Dangerous Assignment: International Blackmail 03/20/1950

Summary

Podcast Summary: Dangerous Assignment – "International Blackmail" (03/20/1950)

Podcast: Choice Classic Radio Detectives | Old Time Radio
Host: Choice Classic Radio
Episode: Dangerous Assignment: International Blackmail
Release Date: January 7, 2026
Original Air Date: March 20, 1950

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Overview

This episode of "Dangerous Assignment," starring Brian Donlevy as the tough and sardonic government agent Steve Mitchell, takes listeners to Switzerland, where Mitchell must intercept a deadly game of international blackmail. A stolen confession threatens to undermine democracy in a vulnerable European country, and Mitchell must secure the damaging document before rival operatives—each with their own motives and ruthlessness—get their hands on it. Facing betrayal, violence, and treachery, Mitchell’s task is complicated by spies, shifting loyalties, and a relentless chase through the snowbound Alps.

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Key Discussion Points & Story Breakdown

The Assignment: Switzerland & The Blackmail Threat (00:41–02:26)

• Mitchell is briefed by his Commissioner about a dangerous case involving international blackmail. A controversial confession, extracted by force from a deceased pro-democracy leader, is about to fall into the wrong hands.
• The United States’ heavy investment in supporting the country’s fragile democracy is on the line.
• Mitchell learns that the confession was stolen before being used, and now a man named Baumgartner claims to have it for sale.
• The U.S. policy: "We don't bargain with blackmailers." Mitchell is ordered to recover the document without paying a cent.

"Get that document. Well, that’s it. You’ve got your assignment.” – Commissioner (02:21)

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A Treacherous Welcome in Switzerland (03:13–06:59)

• Arriving in Interlaken, Mitchell is escorted up the snowy Alps by a contact named Rudy—who quickly turns out to be a rival agent determined to eliminate him.
• A tense confrontation takes place in a precarious cable car crossing a deep gorge. Rudy demands Mitchell's death:

  "We cannot pay as much as Uncle Moneybags. Therefore, we stop you before you arrive. Now, over the side." – Rudy (05:36)

• Mitchell narrowly outsmarts Rudy, leveraging Rudy’s military habits to disarm and overpower him—leading to Rudy’s apparent fall.

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At the Jungfrau Inn: Baumgartner and the “Auction” (07:21–10:57)

• Inside the mountain inn, Mitchell contacts Baumgartner under suspicious circumstances.

• Baumgartner insists the document is in a safe deposit box in Bern, and he’s merely a broker, seeking the highest bid—demanding $100,000.

• Mitchell refuses to offer any money:

  “Not one cent, Baumgartner.” – Steve Mitchell (10:05)

• Tension rises as both sides try to gauge the other's intentions and trustworthiness. Mitchell pretends to play along, aiming to flush out adversaries and learn who’s truly behind the blackmail scheme.

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Cross and Double-Cross: Gerlach and Lisa Appear (12:00–21:44)

• On the way back, Mitchell faces another attempt on his life orchestrated by Gerlach, a rival bidder, and his brutal henchman Hans.

  “Mitchell, tonight you killed one of my men…now an eye for an eye.” – Gerlach (13:07)

• They murder Mitchell’s bartender escort in cold blood, trying to force him to give up the key.
• After escaping (with unexpected help from a mysterious woman he met earlier, Lisa Strauss), Mitchell discovers Lisa is herself a bidder, with orders to eliminate competition—even if it means killing Mitchell.

"Because you can bid more than I am prepared to offer." – Lisa Strauss (18:55)
“I am also smart enough to know that you must be killed.” – Lisa (18:51)

• Their interaction is laced with both flirtation and lethal intent, culminating in a chaotic struggle in Lisa's apartment and a high-speed attempt on Mitchell's life.

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Mitchell’s Gambit: Outmaneuvering the Rivals (21:44–25:34)

• Realizing money won’t sway Baumgartner and that fear might be more effective, Mitchell sows confusion.
• At the inn, he tells Baumgartner he’s leaving, implies he already has the key, and subtly hints to both Lisa and Hans (Gerlach’s man) that he’s won the prize.
• Both adversaries panic and follow Mitchell to the train bound for Bern, along with Baumgartner, now terrified for his life.

