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    Script to the Off-Broadway play, "The 39 Steps"

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    Script to the Off-Broadway play, "The 39 Steps"

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    5K views98 pages

    The 39 Steps Script

    Uploaded by

    csothers
    Script to the Off-Broadway play, "The 39 Steps"

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 98
    The 39 Steps Adapted by Patrick Barlow From the Novel by John Buchan From the Movie of Alfred Hitchcock Licensed by rry Global Entertainment Limited And an Original Concept by Nobby Dimon and Simon Corble ae ENCH ActING EDition S UEL ARM Ee ACT ONE Overture (The actors run on and take a bows. Then frantically pull on the st for scene one.) ‘Lights change.) ‘Scene One, Hanmay’s Apartment. London, (nthe centre ofthe stage isa large armchain a standard amp and a table. On the table a half empty bottle of scotch and empty glass.) (Seated in the armchair is RICHARD HANNAY. About Sorty Attractive, Pencil moustache. He addresses the audience) sick, Ud had enough of restaurants and parties and re meetings. No pal to go about with ~ which probe: by explains things. Hoppy Bynge lost in the Camedinn Heasury, Tommy Deloraine married off to a blonde iciress in Chicago, Chips Carruthers eaten by eroccs That the Limpopo. Leaving me. Richard Hannay, hiosseven years old, sound in wind and limb, Baek home. Which was no home at all if you want to know Justa dull lite rented fit in West One. Portiand Plies {ctually. And I was bored. No more than bored, Tired, {ed of the world and tired of = life, 1o be honeer Se Fealled my broker: He wasn’t in. Dropped into my | THE 90 steps I of old colo ickeel yp an ev it ark. Ful of elections and wa HFS OF wns. Anal Eh Fle the bloody hell cares trankls? What dove toll uate Mt happens anyone? Wha happens vs ine? Norone'd miss me. 1 woulda ime unt fect ‘qhite-easity jus (He tohes 4 shug of with, Knocks it bark) Avid then Lhoughe Pull yourself roger ix 10 do, you bloody foot Something ess and tr W pointless Something = tite! Come on Hannay! (He has « braionve.) ~ Tknow! West End showl! That shoulda sheared (He mares ont.) (Muses Mr: Memory Theme) Foottights come npy vie ‘kd ty Kal yi the "heat! OFA nip to Lana's peas Wee tea cox le | THE 39 reps Scene Two: Cockney Music Hall, London, {fiee Men appear We can call these the tue CLOWNS, ‘ity play @ COMPERE and MR MEMORY. Tha NS Eun Mies cand icky bows. Bath have ‘oathorash moustaches,) COMPERE, Thank you ladies an gentlemen. An now with reg indl auenution I have the immense enone nie Pius *© Preseitin' 9 you one ofthe most remake ‘ble wen ever inthe whole world. Me Memory (canned applause) (MR MEMORY ous.) Every day Mr {ets and remembers every o boty and from geography, from newspapers sea orn poatin POOkS. fn act, ove fei in his bran tangs Possible to conceive! (canned applause) TPP aber ina thee be. Pl at hsp. He ‘ipplauds with the audience } Seite dowa now pleas. Iwill lio mention tha before falirin’ Mr Memory bas kinclly consented "ei His entire brain to the British Musewn for Purposes. Thank you, (MEMORY bows.) (canned applause) (ram rally enn bea next 10 BANNAN. Sh is busi Tr ements i plunging Wack 1930s eoening gun THE 39 steps ANNAWELLA. Is this seat taken? HANNAY. Not as far as I know, (St is Ties out her program. Stas glare atte (mulionce. HANNAY is entranced.) (Dram ott stops.) COMPERE. Now thes Menor An MEMORY, Quite ready forthe questions, thukoo, COMPERE. Thinikoo, MR MEMORY. Thankoo, CONGERE. Now then ladies and gents, Fis question lease, Comte on now please ~ © you ready fo (Cooks rend the audience Pints at someone) qaton. sit? Wha was that, sit? Who won the Cup in 19967 (MR MEMony) Who won the Gu TTR ORY: Who won the cup is 19262 The Torre am CPAs won the cup in 1926 defen the eet al Meactt PY Five goals to nil inthe presence att sien Kit George the Fifth. Am I vgh COMPERE. Quite right, Mr. Memoryi! MR MEMORY, Thankoo! (canned applause) COMPERE. Thankoo. Next question please! (Cooks und the audience. Kinds mane ese What was Napol (MR MEMORY) Witt was Napoleon's horse called? MB MEMORY. Whit was Napoleon's horse called? Napo- Ie called Belerophon, what he recle for the fi it Waterlooo, June 15th eighteens ‘ifwent Aum Fright, sir? 's horse called? te questions Mr, Me cow MR HANN MR ant come ‘THE 39 stars COMPERE. Quite right, Mr Memory MR MEMORY. Thankoo. (canned applause) COMPERE. Thankoo. (boints at new member of audience) What was that sit? How old's Mae West? How ol's Mae West, Mr. Memory? MR MEMORY, Well I kiow si-—but I never tell a lady's age! (He finds this very amusing.) (canned tougher) ‘COMPERE. Very good, Mr. Memory! MR MEMORY. Thankoo. COMPERE. Thankoo, Now then ~ a serious question please (CUANNAY stands.) HANNAN. Lsay! COMPERE. Who was that? Yes, sir? (ANNABELLA looks panicked. Hides behind her pro wan) HANNAY. How far is Winnipeg from Montreal? MR MEMORY. Ah! A gentleman from Canada! You' (Audience applause. HANNAY waves. ANNABELLA hides.) HANNAY. Thank you, COMPERE. How far is Win Memory? MR MEMORY. Winnipeg from Montreal sir? Winnipeg from Montreal? One thousand four hundred and fifty four tiles. Am Eight sit? HANNA. Quite right, MR MEMORY. Thankoo sir!!! ‘COMPERE. Thanikoo sit! wel lipeg from Montreal, Mr. 4 THE 39 steps (canned applause) GINNABELLA pers into audience. Ses what she's been dreading. Reeols,) ANNABELLA. Sheissel HANNAY. Are you alright? ik you, yes, ‘COMPERE. And the next question please! ANNADELLA jrullsa gun out of her handbag. Shoot in Ur az Dust falls fom the fie. Sh hides itchy (Canned austience pandemonium.) HANNA. (0 ANNABELLA) Did you hear that? come Calm down, Ladies and Gents! Calm down PLEASE! ANNABELLA. Excuse me? HANNAY. Yes? ANNABELLA. May I come lhome with you? HANNAY. What’s the big idea? ANNABELLA, Well = I'd like to. ‘COMPERE. Calm clown PLEASE!!! HANNA Well if rather tricky atthe moment. You see ve got the decorators in and — ANNABELLA. PLEASE! You have fo! MANNAY, Well, it’s your funeral! (She rons from her seat. He follows her. They exit, (i MEMORY hasn't got over the gunshot. He isin shack He ins up and down the tage) MB -NEMORY, What was Napoleon's horse called? Win- ‘ipeg. What defeated King George the Filth by Five Boals to nil. Ane fright, sin? (COMPERE catches him.) COMPERE. Very good, Mt: Memory. MR MEMORY. Next question please! COMPERE. That's enowgh Mr. MI aR MRE com MEW cos MRM cone IR cour a « THE 39 STEPS 5 MR MEMORY. Beg pardon s CCOMPERE. (into the pt) Play an, ply! MR MEMORY. I how si bt I never tell lady's ~ (Me Momory music) COMPERE. That was Mr. Memory! MR MEMORY Thankoolt ‘COMPERE. Don’t forget his name now! MR MEMORY. Thankoo! Thankoo! CComPERE. Mr. Memory! MR MEMORY. Thankoo! ‘COMPERE. Thankoo! (The COMPERE puss him off) (Music and applause cuts ut.) (Ligh change THE 39 stePs Scene Three: Hannay's Flat, Night. (Whe HANNAY's sive in the dark.) HANNAY, Neves (HANNAY fru the witch om the andar tawpsy (Lights up on BANNAY’s armchair an table. Vnians adie, sets, paint ps reer) ANNABELLA, Turn it ofl? Quickly! (HANNAY (urns off the light Nino the mom is itm uated by street lighting coming through the windlous Maybe flashing neon hotel sign. She rans to te ‘window. Fonts out.) ANNABELLA Sheisse! (oaks af HANNAY) cint! HANNAY, Sorry? ANNABELLA. Bleint! HANNAY. Ble ANNABELLA Hicint!Bikint! Pl the ent? HANNAY. Oh blind! OF course, Sorry. Blind, Yes, (Pulls blind dann. Ue snaps back, Pulls it dinen egun, 4H snaps back, Pulls it dwn harder estas, He wal ‘tay. Te ind snes bark. He sit, nro with it jiums i fonciousty.) HANNAY. Sony about that ANNABELLA, Now the light Mr; Hannay! MANNAY. Light, Right (He sities on the Ugh. She marches othe dine ec tet. Pours herelf a drink, Dawns it in one.) Have a drink why don't you? ANNABELLA. Thank you (ones henelf another: Boson it) an finel the switels, Damnit! For your HANNAY. Thank you, (ANNABELA pons nate Denon this one tm.) ANNAE a HANN? ANYAB HaNNs “ANNA MaNNe ANNAD HANNs ANNAB ANNAR HaNNs ANNAD, ssl Hana ANNAR, HANNA ANNA HANNS ANNAB he THE 90 steps 1 ANNABELLA. Mr, Hannay ~ HANNAY. How do you kniow my same? ANNABELLA. [saw it in the lobby. HANNAY. Af, yes, (Totephone rings.) HANNAY. Hello, There's the telephor AVNABELLA. Don't answer it, please! HANNAY, Why no ANNABELLA. Because | think itis for me. (HANNAY picks up the phone. It goes on ringing. An ‘eukeoarl moment forthe actors) ANNABELLA, Please don’t ansiver!! (HANNAY drops the phone on its eruile, The ringing ‘outinues then stops.) ANNAY. Now look here = ANNABELLA. Yes? HANNAY. Am Tallowed to know your name: ANNABELLA. You don’t want to know my name. HANNAY, Don't IP ANNABELLA, Schmidt, ANNaY. Schmidlt> ANMABELLA. Annabella Schmidt. HANNAN. So what's the story Annabella Seimidt? ANNARELLA Mi: Hatin, HANNAY. Yex? HANNAY. But of course, Would you care for some haddock? ANNABELLA. Hatldock would be wonderaar thank you HANNAY. Nothing like a spot of hadldlock. Now look here = ANNABELLA. Yes? HANNA. It was you who fired that revolver in the theatre, wasn’t it? Te wasn’t a great show bu ANNABELLA, It was a diversion, There were two men in the theatre tying to shoot me, 1 ‘THe 39 steps HANNAY. You should be more careful in choosing yours Hemen friends, ANNADELLA, No jokes Mi: Ha HANNAY, Beautiful mysterious woman pursed by gu Sounds like a spy story ANNABELLA, That's exactly what itis. Only f prefer the word “agent” better HANNAY. Secret agent’ I suppose? For which cowry? ANNABELLA. have tio county. HANNAY. Bom in a balloon, eh? ANNABELLA Mr; Hannay pleaset Tam ieing pursed by a Xi brilliant secret agent of a certain foreign power who is on the point of obtaining highly contidentad information VITAL to your air defence. t tacked te of his men to that Music Hall, Uni ly they eeoguised me, HANNAY. Ever heard ofa thing called persecution mania? ANNABELLA. You