Dangerous Assignment: Get Gouda Before the Gun Runners (Bombay) 08/23/1950

Summary

Podcast Summary: Dangerous Assignment – "Get Gouda Before the Gun Runners" (08/23/1950)

Podcast: Choice Classic Radio Detectives
Episode: Dangerous Assignment: Get Gouda Before the Gun Runners (Bombay)
Date Aired: May 13, 2026 (Rebroadcast)
Original Airdate: August 23, 1950
Star: Brian Donlevy as Steve Mitchell

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Main Theme

In this classic radio detective drama, government agent Steve Mitchell is sent on a covert mission to Bombay, India, tasked with finding S. Gouda—the key witness in a gun-running trial—before rival criminals or corrupt officials silence him. As Mitchell races against time and shifting alliances, he is quickly framed for murder and drawn into a web of deceit, betrayal, and action on the streets of postwar Bombay.

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Key Discussion Points & Plot Breakdown

Assignment & Background (01:20–02:40)

• Steve Mitchell (Brian Donlevy) is briefed by his boss, the Commissioner.
• Gouda, an important witness in an arms smuggling case, has gone into hiding in Bombay and wishes to speak to Mitchell.
• The agent must operate undercover to reach Gouda before the criminal operation silences him.

Quote [01:42]:
Commissioner: "There's a snake somewhere in this deal. How you get him out of his basket is up to you."

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Race Against Time in Bombay (03:43–05:53)

• Mitchell arrives in Bombay, staying near Gouda's boarding house and quickly closes in on Gouda.
• Gouda reveals he gave false testimony, having been paid by the real gun runners (but not paid enough).
• Before Gouda can reveal the names, he is murdered by an unknown assailant hiding in the closet.
• Mitchell is framed: the gun is in his hand and an identification bracelet is found at the scene.

Quote [05:28]:
Gouda: “I was paid to give false testimony against the American Carter.”
Quote [06:06]:
Mitchell: “A million comets explode in my head…”

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On the Run—Framed for Murder (07:37–11:36)

• Mitchell dodges police and is recognized on sight due to a sketch made by the rooming house clerk.
• Attempts to lay low in a Chinese restaurant, where he learns of the murder sketch on the front page.
• He investigates a mysterious consultant, Bandara, whose crest matches the one from the scene.
• Mitchell suspects Bandara’s involvement but gets little from the cryptic mystic.

Quote [08:28]:
Chinese Restaurant Owner: “Clerk at Roaminghouse’s… he draw a good picture of killer.”
Quote [09:36]:
Bandara: “The consciousness of Bandara is so elevated that the significance of your remarks passes beneath me.”

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Encounter with Carol & Allies Turn Deadly (11:55–14:18)

• Mitchell confronts a fellow American, Carol, who initially wants the reward for his capture but reluctantly lets him hide in her apartment.
• Tension and attraction develop between Carol and Mitchell as the situation grows more desperate.

Quote [13:27]:
Carol: “Are you kidding?” — On being asked to help Mitchell.

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The Trap Tightens (15:32–19:57)

• While evading capture, Mitchell realizes a “beady-eyed gent” named Ahmed has been following him, potentially as one of the conspirators.
• He returns to Banadara’s place, breaks in, but is interrupted by the police; escapes via a delivery truck containing a dead body (victim of the plague).

Quote [20:32]:
Delivery Driver: “But is the truth. In that box beside you is the body of one who died of the plague.”
Mitchell: “Hey, stop this jalopy. You just lost a passenger.” (21:55)

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The Reveal: Motives and Betrayal (22:13–24:39)

• Mitchell returns to Carol’s for refuge. While theorizing, he finds the bracelet with Bandara’s crest on her dressing table, revealing her as one of Gouda’s killers.
• Carol confesses, expressing regret but ultimately tries to poison Mitchell in desperation.

Quote [24:03]:
Mitchell: “Well, well, what do you know? A heavy bracelet with Bandara’s crest on it.”
Carol: “I thought you were unconscious when you hit the floor. I didn’t think you’d seen it.”

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Final Twist & Resolution (25:07–26:47)

• Carol believes she has poisoned Mitchell, but he reveals he never drank the tainted beverage, faking collapse to lure in Ahmed.
• Ahmed is caught, and both are apprehended by Mitchell, who implies that Ahmed will “sing” to the police.
• The episode ends on a note of bittersweet professional triumph for Steve Mitchell.