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The Train Showdown: Who Has the Real Key? (24:12–28:06)

• On the train, Mitchell confronts Baumgartner, reveals his psychological manipulations, and pressures him to hand over the key for protection.
• Lisa bursts in, gun drawn, and soon after, Gerlach joins the fray. Chaos erupts: shots are fired, and alliances break down.
• Using a clever ruse, Mitchell throws a decoy key (his apartment key) out the window:

  “Now get over there behind the door. Keep your mind.”—Mitchell (26:15)
  “Well, okay, Baumgartner, here's the key. Catch.” – Mitchell (27:08)
  “Mitchell, you threw that key out the window?” – Baumgartner (27:13)

• Baumgartner and Lisa dash into the night, chasing the decoy, while Mitchell retains the real key.
• The final body count: Lisa is killed by Gerlach, who is left unconscious, and Baumgartner is left searching fruitlessly in the snow.

“Why, it’s the key to my apartment back in the States.” – Steve Mitchell (27:55)

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Notable Quotes & Memorable Moments

• Steve Mitchell's dry humor and defiance throughout are trademarks:

  “You call that a cable car? Looks more like an oversized coal bucket to me.” (04:23) “Well, happy rain check.” – Mitchell, to Lisa (18:01)

• Lisa’s conflicted interaction with Mitchell:

  “Steve, I have shot men before, but never one I liked so well so soon.” – Lisa (18:28)

• Clever psychological manipulation:

  “Fear does talk louder than money.” – Steve Mitchell (21:44, paraphrased narration)

• Final twist with Mitchell’s trick key:

  “I'd give a lot to see his face when he finds it. Why, it’s the key to my apartment back in the States.” – Steve Mitchell (27:55)

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Important Segment Timestamps

• Briefing & Assignment: 00:41–02:26
• Cable Car Confrontation: 03:54–06:59
• Baumgartner Negotiation: 08:01–10:57
• Gerlach’s Ambush: 12:00–15:09
• Lisa’s Turn & Apartment Standoff: 16:05–20:34
• Mitchell’s Bluff Setup: 21:44–23:35
• Train Showdown & Escape: 24:12–28:06

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Tone & Style

The episode blends classic detective bravado, sharp banter, and menacing tension—punctuated by dry wit, international intrigue, and a touch of noir romance. Mitchell faces threats and betrayals with resilience and a knack for improvisation, embodying the archetypal mid-century radio hero as he navigates peril with both fists and cunning.

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Conclusion

In classic "Dangerous Assignment" fashion, Steve Mitchell survives a labyrinth of double-crosses using both brains and brawn, ensuring the confession remains out of hostile hands while letting adversaries chase shadows. The case closes with Mitchell en route to Bern—document in hand, ready for his next perilous mission.

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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]

Dangerous Assignment starring Brian Dunleavy as Steve Mitchell.

[C]

Steve, I'm sending you to Switzerland on the next plane.

[A]

Switzerland? What's the matter? Your watch busted?

[C]

Oh, we're up against a case of international blackmail. Ruth, how about Steve's plaintiff?

[D]

Ready and waiting, Commissioner.

[C]

Good.

[D]

I check on his passport and credentials.

[C]

Thanks, Ruth.

[A]

Now, what's all this about international blackmail?

[C]

Did you know the popular leader of a central European country died last week?

[A]

Yeah.

[C]

We've taken an active interest in the affairs of that country. We sent them food and money and done everything we can to help them establish a democracy. We've made a heavy investment in democracy and now we've got to protect our investment.

[A]

I still don't get with the blackmail.

[C]

This leader had finally succeeded in uniting his country behind him. He became a symbol of democracy in their minds. The but there are interests who realize if they can discredit this man that unity will collapse and that country will then be an easy target for anti democratic propaganda.

[A]

I see. But how can they discredit the man? He's dead.

[C]

We have just received information. Before he died he signed a confession revealing his intention to sell out his country. We happen to know that confession was obtained by force.

