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Foreign Correspondent

Academy Award

Foreign Correspondent

Jul 24 1946



CAST:

ANNOUNCER

JONES, American

PHOTOGRAPHER (1 line)

CAROL, English

FFOLLIOTT, (pronounced FOLLY-it) English; breezy

VAN MEER, Dutch; elderly

FISHER, Carol's father; upper class English

KRUG, (pronounced KROOG) Austrian

ROWLEY, (pronounced ROLL-ee) working class English; friendly

HENCHMAN, German (1 line)

POLICE, London




MUSIC: THEME ... THEN IN BG


ANNOUNCER: The House of Squibb presents ACADEMY AWARD!


MUSIC: UP TO FILL A PAUSE ... THEN IN BG


ANNOUNCER: Every week Squibb brings you Hollywood's finest: the great picture plays; the great actors and actresses; techniques and skills chosen from the honor roll of those who have won, or been nominated for, the famous golden Oscar of the Academy of Motion Picture Arts and Sciences. 


MUSIC: THEME ... UP GRANDLY AND OUT


ANNOUNCER: And now E. R. Squibb and Sons, manufacturing chemists to the medical profession since 1858, bring you one of Hollywood's best known stars -- Joseph Cotten. Tonight you will hear Mr. Cotten in the exciting drama "Foreign Correspondent," which was nominated for four different Oscars. Yes, for Best Photography, Best Original Screenplay, Best Supporting Actor, and Best Production of the Year, "Foreign Correspondent" was nominated for the 1940 Academy Award! 


MUSIC: INTRODUCTION ... THEN BEHIND JONES--


SOUND: OFFICE DOOR OPENS ... WOMAN'S STEPS IN


JONES: (NARRATES) Well! Come right in, Miss Green. Put on your glasses, sit down, and take an epic. No, Miss Green, this is not to be an editorial for the Sunday edition. This is to be some notes on my lurid past. You see, before I came here to Springfield and bought this paper and became a substantial citizen, I was a reporter, Miss Green: Johnny Jones, foreign correspondent.


MUSIC: UP FOR ACCENT ... THEN BEHIND JONES--


JONES: (NARRATES) That was long before there was even a "phoney" war. I was sent to Europe to meet a man called Van Meer, known as "the strongman of Holland." He had been one of the signers of a secret treaty between Holland and the Allied powers. I was to get Van Meer to talk and to tell me what was in that treaty. My wife's maiden name is Carol Fisher. Her father was head of the Universal Peace Party. I met Carol over there and fell for her like a ton. When she went down to Amsterdam with her father, I went, too. There was a conference there and I intended to kill two birds with one stone -- for Van Meer was to be the principal speaker. I had met old Van Meer in Paris, so I didn't have much trouble nailing him when he got out of a cab in front of the conference building and started up the steps. 


SOUND: VAN MEER'S STEPS TO JONES


JONES: (NARRATES) He didn't seem very happy to see me. 


SOUND: CITY TRAFFIC BACKGROUND ... VAN MEER'S STEPS OUT WITH--


JONES: (FRIENDLY) Why, Mr. Van Meer! How are you? We somehow seemed to lose each other, sir. Don't you remember me? I'm the American reporter from New York. 


MUSIC: MILD ACCENT ... THEN BEHIND JONES--


JONES: (NARRATES) He seemed anxious to get away from me; seemed not to remember me. Just then a photographer jumped out in front of him.


PHOTOGRAPHER: Hold it! Picture!


MUSIC: ACCENT ... THEN TENSE BEHIND JONES--


JONES: (NARRATES) The guy pointed his camera at Mr. Van Meer and Van Meer's eyes got very big. Then I saw the gun in the photographer's hand. It went off then.


SOUND: TWO GUNSHOTS!


MUSIC: ACCENT ... THEN IN BG, OUT AT [X]--


JONES: (NARRATES) I guess I stood there like a goon just watching Van Meer fall. He was dead when he stopped rolling down the steps. This phony photographer dropped his camera and ran into the crowd. I ran after him; he got into a car and roared away! 


SOUND: ENGINE ROARS ... CAR PEELS OFF


JONES: (NARRATES) I looked for a car and just then my sweet Carol comes riding up in a Bentley with one of those big blonde Englishmen at the wheel. I jumped into the car, pushed Carol over, and yelled at the handsome brute. [X] (URGENT, TO FFOLLIOTT) Follow that car! Quick, hurry! 


CAROL: (CALM) Might as well humor him.


FFOLLIOTT: (AGREEABLE) Righto. 


SOUND: 2ND CAR PEELS OFF ... THEN RUNNING AUTO INTERIOR BACKGROUND


FFOLLIOTT: What's the trouble? Chap shot someone? 