Quote [26:24]:
Mitchell: “Save it, Carol. I’m taking you both in. You know, we could have made beautiful music together. But now it’s Ahmed who’ll do the singing.”

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Notable Quotes & Memorable Moments

• Classic banter and hardboiled humor:
  • Mitchell: “Danger is my assignment. I get sent to a lot of places I can’t even pronounce, but they all spell the same thing. Trouble.” (01:20)
  • Bandara: “The consciousness of Bandara is so elevated that the significance of your remarks passes beneath me.” (10:05)
  • Carol: “You might as well kill me now. Cause you’re never gonna shut my mouth any other way.” (12:14)
• Twist and suspense:
  • “That drink I just gave you. I poisoned you, Steve.” (25:07) — Carol
  • “I poured the drink out the window when my back was turned…” (26:07) — Mitchell reveals he was not actually poisoned.

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Timeline & Timestamps

• 00:01–01:20 Intro & assignment setup
• 03:43–05:53 Mitchell’s arrival & Gouda’s murder
• 07:37–08:49 On the run, framed, city-wide manhunt
• 09:36–11:36 Mitchell’s confrontation with Bandara
• 11:55–14:18 Interaction with Carol, temporary refuge
• 15:32–19:57 Narrow escapes, encounter with Ahmed, police closing in
• 22:13–24:39 The truth about Carol and the revealing bracelet
• 25:07–26:47 Poison plot and ultimate capture of the conspirators

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Language & Tone

The episode is characterized by quick-witted, film-noir dialogue blended with intense suspense, jazzed up with paranoia, hardboiled detective lines, and a twist-filled plot. The tone is both sardonic and urgent—classic for a 1950s radio thriller.

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Conclusion

“Get Gouda Before the Gun Runners” delivers a tightly wound detective drama featuring double-crosses, mistaken identities, and an undercover agent’s race to clear his name. Through clever deduction and quick action, Steve Mitchell unravels the criminal conspiracy and prevails, though not without personal disappointment and a few close shaves. Classic old-time radio action at its best.

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For more classic detective intrigue, subscribe to Choice Classic Radio or tune in for the next “Dangerous Assignment” rebroadcast.

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]

It's National Wheaties Week. Yes, it's National Wheaties Week and Wheaties presents Dangerous Assignment. On stage tonight. Transcribed from Hollywood Dangerous Assignment. Another in the Wheaties big parade of exciting half hour presentation, Dangerous Assignment, starring Brian Donlevy as Steve Mitchell.

[A]

Yeah, danger is my assignment. I get sent to a lot of places I can't even pronounce, but they all spell the same thing.

[C]

Trou.

[A]

Morning, Commissioner.

[C]

Steve, ever done any snake charming?

[A]

Well, I tried my hand at charming, but I think they'd resent being called snakes. Why?

[C]

You're leaving for Bombay, India on the

[A]

next plane to study snake charming.

[C]

There's a snake somewhere in this deal. How you get him out of his basket is up to you.

[A]

What's the deal?

[C]

An American named Carter went to the Indian province of Kualani to sell farm machinery. But when the Maharaja's inspector staged a surprise inspection of some of the crates, he found guns and ammunition there instead.

[A]

Gun running. What some guys will do for a buck.

[C]

The case against Carter was based on the testimony of a man named S. Gouda. He testified he'd seen Carter dealing with a native agitator, that Carter had opened a crate of guns in his presence and had been paid for them.

[A]

Pretty convincing testimony.

[C]

Yes, but right after the trial, this Gouda disappeared. Yesterday he got word to us that he was hiding down in Bombay. He wants to talk to one of our agents secretly. You're the one he's going to talk to.

[A]

I say he got his address.

[C]

Here it is. Steve, for obvious reasons, this has to be done undercover. You can't reveal your identity, and you've got to get Gouda before the outfit he lied for does. Well, that's it. You've got your assignment.

[A]

Good luck.

[B]

Dangerous Assignment will continue in just a moment. Now, here is the Wheaties man, Frank Martin.

[D]

Here are the simple rules for a happy National Wheaties week at your house. Go to your grocer, buy some Wheaties and start your breakfast with them every morning. See if you don't honest and truly feel a difference. See if the vitamins and minerals whole wheat has to offer don't add up to energy the Wheaties way. There's a whole kernel of wheat in every Wheaties flake, you know, a whole kernel. So won't you join us? Get Wheaties the whole wheat flakes with the naturally Sweet whole wheat flavor. Wheaties? Try them at least once during National Wheaties Week.