don't believe mie? : HANNAY. Frankly, I don', ANNABELLA. They are i the street thiy moni h Tra Enlish lampypost. Take a look why don't you? Dt be earful (HANNAY peers through the blind. ‘The two clowns “pe: They wer sinistertlis under the single glare of 0 streetlight. HANNAY turns back) ANNABELLA. Now lo you believe (HANNAY prers Uhough the blind again. The men are Still there.) HANNAY. You win, ANAM Me. Hany, Pn going to tll you something which is not very healthy. tt will mean either life. OF earl Butif Utell you, then you are ~ (Segara him.) = involved! (The sound of 30s police ear inthe distance) HANNAY. Involved? ay aw aN ANNA b 4 “ e HANN. a ANNAL ANN, ANNAT HANN, THE 39 STEPS 9 ANNABELLA. You wish t0 be ~ involved? (HANNAY marches tothe bind again. Pers through. The men are there, but slightly late, HANNA sighs rc “ably: He turns back to ANNABELLA.) HANNAY, Tell me! ANNABELLA, Very well. Have you ever heard of the — (She lowers her vice.) = Thirty.Nine Steps? MANNAY. What's that a pub? ANNABELLA. Your English Inumour will not help Mr Hannayt These men will stick at nothing. And 1 ans the only person who can stop them. If they are not stopped itis only a matter days, perhaps hours before the top secret and highly confidential information is out Of the connny. And when they've yu it out of the countty God help us alll HANNAY. What about the police? ANNADELLA. (laughs harshly) The police! They would not believe me any more than you did! With their boots nel their whistles! I is up 10 us, Mr, Hannay! [tell you these men act quickly! You don't know how elever their ehief is. I know lim very well, He his a dozen names! He can look like a hundred people! But one ‘ing he cannot disguise. This part — (Cpt er ite finger) ~ of his lite finger is missing. So if ever you should ‘meet a man with no top joint there — (She gazes at him.) ~ be very carefial my friend, HANNA. I'll remember that. (He gazes back.) ANNABELLA. Mr, Hannay? HANNAY. Richard, ANNABELLA Richard, HANNAY. Yes? 0 THE 39 steps ANNAMELLA. May I stay the night please? (electricity betwren them) HANNAY. OF course You catt~ sleep ANNABELLA. Thank you, MANNAY. I'l get a shakedown on the armchair ANNABELLA. (raises an eyebrow) As you wish. And one more thing ANNAY. Your I ANNABELLA, Mei (Se laughs.) have rather lost the taste for haddock. No! I need = HANNAY: Yee ANNABELLA.A map of Scotland, HANNAY, Scotland? ANNABELLA. There's a man in Scotland who I must visit ext if anything is to be done. An Englishman, He lives in a= looks aren her) ~ big horse HANNAY. A big honse? ANNABELLA. At a place called Altnashellach, MANNA. I beg your pardon ANNABELLA. Altinashellach! HANNAY. Alcnashellach, And the Thirty Nine = ANNABELLA. Bring it to my room, HANNAY. Certainly, ANNADELLA. Good night Richard, (Turns seductively away, disappears into the darkness MANNAY guzes after her. Confused and mesmeried. Wishing he rout go with her.) HANNAY. Goodnight Annabel ny bed. dock? iaddlock? oe ANNA FANN, ANNA © “ fu if fu “6 i “ Ri FANN, a THE 39 tees a Scene Four: Hannay’s Flat. Very Late. (Midnight comes. Wind. A ticking clock. A 30s police ar fo away. A distant train whistles) (HANNAY loses and tums reslessly in his cramped arm- chair.) (Suadenly ANNABELLA appears. Her pale face looming out of the darknes,) (Haunting musie plays.) (She drifts seductively towards him. In her hand she folds a map.) ANNABELLA,(Fusky) Richard? HANNAY. Annabella? ANNABELLA. (even hhusker) Oh Richard ~ Richarel ~ HANNAY. Now look here, Annabella, You just breeze into ‘ny life from nowhere ~ you get me all = you know — ‘involved and ~ well ~ actually I've never met anyone ‘quite like you and ~ and frankly to be — quite frank (She leaas over him, breathing deeply. He gazes up at ther: He thinks thee going to his. He clases his yes in ‘readiness Suddenly she gasps loudly and collapse over ‘him, a gleaming knife sticking in her back. He rcils in horror. Terns her over) ANNABELLA. Oh Richard! Richard! (She gaze: up at him tender) Tam so sorry. So very sorry. (She clutches his hand.) Richardt HANNAN, Yes? ANNABELLA. These men, They act quickly! They will stop at nothing. Nothing! You hear me? Now there is ~ (barely audible) no turning back! Oh, my dear Richardt THe 39 srees (Her ees widen. Winco in pin.) ANNADELLA (ent,) Altna-vellarhlll (Mer buat goes into tase paroxoms. She lis deal in iy HANNAY. Golly) (te cloves her eves, Struggles aneltountly from benrath die He sos the map. Pulls it from her ull stl hand. Starts to open it fil by fll. The map seman. tt 09 un opening. He winstles with it. Battles vith it Sees for wha he is ling fon: last he fd itp MeaShellch! (He lonks up.) MesaSiellarht (The pluare rings) (onse music) (HANNAY spins uml. He marches over tothe phone, 4's alu to pick up, Suddenly ANNABELLA string swords era in his head) ANNABELLA. There iss mat inv Seottand..ly dys! (HANNA'S hed fices mer the ringing pn h Hell you these men. tap ae nosing they set ‘qwiekls! Quickly! Quickls! Quiekl! haps hours...before the secret is out of de counts (Phe hone vgs get louder aed toner chiming in with ANNABBLIAY “Quichlys:) (Phe plone stops ringing) (HANNAY thinks fast. He grabs a dustshert covers the Ids, pokes the enormous maj and stauds tone, evn Mavting,) lachonty (hntsong MILK i Hany wx HNN MILK a HAN. ALKA, ANN. MILK ANN, MILKS, Han, MILK FANN, a MILK HAN MLK HaNN MILK MANN MK HANN rue 30 sreRs Scene Five: Lobby. Morning (On comes the MILKMAN whistling the MR MEMORY ‘theme. BANNAY bursts out of his front door. They col ie.) MILKMAN. Bliniey mate. Whatchoo up t0? I neatly died a right. HANNAY. Contd you tse a pound note brother? MILKMAN. A pound note? A pound note? What's the catch HANNAY. [need your eap andl coat MILKMAN, Cap and coat? Cap and coat? What's the game! Spit it ont HANNAY, I need 10 MILKMAN. Do it bunk? HANNAY. Yes, MILKMAN. Wh HANNAY. I'm going to have 10 trust you. There's been a murder committed on the first floor rer? By who? By you? HANNAY. No, no. (He points.) By those two men over there. sgold for a a getaway. hoo bin up to? HANNAY. I's quite true [ tell you, They're spies, foreign: cers. They've murdered a woman in my flat and now they're waiting For 1 MILKMAN. Ah come off it! Funny jokes a five o'clock in the norning. MANNAY. Alright, alright. [' tell you the truth. Are you married? MILKMAN. Yes but don't rub itin [HANNAY. Well I'm: not you see, Pn a bachelor MILKMAN. Lucky you. HANNAY, But I've been seeing this martied woman, MILKMAN. Nanghty. HANNAN, Point is a a THE 39 STEPS MILKMAN, Yeah? HANNAY. She was lending me on, MILKMAN. No! MANNAY. It was all set up, MILKMAN. Would you eleve itt HANNAN, See those two mien over there? MILKMAN. lo, HANNAY. You know who they ire? MILKMAN. Don tell me! MANNAY. One's her brother, The other's her husbianl! MILKMAN. Cor blimey! L wouldn't he in your shoes! “Ete Fhave my cap ane cou lakes off hiseap and cont) HANNaY. Thank you. (HANNAY prds on the cap and conte) MILKMAN, Pertick! HANNAY. I say (huts his hardin the pocket gives him a note) Take a pour MILIQIAN. A pound! Thats very kind of you! HANNAN, (ues hin another) Take two! MIESIAN: Two pends! God bless yer gut Leave the pouy round the corer: You'll do the same for me one das (HANNAY rons of. Exits, MELKMAN looks atthe money, Loaks at us.) Hang ont The's omtta my cout! T just give me! Oi! Come back ‘ere! Oi! (He chases after HANNA. Exits) 'S my money you Mas ‘THE 39 steps a Scene Six: Hannay's Flat, Morning, (MRS HIGGINS the charlady enters.) MRS HIGGINS, Mornin’ Mt yl ‘ow yer keepin’? What a fovely morning this morning itis this morning. What about this “ere heat wave! Never seen nothing like it, People droppin like — (Pulls dustsheet off ANNABELLA. Freees. Screams a lood-cuniling silent Munchlike scream.) (Giagues into deafening train whistle.) (Train music.) “6 THE 99 TERS Scene Seven: Edinburgh Train. Day. (THE COMPANY create the raittny carriage.) (The tw00 clowns are now garrulous UNDERWEAR SALESMEN, They sway with te train.) (Train sounds, Hoots and whistles.) SALESMAN 1. Well for one thing they're n they were twenty years ago, SALESMAN 2, More free, SALESMAN 1, Free and easy, (They share a wink, Wink at HANNAY. HANNAY shrinks under his hat.) SALESMAN 2. Remember the old fashioned sort? SALESMAN I. All bones and no bends. SALESMAN 2, My wife! (They roar with laughter, wink at HANNAW. Thain whis- es.) Look at this now! (SALESMAN 2 delves into a small samples case and pro duces 19405 white lacy suspender belt. They gaze it Jn wonder. HANNAY gazes too.) Our new streamlined model number one. SALESMAN I. glory to behold. Anything to go with it? SALESMAN 2, Look at this litle beauty! (He dels some more. Prouees an exotic white lacy bras sie, HANNAY and the SALESMEN gaze mesmerised a i stoays before them.) SALESMAN 1. Now that’sa sight for sore eyes! SALESMAN 2, You can say that again! The Two Wonders of the Modern World! SALESMAN 1, Tell you what? Bring ‘em back when they're filed, (The SALESMEN explode with laughter. Wink at HANNA.) prettier than THE 39 STEPS a SALESMAN 2. Get it? “SALESMAN 1. Get i? “SALESMAN 2. When they're fille! [SALESMAN 1. When they're fille! ‘SALESMAN 2 Don’t be shy! ‘SALESMAN 1. Don't be shy! (HANNAY menages a chuckle) SALESMAN 2. That's the spit, SALESMAN 1. That's the spirit, SALESMAN 2. Where are we now? (SALESMAN 1 loos ou ofthe window. He rapidly reads {ree passing signs.) SALESMAN 1 Hala... Durham... Berwick Upon-Tweed... (He sts back in his seat, produces a packet of biscuits.) si? SALESMAN 2. Much obliged. SALESMAN 1. (o Hanney) Biscui? HANNAY. No, thank you. [SALESMAN 1. Suit yourselE (The SALESNEN chomp their biscuits in unison. They ‘watch HANNAY and grin broadly. Train whistles and sopping ries) SALESMAN 1. Hete we are. Edinburgh Town. SALESMAN 2 That was quick! (The train halts, They al burch.) (Bagpipe Meuie: “Sealand the Brave") 8 THE 39 Stee Scene