JONES: Van Meer. Assassinated.


FFOLLIOTT: Dead? 


JONES: Looks like it.


FFOLLIOTT: Hmm. Bad show.


JONES: Couldn't be worse from his point of view. There he goes around the corner; don't lose sight of him! 


FFOLLIOTT: Oh, I thought that was him. No, there he is. 


JONES: No, no -- we've lost him. Come on -- faster, faster! Try and get around this car.


SOUND: AUTO REVS UP A LITTLE ... CONTINUES IN BG


JONES: That's good.


FFOLLIOTT: There he goes! He's had the luck of the devil. We might get him here. 


JONES: Blow your horn, blow your horn! 


SOUND: TIRES SQUEAL AS CAR ROUNDS A CORNER ... ENGINE CONTINUES IN BG


FFOLLIOTT: (TO CAROL) I say, old girl -- mind shoving your knees out of the way? Makes driving difficult (BEAT) Ah, that's better. 


CAROL: Not at all. Anything I can do. Glad to help.


JONES: Yes, we're catching up on him.


SOUND: GUNSHOTS ... WINDSHIELD SHATTERS ... ENGINE CONTINUES IN BG


FFOLLIOTT: Shooting at us, by hat. Shattered the safety glass. Wonder whose make. (MATTER-OF-FACT, TO CAROL) Better hop into the back, old girl. 


JONES: Good chauffeur we've got, Miss Fisher. 


CAROL: Very. 


FFOLLIOTT: You two know each other? 


CAROL: Oh, I forgot. This is Scott ffolliott, newspaperman. Same as you, Johnny. Correspondent of London Post. Mr. Jones, Mr. ffolliott. 


FFOLLIOTT: How d'you do? (BEAT) Here we are, old chap! Out in the country and very desolate if you ask me.


JONES: Keep on his tail. He's around that curve, behind the windmill. 


FFOLLIOTT: We have him then, old boy. Here we go. 


SOUND: TIRES SQUEAL AS CAR TURNS CORNER, THEN BRAKES SCREECH AS CAR STOPS ... ENGINE IDLES IN BG


FFOLLIOTT: (DISBELIEF) I say! The chap and his car have disappeared! Vanished.


JONES: (THE SAME) He couldn't have! 


CAROL: (MATTER-OF-FACT) He has. 


JONES: Look at that! The sails on that windmill!


FFOLLIOTT: Well-- Quite common over here in Holland, old boy. 


JONES: I could have sworn those sails were going against the wind just now. 


FFOLLIOTT: (SKEPTICAL) Why don't you lie down on the wet grass, old boy, and cool off?


JONES: I'll cool off at the proper time, but first would you do me a favor and go back and get the police? 


CAROL: Police? What for? 


FFOLLIOTT: (FACETIOUS) We shan't need the police. I've decided not to prosecute.


JONES: (INSISTS) You're going to bring the police back here because our man is in there. 


CAROL: In where?


JONES: In that windmill! 


CAROL: What makes you think so?


JONES: Look, while I'm explaining, a lot of things can happen. Will you please take my word for it and get the police? I'd go myself if I spoke the language.


FFOLLIOTT: Well, what will you do? 


JONES: I'll stick around here and do some snooping. I hate to seem executive, but this is serious. 


FFOLLIOTT: Right you are, old boy. You shall have the police -- a regiment of them. 


SOUND: CAR DRIVES OFF


MUSIC: AFTER A PAUSE ... UNEASY ... GENTLY IN AND BEHIND JONES--


JONES: (NARRATES) There I was, on a lonely flat plane with nothing but a windmill for company. Suddenly the mill stopped -- and the sails reversed themselves against the wind. (SOUND: WIND BLOWS BRIEFLY) At the same time I heard the drone of a plane. (SOUND: DRONE OF APPROACHING AIRPLANE) Then I knew! The reverse sails were a signal! The plane came in to land. (SOUND: AIRPLANE LANDS) I crept up to the mill. There was a shed there and, in it, the assassin's car. I went back and into the mill, then I heard muffled voices. (SOUND: MUFFLED VOICES, IN BG) Crept around some more and found a wooden staircase. I went up. (SOUND: JONES' STEPS ON STAIR) There was a door with a key in it. (SOUND: SECOND SET OF STEPS ON STAIR) I heard someone coming after me and I pushed backwards into the room and closed the door. (SOUND: DOOR CREAKS AND SHUTS, MUFFLED VOICES OUT) I was at the transmission room -- the room where the wooden gears connected with the big sails outside -- and I stood there listening. (SOUND: SLOW CREAKING OF WOODEN GEARS, THEN IN BG) Suddenly I almost jumped out of my skin. A weak voice spoke. 