[A]

Yeah, I've got my assignment. Gonna be a friendly little race. Whoever gets to Gouda first, wins. It's Friday night when I get to Bombay. I register under a phony name at a hotel near Gouda's rooming house. And then I go over down the street there's a small building on fire, but nobody seems to be paying much attention to it. Inside the rooming house, a bored looking clerk is lazily sketching on a piece of paper. Good evening, sir. Hi. May I help you? No, thanks. I know the room I'm looking for. Say, you people take your fires pretty calmly around here, don't you? I beg pardon, sir? That building on fire down the street. Back home there'd be a crowd a block thick around it. Oh, that. A man died of the bubonic plague there. That's why they're burning the building. Hey, no wonder there's no crowd around. Such things are not unusual here. Pleasant thought, but you have given me an idea. The burning building might be a good thing to sketch. Room seven. Yeah? Who's there? The guy you wanted to see.

[C]

How can I be sure?

[A]

Well, you might try opening the door.

[E]

You alone?

[A]

Yeah. Come on, open up. Gouda.

[E]

You must not mention my name. Come in quickly now. Your credentials, please.

[A]

Here they are.

[E]

So, did anyone follow you here?

[A]

Not that I know of.

[B]

Why?

[E]

I had to go out for a while this evening. I believe someone was following me, but I managed to give them the slip.

[A]

Look, what is this that you want to tell me?

[E]

I was paid to give false testimony against the American Carter.

[A]

I see. Who paid you and why?

[E]

They only gave me half the money they promised me.

[A]

Who's they?

[E]

The ones who really smuggled the weapons into Kalani Province. They said if I tried to betray them, they'd kill me. But I will have my revenge if. If I tell you their names. You must protect me from them.

[A]

I'll do what I can.

[E]

Very well.

[A]

There.

[E]

There are two of them involved.

[D]

Oh, no.

[F]

The closet.

[A]

My back's to the closet. I start to whirl around, but something hard connects over my right ear and a million comets explode in my head. The floor comes up at me fast, very fuzzily. I make out something on the floor beside me. A man's heavy identification bracelet with a peculiar crest on it. I fight to get up on my hands and knees, but I get another clip on the head. And that does it. Gouda is dead. When I come to, the gun is in my hand. The bracelet's gone and the police whistles are splitting the air. I hear steps pounding down the hall so I jam the gun in my pocket and head for the window Just as the door opens,

[E]

here he is out in the alley.

[A]

The clerk. You would have to be out here.

[E]

Please, quick, shut up. Please.

[C]

Here he is.

[E]

Here he is.

[A]

Sorry buster. Ten minutes and five alleys later I'm back in my hotel room thinking about the spot I'm in. So the race to get gouda has turned into a dead heat. Gut is dead and the heat's on me. It's a neat frame. The US agent bumps off the key witness in a case against the US Citizen. Well, morning comes and I get hungry so I go downstairs. A little beady eyed gent in a turban is sitting in the lobby but when he spots me he jumps to his feet.

[E]

There he is, the man the police are after. Have police?

[A]

So I'm on the run again. I go out the back door and down the alley wondering how beady eyes was able to identify me. I slipped into a little Chinese restaurant down the street.

[E]

Good morning sir.

[A]

Hi. How about a little breakfast?

[E]

Oh, but of course.

[C]

Tea and rice.

[A]

No ham and eggs.

[E]

Oh, so sorry. Tea and rice?

[A]

That's all you got?

[E]

Dried fish?

[A]

I'll take tea and rice.

[E]

Oi. Here is newspaper you like to read about big excitement last night.

[A]

Excitement?

[E]

Oh please sit down. We'll wipe off te.

[A]

What excitement are you talking about?

[E]

Oh, it's all in newspaper. We turn back to first page. Killing last night. Only short distance from this place. Man got away. But they know what he looked like.

[A]

How do they know?

[E]

Oh, clerk at Roaminghouse's. Artist student. He draw a good picture of Killer.

[A]

What?

[E]

See big sketch of Killer's face. You see he looks like his face. Oh.

[D]

Ooh.

[E]

Ooh. Please do excuse me one moment. Let's see what's going on in the kitchen.