Eight: Edinburgh Station. Day, SALESMAN 1, Wonder what won the wo o'clock at Winekor. SALESMAN 2. get a pap SALESMAN 1. I'L go to the kivatory (Phey get up. Siperce round each other) SALESMAN 1. Excuse mie. Sorny: Sony, SALESMAN 2, Sorry: Sorry HANNAY. Sorry. (SALESMAN I evils. SALESMAN ® ils dis hoadcut of ‘he windnw, Whistles through his ter. SALESMAN 1 jmmediately back on as a PAPERBOY in a flat cap} PAPERBOY. Eve Latest = SALESMAN 2. Even paper please? PAPERBOY, Evening paper sir? Th paper! Latest news! Evenine paper! Iikow sist gros him a paper) SALESMAN 2 (ives fm « permy) Thimikow. PAPERBOY. Evenin paper! Latest news! Even papert Lanest = (Ets. Immediately back on as SALESMAN 1) SALESMAN 1, Excuse ine. (Syurrees past.) Sorry. Sorry SALESMAN 2, Sorry. Sorry HANNAY. Soy: (SALESMAN I its dn, He grees SALESMAN 2.) SALESMAN 2. Hello! SALESMAN 1, Hello! SALESMAN 2. (opens piper) Goosl Lol! SALESMAN 1. What is it? SALESMAN 2, Bec West End fh PHANNAY finer.) a woman murdered it 4 fashionable SALE sates SaLes “ hy SALES! SALES! SALES a sates Pk: SALES 7 1 SALESN on SALES nm HANNS SALESM SALESM SALESM Pie ma HANNAY SALES HANNAN | THe 90 STEPS. SALESMAN 1. All these sex dramas, Don't appeal to mel Whar won? SALESMAN 2. What won wha SALESMAN L. The two O'clock at Windsor. SALESMAN 2. To O’elock at Windsor? (Pus rape ver They rn ne th, WANNA. peers at the front.) Bachelor Boy. SALESMAN 1. Good, SALESMAN 2. At everbtonfontr on, SALESMAN 1. Not 90 good. (SALESMAN 2 Lack fo front puge. HANNAY sits back ‘quckly.) SALESMAN 2. Anyway where was we? Ah yes. (reads) Stabbed in the back she was. Portland Mansions. Portland Place. SALESMAN 1. By the BBC? That's the place to put someone to sleep! (They gh uproariously, Wink at HANNAY.) What was she like? One of the tsial? SALESMAN 2, (reads) Wellelressed woman about thirty-five looks up) Terriblet SALESMAN 1, Terviblel (They look a HANNAY.) HANNAY. Terrible! SALESMAN 2. (reads) The tenant Richard Han SALESMAN 1. You dlo surprise mel SALESMAN 2. Approximately thirty-seven Dark wavy har, Piercing blue eyes. Pencil moustache. (HANNAY hides his moustache with his hat.) is missing. HANNAY. Excuse me? SALESMEN. Yes? MANNAY. Might I have a look at your paper? 2” w ‘rue 39 stees SALESMAN 1, Certainly, HANNAY. Thank you, (HANNAY takes the paper: Pores into it. Lous up to ee ath men staring at hom. They grin wnnervingts) 0 the bullet ear; Finished? SALESMAN2. Think I'l pop ou (nates paper from HANNAY) Fancy anythi SALESMAN I. No thik you, HANNAY. No tha SALESMAN 2. Right you sre, (Ho leaves the compartment, Squeeces pas.) k you, Ine, Sonny. Sorry. Sony. HANNAY. Sorry, (SALESMAN 1 glances out of the windona) SALESMAN 1. Good He (HANNAY frerzes. SALESMAN 1 pulls down ssindon Calls ont) Excuse me Constable! Gayght the West End muntever yeu (SALESMAN 2 appears in a police hal.) POLICEMAN. We'll catch hit, don't you worry sit! SALESMAN 1, That's the spirit! (POLICEMAN changes into porters hal.) 1s! Place is sti with police! PORTER All aboard for the Highlancls! Next stop the hight Tans! (Change into PC hat.) POLICEMAN, Anything suspicious let ws know sir! SALESMAN 1. Oh yes, Don't yout worr (PC changes into porter’ hat) PORTER. All aboard! All aboard ‘s PAPER Pouct SALESN Pouct SALESN wh PAPERE ec vorre: rec POLICE ws SALESM Porter MRS He MRS Hc PORTER (hte THE 59 srees ” (SALESMAN I puts on paperbay hal.) PAPERBOY, Final edition sir? (PORTER changes into SALESMAN ? hat.) “SALESMAN 2. No thank you! (SALESMAN 2 puts on porter hat.) PORTER. All aboard! All aboard! (PAPERBOY puts on salesman hat.) SALESMAN 1, Alright, alright! (PORTER puts on policeman hat.) POLICEMAN. Keep your eyes peeled wou't you sit! SALESMAN 1. Certainly will constable! POLICEMAN, Don't forget sir! SALESMAN 1. No I won't constable. i (changes into paperboy hat) | PAPERBOY. Read all about itl! Read all about itll (POLICEMAN puts on porter hat.) PORTER. All aboard! All aboard! (PORTER puts on police hat.) POLICEMAN. Anything suspicious, let us know sit, (PAPERBOY clianges into SALESMAN 1. ) SALESMAN 1, Will do, constable, (POLICEMAN pts on porter hat.) PORTER. All aboard! All aboard! (SALESMAN 1 changes info MRS HIGGINS ht.) MRS HIGGINS. Is this the 9.41 to Reading? PORTER. Platform Twelve! MRS HIGGINS. Thankoo! PORTER All aboard let's be havin’ yer! (Glows sohiste) 2 THE 39 STEPS (RS HIGGINS puts on prperiny hat.) PAPERBOY. Read all about it! Read all about it! PORTER. All aboard! All aboard! (blows whistle) PAPERHOY. Final Edition! Final Edition! PORTER. All aboard! All ab = (blows whistle) (HANNAY dhe actor can't take aay more) HANNA. Oh just get on with il BOTH CLOWNS. Thankoo! (Clowns run off. Train shrieks. Chuge out of the sta- tion.) HAN, SALES! a St a tig ‘THE 59 STEPS s Scene Nine: Highland Train. Day | (The CLOWNS return to their seats. Squvere past each | thee: Squeece past HANNAY.) SALESMAN 2. Excuse me. Sorry. Sorry. SALESMAN 1. Sorry. Sorry. HANNAY. Sorry. SALESMAN 2. Well, back from the buifet! Listen to this! SALESMAN 1, What? SALESMAN, (UANNAY frees.) Every compartment! [SALESMAN 1. Bury compartment!? SALESMAN 2. Listen here's a corker. There was a young man from Nantucket ~ -HANNAY, Excuse mel (He leaps up, Slides open the door ofthe compartment.) SALESMAN 1, Hope you don't mind us talking shop? ‘The police are searching the train! HANNAY. No, no, not at all no. SALESMAN 1. We're on the run you see. SALESMAN 2. From our wives! SALESMAN 1, Never go home! SALESMAN 2. We ride the railways and sell underwear! SALESMAN 1, That's all we dot (They roar with laughter) SALESMAN 2. A young man from Nantucket, grew a Venus Flytrap in a bucket, he said when it grevs, now what do Ido, do I keep it for breeding or (Trai shrieks, HANNAY escapes down the coridor) HANNAY. Sorry! SALESMAN 2. He's in a rush! (They whoash into a tunnel. Heightened train noises Stage lights flicker.) { (HANNAY races along the corridor in the flickering figs.) " THe $9 STEPS (SALESMAN 1 beromes POLICEMAN 1, Looking nfo ‘anaginary compartments.) POLICEMAN 1. Excuse me please, Sorry to disturb ye. Have: se seen this (Nowe SALESMAN 2 1s POLICEMAN 2, Approaching from ‘he opposite direction, Looking inta imaginary compart ments.) POLICEMAN 2. Excuse me please, Son ye Thive: (HANNAY is tapped. Both policemen march towards him (Simultaneously magical be ight comey upon PAMELA ‘eho appears before him in another compartment.) (She me her lasses and ets bk fal at he lap. She rans a hand though her hair and gases ont ofthe windinw, She is breathtakingly beautiful wens a sal blacktop and thigh-huuging eid shirt, HANNAY ses ath, entranced.) (The too POLICEMEN rt closer and closer: HANNAY {Lacks a the POLICEMEN, Looks ina PAMELA compart ‘ment. He bursts in. Steep her inte his ars.) HANNAY. Darling! How lovely to see you! (Ht kisses her passionately. She isto shorked to ganp.) (Romantic music.) (The t00 POLICEMAN ert at the dour Stare wideeyad (19 HANNAY and PAMELA hiss.) POLICEMAN 1. Someone having it free hich in these! POLICEMAN 2, And a thee pudding, t90, Foul’ wonder (hey titer and exit) (HANNAY pls ack at las. PAMELA san a hin agus) (Romantic music ruts aut) MANNAY, Listen Un so terribly Thad 10 de itt My 11 But Twas dlesperite! e's Richard Hannay, They're at Yo wr lo pour ist a PAMEL! Pouce wel PAMELA Mis POLICE HANNAY Pouce aa PAN POLICE Pouce (ro ‘aly Pow We Poucer POLICES we fiom the PAMELA, THE 39 STEPS 85 Pm innocent! You've got to help me! I've gor to keep free For the next few days. You wee the saery of this country depends upon it ~ (The two POLICEMEN appear again atthe compartment door) POLICEMAN 1. So sorry to disturb ye bur have either of ye seen a man passing in the last few minutes? His name is Richard Hannay [PAMELA slares al HANNAY. All wait while she deride.) PAMELA. This is dhe man you want Inspector! POLICEMAN 1. But we came by just noo and saw you both — well you know. PAMELA. He pushed in here and forced himself upon His name is Richard Hannay! POLICEMAN 2. Is your name Richard Hannay? is attractive you (UANNAY pushes open the door Leaps out of the train. PAMELA serums. Deafening whooshing train sounds ‘and wind effets.) POLICEMAN 2. After POLICEMAN 1, Right si (POLICEMAN 1 leaps after HANNAY who is inching ‘along the outside of the train, hanging onto his ht. POLICEMAN 1 looks down and GASPS!) We're on the Forth Bridge silt POLICEMAN 2. (from the window) Lan see thi Grab him mant POLICEMAN 1. Very good sir. (@C 1 lunges for HANNAY and grabs him, PC reaches from the windinw, Grabs BC 1, HANNAY lens tothe nest ‘carriage. Pulls PC 1 after hin, pulling PC 2 half out of the rushing trae.) lady clearly sated ~ constable! constable! PAMELA Can help? THE 39 sters POLICEMAN 2, (hanging out of the train, through the rushing wind) Not right ow, miss PAMELA. T'l stand here then, POLICEMAN 2. Very good miss (Phe tran roars into a tunnel. Light flicker and flash POLICEMAN 1 battles with HANNAY clinging to the lrnin. HANNAY pulls one way, POLICEMAN 1 pulls the ‘other Pulling POLICEMAN 2 further and futher out of ‘the windona)? PAMELA Justa thought? POLICEMAN 2. (hanging ont of the train) Yes, miss? PAMELA. What about the conn POLICEMAN 2. Good idea, miss. PAMELA. Shall I pull it? POLICEMAN 2. Best if Ido, miss PAMELA. Rightho, (POLICEMAN 2 reaches painfully back or the commu ication cord. This pulls POLICEMAN 1 «nd HANNAY ack again. POLICEMAN 2's arm alarmingly elongates. PAMELA watches wideceyed. At last POLICEMAN 2 aches the cord. Fe grabs the cor.) POLICEMAN 2. Pulling the co POLICEMAN 1. (shrieks) No sir! Not the con (POLICEMAN 2 polls the cond. The brakes slam on, The {rain lurches. POLICEMAN 1 loses his grip on HANNAY ‘who lies wy. The POLICEMEN crash ack indo PAMELA who sereams as the train creche to a juddering halt.) (Blackout) (Music: Etherend, mystic choirs) (Lights come up on the familiar structure of the Forth Bridge. Magically erate from the thee decorators lade ders perhaps. It looks magnificent and axesome in the ue light and mist) Te wan chase should be open v9 ingenuity and resource wal {ke the tea ofthe chase down the side ofthe rain an the pln ‘Wiest End nl Broadway poster Or they oul go slong he top. Or eve. tudencath~ tins foes ste. etext sould ft ost eer nication cord NOW! RADI rite 39 STEPS. 