MUSIC: UP FOR MILD ACCENT AND OUT


SOUND: CREAKING WOODEN GEARS CONTINUE IN BG


VAN MEER: (WEAKLY) Come in, mister. 


JONES: (NARRATES) I whirled around and there, tied to a ring in the floor, was Van Meer, alive.


VAN MEER: I'm afraid you see me at a great disadvantage. I have just been given a drug of some sort. It affects the brain. They gave it to me when they moved me from-- It's beginning now. I'm sorry-- 


JONES: (INCREDULOUS) But I saw you shot just now outside the conference hall; I saw it.


VAN MEER: The man you saw shot was not I. He was a substitute who looks like me.


JONES: But why? What--? 


VAN MEER: They want the world to think that I have been assassinated -- to conceal the fact that I am in their hands. 


JONES: Their hands? Well, who are they?


VAN MEER: I cannot explain. I am not certain. All that I can tell you is that they are going to take me somewhere by plane.


MUSIC: ACCENT ... THEN BEHIND JONES--


JONES: (NARRATES) Van Meer's head dropped and I jumped for the crossbeam above me, (SOUND: JONES JUMPS AND CLIMBS ONTO CROSSBEAM) pulled myself up and lay there near the big gear. The door opened, four men came in, picked up Van Meer and took him away. (SOUND: DOOR CREAKS SHUT) When they had gone, when the plane had died away, I got out of there fast. I came back with the cops and they thought I was nuts! There was no assassin's car, no assassin, no plane, and no Van Meer! (DISBELIEVING CHUCKLE) I - I laughed it off and went over to London with a big news lede in my pocket. I wanted to see Carol's father and find out if he could help me. (BEAT) On the night boat, I made love to Carol. 


SOUND: BOAT'S FOGHORN ... NIGHT BOAT BACKGROUND (WIND, ET CETERA)


CAROL: Penny for your thoughts, Johnny. 


JONES: I was thinking of those guys who came into the mill and took old Van Meer away. They sounded like Nazis to me.


CAROL: (EXHALES SKEPTICALLY) Imagination. 


JONES: Maybe, darling; maybe not. I got one good look at the leader's face and-- Well, it wasn't from the County Cork.


CAROL: (SADLY) Hard being happy with the world falling apart.


JONES: (CHUCKLES) The world isn't falling apart -- just governments. 


CAROL: It's the same thing.


JONES: Well, only governments don't sit in the moonlight wearing shawls and looking beautiful. 


CAROL: They're certain to march into Poland. 


JONES: Tomorrow, but not tonight. Look, I'm in love with you no matter who marches where. 


CAROL: When you think of what may happen, love doesn't seem so important. 


JONES: I don't know, it survived a lot of wars. Now will you forget the fate of Europe for a minute? I'm in love with you and want to marry you. 


CAROL: I wonder what father would say. 


JONES: About what? The fate of Europe? 


CAROL: No. About our marriage. You did ask me, didn't you?


JONES: Been pleading for hours. 


CAROL: I think he will be pleased. I'm sure he will. 


JONES: (AMUSED) Everybody will be pleased: England, America -- and me, too.


MUSIC: TRANSITION ... THEN BEHIND JONES--


JONES: (NARRATES) We got to Fisher's house in London and I was feeling just like a guy whose daughter is about to tell her father that you want to do that serious thing. The butler opened the door and there was my future father-in-law having breakfast with a man whose face was the face that led the guttural voices up to take Van Meer away from the mill. 


SOUND: BREAKFAST TABLE BACKGROUND (UTENSILS, DISHES, ET CETERA) IN AGREEMENT WITH FOLLOWING--


FISHER: Carol my dear, what a pleasant surprise. You didn't even wire me.


CAROL: Father, I hope you don't mind us barging in like this. Johnny brought me over on a boat. Mr. Krug, how nice to see you again. Oh, but of course you haven't met Mr. Jones. (TO JONES) Mr. Krug.


FISHER: Uh, Mr. Krug is with an embassy here.


KRUG: I think I shall have to be getting along, Mr. Fisher. Shall we settle on the wording for the peace petition now or leave it till later?


FISHER: Oh, we might as well clear it up now. (TO CAROL AND JONES) Er, you'll excuse us. (TO KRUG) Er, go right ahead, Mr. Krug, into my study. 


SOUND: KRUG'S STEPS AWAY


CAROL: Father, couldn't we have just a moment? Terribly important. 


FISHER: Why, certainly. (CALLS, TO KRUG) I won't be long! 


