out of the sta tion} Eaton! Seene Nine: Highland Train, Day (The exes tur to ther ets, Spur ast cach the Spe ps HANSA) saLesuta 2 Excuse me, Som Sorry. SSALESUAN 1 Sour. Sor: HASNAY Soy SALESAUA 2. Well, bck fom the bullet! Liste to this SALESMAN 1. What? SALESMAN 2. The police are searching the tain! aunsoy fran) xery comparaent! SALESMAN 1. Boe) compari? SALESMAN? Listen here's core. There was young man rom Nantucket Maxis. Excuse me! (He ap ps Sides en the dor of the compartment) SALESMAN 1 Hope yor don't mind us aking shop? ‘MaNNay. No, no, not stall no, SALESMAN, We're on the rin yo see SALESMAN 2 From our wives! SAEESUAN 1. Newer go home! SALESUAN# We vide the railways and sell underwear! SALESMAN 1, That'll we do! (The wr ith laugh) [SALESMAN 2A young man from Nantucket, grew a Venus Flytrap in a bucket, he sad when grew now what do 1 do, do keep it for breeding or (vin sis. HANSA ecard the corde) Max Sry SALESMAN? He's a rust (They hah into tne. Heighten train nies Stage light fk) (GUNNA races alg the corridor in the flickering igh)(SALESMAN 1 brcomes POLICEMAN 1, Looking into Imaginary compartments) POLICEMAN 1. Excuse me please. Sory to dsr ye Have ‘ye scen this man? His name is Richard Han. (ANNAN fs Aut turns Frees again) (Naw SALESMAN ? ie POLICIAN 2. Appaching om ‘he opps dition. Loking int iasnary compart POLICEMAN 2 Excise me please. Sory to dtr ye, Have ye seen this man? His name i Richard Hannay [QUANNAY is rape Beth plicomen march towards hin) (Simultananaly magi igh come pon PAMELA ‘ho par beh n creme) (Ste rome her gases and lets her oa fal ot her ap She rans. hand Usough her hair aed ges ot ofthe wind Shes Beataingly eau wears a Sal ack top and high ugeing poi rt ANAS sat he, exranced) (The tv POLICEMEN ge lor and cows BANNAY lk a the POLICEMEN, okt ido PAMELA comp sme He burs n. Sop her is arms.) 'HANNAY. Dating! How lovey to se yout (He bse her sina. She ist soc tgs.) (Pamantic music.) (Phe to POLICEMAN meta the dae. Stare wide (a HANSA aed PAMELA is) POLICEMAN 1 Someone having a free Tuneh in therel POLICEMAN 2 Anda fre pl (Tha titer and exit.) (RAN pl hack a as PAMELA tara i aga) (Boman music cso) ANNAY. Listen I'm 3 terribly sorry! But fas desperate! Thad todo it! My name's Richard Hannay. They're oo, Twoulda' wonder a 9 tle. swear I'm nocent! You've got to help me! Ive goto keep fee forthe next few aye. You se the safe of tis country depends upon Kt (The tw POLICEMEN aaron the cmpatinent toe) POLICEMAN 1 So worry to disturb ye but have either of ye seen anna pang Inthe lt few snute? His name (PAMELA sae at HASAN, AU wait while she dries) ‘PAMELA. This is dhe man you want Inspector! POLICEMAN 1. ut we cate by jt 00 aids you Both = ‘well you kno PAMELA. He pushed in here and forced nse ypon me is name i Richard Hanna! POLICEMAN 2 Is your name Richard Hasinay? away. Certainly not, [POLICEMA Bu this attrsctive young lady clearly sated = (auaxna pushes pen the dor. Leaps ot of th tan PAMELA strams. Deneningwhowhing train sounds and wind fect) POLICEMAN Aer btn constable! [POLICEMAN 1. Right sie (POLICEMAN 1 laps afer BANNAN soho i inching ‘long the outside ofthe on, hanging ont isha [POLICEMAN 1 los down and GASPS! ‘We're on the Forth Belge si! POLICEMAN fom the ends) I an see dhat constable! ‘Grab hen maa! POLICEMAN 1, Very good sic (C1 lunges for ANY ad grabs him. BEX reacher om th inden Grabs PC ANSAY es othe net ‘arrage Pal 1 ae i, pulling BC half out of he rshing ain.) PAMELA, Can T help?POLICEMAN 