Dangerous Assignment: Find Szabo and the Briefcase 05/03/1950

Summary

Podcast Summary: Dangerous Assignment – “Find Szabo and the Briefcase” (Aired 05/03/1950)
Podcast: Choice Classic Radio Detectives | Old Time Radio
Episode Date: February 25, 2026 (rebroadcast)
Original Air Date: May 3, 1950
Main Character: Steve Mitchell (Brian Donlevy)
Setting: Paris

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Episode Overview

This episode of Dangerous Assignment whisks listeners into the high-stakes world of Cold War espionage. U.S. secret agent Steve Mitchell is dispatched to Paris in a race against time—he must locate a missing Balkan courier named Szabo and retrieve a sealed briefcase containing sensitive materials, all before a crucial multinational meeting on atomic inspections. Murder, double-crosses, and a ticking bomb escalate the suspense in Mitchell’s frantic three-day quest through the shadowy streets of Paris.

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Key Discussion Points & Major Plot Elements

1. The Assignment & Stakes Set (01:17—02:30)

• Steve Mitchell is tasked by his commissioner to go to Paris, find Szabo (a Balkan courier), and recover a lost report in a sealed briefcase.

• The political stakes are high: suspicion from the report’s disappearance threatens the success of an atomic inspection meeting.

  “Three days from now, a secret meeting on atomic inspections will be held in Paris... You've got just three days to do it in.” —Commissioner ([01:26])

2. The Investigation Begins (03:58—06:15)

• Paris police inspector Bravant offers the first leads, including a mysterious woman, Sari Tedescu, connected to Szabo.
• Mitchell tails Sari but loses her in a bar, encountering the enigmatic Anton, a concertina player with inside knowledge.

3. Danger in the Metro—Attempted Murder (07:00—08:49)

• Anton agrees to tell Mitchell what he knows for a price.

• As they meet, someone tries to kill Mitchell by pushing him onto subway tracks. Anton helps save him, but warns him of trouble.

  “Brother. That was close.” —Steve Mitchell ([08:36])

4. A Trail to Murder—and the Briefcase (09:35—13:09)

• Anton leads Mitchell to an apartment where they find Szabo strangled in a chair.

• The missing briefcase is discovered hidden beneath Szabo’s seat—government seals intact. Suspicion abounds as to why the killer left it behind.

  “If this man Zabo was killed because of briefcase, why did not killer take it with Sable?” —Anton ([12:46])

5. Twists and Nagging Doubts (13:42—14:44)

• Mitchell delivers the briefcase to Robertson at the American Legation, seemingly solving the mystery.
• Suspicions linger: “Somehow it's been too easy. Call it a hunch, or what have you. I begin to wonder if maybe I've been played for a sucker.” —Steve Mitchell ([14:44])

6. Piecing Together the Real Plot (15:00—18:29)

• Mitchell pressures the bartender for Sari’s location, leading to a tense confrontation with Sari in her hotel room.
• Sari confesses her involvement: she’s not part of the espionage, but instead tried to flee her country with Szabo’s help.
• She describes seeing Anton, the concertina player, at the airport and bar—crucial connection to the mystery.

7. Anton Unmasked—The Bomb Plot (18:46—20:16)

• Anton bursts in with a gun, revealing himself as the murderer and mastermind.

• His goal: he tricked Mitchell into delivering a bomb (disguised as the briefcase) to the peace conference.

  “You planted a bomb in that briefcase and got me to deliver it for you.” —Steve Mitchell ([20:38])

8. A Desperate Race Against Time (21:04—26:16)

• Mitchell frantically tries to track down Robertson and the briefcase as the secret meeting time nears.

• Paris police, a radio alert, and cab drivers are all enlisted in the hunt through Paris.

• After a wild series of leads—including a false address—Mitchell finally reaches the actual meeting just in time to prevent disaster:

  “Don't open that briefcase... There's a bomb in it! ... Another second and you'd all have been blown sky high.” —Steve Mitchell ([26:00])

9. Coda—Mission Accomplished, at a Price (26:30—26:56)

• Having saved the delegates, Mitchell plans to hand the unopened briefcase over to the French authorities—and seek “a nice, quiet nervous breakdown.”