JONES: (HUSHED URGENCY) Mr. Fisher, get the police quick. Van Meer isn't dead. 


FISHER: (SURPRISED) Van Meer isn't--? Why - why, that's fantastic.


JONES: They kidnapped him, then shot his double. I saw Van Meer afterward, in a mill in Holland. That man-- That Krug was with him. 


CAROL: Krug? That's ridiculous, Johnny. We've known him-- 


FISHER: I know, dear, but Mr. Jones says-- 


JONES: I tell you, I spoke to Van Meer. He told me they were taking him somewhere by plane. They must have brought him here to England. 


FISHER: I've always felt a little uneasy about Krug.


KRUG: (CALLS, FROM OFF) Mr. Fisher?


FISHER: (LOW, TO JONES) I - I'll keep him there. (CALLS) Coming, Mr. Krug! 


CAROL: (WORRIED) Be careful, father.


SOUND: FISHER'S STEPS THROUGH DINING ROOM DOOR, WHICH CLOSES, THEN THROUGH STUDY DOOR, WHICH ALSO CLOSES ... FISHER'S STEPS TO KRUG


FISHER: (PLEASANT) Er, Mr. Jones has just suggested that I turn you over to the police, Mr. Krug. 


KRUG: (IRRITATED) Mr. Jones seems to be something of a troublemaker. 


FISHER: I thought you said he'd been taken care of by our agents in Amsterdam.


KRUG: I thought so, too, but perhaps Miss Fisher being with him caused complications. It would have been ideal if she had been in our confidence.


FISHER: So deucèd inconvenient his coming here. Dash it all, he's in my home! 


KRUG: He must be stopped.


FISHER: Yes, but I always find the sordid details somewhat distasteful. 


KRUG: As usual, I shall endeavor to relieve you of them. You remember Rowley? 


FISHER: Rowley? Ah, yes, the little man who used to work in your father's stables in Austria. 


KRUG: I shall get Rowley. Hire him as a private detective to "guard" Mr. Jones. 


FISHER: (ADMIRING) Guard him? Very delicate of you, Krug. Very. 


MUSIC: CURTAIN


SOUND: APPLAUSE


ANNOUNCER: In just a moment you will hear the second part of ACADEMY AWARD. Delightful Squibb Dental Cream is a member of the great family of Squibb products that every member of your family will enjoy using every day. Youngsters and grown-ups alike find it so refreshing. Let it linger on your tongue for just an instant and note that spicy tang of mint. Fragrant, frosty -- you can taste the refreshing difference when you use Squibb Dental Cream. Let its pleasantly brisk action wake up your whole mouth, leave it tingling -- alive! You can feel the refreshing difference when you use Squibb Dental Cream. And soon you'll see a refreshing difference in your smile, for the polishing agent in this quality dentifrice is one of the safest, softest, yet most effective known to dental science. So begin tomorrow to brush your teeth with Squibb Dental Cream. Then you'll enjoy all three ways a fine dentifrice can serve you. 


MUSIC: IN AND BEHIND ANNOUNCER ... PUNCTUATES AT [X]


ANNOUNCER: You'll taste, [X] feel, [X] and see [X] a refreshing difference. Use Squibb Dental Cream. 


MUSIC: UP FOR TAG ... THEN OUT BEHIND--


ANNOUNCER: Before we bring you Part Two of "Foreign Correspondent," we wish to thank United Artists for making this picture available. "Foreign Correspondent" is based on an original story written by Vincent Sheean.


MUSIC: THEME ... THEN BEHIND--


ANNOUNCER: And now the House of Squibb presents Part Two of ACADEMY AWARD, starring Joseph Cotten in "Foreign Correspondent."


MUSIC: SECOND ACT INTRODUCTION ... THEN BEHIND JONES--


JONES: (NARRATES) I should have known then about Fisher, but I didn't. And I took his word for it that I should wait and get a bigger story after we'd found Van Meer. Carol naturally sided with her father. She was afraid to let me go out alone, and Fisher put on his boogeyman suit and scared me, too. He sold me on the idea I needed a bodyguard and that's how I got Rowley. I didn't get wise to him even when he pushed me in front of a truck.


SOUND: TRUCK ROARS PAST ... BRAKES SCREECH!


JONES: (SHAKEN) Hey, you--! 


ROWLEY: (CALMLY) Somebody push you, sir? It was me, sir. If I tried to pull you back, you'd've been caught. It was push or nothing.


JONES: (REASSURED) Ah, smart work. Mr. Rowley. Thanks very much.


ROWLEY: After all, sir, that's what I'm here for, isn't it? 


JONES: I'm late for a date at the American Club. Here, let's take this cab.