2. (hanging out of the tain, though he rashing nd) Not fight now, mis aad. stand here then, POLICEMAN 2 Very good mis. (The tain oars nt tan Lights flicker and las, POLICEMAN 1 ats with HANNAY clinging lo the {rein HANNAY pul ne way, POLICEMAN ul the her Paling POLICEMAN 2 futher and fart out of the wind PAMELA. Just thought? POLICEMAN 2, (hanging ou of he an) Ves, mis? PAMELA. What about the communication cond? POLICEMAN 2. Good idea, mis. PAMELA, Shall pall i? POLICENAN 2, Bes i do, mis. PAMELA. Right, (POLICEMAN 2 mache pinay back or the comme ation cond, Ths fills POLICEMAN 1 oud HANNA Ick gin. POLICEMAN 2 arm alaringl ong. PAMELA toatcher idee. At last POLICEMAN 2 ‘aches the are grb the cr) POLICEMAN? Paling the communication cord NOW: [POLICEMAN (rics) No at! Not the communication = OLICAMAN 2 pul te cond Te Brats sam on. Te Iran uches, POLICEMAN 1 loess grip on HANNAN ‘fis eng. ThePOLICINEN cash ack in PAMELA ‘ako seams thr sre ta jung hl) (ladhou) (sie Bibel, mi choirs) (Lights come up on the fomiiar tract of the Forth Drie. Magiely crated fom the te deat lad ds perhaps, I lok magnificent and tse inthe ae lght and mis) ‘Wes Ea rnp Ohya sn thea Oe ‘nda afi The we sh ta a ‘Scene Ten: Forth Bridge. Night. (Wind sounds. The ceahing of ginders. Distant fog. Irs, HANA aps ofOe mi. Hei hanging perils o the ge Mile above the water He inches wy griping on to the colt ides) (The tv RCs ape. ging towards hin. They get flor and lose RANNAY lok thm. Loos da aot ahs sipping fingers Look tw) HANNA, OH CRIKEY! (He lange into the darkness long ehiaeA tng splash) (The tuo POLICEMEN tok den Lek at eck athe) (Wacko) (Sound: more ade pf he hate) RADIO ANNOUNCER. (pum BBC V0.) the sspect Rit fad Hannay managed ro jump from a tain onto the Forth Bridge just outside Edinburgh, Plice pursed him on tothe Bridge but he gave them the slip hang ing ror ers th his bare hand‘Scene Eleven: On the Moors, (RANNAY pars ing ces the moor) [RADIO ANNOUNCER (fluaey BBC V0.) The Sgpect i ‘approximately thrtyseven and about six foot one. Although he Is clearly dangerous, he is quite good looking ata with dark way ir, pereing ble eyes and avery trative penil moustache. Ix not known whether he surved hie otal, Police had to ell of the search in the gathering darkness, (Lax rans out Swing mist Mourn highland wid) Scene Twelve : Crofter's Cottage. Outside. (CLOWN 1 apa. He is JOUN MeRYTE an ancient fand wry Seotish efter. He fer int the mist [HANNAY apes. The fr tices with suspicion.) ‘MaKNAv. Hello there, (CROFTER Cai hep 9° Manna Yes in am looking for work, {CROFTER What kindof work? "HANNA. man tnerant labourer. (CROFTER Yel Fin! nothing thie icin MANNAY. Are there no = (significant) = big houses round here? (CROFTER. No big bosses, HARNAv. So what's that ig hone? CCROFTER What big house? HANNA (ins) That big house? {CROFTER. Ol hat big hows. HANNAY. Ir that a ig house? (CROFTER That i big house HANNAN. So who. .hoose Is that then? CCROFTER.A profesor Tlie, Profesor Jordan, (twitch ng) An Enishi MANNAY. An Engl (Ele ahs th eno end nray ap, Ie en ig tha fore. He aes with i) = Alina Shellac, wold? ‘cxorren Ie would. Iwona be elle HANNAN. Right! Well = thanks very much, 11 ay there, Cheevo, ‘exOrTER Ye wou tonight! HANA, Wont ‘CROFTER It's fourteen miles. The other side ofthe loch ANAL. No relly! I'm sre Tbe = (ROFTER. Margaret!MARGAREE London! LHASAY. col tel you all about London at suppet MARGARET (sudent enraced) Could ye? HASNAy, Cera could, MARGARET. fice