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Notable Quotes & Memorable Moments

• On Espionage's Frustration:

  “Yeah, that's what I like about my job. I've always got so much time to do things in—three whole days.” —Steve Mitchell ([03:58])

• Facing Death in the Subway:

  “A hand suddenly shoots out of the darkness and grabs one of my ankles. I lose my balance. The train is almost on top of me... That was close.” —Steve Mitchell ([08:29])

• The Villain Revealed:

  “Concertina player develops strong hands. Strong enough to strangle you.” —Anton ([19:21])

• The Last-Second Save:

  “Wait. Don't open that briefcase... There's a bomb in it!” —Steve Mitchell ([26:00])

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Important Segment Timestamps

• Assignment Unveiled: 01:17
• First Encounter with Sari: 04:44
• Attempted Murder in Metro: 08:29
• Discovery of Szabo's Body & Briefcase: 09:57–12:44
• Feeling Setup—Doubt Sets In: 14:44
• Confrontation & Sari’s Innocence: 16:36–17:38
• Anton’s Revelation & Fight: 18:46–20:16
• Bomb Plot Revealed: 20:38
• Race to Stop the Bomb: 21:04–26:16
• Final Showdown at the Meeting: 25:39–26:16

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Episode Tone & Style

• Hardboiled, Self-Deprecating Humor: Steve Mitchell’s narration is wry, world-weary, and quick with a sardonic quip—classic for the era.
• Fast-Paced, Tense: The plot unfolds rapidly, with a style reminiscent of postwar espionage stories; frequent twists keep the listener guessing.
• Atmospheric: The setting is brought to life with references to the Paris metro, bars, and back alleys, giving an immersive old radio vibe.

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Concluding Thoughts

This episode is a quintessential example of Dangerous Assignment’s blend of espionage, mystery, and radio-era thrills. The ticking clock, unexpected twists, and revelation of a bomb plot showcase the genre’s Cold War anxieties. The performances are sharp, especially Brian Donlevy’s smart-aleck style, and the story keeps listeners on edge till the very last second. Perfect for fans of vintage detective drama and radio noir.

Transcript

[A]

Welcome to Choice Classic Radio, where we bring to you the greatest old time radio shows. Like us on Facebook, subscribe to us on YouTube and thank you for [e-mail].

[B]

Wheaties big parade. The makers of America's favorite whole wheat Wheaties breakfast of champions invite you to Wheaties Big Parade, a thrilling procession of radio's greatest summer entertainment programs. Yours for the listening on NBC. Dangerous assignment. Starring brian donlevy as steve mitchell.

[A]

Morning, Commissioner. Well, what uncivilized neck of the woods are you sending me to this time?

[C]

Paris, Steve.

[B]

Paris.

[A]

Hey, I like that for a change, I could use a weekend in Paris.

[C]

Forget it. This is no vacation. Steve, three days from now, a secret meeting on atomic inspections will be held in Paris. Each country is sending a representative with a report of his country's industrial potential, lists of factories capable of atomic production.

[A]

What am I supposed to do? Go over there and count a bombs?

[C]

One of the Balkan countries sent a courier named Szabo to bring an air report to Paris. Our allegation was asked to keep it in a safe place. And an American named Blake was sent to meet Szabo.

[A]

Did Szabo arrive in Paris?

[C]

Yes. He was seen getting off the plane carrying the officially sealed briefcase. He disappeared right after that, and Blake was killed.

[A]

Sounds like somebody was real eager to get their hands on that report. Must be hot.

[C]

That's the mystifying part, Steve. The Balkan country says there was nothing sensational about it.

[A]

Well, maybe there's something in it that's hotter than they realize.

[C]

It's a possibility. But the point is, the disappearance of that report has stirred up enough suspicion to sabotage that meeting three days from now. That's why you've got to get over there, find Zabo and the briefcase, and turn the briefcase over to our representative who's waiting at the legation so he can take it to that meeting. You've got just three days to do it in. Well, that's it. You've got your assignment, Steve.