SOUND: THEIR STEPS TO CAB ... DOOR OPENS AND SHUTS AS THEY CLIMB IN


JONES: American Club, driver.


SOUND: CAB STARTS AND DRIVES OFF ... RUNNING CAB INTERIOR BACKGROUND


ROWLEY: I'm not certain, sir, but I've an idea that two men have just got into another cab to follow us. 


JONES: Oh? I can't see any other cab. 


ROWLEY: I'm not certain, sir, but I'm sure I saw them. We might give 'em the slip if we go the long way around. Better stop here, sir, and we'll change cabs. 


JONES: Okay. Uh, stop here, driver. 


SOUND: CAB GROANS TO A STOP ... CAB DOOR OPENS AND SHUTS AS JONES AND ROWLEY CLIMB OUT ... CAB ROARS OFF


ROWLEY: Now, sir, no use waiting for them to catch up. Our job is to give 'em the slip.


JONES: Well, let's get another cab then. 


ROWLEY: Wait a minute, sir. We're in front of the cathedral. 


JONES: Well, let's go in there.


ROWLEY: Do you mind not going in, sir? I saw by the notice that it's a Requiem Mass. 


JONES: Oh.


ROWLEY: I hates to be so fussy, sir. Oh, I say -- look at the sign, sir. The lift takes you up to the tower to see the magnificent view -- and only sixpence!


JONES: Well, let's go up and look at the view then. Come on. 


SOUND: THEIR STEPS TO THE LIFT


MUSIC: TRANSITION


SOUND: TOWER BACKGROUND ... A STIFF WIND BLOWS ... THEIR STEPS IN AGREEMENT WITH FOLLOWING--


JONES: Say! This is pretty dangerous. This low railing and -- hm! -- some drop, too. Ho!


ROWLEY: (LIGHTLY, MEEKLY) You better be careful, sir. Heh! I was a bit scared when you leaned over just now. I was once with a chap on a bridge in Switzerland. He had a very nasty fall. Killed him stone dead. Always made me a bit nervous since. 


JONES: (CHUCKLES) Well, let's go down. I got a lunch date.


ROWLEY: Don't go down yet, sir. Oh, just a moment, sir. I believe that's the horse guards from Buckingham Palace approaching, sir. A rare and unusual sight. (CHUCKLES) You're in a bit of luck, sir. 


JONES: (LOOKS) Where? I can't see them.


SOUND: ROWLEY'S STEPS AS HE SLOWLY BACKS UP TO GET A RUNNING START, DURING FOLLOWING--


ROWLEY: Straight down, sir. You'll have to lean over a bit, sir.


JONES: (SLIGHTLY OFF) Oh. 


ROWLEY: Ah, see them, sir? 


JONES: (SLIGHTLY OFF) Oh, yes, I see them now.


ROWLEY: Quite a sight, sir, eh? Quite a sight, sir. (WITH EFFORT) Here you go, to join them, sir!


SOUND: ROWLEY'S FAST STEPS TO PUSH JONES ... BUT HE MISSES AND FALLS


ROWLEY: (BLOODCURDLING DEATH SCREAM)


MUSIC: GRIM ACCENT ... THEN BEHIND JONES--


JONES: (NARRATES) I don't know what made me turn aside suddenly -- one of those hunches -- but just as I did, Rowley, with his hands stretched out to push me, went hurtling by and over the rail and down to a horrible death before the crowd below. The thing that sent chills up my spine was that I knew then that Carol's father had tried to have me murdered. (BEAT) In my state of mind, it was like a double Scotch seeing old boy ffolliott again. 


FFOLLIOTT: Hello, old boy. Congratulations on your little set-to with Rowley. 


JONES: How'd you know about Rowley? 


FFOLLIOTT: Rowley and Fisher, old boy, and the fellow with the high-necked sweater. Matter-of-fact, I followed them here to London. 


JONES: I see. Then you believe me now about Van Meer? 


FFOLLIOTT: Oh, of course. I'd suggest we work along from here together, old boy. First thing I'd suggest after that would be that you kidnap Fisher's daughter. 


JONES: What?! 


FFOLLIOTT: Well, all right, old boy, no offense. It'd give me a chance to bear down on Fisher. He dotes on her, you know. Maybe he'd talk and tell us where Van Meer is. 


JONES: Hey, who are you anyway? I mean, what are you?


FFOLLIOTT: British subject, old boy. Patriot and all that. My country's on the verge of war. 


JONES: I see. Okay, pal, I'll kidnap Carol. Ah, that is, I'll go through the motions. Where'll I take her? 


FFOLLIOTT: Uh, take her to Cambridge. I'll get you digs at the College Arms. 