[A]

Oh, well, why hasn't it been published?

[C]

He had many friends and one of them stole the confession before it could be put to use.

[A]

And you want me to contact this man?

[C]

No, he was killed. A man named Baumgart contacted us this morning. He owns a Jungfrau Inn in the Swiss Alps near Interlock. He says he knows that the blackmailer is willing to sell this letter to the highest bidder.

[A]

Yeah, and those bidders will probably have the ante up pretty high by now. Okay, how much am I authorized to bid for it?

[C]

Nothing.

[A]

What?

[C]

You know we don't bargain with blackmailers.

[A]

But look, Commissioner.

[C]

Get that document. Well, that's it. You've got your assignment.

[B]

Good luck. The National Broadcasting Company is proud to present Dangerous Assignments starring Brian Dunleavy in the role of Steve Mitchell, colorful, two fisted government agent at all those places of the world where danger and intrigue walk hand in hand. There you will find Steve Mitchell on another dangerous assignment.

[A]

Yeah, that's my assignment. Go to Switzerland, contact Baumgartner and find who has a document hot enough to start a revolution in Central Europe. Then somehow get the. The other team will Be bidding plenty of cold cash for it. I guess I'm supposed to use box stops or just bat my baby blue eyes at somebody. Well, I get to Interlaken on Monday. I'm met by a character named Rudy. Shortly thereafter, we're winding our way up the Alps in a horse drawn sleigh. You know, Rudy, this Jungfrau Inn is about as easy to get to as the monastery in Tibet.

[C]

But here we are.

[A]

Here.

[E]

Mitchell.

[A]

Who?

[F]

Who?

[C]

There.

[E]

What?

[A]

Look, I don't see the inn anywhere. Wow. Don't tell me it's down in the bottom of this gorge.

[E]

No, look across the gorge. There it is on the other side. Come along.

[A]

Well, look, I don't have wings. I still don't see how we're going. Hey, wait a minute. Yeah, don't tell me we're supposed to ride in that contraption across this gorge.

[E]

Yeah, the cable car. Come.

[A]

You call that a cable car? Looks more like an oversized coal bucket to me.

[E]

It is the quickest way to the Jungfrau Inn. To go around the edge of this chasm by trail takes two hours, but by cable cart is only a few minutes.

[A]

Hey, you know, it isn't exactly warm.

[E]

Up here, but this is mild to a former ski trooper.

[A]

Oh, army, huh?

[E]

Yeah, almost seven years. Now, I will hold the cable car steady while you get in.

[A]

Hey, that sure looks like a long way down. You sure you've been checked out on this gadget?

[E]

Checked out?

[A]

This cable car. You know how to operate it?

[E]

Oh, yeah, yeah, it is very simple. You see, this button starts the motor. So now, this lever to go forward, we pull it back. And to go back, we push it forward.

[A]

You know, that sounds real logical.

[D]

Forward.

[E]

So.

[A]

Hey, that bank sure drops away in a hurry.

[E]

Yeah.

[A]

How deep is this gully anyway?

[E]

I'm glad you asked that question, Herr Mitchell.

[B]

Why?

[E]

I will let you find out for yourself how deep it is.

[A]

Hey, what's the big, uh.

[E]

Oh, we know why you're in Switzerland, Mitchell. We cannot pay as much as Uncle Moneybags. Therefore, we stop you before you arrive. Now, over the side.

[A]

You mean jump? Just like that?

[E]

I will help you with a bullet if you prefer.

[A]

Now, look, Rudy, why don't you play it smart? Take the money I brought and while.

[E]

I'm close, give you the opportunity to grab this gun. No, Herr Mitchell. We are trained to omit foolish mistakes.

[A]

Look, you said you were an army man.

[E]

It will not help you to stall.

[A]

I also remember from my midshipman days that military habits are hard to break. I do not understand Simply this Aon.

[F]

You tricked me.

[A]

Thanks for snapping to attention, Al. Drop this gun or I'll break your arm.

[E]

It went over the side, Mitchell.