7 Scene Ten: Forth Bridge. Night. (Wind sounds, The ereaking of girders. Distant foe horns HANNAY appears out ofthe mist. He is hanging erst on the bridge, Miles above the water He inces his wy ripping om tothe cold tl gies.) (The two PCs appear Edging towards him, They wt loser and closer, BANNAY look at them. Looks dw Looks at his slipping fingers. Looks a us.) HANNAY. OH CRIKEY! (He plunges into the darkness. A long ohislle, A tiny splash) (The tuo POLICEMEN look down, Look a each other) (Gtactowt) (Sourd: morse ode “beps” fill the tent.) RADIO ANNOUNCER. (plummy BBC V.0.) the sispect Rich ‘ard Hannay managed to jump from a train on (0 the Forth Bridge just outside Edinburgh. Potice pursed hin on to the bridge but he gave then the sip hange ing fom girders with his bare hands. a8 THE 39 STEPS Scene Eleven: On the Moors. (UARNNAY uppers running across the moors.) RADIO ANNOUNCER. (plumny BBC V0.) ..The suspect is approximately thirtyseven and about six foot one. Although he is clearly dangerous, he is quite good looking actually with dark wavy hair, piercing blue eyes and a very attractive pencil moustache. It is not known. whether he survived his ordeal, Police had to call off the search in the gathering darkness (MANNAY runs out. Swirling mist, Mowrnful highland wind.) c HANNA cRorr ANNA corn HANNA corn HANNA (ig -b crornt HANNAY corre HANNAY ‘chore HANNAY CROFTE HUNNAY crorre ing, HANNAY (He big -Al cROFTE HANNAY Che CROFTE: HANNAY. ‘cROFTE) HANNAY. ‘corres ‘THE 39 STEPS 38 Scene Twelve rofter’s Cottage. Outside. (CLOWN 1 appears. He is JOHN METYTE an ancient ‘anch surly Scottish crofter. He peers into the mist. HANNAY appears. The crofter twitches with suspicion.) HANNAY. Hello there, ROFTER. Can I help ye? HANNAY. Yes I'm um looking for work, (CROFTER. What kind of work? fn itinerant labourer. HANNA CROFTER Ye'l find nothing inthis vicinity. HANNAY. Are there no = (significant) big houses round here? CROFTER No big houses. HANNAY. So whats that big house? CcRoFren. What big house? HANNA (Ponts) That big howse? CCROFTER. Oh that big house, HANNAG. Isn't that a big house? (CROFTER. That ia big house. HANNAY. So whose..hoode is that then? CROFTER.A profesor I believe. Profesor Jora ing) An Englishman, HANNA. An Englishman? I wouldn't be called — ($e ahs out the enormons and unriy map It sewn Bigger than before He aes with i) = Altna Shellach, would i? CCROFTER It would. HANNAY. Right! Well ~ thanks very mich. I'l ry there Cheerio. CcROFTER. Ye won't tonight! ANNAY, Won't CROFTER. I's Fourteen miles. The other side of the loch. HANNAN. No really CROFTER. Margaret sure I'll be ~ 0 THE 39 STEPS (MARGARET appears. An incredibly pretty Seotish girl.) MARGARET. Av? CROFTER. Come here! We have a visi (MARGARET erases fo dem, heal lowe. She laks at HANNAY, Blush.) MARGARET. Gcod evening, sit (HANNAY vers how incredibly pretty she is, He smiles: Iandsomel) HANNAY. Good evening (MARGARET blusher even more.) CROFTER. Yo HANNAY. Well CROFTER. Can you eat the herring? HANNAY. L cou CROFTER. Cn you sleep ina box bed? HANNAN. Lean ity CROFTER. Two smd sx, HANNAY. Dont. CROFTER See w the geutlen HANNAY. Your daughter? CCROFTER. My wife! HANNAY. Well done. (MARGARET and HANNAY Look at each other: They lok ewes.) ‘CROFTER Prepare the herring. MARGARET. y. CROFTER. I'll see 10 the Coos. HANNAY. Sorry? CROFTER. I'l see to the cot HANNAN, (sll rst undeastand) Right (The CROFTER stomps off.) MARGARET. Will ye come in? HANNA. I'd love to, could stay here if you w 1 second thoughts that'd be very kin, 1d be quick about it a” HANNA HANNA HANNA HANNA THE 39 STEPS “ Scene Thirteen: Crofter's Cottage. (HANNAY Looks around the miserable cottage. The ‘moaning wind rates the windows. MARGARET is »ver swheloed with shyness. She points to the armchair.) MARGARET. There's your ed, (HANNAY looks at Ue armchair) HANNAY. Marvellous. MARGARET. Could ye sleep there d'ye think? HANNAN. I could sleep anywhere right now, (MARGARET blushes.) MARGARET. Won't you sit down pl ‘our supper? HANNAY. Thank you (He sts dean, She busies herself with supper) say? MARGARET. Yes? -HANNAY. You wouldn't have today’s paper? MARGARET. My husband! has the paper. HANNAY. Right, (MARGARET shyly lays the table, He watches her) So erm ~ been in these parts long? ‘MARGARET. No. I'mn from Glasgow. HANNAY. Glasgow? MARGARET. D'ye ever see it? HANNAY. No I never did, MARGARET. Oh ye should. Ye shoudl see Sauchiehall Street on a Sanday night with all its fine shops and the trams and the lights. And the cinema palaces and the crowds, (a faraoay bok) Is Saturday night tonight. HANNAY. Well I've never been to Glasgow but I've been to Edinburgh andl Montreal, Ane! Loudon. " THE 39 sters MARGARET. London! HANNAY. I could tell you ail about London at supper MARGARET. (nildenly entranced) Could ye? HANNAY. Certainly cout MARGARET. (face clouds) No, John would nae approve o” shat T doubt! HANNAY. Jolin? MARGARET. My husband. He says it's best ot to think of such places anid all the wickedness that goes on there HANNAY. Or =I could tell you now. MARGARET. Now? (He gazes her.) HANNAY. IF you wanted MARGARET. Aye, (She gases back.) Ye could. (Romantic music) FHANNAY. What would you like to know? MARGARET. [sit rue that all the ladies paint their toenail? HANNAY. Some of them, MARGARET. And put rouge an lipsticks on their faces? HANNAY. They ¢o yes. MARGARET. Do Lonidon ladies look beautiful? HANNAY. They wouldn't ifyou were beside then (MARGARET catches her breath. Turns to him. Ther ees mec moment of stunned sexual longing.) MARGARET. You ought not ro say that (The CROFTER bursts in. He carves an evening news- Peper) CROFTER. Ought not say WHAT? (Romantic masiceuts out.) (BANNAY and MARGARET spring au.) HANS » cror FANN, cRoFI saRG, cro a HANNe crort HANNA a the ‘cnorn HANNA crorn HANNA (sh HANNAY cRorrt HANNAY (me cROFTE the able ul =th pep. vith 39 srEPs 4 HANNAY. Oh L was ~ er ~ just saying to your wife that f prefer living in the town to the country. CROFTER. God made the coun HANNAY. Certainly did! CROFTER. Supper ready woman? MARGARET. Almost. CROFTER. Then hurry yesel (The CROFTER throws the paper on the table. There is HANNAYS photo om the front, HANNAY fees.) HANNA. Do you mind if [look at your paper? ‘CROFTER. Suit yourself ANNAY. Thank you (HANNAY picks up the paper. Hides the photo. Reads the story as nonchalantly as possible. The CROFTER watches him suspiciously.) CROFTER Ye did nae tell me you HANNAY. Oh — um = Hammond. (CROFTER. Mr O' Hum Hammond. HANNAY. No, Hammond! MARGARET. Here we are. (She produces thre herrings.) HANNAY. Splendid! ‘CROFTER. I'll say a blessing afore we begin. HANNAY. Good idea! (They all st round the table. Clase their ee.) CROFTER. Oh most mighty and unforgiving father. Sanctify these bounteous and undeserved mercies to us miser able sinners. Make 11s bow on ended knee, make us ‘wuly thankful for all = (HANNAY opens his eye. Tres to rend the paper again MARGARET opens heres. Notices him reading.) ~ thy manifold blessings, (HANNAY notices her noticing him. Now she pes atthe apr: Sees the photo. Realises who he is, Her eyes flash with panic.) ‘THE 39 STEPS CROFTER, (ront.) And continually turn our loathsome Iiearts from wickedness = (HANNAY Looks back at her Reassuring her with iis ses) (he CROFTER opens his eyes and sees them garing ‘eamestly al each other. He twitches madly and finishes gee.) = beat our ghittonous thoughts and lash our stl desires, as with a three-forked flailing stick, pressing our bestial noses to the grindstone and blinding our e3¢5 10 the tawlry beads and baubles of all worldly wicked things, Amen, (He jumps up.) | jast remembered I forgot to ~ er — lock the barn, I'l go and — loc MARGARET: Right ye are, (He goes out, whistling nonchalantly. Almost imme diately his mad paranoiac eyes appear through the window, HANNAY and MARGARET dlo nol notice him They start miming earnestly and passionately to each oller. HANNAY holds her hands. Begging her to believe ‘him The CROFTER watches aghast! His gs flash and sethe.) See (Sou Slash out HAN MARGAR: HANNAY, MARGAR sin HANNaY, MARGARI (She night CROFTER back! (ow Gero (ome And : (raises HANNA. ( MARGARE: HANNAY. | ying CROFTER. house HANNAY. A the pe ‘cnorrer, HANNAY. T ‘CROFTER. THE 39 STEPS. 