JONES: Oh, wait now. What happens after you get Fisher talking? 


FFOLLIOTT: I'll phone you, old boy, and let you in on the kill.


JONES: It's a deal.


MUSIC: TRANSITION


CAROL: Johnny? What's the matter with you? 


JONES: Oh, nothing. I'm just relaxing here in the College Arms.


CAROL: You'd better be nice or I'll send you back to your own room without supper. 


JONES: Okay. Look, Carol -- we got to talk. There's something hanging over our heads and before it falls, I-- I want you to know that no matter what happens that--


SOUND: PHONE RINGS ... RINGS AGAIN BEHIND--


CAROL: Johnny, what's wrong with you? What are you talking about?


JONES: Wait.


SOUND: RECEIVER UP ... FFOLLIOTT'S VOICE ON FILTER


JONES: (INTO PHONE) Hello? 


FFOLLIOTT: Oh, hello, old boy. Er, this is me.


JONES: Oh, yes, yes -- what happened?


FFOLLIOTT: Fisher's gone. Our people found out where he went. Take this down. Two Hundred and Forty-Two Charlotte Street, Tottenam Court Road. 


JONES: (TO HIMSELF AS HE WRITES) Two-Forty-Two Charlotte Street, Tottenam Court Road.


FFOLLIOTT: I think you better get there as fast as possible. I think that's where they have Van Meer. Right?


JONES: Check.


SOUND: RECEIVER DOWN


CAROL: What is it? 


JONES: Carol, I've got to go back to London fast. I want you to stay here until I come for you. 


CAROL: Oh, no, you don't! I sense trouble -- and I'm not letting you out of my sight.


JONES: I'm not gonna try and talk you out of it, but-- Well, remember this. No matter what happens, I love you, darling, with all my heart.


MUSIC: TRANSITION ... ENDS ON A TENSE ACCENT


SOUND: DOOR OPENS ... FISHER'S STEPS IN ... DOOR CLOSES


FISHER: Where is Van Meer? 


VAN MEER: (MOANS IN PAIN)


KRUG: There he is.


FISHER: Those lights in his face -- can't you cut them down? 


KRUG: Yes. (TO A HENCHMAN, AN ORDER) Cut them.


SOUND: CLICK! OF LIGHTS SWITCHED OFF


VAN MEER: (WEAK AND DISORIENTED FROM DRUGS AND TORTURE) Thank you. Thank you very much. (EXAMINES FISHER) You are like my friend Mr. Fisher. I am so sorry. It is so dark, I cannot tell. (PUZZLED) But you are like my friend. 


FISHER: I am Fisher, Mr. Van Meer. I am your friend.


VAN MEER: (RELIEVED BUT CONFUSED) I am so glad. How did you get here? Am I going away now? Thank you, Mr. Fisher, thank you. Are the police here? They mustn't get away. You mustn't let these people go. 


SOUND: DOOR OPENS ... FFOLLIOTT'S STEPS IN


FFOLLIOTT: (FACETIOUS) Pardon me, gentlemen. I represent the Jupiter Life Assurance Company. Can I interest you in a small policy? 


KRUG: (ANNOYED) Did you have to bring him up here?!


HENCHMAN: I didn't know what to do. He tried to get away. 


FFOLLIOTT: You mustn't blame him, Krug. He's nervous and he had a pistol in my back. I came easy. But go right ahead, gentlemen. Don't mind me. I'll sit right down here.


SOUND: FFOLLIOTT'S STEPS TO CHAIR WHERE HE SITS 


VAN MEER: (STILL CONFUSED) What is that? Is it the police? Tell me where I am.


FISHER: (FRIENDLY) You're in London, Mr. Van Meer. These people think I'm working with them. You and I must play a little game. 


VAN MEER: A little game?


FISHER: Yes. They want you to tell me something. Er, just one little clause in the treaty. Clause Twenty-Seven. (NO RESPONSE; GENTLY INSISTS) Clause Twenty-Seven. (NO RESPONSE; A GENTLE PLEA) Come, Mr. Van Meer.


VAN MEER: (BROKENLY) But it's the secret clause. I know Clause Twenty-Seven. But they mustn't know it. It could help them if they make war. War. You don't want them helped, do you?


FFOLLIOTT: Don't tell him anything, Mr. Van Meer! He's not your friend!


VAN MEER: Who was that? You are not my friend? Oh, I see. I see. You cried peace -- peace -- and there was no peace. You were a liar, Fisher. A cruel, cruel liar. I will never talk. Do what you want with me.


FISHER: (GIVES UP) Well, it's useless. Better try your methods, Krug. 


KRUG: (AN ORDER) Ah, bring him over here. 