[B]

Good luck. Wheaties are America's favorite whole wheat flakes. And there's every good reason why they should be. They're made from wheat, of course. 100% whole wheat. So you can be sure that every single Wheaties flake in the orange and blue box you buy from your grocer contains all the good things you've come to expect from whole wheat. Vitamins, minerals, iron, and just plain whole wheat. Goodness. You can always be sure you'll never get shortchanged on nourishment when you look for it in a bowl of Wheaties. Of course, the beautiful thing about good, nourishing Wheaties is, is that they taste just wonderful too. For breakfast or any old time at all, you can enjoy Wheaties plain with milk or a little cream. Or with your favorite fruit. In fact, Wheaties taste so good, some people just nibble them right out of the box. So if you have any use for a breakfast cereal that's wonderfully, wonderfully good to eat and good for you besides, by all means, ask your grocer for Wheaties, America's favorite whole wheat flakes. Now here is Dangerous Assignment. Starring Brian Dunleavy as Steve Mitchell.

[A]

Yeah, that's what I like about my job. I've always got so much time to do things in three whole days. And all I had to do was fly a few thousand miles to Paris, solve Blake's murder, find a gent named Zabo in a city of just a few million, then turn his briefcase over to our representative to that secret meeting. A real cinch. Wednesday afternoon, I get to Paris. An hour later I'm sitting in the office of Inspector Bravant of the French Surety, Monsieur Mitchell.

[D]

A very mystifying case. We have been unable to find any trace of Zabo's whereabouts.

[A]

You've got no leads at all?

[D]

We have but one lead, Mitchell. She is in our way here now.

[A]

She? Who is she?

[D]

A girl named Sari Tedescu. Ah, Mademoiselle Tedescu. Please have a seat.

[E]

Thank you. I do not understand why you have brought me here, Inspector.

[D]

I wish to ask you about a man named Zabo Zebo.

[E]

But I do not know any Sabo.

[D]

You were on the same plane from the Balkans. You were observed to be quite friendly with him during the flight.

[E]

I. I've talked to several of the passengers, but I did not know their names.

[D]

I see. And you are quite certain you do not know this, eh, Bo?

[E]

I have just told you I did not. Please, Inspector. I do not see wonder why you had.

[D]

Par nois, Mademoiselle. Parne wa.

[A]

That is all.

[D]

You may go.

[E]

Very well, Inspector.

[D]

Bonjour, mademoiselle.

[E]

Good day.

[A]

Well, looks like you got a big hunk of nothing out of that Brabant.

[D]

She is lying, Mitchell. When we searched Blake's apartment after the murder, we found this snapshot of Blake Zabo and Zari Tedescu.

[A]

Oh, you know, I think I'll tag along after Sari, Inspector. I'll check with you later. I hurry outside and spot Sari on the sidewalk ahead of me. After about 15 minutes of fast walking, she Ducks into a bar. La petite chien. I wait a minute or two, and then I go inside. But Sari is nowhere in sight. Oui, monsieur. What will it be? Look, a girl just came in here a minute ago. Bartender. What happened to her?

[B]

A girl.

[A]

But many girls come in here, monsieur. Would you perhaps like me to introduce you to. This one had long, dark hair. Her name is Sari Todescuity. And I know she came in here. But as you see, monsieur, there is no one answering that description here. That's the point. Where is she? But how would I know? I do not remember seeing this girl come in at all. I see. Well, thanks a lot, Mac.

[F]

What, monsieur? I am untamed.

[C]

Perhaps you would like me to play

[F]

a little tune just for you on my concertina.

[A]

No, thanks.

[F]

It would be pleasure.

[A]

Look, some other time.

[F]

You don't understand, monsieur. I specialize in playing tunes that people like to hear.

[A]

Oh. So what tune do you think I'd like to hear?

[F]

I overheard you asking about a girl named Sari.

[A]

What do you know about her?

[F]

A man in my position has ears and eyes open all the time in places such as this.