6 Scene Fourteen: Crofter's Cottage. Midnight. (HANNAY aslgp in his cramped bed.) (Sound ofa car drawing toa halt ouside. Headlights flash across the windows.) (QIARGARET rns in. Loos ou ofthe windows Runs to HANNAY. Ginger shakes him.) MARGARET: (whispers) Wake up, sir! Wake up please, sir HANNAY, (delighted) Oh hellot MARGARET: Oh no, sir, no! I don’t mean ~ Its the police, sir, Mr O" Hum Hammond! Wake up I beg of ye, st! HANNAN. (Leaps up) The policet MARGARET: You inst go now while there’ still a chancel (She grabs his hand, The CROFTER appears in his nightgown.) ‘CROFTER. Ay! I mighta known! Making love behind my back! (oHANNAY) Get oot! (Wo MARGARET) And a8 for ye = (raises fst) HANNAY. (stepping Detoen then) Not sofas MARGARET. Nol Go go! It's your only chance of bert! HANNAY. Listen! You're all wrong about this! She's only tuying to help mel CROFTER. Ay! To bring shame and disgrace upon my howe! HaNNay, Actually if you want t know Pm the police! ‘CROFTER. The poliz!! HANNAY. They're after me for (CROFTER. Murder! Police? friend! the run from wrder! “THE 30 STRPS (Knock kel ork from the door) (The CROFTER runs tothe door. Perks through a crack He suns bark.) CROFTER. They're sight outside! HANNAY, Don’t let them int Say Ln wot here! (Kno looc knack) (The CROFTER is averheating violent.) CROFTER. Ach! (He runs tothe door) HANNAY. PI make it worth your while (CROFTER stids toa hall) eROFTER How muuch HANNAY. Fixe pounds! CROFTER. (ye fwitching) In cash? HANNAN, Will you take a cheque? ‘CROFTER. Don't be fiumny wi’ me! MARGARET. Pay hint pay hit HANNAY. (akes outa five pownd note) Herel! (Kuo kno knock.) (The CROFTER grabs the note, runs to the door and slams i behind him.) MARGARET. Och, Idi (MARGARET runs tothe door and listens. We hear mut- Iering-outsde, She runs back to HANNAY.) ght! He's double crossing ye! Quick! ne! Through the window! MARGARET. Ay I Now's your (HANNAY rushes upstage.) MARGARET. Nor that window! HANNAY. Which window? MARGARET. The re HANNAY. What? window! Wait! MARC, ANN. HANN. MARG. th “ ANN. MARG, HANN: HANN: HANNE MARG) he HANNE MARGA HANNA 4 vi a es MARGA MARGARET. Your jacket! | HANNAY. My jacket? MARGARET. It's tervible light-coloured. HANNAY. Oh is i It's the latest Harris Tweed. MARGARET. I'm afeart they'll see you on the dark moors. Best take this one! (She gies him dark overrod.) HANNAY. This is your husband’s coat! MARGARET. Ay, Its Sunday best. I's so black they'll never HANNAN. (brings out a small black book) What's this? + MARGARET. His hymn book, HANNAY. [can sing a hymn if {get frightened. MARGARET. Don't joke I beg of you. (He hols her. She mets into him.) HANNAY. What'll happen to you? MARGARET. Don't worry about mel (Music builds.) (They gaze at each other) ! HANNAN. [ wish I could take you away from allthis! MARGARET. (She looks at him yearningly.) No. This is my home. HANNAY. What's your naine? MARGARET. Margaret. HANNAY. Goodbye, Margaret. (He kisses her) Til never forget you for this! (He hisses her again. More passionately. She surrenders Deneath him. Pulls vay at last.) MARGARET. Go now! (HANNAY escpaes through the window.) 4“ rue so steps (“immediately the evo policemen rush tsrmugh the dor Mowing wihistes. They spot hin through the winders) ‘POLICEMAN 1. There he is! After hin! (The police rsh out after HANNAY.) (MARGARET watches in agony.) (The wohistes disappear into the distance.) (Lights fade on MARGARET, her hated face at the window) (Chase music.) (Lig logs pole RADIO’. bree Hast | Port thor ache | sligh aun thas. contr THE 39 STEPS ‘Scene Fifteen: Scottish Moors. Dawn. (Lights up on HANNAY on the ren. He darts and dodges ucrosethe Scoltish moors. The policemen appear with dogs on leads. They spot him. MANNAY runs off. The police and dogs give chase.) RADIO ANNOUNCER. (V.0.) We are sorry to interrupt this programme of popular Scottish romantic music w set your heart aquiver to bring yout an important news flash. Richarel Hannay, wanted in connection with the Portland Phe murder has been spotted on the moors. near Loch Crimond. Police have warned he is almost certainly armed and dangerous. Here is h tion once zgain, He is approximately thittyseven and about six foot one. With dark, wayy hair, piercing blue eyes and of course his very attractive pencil movs- tache. His ‘ime on the moors has actually made hin slightly moe ruggedooking, which makes him look ‘even better looking than he did before. (HANNAY rushes past mid-chase. He happens to heas this, He miles modestly before running on. The radio continues.) The suspect Richard Hannay is currently on foot in inhospitable terrain and police can assure listeners that they are closing in with specialist squads in Live apprehension by foot, road and ~ by air! (HANNAY slope to catch hie Breath. Looks around. All ‘appears clear Hes he escaped? Suddenty there is a sound in the distance. The ominous buzz of a singleengined Tiger Moth. HANNAY spins round. Looks up. The sound builds) (A plane appenes. The plane gets closer.) (HANNAY stort to run, The plane chases HANNAY.) (Over the P/A we hear the pilots’ radio conversation.) PILOT 1. There he is. Over there! PILOT 2. Which direction’s that then? ” 50 rue 39 steps. PILOT 1. NortI-by-North West! PILOT? North-by-North West! Why tha PILOT 1 Professor Jordan's house! PILOT 2. Professor Jordan's house? Why's he going there 1 woncler? PILOT 1. No iceat he direction of = PILOT2. He's disappeared again! PILOT 1, Oh no! PILOT 2, There he is! PILOT 1. Shoot man shoot! (Rattle of machine gun fire. BANNAY ducks and dives Dodges the bullets. Runs on.) (Music bus) PILOT 2. Missed nist! ((More machine gun fire. HANNAN dives to the floor again.) (The plane whines dangerously.) PILOT 1. Wait a minute! Oh my God! PILOT 2. What? ILOT 1, We're too close to the - Oh no! PILOT 2. Whatl!? PILOT 1. Change direction! Change direction! PILOT? f can't! Fean'? PILOT 1. Oh no! Ok nol (Plane nosecdives. Screches deafening.) PILOT 2, Were going to ~ PILOT 1. OH GOD!!! PILOTS 1 & 2 AAAAAAGGGGHHHEN (Plane esplodes in a spectacular conflagration of smeke ‘and fire) (Musi climaxes.) (The stage fills with smoke.) Ds 1 allthis impenetrable Scottish a a SF (h Uy a ‘THE 39 STEPS (A figure appears, It HANNAY. He is exhausted but all renning.) (A grand front dloor appears. And a sign: “ALT NA \SHELLACH™) (He stumbles towards the door. Straightens his ie. Presses ‘the door bel.) (Avon chimes: Ding dong!) ay THE 39 STEPS Scene Sixteen: Alt Na Shellach, {A severeloaking greshaima larly in trae opens the oar MRS LOUISA JORDAN, lawl in CLOWN 1.) MRS JORDAN Yes? MANNAY. [ant so sory 10 disturb you bit Fin looking for the professor, Profesor Jordan, MRS JORDAN, Professor Jordan? Tam the Professor's wile Louisa Jord HANNAY. I de beg your parton Mrs Jor Professor? Irs really quite impo MRS JORDAN. May 1 kniow you HANNAY. Yes. My aie iy Hi Miss Annabella Sehnid MRS JORDAN. Miss Annabel mond ifyou woudl please, HANNAY. Thank you, May sce the ‘hmidt? Come in My Hane be HANN. urs jc a MRS Jo fii In HANNA MRS JO or foc a (sh ny Rs jo. dive (hu (ae (he Me THE $9 stEes 5 Scene Seventeen: Alt Na Shellach. Interi (She leas him through the baronial corridors, HANNAY Tonks about him.) HANNAY, Lovely house, [MRS JORDAN. (smiling graciously) We like it. (Phey march through several mormous roams.) MRS JORDAN, We're just having a few drinks with some friends 10 celebrate my caughter Hilary's birthday. A nber of welltoxlo ling the Sheriff of the County, Later we've ong hizing a shooting party. Perhaps you'd you are to join HANNAY. Thank you, MRS JORDAN. Shall we pop into the party? (Sle opens the door. Wild shadows dance across their faces.) (Corktal Party sound effets /fiterbugiype music) (She has second thoughts, Claes the door) (Muse stops.) RS JORDAN. On second thoughts, If you wotldn’t m waiting in here Mr, Hammond. ('l fetch my husband direety HANNAY. Certainly. (She opens the doon) (Music starts again.) (Shadows dance, She close the door behind her) (Music stops.) THe s9 srers Scene Eighteen: The Professor's Study. (HANNAY waits, Looks around Tentatively opens the door.) (Music tans.) (Shadows dance. He elas the door) (Musie stops) (ves again} (Music stan.) (Shadows dance. He closes the oor) (tase stops) (last un wok) (Music stars.) (Shindows dance. He closes the door) (Musi stops) (2 woe fm behind his) VOICE. Mi Hat (HANNAY swings round. PROFESSOR JORDAN is sete! nan armen) ond? PROFESSOR. So sorry to have kept you. HANNAY. I's quite alright PROFESSOR. So you're From Ant HANNAY, Tam yes PROFESSOR. Do you have HANNAY. She's been murdered! PROFESSOR. Muriered!? Oh dlear, yes, of course. The Porte land Mansions affair, Quite dreadful. And now dhe police are alter you. HANNAY. They are rather! PROFESSOR Well don’t worry about them, F managed to put tem off the scent. They'll be by now. HANNAY. Thanks awfully PROFESSOR. (smiling kindly) Not at all old chap. bella Selmi? HANNA PROFES THE 39 STEPS HANNAY. [dict do itt PROFESSOR, Of couse you didn’t do it Mi | suppose it's safe 10 eall you by your real HANNAY, Quite sife PROFESSOR. Jolly good. But tell me ~ why ld you come all the way to Scotland! to tell me about it? HANNA. Because I believe she was trying t tell some secret top secret air ministry...seeret and she was killed by a foreign agent who was interested too. PROFESSOR. Really? Well I'm so glad you told me! And risk- ing your life into the bargain! How can [ ever thank you? (HANNAY smiles modestly Then presses on urgently.) HANNAY. The thing is professor, she was looking for son thing! PROFESSOR Yes? HANNAY. Something called — PROFESSOR. Go ont HANNAY. The Thirty-Nine Steps! If we can find out what the ThirtysNine Steps are then = (The professor stands. Stil smiling.) PROFESSOR. So - let ine yet this quite clear ~ oh Pn so. sorry = you must be exhausted! Do take a seat Mr, Hannay (He stands. Profers him his own armchair HANNAY sits ‘ther award. The PROFESSOR smiles.) PROFESSOR. Better? HANNAY. Thank yor PROFESSOR. So dlid she tell you what this foreign agent looked like? HANNAN. There wasn't time, Oh! There was one thing, Part of his litte finger was nisi PROFESSOR Which litte finger? HANNAY. This one I thi THE 39 STEPS (holds up a tie finger) PROFESSOR Are you sure i wast (He hols up his own litle finger: It is eut off at the nce.) HANNAY. I'm not ste, I think = (The pressor plle out a gun. BASNAY gasps!) PROFESSOR. Mr. Hannay ~ I'm afraid I've been guilty of leading you down the garden path, Or should [say ~ - [never ean remember. HANNAY. It seeins to be the wrong garden alright PROFESSOR. Yes, I'm afraid it does. Mr. Hannay, you've {orced me into a very difficult position. You see 1 live here asa respectable citizen. My very bestfriend is the Sherif of the County: You must realise my whole exis- tence could be jeopardised if it became known that I was not = how shall [say ~ not what I seem, You see there's my wife and daughter to think of. But what makes it doubly important that I simply can't let yo .g0 is that I'm just about to convey some very vital infor mation ont of the country. Oh yes, Ive got it alright. in afraid poor Annabella would have een far too late, So it seems