SOUND: MEN'S STEPS ... VAN MEER DRAGGED ... THEN TORTURED BY HENCHMEN BEHIND--


VAN MEER: No, no--! (HOWLS IN PAIN AT LENGTH) No more. I'll talk! I'll talk!


KRUG: Then talk! 


VAN MEER: Ohhh. (QUOTES THE CLAUSE RELUCTANTLY) "In the event of invasion by an enemy power, Her Majesty's government solemnly pledges that--"


SOUND: SCUFFLE AS FFOLLIOTT TACKLES THE HENCHMEN ... IN BG


FFOLLIOTT: Steady, Van Meer! Steady!


KRUG: [?], get him!


MUSIC: TRANSITION


SOUND: JONES AND CAROL'S STEPS APPROACH ON SIDEWALK AND STOP


JONES: That's the number. But it's a restaurant.


CAROL: And dark. 


JONES: Ffolliott wouldn't kid me. This must be the place. 


POLICE: I say, sir, are you Mr. Jones? 


JONES: Why, yes. Why?


POLICE: Mr. ffolliott said we were to expect you, sir. We shall get a signal from mr. ffolliott any moment now, sir. 


JONES: Say, what is this? Who are you and who is ffolliott?


POLICE: Sorry, sir, but Mr. ffolliott will explain. That is, if Mr. ffolliott is still alive. 


SOUND: CRASH! OF WINDOW GLASS, OFF


POLICE: There it is, sir! The signal!


SOUND: POLICE WHISTLES BLOW ... THEN IN BG


JONES: Stay here, Carol.


CAROL: No. My father's in there, too. I heard what Scott ffolliott said to you on the phone. I'm coming. 


POLICE: Come on, sir, we're closing in! 


JONES: Carol, you're not coming. Darling, I love you, but I've got to do -- this! (GRUNTS WITH EFFORT)


SOUND: JONES SOCKS CAROL


CAROL: (EXCLAIMS AS SHE'S KNOCKED UNCONSCIOUS)


POLICE: (IMPRESSED) Right into my arms, sir.


JONES: I had to do it. Had to sock her. Hold her. I'm going in. 


MUSIC: TRANSITION


SOUND: IN THE DISTANCE, POLICE WHISTLES BLOW, IN BG


KRUG: We're trapped!


FFOLLIOTT: Yes, old boy, you are -- to put it in so many words. 


FISHER: No! I've got to get out of here! 


KRUG: Too late! The place is surrounded! 


FISHER: Then this man must die before they get here!


KRUG: What about us?! 


FISHER: You will pay the price your country asks! The work is not finished! I must go on. 


KRUG: Very well. 


FISHER: Sorry, ffolliott, this is war.


SOUND: SLIGHTLY OFF, THE POLICE BATTER AT THE DOOR, IN BG


FFOLLIOTT: Think nothing of it, old boy. Go ahead and shoot. (QUICKLY) You know, I'd feel silly if I were you, Krug: taking the rap, holding the sack, as it were, for Fisher. He wants to sell out so's his daughter won't find out he's been a Nazi spy.


KRUG: So! That daughter, eh? 


FISHER: Do as you're told! That's an order, Krug! 


KRUG: Why should we die and let you get away because your daughter doesn't know about you?! I have a daughter, too -- in the homeland. 


FISHER: Shoot, you fool!


KRUG: Ja, I shoot!


SOUND: THREE GUNSHOTS! ... FISHER'S BODY THUDS TO FLOOR ... POLICE FINALLY BREAK THROUGH DOOR


JONES: Stand where ya are, all of you. Drop those guns. Ffolliott, you all right?


FFOLLIOTT: Hello, old boy. Mighty happy to see you.


JONES: (SURPRISED) Fisher -- he's been shot.


FFOLLIOTT: Yes, old boy. I talked Krug into it. 


JONES: He's dead? 


FFOLLIOTT: Yes. (GIVES ORDER TO POLICE) Take those people away.


SOUND: FOOTSTEPS ... POLICE ESCORT KRUG AND HENCHMEN AWAY


JONES: Mr. Van Meer? Van Meer?


FFOLLIOTT: He's just barely alive. But he didn't give us away on that treaty. 


JONES: Was Fisher really--? 


FFOLLIOTT: Yes. He was in charge of those Nazis. 


JONES: Carol? 


FFOLLIOTT: Oh, innocent, old boy. Doesn't know a thing.


JONES: What I'm going to tell her? 


FFOLLIOTT: (MUSES) Fisher was a Nazi, though only half German. She's all English, old boy. You could tell her-- Tell her her father came here to talk to Van Meer and was trapped. 


JONES: That true?