clouds) No. John would nae approve o aya. Jot? MARGARET My husband, He say fs Best not to think of nich pices and al the wickedness that goes on there ANNAY, Or ~ I could tll ou no MARGARET Now? (He goes athe) HANNA Ifyou wanted MARGARET. Ay. (She goes ack) Ye cond. (fomantie music) ANNAY. What would you keto know? MARGARET Ist rue that ll the ladies paint ther toenails? LHASNAY. Some of them, MARGARET. Ar pt rouge an picks on their fees? MASA¥. They do yes. MARGARET. Do London ties look beau? HAS. They would’ if you were beside them, (RUARGARE catches he beth, Tras tohim. Ther ee rec A moment of sted sexual longing) MARGARET You ought not t say that (The CROFTER burs in. He cris am ening ns bape) ‘eROFTER. Ought not oy WHAT? (oman muse cuts out) (AUNNAY and MARGARET spring ay.) —- HANNA. Oh I was ~ ef ~ just saying to your wife that I prefer ling inthe town to the country CCROFTER. God made the county HAR Certainly dt CCROFTER Supper ready woman? MaRCAREE Altos. {CROFTER Then hry yes (The CROFTER tows the per onthe table. There is HANNA'S pts Be frit HANSAS fre.) ANNA Do yon! mind i look t your paper? CCROFTER Suit ourself, HARNAv. Thank yo (manny ack: up the paper, Hides the pa, Reals the story ar nonchalantly as posible. The CROFTER ‘etches hi suspicious) (CROFTER Ye did ne tll me your name LHARNAY. Oh ~ wn = Hammond (crores Ms 0H MANNAY. No, Hasan! (She pact brings) ‘ana Splendid! (CROFTER. Ty 4 Mlesing afore we begin HANNAY. Good idea (Phe al iron he eb, Clase hi ee) (CROFTER Oh most mighty and wnfonging fer Sancily these bounteous and undeserved metic 10 us miser tle sinners. Make us ow on bended Knee, make truly thankful for all= (BIANNAS apes hit. Tie fo mad he paper again. MAREARET pen ery. Nts hie wading) thy manila blessings (BUANNAY mates he ating hi Now he parks a the per Sethe pte. Reali ho hes Har os flash ‘ol pn) om Hamnond.CCROFTER. (cont) And continually tm our Ioathsome Theta fom wickednex (nANNAY Lok back at her. Remuring he with his a) (The GROFTER epens his eer ad ses them gazing arnt leach ther He tthe mad ad shes gc) = beat our ghttonous thoughts and lash our asf “desires ax with a threeforked Mailing stick, pressing ‘our besa noses tothe grindstone and blinding our {jes tothe tamdry beads and aubles ofall worldly cke! things Amen, HANNAN & AARGARET. Amen. ccnorren Ach! (He jumps up) {just emembered forgot to ~er=loek the barn. FL go and lock it! MARGAREE Right ye ae, (Ute goes out, whistling nonchalantly. Almost ime Uliatey his mad paranoia eyes appear through the Sno HANNA and MARCARET do not notice him, ‘Thay start miming carve and pasinatly 10 each thee HASAN hold er had. Begging Bert lise Fim, The CROPTER watcher aghast! Hiss lsh and sae) Scene Fourteen: Crofter's Cottage. Midnight. (BtasNAt ale hi ramped be) (Sound of cor dreing oa halt outside, Hoadtgts fic oc the window) (MARGARET rns in Loks oof th inden, Runs 0 HANNAY. Ginger shake hin) MARGARET. ahi) Wake up, si! Wake up pleas, sr U0 (igh) Ob hello! MARGARET Oh 90, stm ‘in Mr O° Ham Hammon ae (eps wp) The pice! MARGARET You must go now while there's a chance! (Ste grabs his hand, The CROFTER appears in hi igh.) CCROFTER. Ay! Ligh Teck! lon’ mean =I the police, Wake up Theg of 6 ta known! Making love behind re) Get oot (tomaneansr) And a for ye = (rss fst) HANNA (ping Btwn thn) Not so fst my ren! MaReARET No! Gogo! Is your only chance of liberty! THANNAY. Listen! You're all wrong about this! She's only ‘ing help me! ‘cnorren. Ay! To bring 3 ‘house! [HANNAY Actually fou want 1 know Fim on the ru from the police! (CROFTeR The pic! HANNA Theyre aller me for murder! CCROFTER Murer!” Pat? and disgrace upon my‘CROFTER They're right outside! : sit HANNAY- Dost let thera (Rock bak bah) (Hncc bck ach from the dor) (Phe CROFTER rn othe de: Paks tough cack (The CROFTER i curating set) cxorren Ach! | Herins buck) n not here (He ans the dor) HAXNAY. Tl make i worth your while (CROFTER sista ale) ROFTER How mich? ANNA Fie pounds ROFTER (oy tithing) tn cash? HANNA Wil ou tke a cheque? (GROFTER Don't be fay me! MARGARET Psy hin pay hi? HANNA (aks ou fe found nate) Hee! (Aor nck kn (The CROFTER ras the not, runs to the door and ams i behind him) MARGARET. Oc, Inna tt im! Listen! (BIARGARET ren to he dor and itn. We er mat tering ouside She ras ack to HANNS. MARGARET. Ay I was ight! He's double crossing ye! Quick! "Now your time! Through the window! | (HANNAY rushes upstage.) | MARGARET Not that window? HANNAY, Which widow? MARGARET. The rear window! Wai HANNA What? MARGARET Your jacket! HANNA. My jacket MARGARET, Is terible ight coloured HANNAN. Oh ists dhe atest Harts Tweed. MARGARET. I'm afeart they'll see you on the dark moors Bes take this one! (hee him dark wera.) HAXNAY. This your bards coat MARGARET. Ay, his Sunday best Ie 0 back dhey'l never tee you! HANNA (ings out «smal ach ook) What's tis? MARGARET. His hyn book MANNA ca sng a Hy IF get fightened. MARGARET. Don't joke They of ou, (He hos hr She mets inhi) "HANNAN. Wha l happen to you? [MARGARET Don't wor about me! (Asc ids.) (Phe gaat ach her) MANNAY Iwi could ake you aay from al this MARGAREE. (She loos at him yearning) No. T home. is my HANNAY. What's your name? MARGARET Margaret. HANNAN. Goode, Mongar. (Ute hie he) ever forget you for this (He ses hr agin. More passioate, She serena seat he. Pals cya la) MARGARET. Go How! (BANNAN ecpaes rough the nda)(domed the te paiconen rash though the dor owing hits. The spot him through the winds) POLICEMAN 1. There he i After him! (Phe pb rsh out afr ANA) (MARGARET onthe in agony.) (Phe whistles separ int te distance) (Lights ade on MARGARET, he hounted face atthe inde) (Chase music) ‘Scene Fifteen: Seottish Moors. D) > (Lights upon RANK on the nan He drt a ‘cou the Selish mor. The policemen appear with gs om ls, They sath MANNAY runs off The aber and dag give che) [RADIO ANNOUNCER. 1:0.) We are sorry to interrupt this ‘ogranme of popular Scots romantic male to set ont heart aquiver to bring you an important new- Hash, Richard Hannay, wanted in connection with the Porand Place unter ha been spote.on the moors near Lach Crimotd. Palle have warned he is alsnnt certainly armed and dangerous. Here is his deseripy ‘ion once again. He is approximately thirtyseven and bout i foot one, With dark, ety ha preng be tyes and of coure his very attractive penil mov (ache: His time on the moors has actvaly made hie slightly mote ruggedooking, which makes hi look ‘ven beter looking than he dd bore (BANNAY rushes pst midchae He haps to hear this, He smiles medey bore running om. The radio ‘ontinue) The wupect Richard Hannay iscurrenily on fot in Inhospitabe terrain and police can assure listeners that they ae closing in with specials squads in fg tive apprehension by fot oad and = bya (HANNA stp to calch his ath, Looks aroun. Alt [eos lor Has he scape? Suddenly thei snd fh te dito. The ominous bx ofsingloengined ‘Tiger Moth. HANNAY spins round Loats up The sound bus.) (A plane appens The plane gt