[A]

I get out of there fast. This is just great. Every paper in Bombay has my picture on page one. I'm about to throw away the paper when a small ad catches my eye. Bandara consultant. But under the name there's a crest. And it's the same peculiar crest that was on the bracelet I spotted when I got slugged. I don't know what kind of a consultant this Bandara is but he's the one guy I want to consult right now. I go to the address in the ad but before I have a chance to knock, the door swings open. I can hear music. The room is Heavy with grapes and incense. You are now in the realm of peace. Your problem will be solved. The voice seems to be coming from all over, but the room is empty.

[G]

I am with you.

[A]

Huh? Hey, right behind me.

[G]

Bandara comes from everywhere and nowhere.

[A]

Well, wherever you came from, I want to talk to you.

[G]

Of course you are impelled to visit me.

[A]

Sorry, no sale, Bandara. What I need is information. That crest in your ad, is that your trademark?

[G]

It is the symbol which identifies Pandara in the spirit realm.

[A]

Yeah, well, right now I'm more interested in the bracelet realm.

[G]

The consciousness of Bandara is so elevated that the significance of your remarks passes beneath me.

[A]

Well, then come on back down to Earth for a minute. Now, look, do you own a bracelet with that crest on it or not?

[G]

Earthly possessions are of such little significance to Bandara that sometimes he loses the memory of them.

[A]

I see. It sounds like Bandara's got quite a convenient memory. I suppose you've also lost the memory of where you happened to be last night.

[G]

I do not seem to recall. I may have been in a trance.

[A]

Yeah, and you may have been putting me in a trance with a gun barrel over the year.

[G]

Pandara's only weapons are words of wisdom.

[A]

You are now in the realm of peace. Your problem will be solved. Brother. With the props you've got, you could make a fortune in Hollywood.

[G]

Thank you.

[F]

Oh, Van Dama. I didn't know you were occupied.

[G]

Mrs. Trevelyan, if you will wait in the other room, I will be with you shortly. I believe this gentleman is about to depart from the realm of Pandara.

[E]

Right.

[F]

Oh, and how's the little romance coming along, Bandera?

[G]

Earthly attachments are but symbols, Mrs. Trevelyan.

[F]

Of course, it's frightfully difficult to realize that at times.

[G]

I believe you are about to.

[A]

Yeah? Depart from the realm of Bandara. But don't be too surprised if I return to the realm soon. Outside, there's a girl coming along the sidewalk reading the newspaper. She glances at me in hesitation and gives me another look. Then her eyes flick back to the newspaper. She speeds up and turns into the shop next door. I catch up with her just as she reaches the telephone. Hang up.

[F]

Get away from me.

[A]

I'm not kidding. Hang up. That's better. All set to call the cops, huh?

[F]

What do you think?

[A]

Come on, we're gonna walk.

[F]

Where are we going?

[A]

I don't know. Come on.

[F]

What good do you think this is going to do you? Pictures plastered on every paper in town.

[A]

You're an American, aren't you?

[F]

So what so am I. So what again? Look, brother, you might as well kill me now. Cause you're never gonna shut my mouth any other way. Why, you're not another American to me. You're just a trip home. I'm tired of this stinking place, and I'm broke. There's a reward out for you.

[A]

I know that. I can't go back to my hotel. You live alone?

[F]

Yep. No.

[A]

I think you were right the first time. Okay, come on. We'll go to your place. Nice place you have here. Make yourself at home.

[F]

Oh, thanks a lot. Now what?

[A]

Well, I gotta stay on the loose until I find out who framed me.

[F]

Oh, sure, sure. You're just an innocent little bystander who got framed. Put on a new record, will you?

[A]

You've got it all figured out, haven't you?

[F]

Look, like I told you before, you're a trip home as far as I'm concerned.

[A]

What's your name?

[C]

Carol.

[A]

Steve is mine.

[F]

Delighted.

[A]

So you're not interested in helping me?

[F]

Are you kidding?

[A]

Would it make any difference if you knew that I really was innocent?

[F]

Look, everybody knows you killed that guy in the rooming house.

[A]

Oh, Carol, I didn't kill him.

[F]

Who did then?

[A]

I don't know. I've got one possibility in mind. If I can ever get the guy down off a cloud 8. Long enough to find out a few things.

[F]

Now you sound real convincing.

[A]

Now, look, forget it, okay?

[F]

What good's it gonna do you to stay here?

[A]

This is the safest place in Bombay I can think of for me right now.