[A]

Well, skip the hocus pocus and let's have it.

[F]

But, monsieur, I make my living playing tunes people wish to hear.

[A]

I get it. Okay, here's 10 bucks.

[F]

$10American.

[A]

$10American. Does that buy me the tune?

[F]

But of course. Please to tuck the bill in my pocket.

[A]

Okay, now let's have it.

[F]

This girl Sari was in here.

[A]

Oh, great. Look, that I already know. Give me back my 10 books.

[F]

But wait, wait. I can't talk anymore now. I am supposed to be playing for customers. Meet me 10 minutes past midnight, nearest metro station.

[A]

Metro? What's that?

[F]

Metropolitan. The underground electric railway. I will be waiting for you on the ramp.

[A]

Okay, Anton. I'll see you then. And your tune better be good. I keep checking Sari's hotel all evening, but she's not in. It's a few minutes after midnight when I get to the subway station. I go down a long flight of metal stairs. I can hear a train approaching, but the ramp is dark and deserted except for a little guy at one end. It's Anton. He starts towards me. And then, as we're getting close to each other, a hand suddenly shoots out of the darkness and grabs one of my ankles. I lose my balance. The train is almost on top of me. I start falling onto the tracks right in front of it.

[B]

You're the.

[A]

Brother. That was close.

[C]

Are you all right?

[A]

I sure wouldn't have been if you hadn't grabbed me. Anton, the man who tripped you.

[F]

There he goes up the stairs.

[A]

Yeah. Come on. I'm gonna get him. Watch out, he has gun. Get down. You okay, Anton?

[F]

Yes, yes. But Monsieur, if you are in trouble, perhaps we better forget our arrangement.

[A]

Nothing doing. Now look, what's this stuff you were going to tell me about Sari Tedescu?

[F]

Well, was just that I have seen Harry Bar always talking to same men. I heard Sari tell him that it was going to happen at 22 Rubik Duo Massey.

[A]

What was going to happen?

[F]

I don't know. That is all I heard.

[A]

22 Rick Victor Massey. Okay, how do I get there? Wait, you better take me.

[F]

You paid me only for information. I am very busy man.

[A]

Okay, here's 10 more bucks for you if you take me there.

[F]

Oh, you mean 10.

[A]

Yeah, $10American.

[F]

That is slightly different.

[A]

Come.

[F]

Here we are 22 Rue Victor Marseille. Monsieur Mitchell. Door is unlocked.

[A]

Yeah. See if you can find a light switch. Anton.

[C]

Yes.

[F]

Yes, he's here.

[C]

Yes, sir.

[F]

Look. Sitting in chair.

[A]

Yeah. Well, he'll never get up out of that chair. That's a cinch. He's been strangled.

[B]

When somebody mentions the Grand Old Game, you can be sure it's baseball he has in mind.

[A]

And if he should talk about the

[B]

breakfast of champions, well, that would be Wheaties with milk or a little cream and his favorite fruit on top. Actually, the two expressions have a lot more in common than you might suppose. Because through the years, Wheaties and baseball have kept pretty close company. You see, the fact that wheaties are 100% whole wheat flakes means they have a lot of nourishment to offer. And if there's anything an active major league ball player needs, it's nourishment and plenty of it. Of course, like anyone else, champions like to get that nourishment in a food that's good tasting too. Well, Wheaties just naturally are both good tasting and good for you. So you can understand the enthusiasm shown by Stan Musial, slugging outfielder of the St. Louis Cardinals. Stan says you can certainly put me down as a Wheaties man. They're swell for flavor and at the same time they hand out valuable nourishment. Well, if you're anything like I am, I'm sure you run into days when you burn up as much energy as you might if you went nine innings with the Cardinals. And on days like that, the nourishment you get from crisp, tender, delicious Wheaties in the morning can certainly help a lot. What Wheaties can Do for a baseball champion, they can certainly do for you. Try em. Wheaties breakfast of champions. Now General Mills, makers of Wheaties, presents the second act of Dangerous Assignment. Starring Brian Dunleavy as Steve Mitchell.