FFOLLIOTT: Well, yes, old boy. Only it was we who trapped him. 


JONES: And who are "we"? 


FFOLLIOTT: British intelligence, old boy. Hm! You'd better get to a cable office. You have a whale of a story for your paper. 


JONES: Yeah, and a whale of a story to tell Carol, too, "old boy."


MUSIC: TRANSITION


JONES: So, darling, your father must have found out that they were keeping Van Meer a prisoner there and torturing him, trying to get him to tell what was in the secret treaty. Your father went there and Krug killed him before we could break down the door. 


MUSIC: SNEAKS IN ... MELANCHOLY, IN BG


CAROL: (SADLY) Goodbye, Johnny. I love you. I shall always love you. And now -- goodbye. 


JONES: (STUNNED) What - what are you talking about? Goodbye? 


CAROL: I know you love me, too. That's why you're lying to me. My father was a Nazi agent and he was shot by Krug, his subordinate. 


JONES: (PUZZLED) But you didn't know your father was--?


CAROL: No, I didn't. Not until he hired that man to try to kill you. Then I began to suspect. When I heard ffolliott call you at Cambridge, I knew. 


JONES: That's why you came with me. 


CAROL: Yes. I was going to try and talk you out of going in there. I was going to try and make you go back to America before -- before you knew. 


JONES: (QUIETLY) I am going back to America.


CAROL: (SURPRISED, DISAPPOINTED) Oh. Oh, yes. Of course.


JONES: (POINTED) I'm going back with my wife.


CAROL: (REALIZES, PLEASED) Johnny!


JONES: (WARM AND SYMPATHETIC) Carol-- Carol, my darling. You couldn't possibly help what your father was or did. Now, come on. I've got the tickets and we'll start all over again back in America.


MUSIC: OUT


CAROL: (FIRMLY) No, Johnny, no. The killing is just beginning. England is at war tonight. And I'm going to stay and help make up to her some of the things my father did against her. (QUIETLY APOLOGETIC) After the war -- if we're still alive, my darling -- come back to me then, and ask me again to be your wife.


MUSIC: SNEAKS IN ... QUIETLY STIRRING, IN BG


JONES: (DISAPPOINTED, BUT AGREEABLE) I see. I - I guess I see. All right, darling. I'll be getting along on my boat.


CAROL: (SOMBER) Until tomorrow, Johnny. Whenever that will be. 


JONES: (HOPEFUL) Yes, darling. Until - whenever that'll be.


MUSIC: UP FOR CURTAIN


SOUND: APPLAUSE


ANNOUNCER: To help all mankind toward greater health and happiness, thousands dedicate themselves to the service of others through scientific research in the field of medicine. Playing a vital role in this vast scientific effort, the House of Squibb maintains at New Brunswick, New Jersey, a great research institute. Separate and distinct from the business activities of Squibb, the Squibb Institute for Medical Research carries on investigations in the same spirit, and in the same manner, as the laboratories of universities, foundations, and endowments all over the world. The Squibb Institute is evidence of unceasing faith in the progress which can be generated through untrammeled scientific research. Your doctor knows how much the Squibb Institute has aided in the development of many of the newest weapons in the victories over disease and pain. He knows, too, that the Squibb products he uses reflect the same high principles, the same devotion to the search for perfection, that is behind the Squibb Institute for Medical Research. And you may use with the same confidence the many everyday health necessities Squibb makes for your medicine cabinet. To make sure you're getting Squibb quality, ask for it by name. Ask for Squibb -- a name you can trust.


MUSIC: THEME ... THEN IN BG


ANNOUNCER: Next Wednesday another great picture. The House of Squibb will present ACADEMY AWARD, starring Olivia de Havilland and Jean-Pierre Aumont in "Hold Back the Dawn." 


MUSIC: THEME ... UP TO FILL A PAUSE ... THEN IN BG


ANNOUNCER: Today's performance of "Foreign Correspondent" was written for radio by Frank Wilson, with an original musical score composed and conducted by Leith Stevens. Our producer-director is Dee Engelbach. We wish to thank Mr. Joseph Cotten for his splendid performance tonight. Joel McCrea, who was previously announced, was unable to be with us because of last-minute changes in his motion picture production schedule. Mr. Cotten appeared through the courtesy of David O. Selznick and may soon be seen in Mr. Selznick's Technicolor production "Duel in the Sun." This is Hugh Brundage bidding you goodnight until next Wednesday at this same time when you're invited to listen again to ACADEMY AWARD, presented by the House of Squibb -- a name you can trust. This is CBS, the Columbia Broadcasting System.


MUSIC: OUT BEHIND--


SOUND: APPLAUSE


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