cr) (HANNAY stars torn The lane chases MANNA) (Over the PA we hee the pls radio ameersation.) PILOT 1. There ef Over there! PILOT Which cretion’ that then?snort. Nonby Non West! PLOT NortsyNorth West! Why thar the econ of LOT Profesor Jordan's house! ‘1082 Profenor Jordan's house? Why’s he going ere ‘wonder? HOT. No ide! ‘MLO = He's deappeared agai! P10T Oh no! POTS. There he IT. Shoot man shoot (Bate of machine un fir HASSAY ducks end dos Dad te ae. Rao) (sic) ‘1}0r 2 Mised he! Dann all his impenetrable Seth ‘aa (ore machine gn it ANNA die 1 he flor tin) (Th plane hie dango) HOT 1 ait inset Oh my Got muons What? PILOT. We're to clase to dhe = Oh me! LOT What!” POT. Chong dition! Change dco! PLOTS Icon! cont LOT. Of me! Ob na! (Plane mre Soc dnings) LOT ee ging mors. of cop! LOTS 1&2, AAAAAAGGGGNHHHH (Phone exits nsec cofagrtion of one fond fe) (sti cia) (Pesos filth mabe.) (A figure afar I is MANNAY. He is ecastd but ‘i roning) (A gan front door appens, And sgn: ALT NA SHELAGH) (te stabs tar the dor Sighs his tie. Poses edo bel) (oom chines ing dng!)‘Scene Sixteen: AI Na Shellac (A sero ge haired lady in tds oes the oor MS LUISA JORDAN. Played by CLOWN 1.) MRS JORDAN. Yes? HANNAN. Lam so vorty to disturb you but Pa looking for the profesor, Profesor Jord MRS JORDAN, Profesor Jordan? Lam the Professors wie oui Jordan. Hasna. do beg your pardon Mrs Jordan. May I se the Profesor? Irs really quite important ‘Ms JORDAN. May Tow your name? ‘HASNAY. Yes My name i Hanninond Tell hi 2 frend of ‘Mis Arabella Shi ‘Mas JORDAN. Mss Annabell Selunidt? Come in Mr Ham ond if ys wo please HARNAY. Thank you ‘Scene Seventeen: Alt Na Shellach Interior. (She lads hin though the Doan cris. HANNAN lets abou hi) HARNAN Lovely hove [MBS JORDAN. (oiling gacoush) We kei (They march rough seal enormous noms.) MRS JORDAN. We're jus having few drinks with some fiends to celebrate my daighter Hilary's birdday. A numberof welo-do acquaintances of ry husband, Tnclding the Shevlf of the Coury Later wee on neg showing par Perhaps ou'd you ene to HARNAY. Thank yo. Mis JORDAN. Stall we pop int the pany? (Ste opens the doo Mild shadows dance across their fours) (Coat Paty sound efit ype mac) (She has wcond thought. Case the dao) (asco) ‘MS JORDAN. On second shouts. Hey wovlda't ind etng i ere Mi, Hammond. Vl fetch ay husband Aivect. HARNAY, Certainly (She apn the doo) (Atuscwarts agin.) (Shaan dance. She clos the dor behind hr) (Atusc sos)Scene Kighteen: The Profestor's Study. (anna waits Leas around Tentatively ops the tne) * (tuscan) (Shade dance. He ls the dae) (tase sop) (ries again) (fusca) (Shadows dance, Hecloses the dor) (ase sap) (a last iy bch) (sie stars) (Sadr dane, He los the dow) (itp) (vice from bend hi) Yvorce Mr, Hammond? (HANNAY singr round, PROFESSOR JORDAN is sated fnan armehait) PROFESSOR So srry to Have hep you ago I quite alright, PROFESSOR So you're from Annabella Schmidt? HANNA. am yes PROFESSOR Do you have any new? HARNAY. She's been murdered! PROFESSOR. Murdond’? Oh dea, yes, ofcourse. The Port Tand Mansions affair. Quite dreadful. Ane now the police ate alter you HANNAY. They are rather! PROFESSOR Well don’t worry about them. managed to pu them af the sent. Tey'l be faraway by no HANNA, Thanks aly PROFESSOR (orilng Andy) Nota al old chap, ‘av. i'd it "PROFESSOR OF course you did’ doit Mr. ~ Mi. Hannay. Tppose it safe to ell you by your real name now? MANNAY. Quite sae PROFESSOR Jolly gow. But tell me ~ why did you come al the way to Scotland