[F]

He has been strangled. Goodbye.

[A]

Come back here, Anthony.

[F]

I told you I did not want to get mixed up in anything.

[A]

David, will you. What?

[F]

Who is this man?

[A]

Should I know? Maybe there's something in his pockets that will give us it. Yeah, here's his identification card. Zabo.

[F]

This is man you have been looking for.

[A]

Yeah, but I found him too late. The killer probably has the briefcase by now.

[F]

Briefcase? What Bridges?

[A]

Skip it. I wonder if there's anything else in this pocket that might help.

[F]

Here, I will raise him up and you can search his back pockets. It's quite heavy.

[A]

Yeah. Hey. Hey, watch out. I can't hold him. Great. Now look. Pick him up and. Hey, wait a minute.

[B]

What?

[A]

Look. Sticking out from under the seat cushion and back. It looks like a piece of leather. Here, let me get this cushion up. Well, what do you know? The briefcase.

[E]

But I don't understand.

[F]

If this man Zabo was killed because of briefcase, why did not killer take it with Sable?

[A]

Must have been sitting right here in this chair when the killer walked in. He wouldn't tell where the briefcase was, so he got strangled still sitting in the chair. Well, no wonder the killer couldn't find it if Zabo was roosting on it.

[F]

You know, monsieur, this must be very valuable briefcase. Why we do not open and see what is in.

[A]

Look, get your hands off it.

[F]

But I was just curious.

[A]

Save your curiosity. You see those government seals on the flap of it? They're still unbroken. And that's just the way they're going to stay. Your part of the job is finished, Anton. You can shove off. Anton shrugs and leaves and I call Inspector Bravant and tell him I found Sabo's body. Then the next morning I go to the American Legation and look up our representative to the secret meeting. A guy named Robertson. And when Robertson spots the briefcase under my arm, his face lights up like a neon sign.

[C]

Mitchell, you've certainly done us a tremendous service finding this briefcase.

[A]

Well, I guess it's a good thing I didn't take any longer. That meeting is today, isn't it?

[C]

Tonight at 10 o'.

[B]

Clock.

[G]

Excuse me, Mr. Robertson.

[C]

Yes, Ms. Miller.

[G]

They just delivered your train ticket.

[B]

Good. Thank you.

[C]

Yes, Mitchell, this briefcase will help our cause tremendously. Its disappearance stirred up so much suspicion that the very purpose of the meeting was in jeopardy. But now when I deliver this Briefcase to the Balkan representative tonight at 10. With the seal still unbroken, I think it'll clear the atmosphere quite a bit.

[A]

Where's the meeting gonna be?

[C]

Sorry, Mitchell. I'm afraid I can't tell you that. You see, we've had indications that someone is out to sabotage the meeting. So we're taking no chances. We've changed the location twice, and now only the five representatives know what that location is.

[A]

Well, that's probably the smart way to handle it anyway. Doesn't matter to me where the meeting is. You've got the briefcase and my job is finished.

[C]

Well, thanks again, Mitchell, and goodbye. I must leave at once for the meeting.

[A]

It's good to have my assignment completed. I'm patting myself on the back, telling myself how easy it's been. When the easy feelings becomes a little uneasy. Somehow it's been too easy. Call it a hunch, or what have you. I begin to wonder if maybe I've been played for a sucker. I try to duck the thought, but the feeling sticks. I've got a few hours before the plane time, so I decide to do a little more checking. I remember the bartender at La Petite Chien. The guy who lied to me about Sari not being in there. The bar is pretty deserted when I get there. Anton is over in one corner playing sweet music for the benefit of a young couple at a table. He gives me a big wink and a grin, but I head for the bartender. I tell him I've got a message for him from Sari Tedescu. He blinks a couple of times, but finally takes me to a back room. Now, where is this message? Where's Sari? What? But you said you brought a message from Earl. You'll heard me. Where's Sari? This is a trick. Yeah, and it's gonna work. Open up. Tell me where she is. I will not drink the knife. I will. That's better. Go after me. Try this wall for size. I will call for help. I doubt it. I don't think you want anyone to know you're a friend of.