[F]

Okay, go ahead and sit there. But you can't stay awake forever. And the second you doze off, you're a dead pige.

[D]

Say, d tell you folks, it's National Wheaties Week. And your grocer will sell you just as many packages of Wheaties as you want any day, every day. Now, isn't that nice? You can celebrate all you want to. And believe me, backstage here. We're sure taking advantage of the privilege just to prove it. Here's Bob Rife, the talented young man who writes the thrilling stories you hear on Dangerous Assignment. Pull up a Wheaties bowl and join us, Bob.

[A]

Thanks, Frank. I'll pick up that shoe. Sure, I'm a Wheaties man, but isn't everybody?

[D]

We sure hope so, Bob. Especially during National Wheaties week.

[A]

National Wheaties week? What a week. All the Wheaties you can eat just waiting to be bought at the grocery store. Wonderful, isn't it? Seriously, folks, I do think Wheaties are swell. And I hope you're Getting yours. Because when you buy a package of Wheaties, it tells us you like our show. Just like that. So if you want us to know, don't write. Just take home a box of Wheaties from the store. How about that? Okay.

[D]

It certainly is. And thank you, Bob Rife.

[B]

And now back to Dangerous Assignment and Steve Mitchell.

[F]

What time is it?

[A]

A little afternoon, brother. No sleep for 30 hours.

[F]

You know, you're a strange guy. I don't get you.

[A]

What do you mean?

[F]

I should think you'd be trying to figure a way to get out of town.

[A]

That's just what I would be doing if I were guilty. If you were, isn't it?

[F]

Yeah, I guess so. I mean. Oh, I don't know what I mean.

[A]

Oh, boy, that sunlight feels good. You know, when this deal's over, I'm gonna hit the sack for about a

[F]

week, I. I guess. You've been through a lot, haven't you?

[A]

Yeah. Believe me, it's not habit forming.

[F]

Well, you're safe for the time being. Just relaxed.

[A]

Yeah, I'm so relaxed right now. Anymore, I.

[F]

Steve. Steve.

[A]

Hey, come back here. Almost, but not quite. Let go of me. Let go of that door.

[F]

Okay. Well, you can let go of me now.

[A]

Yeah. Yeah, I guess I can.

[F]

No. No, don't h. Oh, Steve.

[A]

Well, I'm so mixed up. It didn't seem to be a moment ago you were trying your best to get out that door.

[F]

I'm glad you stopped me. You didn't kill that man, did you?

[A]

No.

[F]

I tried to make myself believe you did. I thought I was being so tough about it. I thought I could get enough money out of the reward to get home on.

[A]

So what happens now?

[F]

I said it's up to you, Steve. I'm not gonna try to call the police anymore. You can stay here if you want to.

[A]

Look, there's nothing I'd rather do right now than stay, believe me. But I'm not gonna get this deal figured out sitting here.

[F]

Where are you going?

[A]

To the realm of peace, huh? Skip it. I'll tell you about it when I get back.

[F]

Okay? We can talk about it over a drink.

[A]

Yeah, Maybe I'll have something to celebrate by then. I take the side streets to Bandara's place. On the way, I spot a guy following me. I've seen him before. Then it registers. He's the little beady eyed gent who identified me in my hotel lobby early this morning. I walk by Bandara's front door and turn into the alley. Then I wait. Looking for me? Buster?

[E]

Let Go of me.

[A]

We're gonna have a little talk. You're the guy who was sitting in my hotel lobby this morning. Why?

[E]

Why? I was waiting for a friend.

[A]

Who are you?

[E]

I am Ahmed.

[F]

Please.

[A]

Why were you following me just now?

[E]

But I was not following you. I was just taking a walk.

[A]

Yeah? How come you were able to identify me this morning?

[E]

Your picture was in all the papers. I saw it just before you came downstairs. I read about the rewards again.

[A]

The newspapers weren't on the streets. Then you couldn't have seen my picture. Come on, open up.

[E]

No, no, no, no, no. I will tell you how it all came to be.

[A]

I'm listening.

[E]

Well, you see, I have a cousin who lives here in Bombay. I came to visit him for the weekend.

[A]

Quit stalling.

[E]

But. But I. I am telling you that truth.

[F]

I did.

[A]

Hold it. Hold it. What was that?

[E]

And now this cousin of mine wanted me to.

[A]

A car full of cops out in the street. So that's why you were stalling.

[E]

Police? Serious?