[G]

Yeah.

[E]

Now it is man to man.

[A]

Look, you made your pitch and you fail. Now, let's leave it there.

[E]

I was sent to kill you. I shall push you out.

[A]

Look, buster, I'm giving you one.

[E]

Out.

[A]

Now take it.

[E]

One of us is going over this side.

[A]

Not me.

[E]

Buster.

[F]

No.

[A]

No.

[E]

Mitchell, grab me. I'm slipping.

[A]

Oh, brother. Bartender. Yeah, you would like a doing. Yeah, I could use one right now. Scott.

[E]

Yeah?

[A]

Is the owner of this inn around? Anywhere you are.

[E]

Yeah.

[D]

Baumgartner.

[A]

See you over at the corner table. Okay.

[C]

Thank you.

[A]

Oh. Oh, I'm so sorry.

[D]

Oh, it was my fault.

[A]

Did I hurt you?

[D]

Not at all.

[A]

I spilled your drink.

[D]

Oh, that's all right. I wasn't looking where I was going.

[A]

Well, let me buy you another one.

[D]

No, thank you.

[F]

But thank you.

[D]

No, really. I tell you, I will take. What do you call it? A rain check?

[A]

Yeah, a rain check. Okay, that's a date. See you later.

[F]

Good evening.

[A]

Is your name Baumgartner?

[F]

Yeah.

[A]

I'd like to talk to you.

[F]

Please sit down.

[E]

What?

[F]

Let us not talk until the music's over.

[A]

Look, I want to talk now. My name's Mitchell. Steve Mitchell. Are you surprised to see me?

[F]

But of course not, Herr Mitchell. I've been expecting you.

[A]

Yeah, well, I wasn't a very cordial welcome your stooge tried to give me in that cable car.

[F]

What? Please, Herr Mitchell, I'm very fond of this music. It's the very bust. You know, the Mosa Boom.

[A]

The what?

[F]

The Mosa Boom. Oh, De Moza. Boys, isn't that good to listen to?

[A]

Yeah, yeah, great. But right now I've got more in my mind than yodeling. We're going to have a talk, so quit stalling.

[F]

Well, they will come. We'll go into the back home.

[A]

Okay. Just one thing, though.

[F]

Yeah?

[A]

Have you got another ape waiting for me in there?

[G]

Ape?

[F]

But I do not understand.

[A]

Oh, well, never mind. Come on.

[F]

After you have Mitchell.

[G]

Okay.

[F]

Yeah, let's sit down. Now, what is all this suspicion of me?

[A]

You sent a strong arm named Rudy to pick me up and polish me off.

[F]

Mitchell, why should I want to, as you say, polish you off? I want to do business with you.

[A]

Then where did this Rudy come from?

[F]

The man I sent to bring you here was named Otto. This Rudy was undoubtedly working for one of the people who are bidding for the document we're both concerned with.

[A]

Well, Maybe. Look, speaking of that document, our information is that you know who has it and are willing to act as a go between.

[F]

Your information is accurate, Herr Mitchell.

[A]

Do you know the document is still in existence?

[F]

I've seen it. It's now in a safe deposit box in Bern. But that doesn't matter, any of it. The point is, you will do business directly with me. I'm representing the owner of the document. Now, I've already been approached by two different bidders. I am sure the United States will pay more than either of them. How much are you prepared to offer, Herr Mitchell?

[A]

Not one cent. Baumgartner.

[F]

You know it's good to see a man with a sense of humor even at a time like this. But let's be serious.

[A]

I am serious, Herr Mitchell.

[F]

Do not try my patience. I've been instructed to sell that document for the equivalent of a hundred thousand dollars. If not to you and to others.

[A]

Look, you know that piece of paper could do a certain country a lot of harm if it fell into the wrong hands.

[F]

It will do you no good to come here with your boy Scout talk. I am not interested in the harm the document can do to anyone else. I am interested in the good it.

[A]

Can do me and its owner, of course.

[F]

You're wasting my time, Herr Mitchell. I could be listening to the music. Look, Baumgartner, there is no use prolonging this silly conversation. Unless you make a definite offer. You'll leave me no recourse but to sell to the highest bidder.