ro ell me about it? [MANNA Because I believe she was tying to tll you about ome secret lop seeet al ministry. cert and she nat Killed by a foreign agent who was inetested 100. ‘PROFESSOR Really? Well I'm 50 glad you told me! And risk. ‘ng your life nto the bangsin! Hew ean T ever thank you (HANAN sil moet, Then resis gent) [HANNAY. The thing is professor, she was looking for some: ‘hing! HANNA Someting called = PROFESSOR Go on "MANNA. The ThirsyNine Step! If we can ind on wht ‘the Thir-Nine Steps are then — (The profesor sands Sil sing) PROFESSOR. So ~ let me get this quite clear ~ oh 'm so rorry~ you mist he exhavsted! Do take a seat Mr Hannay (He stands Pron hi is um archaic HANNAY sits rather aco. The PROFESSOR sae} PROFESSOR. Heer? ANNA Tha PROFESSOR. So did she tll you what this Foreign agent looked ike? ena There wasnt time, Oh! There was one thing, Patt of his ite inger was missing PROFESSOR Which ie fi " HANNAL This one(Rots up ie ner) PROFESSOR. Ave you se ¢ wast this one? (Ue hols pis nen Ul fg 1 lof a the leo) ANNA Hot re think = (Tepes ple ou a gun, HANNAY gas!) PROFESSOR. Mr Hannay ~ I'm afraid I've been gully of Teading you down the garden path. Or should Tsay ~ pT never en remeree HANNA: Ie aceme tbe the wrong garden aight. PROFESSOR. Yes, I'm afraid it does. Me: Hannay, you've forced me in avery ificlt poston. You see Ive there asa respectable izen, MY very best fiend is the Sherif ofthe County. You must realise my whole xi tence could he jeopardised it became haw that T ‘ras not = how shal Tsay = not what ¥ seem. You see theres my wife and danghicr to chink of. But what makes it dub important that Tsim ean ft you {gos dha Tm just about to convey some very ital for fmation cut ofthe country. Oh yes, I've got aleght T'm afraid poor Annabella would have been fa too Inte. So itseemn there is only one option, Mr Hannay. (Ee cos he gun, aims font Manat HANSA) (85 JORDAN sos in.) iterg mas) (She aes in thn. Do’ flick a yid) ‘MRS JORDAN. I shal be serving lunch dire dear. The ‘Sheri has to go a dee, Will Mr Hammond be say ing? PROFESSOR I don think 30 dea (ans JORDAN sles and less.) (Aust) PROFESSOR Unless of courve you decide to join us (Lights ace ina black holder) aay, For hich? PROFESSOR. Very food, Mr Hannay. You see you're just the kind of man we need. Sharp. Intelligent. Cold blooded. Ruthless When dhe wat cosmes these wil be ‘exact qualies we need, UNA Wa PROFESSOR Oh ys! Well have quite a show oft sexy And what iF dou believe in thowe qu PROFESSOR. What other qualis are there? ‘asxay. Well.buman qualities. PROFESSOR, Human qualities! What human qualities? Hasnay, Loyalty selessess, scifi. (ome) ‘PROFESSOR (He laughs « ru laugh) Love’? Oh please Me Hannay! When have you ever fd anyone? It's not In your manure, old spor. Never hee, fas i? You have no heart, do you Hannay! But yu know this (ASA is soe How doe the rofesor nas his tees feos) Sod, iit? No-one to lve, No one to cae fr. No home to go ta. (Phe oes comes case to MANNY, pine in the ‘ermchai Blas ma nt ifr} Bue there you sce. There it~ our home! PROFESSOR. That is she only place you wil ind “ose” ol ‘lm. Where you realy ad aly belong (We moc a German accent subtly emerging from the ‘profesor’ eulud British tones, ANNAY stares in ras the rath stars ode.) ‘Oh we wl ge you love, Hannay And in reuen? You Wil love ust The master race. On ou great tnstop- pale march, Commanded eterally by destiny ell ‘Well old spor? What do you sy?? Wil you join us? Hannay?