[A]

Okay. You're looking for a reward, huh? Here it is. I duck around to the back of Bandara's place and find the window that's unlocked. I open it and ease myself in. I'm in Bandara's bedroom. It's empty. I start tiptoeing through the room. Then I freeze. There's a painting on the wall. I take a long look at it.

[G]

Good afternoon.

[E]

Huh?

[A]

Well, you specialize in popping out of nowhere, don't you, Bandara?

[G]

Most people who seek my help specialize in entering through the front door.

[A]

You must have an electric eye on these windows, too.

[G]

Those who seek to enter the realm of peace by stealth do not find peace.

[A]

Maybe not, but sometimes they pick up a little information.

[G]

A little information is a dangerous thing.

[A]

Well, it's better none.

[G]

Strange. I have no consultations at this hour.

[C]

Who is in charge here?

[A]

This is the police.

[G]

Police? Pandara has no traffic with the police. What do they want with me?

[A]

You go find out. I'm leaving. I go out the same way I came in the back window. I know they're closing in on me. Unless I think of something fast, I'm a dead pigeon. Then I spot a battered delivery truck down the alley. The driver's just sliding in behind the wheel when I get in with him. I thought you would.

[E]

No, no, no, no. Do not get back there.

[A]

Too late. I'm already back here. Get this jalopy started.

[E]

Very well.

[A]

Okay, let's go.

[E]

Look.

[A]

What?

[E]

Down the end of the alley.

[A]

Cops swarming all over the street. Okay. We're going through.

[E]

But they will stop my truck.

[A]

Don't let them look back here.

[E]

But what will I tell them?

[A]

That's up to you. So you better think of something real convincing, because I'm going to be lying here beside this box in back of you, and my gun's pointed right at the back of your head. Okay, pull up.

[C]

Get out.

[A]

We're going to search your truck.

[E]

But why?

[A]

We're looking for a fugitive.

[C]

I sent it out.

[E]

No, no, you cannot search this truck.

[C]

What's that?

[E]

I said you cannot search this truck.

[A]

So then the fugitive is here.

[F]

No.

[E]

I am carrying a dead man.

[G]

Let me inspect this dead man.

[E]

Very well, but this man died of the bubonic plague. What? Get your truck out of here at once.

[A]

Boy, that was close.

[E]

Where do you want me to take you?

[A]

Oh, down the street away. You know, that was fast thinking, dreaming up a yarn like that on the spur of the moment.

[E]

Oh, that was not fast thinking.

[A]

How come?

[E]

But is the truth.

[A]

What?

[E]

In that box beside you is the body of one who died of the plague.

[A]

Oh, great. Hey, stop this jalopy. You just lost a passenger.

[F]

Steve.

[A]

Hi, Carol.

[F]

I'm so glad you got back all right. Here's that drink I promised you.

[A]

Thanks, Carol. Well, I've been doing a lot of running and dodging the last hour. I could use some fresh air. There. Oh, boy, that's better. I needed that.

[F]

Hey, you're a fast drinker. You want another?

[A]

No, thanks.

[F]

Were you able to find out anything?

[A]

Yeah, it looks like the deal's starting to fall into place.

[F]

Oh, I'm glad. Where's this Realm of Peace? You said you were going to a

[A]

place owned by a guy named Bandara.

[F]

You think he's involved in the killing?

[A]

I did think so, but I don't anymore. I guess it goes together something like this. Carol, suppose an outfit wanted to smuggle some guns into an upcountry province.

[F]

Smuggle guns?

[A]

Yeah. Just bear with me. I'm thinking out loud. So these gun runners smuggle them into the province in crates of farm machinery. When the plot is discovered, it's a pretty easy thing to frame Carter, the owner of the company who doesn't know what's been going on.

[F]

How are you leaving me way behind?

[A]

Yeah, the gun runners pay a guy named Gouda to testify against Carter. But they don't pay him enough. He tries to double cross them. So they kill him right while I'm talking to him. Then they frame me, and on me the frame looks good. A US Agent knocks off the key witness against the US Citizen.

[F]

You're a government agent.

[A]

Yeah. Gouda told me there were two people involved in the gun running. I think I know who one of them is.

[F]

Who?

[A]

A little gent named Ahmed who's been following me around, trying to sick the cops on me. And the other.

[F]

What's the matter?

[A]

What's this on your dressing table?

[F]

Why a jewel case? Why?

[A]

That's what I thought it was.