[A]

I wouldn't want you to do that. Hell, maybe I can raise some money and get in on the bidding.

[F]

This attitude I like better. However, I shall accept the highest bid that I've had. I will deliver the keys to the document safe deposit box tomorrow night at 10 o'.

[A]

Clock.

[F]

You have until then. If you bring a better offer, the key is yours. Otherwise.

[A]

Yeah, yeah, I get it. Well then I'd better get back to interlocking right away.

[F]

I will send my bartender with you to see that you arrive safely. I do not want anything to happen to you, Mitchell, because I believe that your bid will be the highest.

[A]

Look, can't you make this contraption move a little faster, Fritz? It's like a deep freezer with a fan turned on.

[B]

We are almost to the end of the line.

[G]

Indeed you are, my friend.

[A]

Hey, who's that over there on the bank?

[F]

I don't know him.

[A]

Well, just to be safe, put this thing in reverse.

[G]

Oh, it will not go into reverse. We saw to that.

[A]

He is right.

[C]

It Is jammed.

[A]

Oh, great.

[G]

And now, as you said, you are indeed at the end of the line. Mitchell.

[A]

Who are you?

[G]

Oh, my name is Gelak. Would you and your companion kindly step out, please?

[A]

What do you want, Hans?

[G]

Yeah, drag him out.

[A]

Yeah. Hey, look. Gun or no gun, get this big ape away from me.

[C]

Go.

[A]

Okay, buster.

[G]

Oh, Mitchell, I am so sorry that you did that. It shows that just because I am a little man, you are not impressed by me. Oh, dear, it is always this way. I am such a mild little man, so no one is impressed. And therefore I must make people impressed.

[A]

Well, never mind the lecture. Where's this leading?

[G]

Mitchell, tonight you killed one of my men.

[A]

Oh, Rudy.

[G]

The guy in the bucket, the semi. And now an eye for an eye. Hans. Yeah, shoot the little one.

[A]

Wait a minute. You can't kill Fritz in cold blood for something he had nothing to do with.

[G]

Oh, Mitchell, you are not impressed. Oh, dear. Hans, wait.

[D]

No.

[A]

Good Lord. What kind of a man are you?

[G]

The kind of man who will kill you, Mitchell, if you do not give me the document.

[A]

Gerlach, I don't have it.

[G]

You came to buy it. You saw Baumgartner, and so it follows that you have the document. Now, please, Mr. Mitchell, take pity on me. It's quite cold up here. I would much rather be in front of a warm fire. I am sure that your conscience would bother you if you made me catch cold.

[A]

Yeah, I'd hate myself in the morning, I suppose. Look, I don't have it and I don't know where it is.

[G]

Oh, dear. Very well, Hans. Proceed.

[A]

Hey, look, if you think I'm gonna hold still while this jughead works over me.

[C]

Hans.

[G]

Again, Hans. Only this time, use the butt of your iPhone.

[A]

Yeah. Listen, you big gorilla.

[G]

That's lovely. Now, Hans, you may kick him again. That's enough to soften him up. Any more would be cruel. Roll the bartender's body into the gorge. And then we shall take Mitchell to my house in Interl. Welcome back, Mitchell.

[A]

Oh, my ribs feel like a football field.

[G]

Yes, you can thank Hans for that.

[C]

Yeah, I have more for you.

[A]

No hurry. I can wait.

[G]

And now, Mitchell, we resume our negotiations.

[A]

Like I told you. I don't have it.

[G]

Yes, we know that. We searched you. But you do know its whereabouts, Hans. Perhaps a hemlock.

[A]

Yeah. Hey, cut it out. It isn't going to do you any good.

[G]

Oh, Esther, sure it will not do you any good either. Mitchell, a little more pressure.

[A]

You got my thumb practically up to my ear.

[G]

Just a little more.

[A]

Wait.

[G]

At last, pan releases out that's better.

[A]

Look, I. I'm kind of groggy. I could do with some fresh air.