there is only one option, Mr Hannay. (He cocks the gun, aims point blank at HANNAY,) (RS JORDAN walks in.) (fcerrug music.) (She takes in the gun. Doesn't flick an eyelid.) MRS JORDAN. I shall be serving lunch directly, clear, The Sheriff has to go at three. Will Mr Hammond be stay- ing? PROFESSOR. I clon’t think so dear, (RS JORDAN smiles and leaves.) (Music stops.) PROFESSOR. Unless of course you decide to join ws. (Lights cigarette ina black holder.) his one? oop Sow how (The Bute HANNAN. PROFESS lu (Wer profes Jarry ohw will Ic pable Well Hann 7 THE 39 STEPS ” HANNAY, For lunch? ROFESSOR. Very good, Mr. Hannay. You see you're just the kind of man we need. Sharp. Intelligent. Cold- blooded. Ruthless. When the war comes these will he the exact qualities we need. HANNAY, War? PROFESSOR. Oh yes! We'll have quite a show of it HANNAY. And what if I don't believe in those al PROFESSOR. What other qualities ave there? HANNAY, Well..luuman qualities. ROFESSOR, Human qualities! What human qualities? HANNAY. Loyalty, selflessness, sacifice. (pruse) love, PROFESSOR. (He laughs a cruet laugh.) Lovel? Oh please Mr Hannay! When rave you ever loved anyone? It's not in your nature, old sport. Never lias been, has i? You have no heart, do you Hannay! Bur you know this. (HANNAY sits shocked. How does the professor know his deypest fears?) Sos, isn't it? No one to love, No one to care for. No home to go to. (Tie professor comes close to BANNAY, pinned in the ‘arnchaix. Blows smoke into his fac.) Bur there is you see. There is ~ our home! HANNAY. Our home? PROFESSOR. That is the only place you will find ‘love’ alt ‘chum. Where you really and truly belong. (We notice a German accent subily emerging from the professor's cultured British tones. HANNAY stares in Fhoror as the truth stars to dawn.) Oh we will give you love, Hammay: And in retuen? You will love us! The master race. On our great unstop> pable march, Commanded eternally by destiny itself Well old spor? What do you say2? Will you join ws Haan * rite 39 srePs | (The PROFESSOR waits exvitely. HANNAY thinks. The HANN. lok ticks in the corner: HANNAY deride.) i HANNAY. Alright Professor: Ifyou think Pi switable mnite= m vial os PROFESSOR. (whavps detihirdy) Ol I do! Udo, old sp rormton Ak a : HANNAY. What © HANNAY. ~ the ThirtyNine Steps? PROFESSOR. The Thirty-Nine Steps! The Thisty-Nine Steps — throng Tsay ft myself ~ is mein owt brilliant idle! The | very soul of the enterprise! The very — (He gasps. Reales BANNAY's rue) Yu wait a minutelt Wait a minute! You — you~ think yo can pull ze sool? Ach! You thought you conle join us | sand then = | HANNAY. Master race? / despise youll! (The PROFESSOR staggers bck clutching his chr.) PROFESSOR. Ach! You are ais bad as she was! Aniabellt Schmid! With all her outmoded seutimental notions Her high-minded DEMOKRATIKISCH BOVE SHEISSEDRIVVLE! | thought for 0 moment you = Int no! No!! You = yout = pathe = peuryminded = (He fies direly at HANNAY's ort) (HANNAY snguers, Realises he’ eon sot) THE 39 STEPS HANNAY. Ol bugger (He sinks tothe floor. The PROFESSOR twatches. Cig eueromoke swirling about him.) (HANNAY Lies spraengted below him.) PROFESOR. The ThirysNine Steps? [ tell you Mr Hannay. YOU VILL. NEVER EVER KNOW! (The door flies open. MRS. JORDAN in he weeds.) (fier music. Vry low and racous.) (The PROFESSOR grasps MRS JORDAN's hand They Mart dancing. They stamp and shout. They become wilder and wilder A terrible conflagration envelops the age. The flames lick around Ue stamping Jordans.) [HANNAY’s body Lies movionles.) End of Act One ” ACT TWO ‘Overturs) Scene Nineteen: Sheriff's Office. (CLOWN 2 has his fiet up on the table and is laughing lowily. He is the SHERIFF OF THE COUNTY. Another ‘man has his back to us.) SHERIFF, Cigarette cases. Pocket watches. Spectacle hold- ers, Ha ha hal But never a hymn book Mr. Hannay! (The other man terns, We see itis RICHARD HANNAY. Mirnculously recovered, And laughing to.) Who'd a'thought a hymn book could stop ~ (Holds up a siver bullet, Throws it to him.) ~a bullet Sul, 'm not surprised. Some of those hyrnns are terrible hard to get through. (They oth laugh again.) nk 1 was drinking the vilain’s champagne hour before! HANNAY. Right! SHERIFR. carina barely believe it. Tea, Mr Haunay? HANNAY, No thank you. SHERIFE Calling himself a professor! Whereas all along he HANNAY. A spy! SHERIFR.A spy! Well it's lesson to usall! Pretty slick sleuth- ing for an amateur Mr. Hannay! -HANNAY. Thank you SHERIFE, Sure about the tea? e ‘THE 39 STEPS HANNAY. Quite sure, thank you! Look here, sherif, [don't want fo rush you or anything but oxghtn't we he taking: ‘steps? This is serious you know. Ifit weren't, you don’t suppose I'd put myself in your hands with a murder charge hanging over me? SHERIFF. Ach! Never heed the murder Mr. Hannay! I don’t doubt you'll be able to convince Scotland Yard of your mocence as easily as you've convinced me, All need is a short statement to forward to the proper auth ity. Pye someone coming from the police station next door to take it down, Biscuit? HANNAY. No biscuit thank you! SHERIFF. Nice Gi HANNAY, Listen, sheriff, there’s no time to be lost! He's got the information! Ancl it’s absolutely vital to the safety of- (CLOWN 1 bursts through the door as the CHIEF INSPEC. TOR) INSPECTOR. Are you wishing to see me, sheriff? SHERIF. Inclced 1 am, Chief Inspector! Do you think I enjoy playing for time with a MURDERER! HANNAY. MURDERER??? CHIEF INSPECTOR. MURDERER! SHERIFF. Richard Hannay, you are under arrest! On the charge of wilful murder of a woman unknown in Port land Mansions London on Tuestay last. Take him to the county gaolt TANNA. You hearel my story! IC's uuet Every word of it SHERIFF. Listen, Hannay! We're not such imbeciles in ‘Scotland as some sinart Londoners may think! I don’t believe your cock-anc-bull story about the professor! ‘Why he’s my bestfriend in the district! (picks up phone) Get me Professor Jordan! HANNAY: Ifthe professor didn't shoot me ~ where did bullet come from? riba? (He SHERIFF (Th SHERIFF wate (He Yes? ancl (Pra Lac Inde HANNAY. SHERIFF, (The Inspect SHERIF HANNAY, vie TOR (aw throw INSPECT. ing | Josey SHERIFE. ticke UR 49 STEPS. 6s (He holds up the bullet, The SHERIFF and INSPECTOR revol cowering.) SHERIF. Grab him man! (The INSPECTOR grabs HANNAY.) SHERIF. (sill holding the phone) Oh ho ho! You're in deep ‘water Hannay and it's getting deeper by the seconcl! (He hears « voice on the phone. He snaps into the receiver) ‘Yes? Who's there? This is the sheriff of the county here ‘and [I'll thank you to ~ Ah! Professor! (Practically fall to his knees. Bows tothe phone.) To beg your pardon most humbly, sir. Just to let you know, sir, We have apprehended the villain, sir! Indleedly we have, sir yes si ‘Thank you kinelly, si HANNAY. [demand that you allow me to speak to the For. ign Office in London. SHERIFR.(Jaughing) Foreign Office in London! 1 hot Mr. Hannay, Handeutfs Inspector, please! (The INSPECTOR clicks one handeuff on to HANNAY's wrist) INSPECTOR. Come along quietly, sir please si SHERIFE. (on phone) Handeuffs going on now, ANNAY. [don't think so! (With an almighty efort, MANNAY pushes the INSPEC. “TOR into the SHERIFF. Tey bot crash tothe floor) (A window appears, HANNAY does a spectacular leap rough it) INSPECTOR. He's escaping!! Stop him! Stop that man! (HANNAY runs oul, The INSPECTOR follows hi blow- ing his whistle, The SHERIFF stares at the phone in Jcen horror. Puls ito his ea.) SHERIFE. No no, Everyth tickety boo, professor. Incleedy afraid 's under control, si. Everything eleedy itis, st E39 STEPS Lan in abject tere: Stars chomping ists.» police shistes in distance) Mh 49 STEES Scene Twenty: City Streets eHANNAY is sunning through the streets.) (Shadows of policenen appear at every turn. The police shadows give chase, HANNAY runs madly on. The shad- nus get taller an taller Gradually enveloping the whole sage.) (Sound of a marching band, He watches as they pass. He joins in, Escaps:) (Lights up.) 66 THE 39 STEPS Scene Twenty-One: Assembly Hall. (An enormous banner across the back of the stage: OTE MeCORQUODALE™) (One of the clowns appears. MR. DUNWOODY Master of Ceremonies. Fussy and doddery, he carries a char.) (HANNAY rons on brathlesly) HANNAY, Exense me! wonder if you alraid Un DUNWOODY. With you HANNAY. Right! Absolutely! C DUNWOODY. No thank ye. HANNAN. The thing is you see = DUNWOODY. Ifyou don’t min! HANNAY, Sorry. (04RD places the chair atthe side of the stage.) pUuNwoopy. HANNAY. Rig and ~ DUNWOODY. (Looks a! HANNAY. Whoops with delight) Why! Hello there! Helloo! Hello! HANNAY, Hello. DUNWOODY. You're here at last! HANNAY. Am 7 DUNWOODY, So good of you! to come! We've all here! We'r all here! Look! He's here Mr Macquarie? (Now the other CLOWN appears. He is the Chairman MR MCQUARRIE. Even more ancient and dodery. He is dragging on a lectern.) MCQUARRIE. Ah! [e's here! He's here! ‘Thank the Lord! “Thank the lord! Thank the lord! DUNWOODY. Tike a seat take seat rake a wat HANNAY. Thank you. Anyway = Pin a bit ofa pickle you see a (ee bunwe ple Mc ity ea 7 mcgua et bunwo wequa punwa EQUA puNwo MCQUA, (Ca this Sov Mea rive 39 STEPS (The to old men on him inthe cai, eaten his hair lund straighten his i, BANNAY sits No idea where he i orwhat he's doing.) (DUNWOODY grasps the lectern, benms at the audience.) (canned applause) bUNWOODY. Ladies and Gentlemen, it it now my extreme pleasure to call upon our ever popular chairman Mr. McQuarrie to say a few choice words about this eve- illustrious special guest speaker! Mr; McQuarrie if you would please. (canned applause) (MCQUARRIE grasps the lectern. Proceeds lo audrss the ‘audience but entirely inaudibly.) MCQUARRIE. Thankee yes...thankee...well Ladies and Gett~ rlemen there's no heed for me to tell ye of our special ‘guest speaker's many and remarkable = DUNWOODY. Mr McQuarrie, sit. MCQUARRIE. Ay? DUNWOODY. Speak