[C]

Sorry.

[A]

Look, you're gonna keep bouncing off that wall until you tell me. I will not tell. This could go on all night.

[E]

Stop.

[A]

Stop.

[C]

Stop it.

[A]

Okay, where is she? Room 24. Hotel. Thanks. You better get that wall fixed, buster. Looks like we started a few cracks in the plaster. Larry.

[E]

Who is it?

[A]

A friend of yours.

[E]

What do you want?

[A]

I've got a message for you from the bartender at La Petite Chien. Hello, Siri.

[E]

You are the one at the police station yesterday. You get your Foot out of the door.

[A]

I'm coming in.

[E]

You get out of here. I will call the police.

[A]

Are you kidding?

[E]

What do you want?

[A]

A lot of answers, but mainly they boil down to this. Why did you kill Blake and Zabo?

[E]

Zebo is dead.

[A]

You ought to know, sister.

[E]

Oh. Oh, Zebo. Poor Zeba. He was, he was trying to help me.

[A]

Help you? Look, you better start talking. We know you were on the same plane as Zabo. But yesterday at the police station, you denied knowing him. Why?

[E]

Zabo was was trying to get me out of the country illegally. He got me a forged passport and he brought me to Paris with him.

[A]

Wait a minute. You're not hooked up in this briefcase deal at all?

[E]

Oh, no, no. When the plane landed, a little man met Zebo. He said he had come for the briefcase. The two of them went away together. But when Zebo did not return to the hotel, I became worried. Then when the police brought me in, I thought they had found out about my forged passport. So I denied knowing Zabo. I did not want to get him in real trouble.

[A]

And you've been in hiding ever since, huh?

[F]

Yes.

[A]

Well, look, how does that bartender at Le Petit Chien tie in zebra had

[E]

told me to go there if there was any trouble. The depart would tell me of a place where I could wait safely for the next stage of my journey. I give that bar as a contact point for those with forged passports.

[A]

And the bartender sent you here? I still don't see why you ducked out of that bar, though, in such a hurry.

[E]

Because as I was talking to the bartender, I suddenly saw the little man who had met Sebo at the place.

[B]

What?

[A]

This guy was in the bar?

[E]

Yes, he was.

[A]

You expecting anyone?

[E]

No.

[A]

Okay, I'm gonna get over here behind the door. Now go ahead and open it.

[E]

All right.

[F]

So we meet again. M. No, no, no, no. Do not try to slam door in my face.

[B]

That's rude.

[E]

I, I, I thank you.

[F]

I have been trying unsuccessfully to locate you ever since you saw me leave airport with Z. But a man named Mitchell helped me. He softened up a bartender to point where I could find out your address. Don't you think this gun earns me invitation to come in?

[A]

Yeah, come on in. Anthony Mitchell. Pull that trigger now and you'll blow your own foot off. Get that hand off my throat. Drop the gun or I'll break your arm.

[B]

Very well.

[F]

I drop it. I do not need gun. Concertina player develops strong hands. Strong enough to strangle you.

[A]

Just like you did Zebo, huh? But I don't think concertina players know much about judo. Take a right, Anton, his gun is

[E]

right at your feet.

[A]

Yeah, yeah, I've got it.

[G]

Watch out.

[E]

He has a jail.

[A]

Now we see who gets gun. Isn't that easy, Anton?

[E]

I knocked him off by.

[A]

Yeah, here's another. The window.

[E]

He cannot stop himself. There he is in the middle of the courtyard.

[A]

Yeah, I see him.

[F]

You still have not won, Mitchell. You have lost.

[A]

Look, Anton, you wanted me to find Zabo's body. You led me right to it. You even lifted him up so I'd be sure to spot the briefcase.

[F]

Of course, when briefcase is open, that secret meeting meeting will be over.

[A]

I'm the surprised chump of all time. You planted a bomb in that briefcase and got me to deliver it for you.