[F]

Steve, don't.

[A]

Well, well, what do you know? A heavy bracelet with Bandara's crest on it.

[F]

I guess I should have thrown that away, shouldn't I? Steve?

[A]

Yeah.

[F]

I thought you were unconscious when you hit the floor. I didn't think you'd seen it.

[A]

Then it broke when you clipped me, didn't it?

[F]

How'd you find out about me, Steve?

[A]

I saw a painting of you in Bandara's bedroom. Then I remembered one of his suckers kidding him about a romance. I put two and two together, and they added up to you. Bandara gave you his bracelet. You were wearing it last night when you killed Gouda and slugged me.

[F]

I'm sorry you found out, Steve. I knew you had. I saw it in your eyes when you walked in a minute ago. And I'm sorry. I wasn't kidding about liking you.

[A]

I guess I kind of liked you, too.

[F]

That's why it was so hard for me to do what I did.

[A]

What do you mean?

[F]

That drink I just gave you. I poisoned you, Steve.

[A]

You didn't really poison me. You're kidding me. I'll be. Oh, no, you're not kidding me.

[F]

Steve.

[A]

My stomach. Carol, you did poison me.

[F]

I had to. Carol. Steve,

[A]

it is all over. So.

[F]

Yeah, it's all over, Ahmed.

[A]

You had to do it, Carol.

[E]

He got away from me at Banderas before the police could get there. But now it is simple. I will take his body somewhere and notify the police. Police. We're in the clear.

[F]

Yeah, so he is.

[E]

Very heavy, this Steve Mitchell.

[A]

Let me give you a hand. I mean a. Oh, no, Carol, you're not leaving.

[F]

Let go. Sit down. The poison. I saw you drink it.

[A]

No, you didn't. I had you pegged when I walked in. I wasn't about to accept any hospitality from you. I poured the drink out the window and my back was turned to you.

[F]

Then why the fake collapse?

[A]

To nab your partner, Ahmed.

[F]

You still don't have any evidence.

[A]

Ahmed's the jittery type. I'm sure I can make him spill the whole story to the police.

[F]

Steve. Steve, you've got to listen to me. I didn't know what I was doing. Give me a break, Steve. Let me go away.

[E]

Maybe later we.

[A]

Save it, Carol. Save it. I'm taking you both in. You know, we could have made beautiful music together. But now it's Ahmed who'll do the singing. And I bet his notes are going to sound real sour to you.

[D]

A fine National Wheaties Week performance. And here's the man who made it so. Our star, Brian Donlevy.

[A]

I stayed to ask you to buy Wheaties this week. If you enjoy Dangerous Assignment. It would give me a lot of pleasure to know it. And I will know it if you'll get those Wheaties. Will you do that?

[D]

Thank you, Brian. And, folks, let's all buy Wheaties for Brian Donlevy. Just to let him know we think he's great on this show. Let's get to that grocer in the morning and tell him we're there about Wheaties. There's a whole kernel of wheat in every Wheaties flake, you know. Yes, a whole kernel of wheat in every Wheaties flake. No wonder I keep saying. See how Wheaties at 7 can help at 11? Breakfast of champions.

[B]

Dangerous Assignment, starring Brian Donlevy as Steve Mitchell, is written by Bob Rife with music composed by Basil Adlam and conducted by Ralph Hollenbeck, and is produced and directed by Bill Karn. Join us again next Wednesday when Brian Donlevy as Steve Mitchell embarks on another Dangerous Assignment.

[D]

And this is the Wheaties man, Frank Martin, inviting you to listen Friday night to Dimension X on the Wheaties Big Parade. See you then. And remember, it's National Wheaties Week. Come on, everybody to the Wheaties party

[A]

Eat a lot of Wheaties like the

[D]

champions do Dance together cheek to cheek this is National Wheaties Week Eat a

[C]

lot of Wheaties like the champions do

[A]

Wheaties at breakfast the champions.

[B]

We can prevent the overwhelming number of forest fires which each year blacken vast areas of our precious woodlands. Full 9 out of 10 forest blazes are man made, caused by carelessness. Only you can prevent forest fires when traveling in the woods. Crush out all cigarettes, cigar and pipe ashes. Break matches in two before throwing them away. Carefully douse campfires twice before leaving them. Another 30 million acres will burn this year unless you are careful.

[D]

Dangerous Assignment came to you from Hollywood. Three chimes mean good times on NBC.