up, sit. MCQUARRIE. Speak up? DUNWOODY. Speak Up. Ay. MCQUARRIE. Speak up. Ay. (Carves on at exactly the same level of inausiilty. The audience might ick up the odd word but that’s all) = special guest speaker's many and remarkable qu ties. His brilliant record as soldier, statesman, pioneer and poet speaks for itself. He snow one of the most foremost figures in the diplomatic and political world 1 the great city of London ane the perfect gentleman to tell ye in no tincertain terms how important it is for this constituency at this crucial by-election that our ‘candidate should be returned by an aclequate majority. ‘So without further ado let me call upon our illustt cous guest speaker for this evexing ~ Captain Rob Roy: Medlistaitt 0 (wild canned applause) (The old men nevd at HANNAY who sits there smiling. He Tuoks round for Caplain MeAlistair. Realises they mean Jum, Looks aghast, Realises there's nothing ele for it Abproaces the letera.) HANNAY, Well = ladies and gentlemen T must apologise for nny. hesitation in addressing you but to tell you the simple truth, 'd entirely failed, while listening to the chairman's flattering description just now, to realise the was talking...about me. (canned laughter) Thank you, ‘Thank you very much. Anyway when I a jotimneyedd typ to Scotland a few ~ clays ago, travel ling on the Highland Express over that magnifies structure the Forth Bridge ~ (Reveals his handeuff. Heastily hides it.) =e no idea that in a few days I should be address- ing an important politcal meeting. But may Tsay from the bottom of my heart and the utmost sincerity how dslightedl and relieved Lam to find myself in your pres- cence at this moment, (Suddenly PAMELA enters. She waves at MCQUARRIE and DUNWOODY. HANNAY smiles at her) Oh hello, Do take a seat, I'm just about t0 get to the Dest (ie recognizes her. She recognizes him.) Gooxt heavens! Hello. PAMELA. Hello, (hey gaze at one another for a moment. Remembering ‘hat hss. She snaps out of it. Rus out.) HANNAY, So = anyway, um — what was I saying? Ah yes ~ delighted, Not to say ~ relieved. Because so long as 1 stand on this platform Lam delivered for the moment Thoin the eates and anxieties that are always the lot of ‘aman in my position. Anyway ladies and gentlemen fas yout know we're here tonight to ~ £0 = discuss erm, Doi Sul yer kee th lems Lah (He look ‘THE so STEPS ‘0 what shall we discuss? I know ~ let's discuss er ~ how about =the he:ring trade? Or haddock perhaps? Or the idle rich! Not that I can talk about that because Tm not rich and I've never been idle. (canned laughter) 'HANNAY. (cont) Thanks awfully. Well I've been pretty busy all my life reall. Well actually not recently. Recently I've been in a bit of a slump to be honest. Catching inyself in the lonely hours, full of damned ~ thoughts and what have you, Well not that recently. Recently, the last few days — (PAMELA reappears. Whispers furiously lo MESSRS D & MOQ. Thay leave the stage together. HANNAY carries on. He's rather geting into i.) = well the last cay really, everything's gone a bit hay- wire frankly, Wouldn't say it’s been easy. Pretty damned dlifficute actually. But the odd thing is ~ the odd thing, is ~ you carry on! And its prety bracing when you do. Pulls a chap ou: of himself if you know what I mean. There he is. No idea what’s happening. Who to trust. Where to turn, Whether it'll be worth itat the end of it all. But something ~ I don’t know ~ stirs the old bones! (He grips the lectern.) Gets the old ticker pumping again! And there's no time to think. And your mind’s singing. And your heart's ig- And you're meeting people. Real people! ing the best they cant Yes! Doing the best they can in all the terrible situations the world throws at them! Suffering things no man or woman ought to suffer! And yet they carry on! They don't give up! They damn well Keep going! Andi'll tell you what else they do, They do the best they can for atler people too! Whatever prob- lems they've got, they damn well look after each other! Is that such an = (He ronembers the professor's words.) = ‘outmoded sertimental notion’? Is it? Well isi? So. look here = THe 39 STEPS. (Niusies Hubert Parry's Jerusalem fades up.) ‘ourselves resolutely ws make HANNAY. (cont) let's just al thus world a Happier pkice! “A decent world A gout world! world where no nation plots against snaiont (PAMELA appears again. This time accompanied by the tay clowns soho hae nor changed inte to BRAVIES. in Uribes and tronclernas. HANNAY carves on, playing for time, But inspivel toe) i where uo neighbour plots against neighbor ‘sno persecution or hunting down, where ev aly gets t squire deal and a sporting chance ae « penple try to help aud not to hinder! V world where suspicion and eruelty and fear lraye been far= ‘ever bnuishiel! So Fm asi dof you here tonight ~ (He points at members ofthe auuience.) = yon and you and ~ (He searches round.) = yout and you and you and = (He sonrrhes round) = definitely yout Is that the sort of world you v Because that’s the sort of world L want! What do your think? Let's vote on it! Gome oul Vote for a good world! A better world! A new world! And above all = ote for Mes = (He tists his neck, looks behind him atthe banner) MoCrocextite! ‘There! ‘That's all Uh y Thanik (Jorusatem elomases.) (Wied applause, HANNAY looks delighted anal bows Pamela scps forward.) PAMELA. This isthe man you want inspector! LHANNAY, Where Inve [heard those words before? (He makes bolt for it. The hecies give chase. At last ‘ey re him. Pin im down. Pull hime up.) s The HEAVY 1 PAMELA. HANNAY. PAMELA, ple HEAWY 2, HANNAY. HEAW I PAMELA. (The HANNAN. HEAW 2. HANNAY. Iori Wea seotl PAMELA. HEAWY 1 PAMELA. I HEAW 1. Tike y PAMELA. HEAvy 2. PAMELA 1 HEAVY 1.) HEAW2. PAMELA. HEAVY. PAMELA. | THE 39 STEPS Scene Twenty-Two: Assembly Hall. Foyer. (he eaves drag HANNAY fo PAMELA.) HEAVY 1. He's the one, miss? PAMELA Yes definitely, He's the one. HANNAY, I suppose you think you've been damn clever! PAMELA. Officer kindly tll your prisoner not to insult me pleasel HEAVY 2, Come along now sir! HANNAY, Don't you see I'vas speaking the truth in that rail way earskagel You must have seen I was genuine! ant and thank you For your help. it. Goodbye officers. (The WEAVIES start to pull HANNAY ou.) LHANNAY, Alright just listen please! You have to! There's an ‘enormously important secret ~ HEAVY 2. That'll do now! = being taken out of this country by a devilishly ¢ Foreign agent! [ can't do anything myself Iecautse of these fool detectives! But if you telephone Scotland Yard immediately and tell them this — PAMELA. Goodbye, Mr. Hannay! HEAVY 1. Actually beg pardon, Miss ~ er = PAMELA. Eelwards, Pamela Edwards. HEAVY 1. - on second thoughts Miss Edwards we should like you to come, too. PAMELA. Me? Whatever for? HEAVY 2. To identify the prisoner, Miss, PAMELA. But I've told you who he ~ HEAVY 1. Just to the police sta HEAVY 2. Ifyou wouldn't mind miss. 1 Miss, PAMELA. Well, where is the police station? HEAVY 1. Inverary, Miss PAMELA. Iaverary!! But that's nearly ~ n so steps, HANNAY, Forty miles. PAMELA. FORTY MILBS!? HEAVY 1, You keep out of this! HEAVY 2. [e's to be questioned by the Procurator Fiseal personally miss PAMELA. Procurator Fiscal personaly? seenvty miss HEAVY 2. [1's essential for pu PAMELA. Essential for public security? HEAVY 2. That's right mis PAMELA. Well if i's absolute hiss, you'd like 10 elimi into the « HEAVY 1. please PAMELA. The what? (The CLOWNS lovk at rach other They malize they've _Jorgoten the car. BANNAY the actor sighs. The CLOWNS “hastily improvise a ear out of chars, armchair, zhater- rv to hand.) HEAVY 1. The ear, miss. (HEAVY 1 starts the molor HEAVY? gets in beside him THANNAY al PAMELA sit Dehind them. HANNAY gives PAMELA « delighted grin. Sticks fis pipe in his mouth.) HANNAY. Hello! PAMELA seit.) mn Richa PAMELA. F'n not talking to you. HANNAY. Right. (They lok out of their rexpertive windows.) A by the way. (Gr flush on Pe (Sut PAMELA. esl HEAVY 2, We s Miss HANNAY. HEAVY 1. HANNAY. HEAVY 1 (Has HANNAY, Pame (rat Alrig hum joint (HES HAND Lin (The PAMELA) (Pw ‘THE 59 STEPS Scene Twenty-Three: Police Car. Night. (Catv motoring noises. The tyres screech, Occasional lights ‘ash on ther faces. BANNAY drops off. Nods annoyingly ‘on PAMELA ' shoulder) (Sueldenty she spots something. Calls out) PAMELA. Wait a minute! This is the wrong ro road south, Inverary’s north surely. (HANNAY wakes with a sar) HEAVY 2. There's a bridge fallen down on that road, Miss, We shall have to go round. The man knows the way, Miss. HANNAY. Excuse me, Inspector? HEAVY 1, What? HANNAY. Might [ see your warrant? HEAVY 1. You shut your moutht (HANNAY whistles the Mr: Memory theme.) HANNAY, Would you like t0 have a small bet with me Pamela? (PAMELA sighs.) Alright, [Il have it with you Sherlock. PI lay you a hundred to one that your Procurator Fiscal has the top joint of hie lite finger missing. (HEAVY 1 turns and whacks HANNAY. PAMELA gasps ANNAY rubs his face and grins.) Twin, (The car brakes sermech.) PAMELA. What are we stopping for? (The car burches to halt.) a This is the 8 Scene Twenty-Four: Police Car/Moor. (Wind, Bleating sheep sounds.) HEAVY 2, Dainned sheep! Get oota the way! HANNAY. Well, well. A whole flock of detectives. HEAVY 2. Well, here's nothing else for it. We'll have 10 clear them away. HEAVY 1. (spooted) Strange they have no shepherd HEAVY 2, Come along man! HEAVY 1. Not so easy in allthis thick fog. Look how it’s sue- lenly come down, (ag comes down.) Ont of nowhere. HEAVY 2. jumping ou ofthe car) Lsaid come on HEAVY 1, What about him? (NEAVY 2 inks a moment. Unlocks HANNAY's hand ‘uff. Locks it on to PAMELA. HANNAY and PAMELA are now handeuffed together) PAMELA. What on earth are you doing! Unchain this hand ‘calll HEAVY 2. There you are, Miss. Now you're a special con- stable, “As Tong as you stay ~ he