[F]

Yes,

[A]

all right. So long, Siri. I've got to find that guy Robertson in one big hurry. Yes, they gave me your address at the legation. You're Mr. Robertson's secretary, aren't you?

[G]

Why, yes, Ms. Miller. You're Steve Mitchell, the man who brought the briefcase to Mr. Robertson.

[A]

Yeah, that's why I've got to find him right away. Where'd he go? Where's the meeting going to be?

[G]

I'm sorry, Mr. Mitchell. I couldn't tell you even if I knew.

[A]

Look, this is no time to be coy. There's a bomb in that briefcase.

[G]

What?

[A]

And it'll explode the second the briefcase is open. Now, where's your boss, Robertson?

[G]

His tickets were for Bordeaux.

[A]

When does the train do to pull out?

[G]

At six, I think.

[A]

Oh, it's five minutes after Now. Look, get your car. We'll try and overtake the train at the first stop.

[G]

There's the train, Steve. We made it.

[A]

Come on. Which compartment is Robertson in?

[G]

His reservation was for compartment five.

[A]

Here we are. Let me give you a hand.

[F]

Thanks.

[G]

Come on down the corridor.

[A]

There it is, compartment five. Mr. Robertson, I. Hey, the compartment's empty.

[G]

Empty?

[A]

But you're sure this is the right compartment?

[G]

Of course. I got the reservation myself.

[A]

What is it, monsieur Conductor? Where's Mr. Robinson? Robertson, the guy who had this compartment?

[C]

Why, he did not stay on the train?

[A]

What?

[C]

No, it was very strange. He got aboard on one side, then he got off on the other.

[F]

Took a taxi, I believe.

[A]

Oh, great. Then the meeting's in Paris after all.

[E]

Steve, what'll we do?

[A]

It's 6:33 and a half hours to locate that meeting and all we know is that it's somewhere in Paris.

[G]

That taxi driver.

[A]

Yeah, yeah, that's what I was thinking. Come on, let's get back to town. You try and trace the cab and I'll see what I can find out.

[D]

Why no, Mitchell. None of us here at the Suretainer where that meeting is to be held.

[A]

Haven't you any idea at all, Inspector?

[D]

Paris is a large city. Mitchell. I am sorry.

[A]

You're sorry? Look, Commissioner, I've got to find that meeting. Do you know where it's to be?

[C]

No, Steve.

[B]

Why?

[C]

Something wrong?

[A]

You bet there's something wrong. There's a bomb on its way to that meeting.

[B]

A bomb?

[C]

How do you know?

[A]

I sent it.

[C]

What now, Steve?

[A]

It's no joke, Commissioner. And if I don't locate it in the next three hours, there won't be any meeting.

[G]

Steve, the taxi company says Whoever picked up Mr. Robertson was on a day shift. And all those drivers are home by now.

[A]

There isn't time to telephone all of them and wait. The radio.

[E]

What?

[A]

The Paris radio station. Come on. No, no, no, no, no, no, no, no, no.

[F]

We cannot interrupt our programs just to look.

[A]

Unless you do, there's going to be an explosion in Paris at 10 o'.

[C]

Clock.

[A]

It'll probably blow up a city block.

[F]

An explosion?

[A]

You heard me. Now get on the air and tell any cab driver who picked up a man with a briefcase at the depot at 6 to call in here right away.

[F]

Very well, monsieur. I will broadcast it immediately.

[G]

I can't stand this any longer. It's not 9 o' clock in one hour.

[A]

All right. You got any ideas?

[G]

Maybe we ought to broadcast a warning to the people of Paris.

[A]

Tell them there'll be an explosion somewhere in Paris in an hour. But we don't know where. You put an announcement like that on the air and you'll start the biggest stampede in history.

[F]

The cab drivers just called in. He remembers speaking of a man with a briefcase at the depot.

[A]

Where'd he take him?

[D]

Here is the address.

[A]

Thanks. Stay here, Marjorie. I'll see you later. What do you want? A taxi driver told me that he picked up a man with a briefcase and brought him here. What about him?

[B]

Where is he?