[G]

Oh, but of course. Mitchell, poor man. You have been through a great deal. Open the window and get your fresh air. And then we shall talk.

[A]

I stumbled over to the window. I was in a hole, but good. These kids were playing for keeps. Something moved in the street. There was a girl leaning out of a car window. It looked like the girl I'd bumped into up at the Jungfrau Inn. She waved again, and I got the message, but quick. I slumped over against the window like I was passing out.

[F]

Hans.

[G]

Help him.

[A]

I heard Hans coming up behind me. I swung my fist around hard. It connected with his stomach. He bounced back into Gearlock. The two of them went down. I dove out the window. Hans.

[F]

Trig. After him.

[A]

Over here.

[D]

Horan.

[A]

Yeah?

[D]

Get into the car.

[A]

Okay. Give me the gas.

[D]

I will turn at the first corner. I think we can shake them off.

[A]

Hey, look. You're the girl I bumped into up at the Jungfrau Inn.

[D]

That's right.

[A]

Well, not that I wasn't glad to see you just now, but what were you doing parked in front of Gerlach's place?

[D]

I came down in the cable car just ahead of you. I saw what happened to you, so I followed you.

[A]

I'm sure glad you did, Miss. Lisa.

[D]

Lisa Strauss.

[A]

Lisa, I'm Steve Mitchell. Where are we going?

[D]

I think we've lost them by now. You are bleeding, Mr. Mitchell. I will take you to my apartment. I can bandage your cuts there.

[A]

Thanks. Anywhere's all right with me. As long as it's where that character Gerlock isn't.

[D]

Are you feeling any better now, Steve?

[A]

Only about a thousand percent. Hey, remind me to take first aid lessons from you sometime.

[D]

Lisa, how about a drink?

[A]

Steve, you think of everything, don't you?

[D]

But when we bumped into each other at the inn, you promised me a rain check, remember? Here you are.

[A]

Thanks. Well, happy rain check.

[D]

You know, it is very fitting, this rain check.

[A]

What do you mean?

[D]

Because for you, it is going to start raining right now. Don't move, Steve, or I will shoot.

[A]

You, too. Lisa.

[D]

Yes, Steve? I'm sorry.

[A]

Why?

[D]

I could like you very much.

[A]

Then, honey, let's not edge toward me.

[D]

Steve, I have shot men before, but never one I liked so well so soon.

[A]

Look, Lisa, let's put up that gun and concentrate on getting acquainted.

[D]

No, no. It would be fun. But this is important to my country.

[A]

Where do you come in?

[D]

Gerlach did not get the document from you. Therefore, you did not have it.

[A]

That's what I tried to tell him. I'm glad you're smart enough to know it.

[D]

I am also smart enough to know that you must be killed.

[A]

Why?

[D]

Because you can bid more than I am prepared to offer.

[A]

Would you mind telling me who's going to do this little job for you?

[D]

For me? No one. I will do it myself.

[A]

You know, I believe you would not would, Steve.

[D]

Would you? Obviously I cannot do it in here in my apartment.

[A]

Well, that's a relief.

[D]

We will go for a little drive, just the two of us.

[A]

Now wait a minute.

[D]

Come on, move. Keep both hands on the steering wheel, Steve.

[A]

Don't worry. With that blue steel tickling my ribs, I'll behave. Where are we going?

[D]

Out of the city a little way.

[A]

Look, what good's it gonna do you to kill me?

[D]

I don't like competition, Steve. I know you are determined to get that letter. But I am more determined than you are. Steve. Steve, watch out. You're heading for that parked car in front of us.

[A]

So I see.

[D]

Slow down, Steve.

[A]

Oh, I know you will hit it. Yeah, that's the point. I'm sorry to jolt you, baby.

[D]

Let go of my wrist.

[A]

Let go of the gun.

[D]

And if I do not?

[A]

I've never broken a woman's wrist before. But I guess there's always a first time.

[D]

You would not do it.

[A]

Oh, wouldn't I? That's better.

[D]

You. You surprised me, Steve. You are not as soft as I thought. Well, what will you do now? Turn me over to the police?