stays! (loHEAVY 1) Come on! Clear the road! ant (o sheep) Get off the road ye mangey beasts! HEAVY 1, Ava’ ava’ ye bleating brutes! (They chase assay the sheep and exit.) HANNAY. And as long as I go - you gol COME ON! (He jumps out of the ca, pipe between his teeth. Pulls PAMELA with him.) PAMELA. What are you doing! HANNAY. Now you listen to me! (Tees the pipe out of his mouth. Sticks it in her back) Feel this = pistol? PAMELA HANNA PAMELA HANNA ja ro Heavy 2 HEAVY} HEAVY? HEAVY HEAVY? HEAVY 1. ee HEAVY, HEAVY. HEAVY? HEAVY. HEAVY. (Ue tee Take HEAVY 1, HEAVY, HEAVY. HEAVY, HEAVY EAWY®, HEAVY. HEAVY? MEAWY (ca thee crash ‘THE 39 STEPS PAMELA. Yes! “HANNAY, Do you want me to shoot you stone dead? PAMELA. Not particularly no. HANNAY. Then geta move on! (HANNAY pushes her out. The exit.) (The tuo HEAVIES run back in. See the empty cat.) Heavy 2. They gotaway! HEAVY 1, Where'd they gol? HEAVY 2. How do I know!? If we don't find them — HEAVY 1. Yes? HEAVY 2 - our lives wont be worth living! HEAVY 1. Oh my God! (HEAVY 1 starts fo run out, HEAVY 2 pulls him back.) HEAVY 2. Wait wait! HEAVY 1, What wha? HEAVY 2, The car the car! HEAVY 1. Where? Where? HEAVY 2. There! There! (He ples the chairs, armchair or whatever was used for the car onto HEAVY 1.) “Take it take il! ‘reavy 1 'm taking it I'm taking itt HEAVY 2, Gotta find ’em! Gotta find ‘em! [HEAVY 1, Gotta find “em! Gotta find "em! HEAVY 2. [just sald that! HEAVY 1, [know you just said that! HEAVY 2, Well don't say it again! HEAVY L Alright! Alright! HEAVY 2, Now come on come on! HEAVY 1. Come on come on! (CLOWN 2 charges out, leaving CLOWN 1 loaded wth the car, CLOWN 1 lotlers offstage. There is a deafening crash as he drops the car in the wings.) * Scene Twenty-Five: The Dark Moors. (HANNAY apponrswith PAMELA. They are fiandeufjnd Iigether as Hey eros the dat mors. He is pulling her ‘jt him.) PAMELA sins bog.) PAMELA. Pim stnek! Eourt move! HANNAY. Yes you cat! UANNAY fr af her handcuff Pulls her out.) PAMELA. Owl! ealls out) Help! HANNAY, (Puss his hidden pipe into her sibs again) Listen ‘One nore peep ut of you, PIE shoot you first and inyself after ! Now come on! PAMELA. Now Tu HANNAY, So yon are: (He pls her out, She shri.) PAMELA. I'm soaked throught! HANNAY, Liiever std it'd be easy Pamnel, (lakes deep bath) Smell that heather! Makes you glad to be afte does" ul PAMELA. Lovely, vex HANNAY, Coie out! (He pulls her after him.) PAMELA. Will yon stop doing that! a pndalle! dear (He starts to whintle Me Memory Thee.) Anu eto stop sting! Look wh for? You cinr't possibly escape! What elunee ot tied 19 me? Ha PAME HANS PAMEL HANS PAM HANN PAMEL ° ny au HANNs PAMEL, he PAMEL, a ‘Tue 99 STEPS. n HANNAY. Keep that question for your husband if T were PAMELA: Feon't have a husband! HANNAY, Laveky him! Come along! (ohistles again) What IS that tine! Right. Under this stile. PAMELA. Ou! (He drags her under a stile, She gets jammed. He comes ries to help. She gts more jammed. Now he gets jammed. “They berome entained. All the while they banter away.) * HANNAY, We seem alittle stuck. q PAMELA. Is that so? HANNAY. Hang on, PAMELA Whit? HANNAY. If you go - then if I go ~ no that doesn’t work | ‘wait a minute — let's start again ~ PAMELA. I say what isthe use of all this? (HANNAY pulls. PAMELA squscs.) j owt (HANNAY whist.) And please stop whistling! Those policemen will get you as soon as i’ Hight you know, as soon as daybreak dawns HANNAY, They're not policemen. PAMELA. Ohi really? So when dil you find that out? HANNAN. You Fount it out yourselE. I'd never have known that was the wiong road to Inverary! They were taking tis to their boss with the lite finger missing and God help either of 1s ff we meet hima! PAMELA So you're sill sticking to your penny novelette spy story! (They ave noe completly entwined. He rounds on her) | A rg 39 STERS. HANNAY, Listen! PAMELA. Ow! LHANNAY. There are twenty milion wome Trve got to be chained t0 you! I'll say it on ‘There's dangerons conspiracy against this island and we're the only people who ean stop itt PAMELA. The gallant kuight to the vesene! HANNAY. Alright then youre alone on a desolate moor in the « snacled t0 2 plain common unirderer who stabbed an intiocent defenceless woman four days ago an can't wait t0 get you off is hands! If that’s the site tiation you'd prefer then have it my girl and welcome! PAMELA Fin not afi (She smeees.) Atchoo! LHANNAY. Bless you. PAMELA. Thank you. HANNAY. Pleasure (For a second they are very close. They gaze at one ‘another. They wonder what todo. He pulls her through the sile and wrenches her up. PAMELA squecs.) re horriblel!! You just don’t care do nel Pim this island ane PAMELA. OWI! Yo You just walk into my life anid look at nel f'm wet and F'n miserable anc my wist cold and I didn’t do anything t© Inurt you! You're utterly horrid andl beastly anel heartless! You don't care about 1g except your pompous, selfish, horrible, less self) (The wind rages. HANNAY looks at her, She looks at him.) HANNAN. Yes well that's the kind of man fam, I'm af PAMELA, Well, God help your wife, that's all can say! LHANNAY. Yes, God help het! (hey stand miserably chained together in the wind.) (Scottish pipe music) a th " a aw « « Me rly, ey ‘THE 39 STEPS (A flickering neonlit sign rather majestically fies in tvough the mist. “THE MeGARRIGLE HOTEL ~ Warm Welcome Awaits Ye!") (The °O" on "HOTEL" has fuse.) (Through the dry ice CLOWN 2 in hilt and Highland gard mimes the bagpipes.) (On the other side CLOWN 1 appears as MRS MCGAR- RIGLE, pusiing on the Hotel reception desk.) (CLOWN 2 puts down his bagpipes and joins her as MR. [MCGARRIGLE.) ” a0 ‘Tite sy STEPS Scene Twenty Six: MeGarrigle Hotel (oR & MRS MCGARRIGLE listen wideeyd to the raging ‘wind outside.) ‘MRS MCCARRIGLE. It’ a terrible Highland night, Willy! MR MCGARRIGLE. Aye. MRS MCGARRIGLE. All that rain and wind rushing down the ‘glen! Wouldn't want to be ont alone tonight! MR MCGARRIGLE. No. LHANNAY. (of Hellooo! (The MOGARRIGLES start.) [MRS MCGARRIGLE. Did ye hear that? MR MOGARRIGLE. Aye. HANNAY. (off) Hellooo! MRS MCGARRIGLE. There it goes again! (HANNAY and PAMELA enter She is even more soaking. ‘and bedvaggied than ever) ‘Ach, ye poor dears! Look Willy. Its a young couple ‘come outta the night! Come away in sir, come away int ‘Ach dear the poor young lassie's terrible wet! My poor wee dea HANNAY. Thanks awfully! We had an accident with our car ‘a few miles back. MRS MCGARRIGLE. (with strong accent) Have ye no Iiggage? [HANNAY. Sorry? MRS MCGARRIGLE. Have ye no Inggage? (AANNAY stares back blankly.) MR MCGARRIGLE. Have ye no Inggage? HANNAY. Oh yes! Of course! It's = in the c MRS MCGARRIGLE. In the car, of course. Anyway welcome to the McGarrigle Hotel. Iam Mrs MeGarrigle. This is my husband Willie McGarrigle, MR MCGARRIGLE. Aye. HANNAY. I MRS McG. rigle | HANNAY. 1 MRS MCG MRMCCAL HANNAY. 8 MRS MCG# HANNAY. MRS MCG? (ees Well - (Se be Burye HANNAY. N Mas MOGA HANNAY. C (nudge PAMELA. Es MRS MCCA the bo Ma MCGAR our te HANNAY.T (He tn hand i. AMLU abite MR MCGAR Fim 30 STEPS st HANNAY. How do you do. Anyway — MRS MCGARRIGLE. You can be certain that at the McGar- rigle Hotel a warm MeGarrigle welcome awaits ye. ANNAY. Thank you. As fas — [MRS MCGARRIGLE. Isn't that right, Willie? ‘MR MCGARRIGLE. Aye. LHANNAY, Marvellous. Anyway — MRS MCGARRIGLE, Despite it being off-season. HANNAY. Yes. Um we'd like to stay the night if you could accommodat:\s. MRS MCGARRIGLE. Ach welll Let us see. Let us see. Let us (peers at book) Well = we've just the one bedroom left. With the ~ er one bed init, (She beams checil. PAMELA freee.) But ye'll not be minding that? LHANNAY. No no. Quite the reverset MRS MCGARRIGLE. You are man andl wife I suppose? [HANNAY. Oh yes. (nudges PAMELA) PAMELA. Er...yes. MRS MCGARRIGLE. (beaming) | thought ye were! I thought ye were! Ife would ne mind registering please? Willie the book. MR MCGARRIGLE. Ay! (AMR MCGARRIGLE opens the Guest Book.) HANNAY. Thank you, (He tries to rite in the register but realises his right hand is chained fo PAMELA'S lft.) Ant Um, can't actually write with my right hand. Got abicer— (MR MCGARRIGLE. Bruised? HANNAY, Sorry? [MR MOGARRIGLE. Cr HANNAY, Cranking the ¢ lon’ you sigty 4 writing your mew nH PAMELA. No. HANNAN. Yes Hthink yout do actually, ont you darling? king the ear? 1 Quite right! "Tell you w darling? The sooner you se the better Remember wh (He presses the stem of his pipe into er bark, PAMELA flnthes.) Me and Mrs. He (PAMELA writes. MR Ke MRS MCGARRIGLE frm cy ‘as she does 9.) = Hollyhocks = (he thinks) ~ Hannnessiith ~ (he thinks) = Hampstie. 1y Hopkinson — PAMELA finishes.) HANNAY, Well done darling, MRS, MCGARRIGLE. And there we are! HIANNAY, So anyway Think we'll be ~ MRS MCGARRIGLE. (very fast) Will ye be pen LHANNAY. Sorry? MRS MCGARRIGLE, Will ye be needing yer supper? wedding yer supe {avhsward pase) MR MCGARRIGLE. Will you be needing your suppers! HANNAY. Oh yes! Splendid Thank you. If you could send tap a large whisky and soda and at few sandiclies. Ole andl glass of milk MRS MOGARRIGLE. OF couse of conse! Ach the young doves. Wold you HANNAY. Certainly. Darling? (PAMELA resists, HANNAY pokes the pt into her back “Together they folle the MCGARRIGLES.) re 10 follow ie to your room Move plese? MRS x fin HAND, a MRS ¥ PAMEE tle MRS Ot the Ge HANNe PAM. on We PAMEL ig HANNA PAMEL iK hw oe ba, sores. ‘Scene Twenty-Seven: Hotel Bedroom. (MRS MEGARRIGLE lea them into their room.) MRS MCGARRIGLE. There we are now. All ready for ye. A. fine roaring firel (A buming log fire starts to flicher A fw sweats 0 late. They allot tli igh.) HANNAY, Marvellous! (They al rub their hands.) MRS MCGARRIGLE. Now dearie off with that wet skirt of yours andl I'l have i died in the kitchen. PAMELA. No clon't worry. I'll dry by the fire just as well ‘hanks all the same. MRS MCGARRIGLE. No

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