[A]

I am the man. What? Now see, he is a man to be allowed no privacy in the city. I got. Oh, fine, fine. I'm sorry to bother you.

[G]

I'm glad you called in.

[A]

Steve, look. That was the original wild goose chase.

[E]

I know.

[G]

Another cab driver just called in. The man he picked up answers Mr. Robertson's description.

[A]

Where'd he take him?

[G]

He let him off in front of the Louvois Hotel. You've got just 15 minutes before that meeting starts, Stephen. It'll take you 12 of them to get there.

[A]

So I break every traffic law in town and pull up at the hotel at 6 minutes to 10. The elevator operator thinks he remembers taking a guy with a briefcase up to the fourth floor. I get up there with three minutes to go and start walking down the hall. Then I spot a guy lounging at the end and I've got a hunch I'm getting warm. He's probably a guard. I stop for a second in front of each door, but he doesn't react. Then I stop in front of the fifth door down. Suddenly, he's on me like a blanket. What do you want? Look, I've got to get into that meeting. No one goes in that door. No one is going to cut.

[C]

Sorry.

[A]

I've got no time to argue. I gave the guard a fast frisk and got the key. I opened the door. It was a large suite, but in one of the rooms I spot five men sitting around the table. One of them is Robertson.

[C]

The first order of business is this briefcase I'm turning over to the Balkan representative. I would like him to open it at once. I think it will clear the air considerably so that we can.

[A]

Wait. Don't open that briefcase.

[C]

Mitchell, what are you doing?

[A]

Don't open that briefcase. You.

[C]

You.

[A]

I'm talking to you.

[C]

But that is the Balkan representative. He has every right to open it.

[A]

Take your hands off it.

[C]

Mitchell. Mitchell, are you crazy? You're trying to start a war.

[A]

There might have been one if I hadn't hit him. There's a bomb in that briefcase.

[C]

What? Do you know what you're saying?

[A]

You bet I know what I'm saying. Another second and you'd all have been blown sky high. Brother, I didn't think I was going to make it.

[B]

Here.

[A]

Here, I'll take that briefcase. Now.

[C]

Wait.

[A]

Where are you going? First, I'm going to turn this briefcase over to the sure unopened and let them worry about it from there. And second, well, I'm gonna find me a good spot to have a nice, quiet nervous breakdown. So long, Mr. Robertson.

[B]

You've just heard another episode of Dangerous Assignment starring Brian Donlevy in the role of Steve Mitchell. We're glad to welcome Dangerous Assignment as one of Wheaties big parade of radio shows. Now, if Mr. Don Levy will step out of the role of Steve Mitchell,

[A]

we'd like to welcome him to the

[B]

Wheaties family of salesmen.

[A]

Thank you, Terry o'. Sullivan. I am very proud to accept what I consider to be one of my most important assignments for tonight, I'm joining the more than 760 salesman of General Mills, whose worthwhile job it is to bring good food to the American table. Yes, I'm a Wheaties man. Tonight. I'm particularly happy that I am after reading a very startling article in the May issue of Reader's Digest. It's an article I think all of us should read. It's called, what do you eat for breakfast? And believe me, it certainly reminded me of how important a good, nourishing breakfast is to every man, woman and child in this great nation of ours. The fact that I am joining you salesmen and the hundreds of thousands of grocers who meet the American homemaker across the country every day gives me a real thrill. All of us know that by selling Wheaties the breakfast of champions, we're doing our part in helping more families to eat good, substantial breakfasts regularly. That's a job worth doing, ladies and gentlemen. Turn to page 73 of the May Reader's Digest and see if, after reading this article, a breakfast including Wheatings with plenty of milk and fruit doesn't sound like a good idea to you.

[B]

Dangerous Assignment, written by Bob Reif with music by Basil Adlam, is directed by Bill Karn. Be with us next week at this time when Brian Donlevy, starring as Steve Mitchell, will embark on another dangerous assignment. And on Monday, listen to Frank Lovejoy in Nightbeat on the Wheaties big parade. For all the family, try father knows best tomorrow on NBC.