[A]

Well, maybe I should. After all, you were trying to kill me. But I also remember you saved my life an hour ago. Now, Lisa, I'm not going to turn you over to the police.

[D]

You're a strange man, Steve. In turning me loose, you are making the biggest mistake of your life.

[A]

Maybe time will tell. I'll be seeing you, Lisa. Well, along about now I'm ready to toss in the sponge. It's only a matter of time until Baumgartner contacts Gerlock or Lisa. And the highest bidder will be waiting at 10 o' clock to claim the key to the safety deposit box and burn. I had no money to offer and I couldn't scare Baumgartner into giving me the document. Baumgartner was more afraid of Gerlach and Lisa than he was of me. Then a crazy idea hit me. It might work. Fear does talk louder than money. And maybe Gerlach and Lisa could do a little bit of work for me without knowing it. That night I Timed my arrival at the Jungfrau Inn. It's nine as I open the front door.

[F]

Ah, good evening, Herr Mitchell.

[A]

Hello, Baumgartner. I see their moser BB's are still being it.

[F]

Yeah, yeah. Such music. Oh, it's a delight to my soul. But I'm glad to see you back tonight, Herr Mitchell. It indicates you've changed your mind about that document. Now, how much are you prepared to bid for Baumgartner?

[A]

You told me you're just acting as a go between in this deal, but I've got a pretty strong hunch that there is no other man. I think you've got the document and dreamed up this story about being just a go between to protect yourself.

[F]

I do not understand the purpose of these remarks.

[A]

No purpose? Really?

[F]

All right then, let's get down to business. How much are you prepared to bid?

[A]

You misunderstand, Baumgartner. I just came up here to tell you goodbye.

[F]

Mitchell, sometimes I find your sense of humor very annoying.

[A]

It's no joke. My train leaves for Bern in about two hours.

[F]

You are serious?

[A]

Yep. So long.

[F]

But I do not understand the key.

[A]

I think you will understand before long. Goodbye.

[F]

But. But Herr Mitchell.

[A]

Well, hello, Lisa.

[D]

Hello, Steve.

[A]

You must like this inn.

[D]

Let us say rather that I like you.

[A]

Yeah, sure. You proved that the last time we were together.

[D]

I'm afraid you were a little too clever for me then.

[A]

Well, it doesn't matter anymore, Lisa.

[D]

What do you mean?

[A]

I'm taking my key and I'm leaving on the train to Bern in a couple of hours.

[D]

Key? Leaving? You admit defeat then.

[A]

I didn't say that. I just said I was leaving. Well, so long, Lisa. It was nice while it lasted and I'm glad it didn't last a minute longer.

[D]

Wait, I do not understand. Well, if you are leaving, that means that bomb goes.

[A]

It just means I'm leaving. So long, Lisa.

[E]

Michel.

[A]

Looking for me, Hans? Here I am. That's one I owe you. Here's another. And here's one for Gerlach. Give him a message for me, Hans. Tell him I've got the key.

[D]

Key?

[A]

Tell him it's too late. I'm leaving on the train to burn. Don't forget.

[C]

Here's your compartment, sir.

[G]

Number five.

[A]

Thanks. Conductor, when do we arrive in Bern?

[E]

Late tonight.

[A]

A little stuffy in here.

[E]

Oh, open the window if you like.

[A]

Right. See you later.

[D]

Mitchell.

[F]

Mitchell.

[A]

Well, hello, Baumgartner.

[F]

Mitchell, what have you done to me?

[A]

I don't know what you mean.

[F]

But you must. Shortly after you left Gerlock he came to the inn and tried to kill me.

[A]

Well, maybe he doesn't like you.

[F]

Mitchell, this is serious. I escaped out the back door but he followed me here. He's on the train.

[A]

What about the girl?

[F]

She saw a door. She too is here.

[E]

What did you tell them?

[A]

Well, have a seat and I'll explain it.

[F]

There isn't much time. They're searching the compartments.

[A]

Then I better talk fast. Yesterday you called the highest bidder and told him that he or she could claim the key to the safe deposit box at 10:00 clock tonight.

[F]

Yeah, yeah, all this I know.

[A]

I had to know who was the highest bidder tonight. When I told Lisa I was leaving with the key, it meant nothing to her. That left Gerlock.

[F]

Oh, this too I know.

[A]

When I left early mentioning the key, they both thought you had sold the document to me.

[F]

So that's why Gerlach tried to kill me.

[A]

That's right. When Lisa learned about that, she smelled the double cross and started on her own.

[F]

But I didn't double cross, you know that.

[A]

Well, in that case you have nothing to worry about when they find you. If you have time before they shoot you, just tell them the truth.

[F]

And you must tell them. You are the only one who can save my life.

[A]

Why don't you go to the police?

[F]

You know I cannot ask their protection in this matter.

[A]

Well then you'd better make a deal with me. Now, you got that key to the safe deposit box on you?

[F]

But of course.

[A]

Well, give it to me. I'll tell Gerlach and the girl that you don't have it.

[F]

But I'll get nothing. No money, nothing.

[A]

Well, the other way. You'll wind up dead, still with nothing. Come on, make up your mind. Yes or no?

[F]

Oh, but it's unfair.

[A]

Someone coming down the corridor.

[F]

It's, it's a woman's steps, probably.

[A]

Lisa. What's it going to be, Baumgartner? I, I. Oh, all right.

[F]

Anything. Here, here's the key.

[A]

Thanks. Now get over there behind the door. Keep your mind.

[D]

You will both stay where you are.

[A]

Hello, Lisa. Looks like you've got quite a collection of guns.

[D]

Yes, but soon it will be a collection of keys. Baumgartner, you will be first.

[F]

No.

[D]

You promise to sell that document to me instead. You sold it to Steve. Mitchell.

[F]

No, it's not true. Mitchell, tell her.

[A]

Yeah, maybe I had better explain.

[B]

You see, Lisa.

[G]

Save your explanations for me. Mitchell. Grab the gun. Lisa.

[C]

Drop it.

[A]

Lisa. He means business.

[D]

So do I.

[A]

Why you. Mitchell, Let go of me. You Bet.

[F]

You knocked him out, Mitchell.

[A]

Yeah, but not in time to save Lisa, though.

[F]

But in time to save me.

[A]

What?

[F]

Gardner, I have Gerlach's gun. Now, Mitchell, give me back that key.

[A]

I guess I should have known I couldn't trust him.

[F]

Take that key out of your pocket and give it to me at once.

[A]

Well, okay, Baumgartner, here's the key. Catch.

[F]

Mitchell, you threw that key out the window?

[A]

Yeah.

[F]

On purpose?

[A]

On purpose.

[F]

I'll pull the emergency stock.

[A]

Hey, hey, where you going?

[F]

I'm going after that key.

[D]

And I'll get it. Bye.

[A]

Happy hunting.

[E]

Who pulled the emergency stop?

[A]

The guy who just jumped off the train. Conductor. Wait.

[E]

His body's on the floor.

[A]

Then it was a shot I heard. Yeah. The unconscious guy's name is Gerlach. He killed the girl there. But I didn't understand.

[E]

You say a man jumped off the train. Why?

[A]

He's looking for a key in the snow out there somewhere. A key? Yeah, I threw it out the window. You know, I'd give a lot to see his face when he finds it. Why, it's the key to my apartment back in the States.

[E]

But is the key that valuable?

[A]

Well, it's not half as valuable as the one I've still got in my pocket. Now, come on, conductor. Let's get this train moving again. I've got a date. And burn.

[D]

Oh.

[A]

Oh, no. This date is with a safe deposit box.

[B]

You have just heard another episode in the exciting new adventure series Dangerous Assignments. Starring Brian Dunleavy as Steve Mitchell. Dangerous Assignment is written by Bob Rife with music by Bruce Ashley, and was directed tonight by Max Hutto. Be with us again next week at this time when Brian Donlevy, starring in the role of Steve Mitchell, will embark on another dangerous assignment. Be sure to hear elizabeth taylor on cavalcade of america tomorrow on NBC.