TRANSCRIPCIÓN 🔗
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Box thirteen with a style of paramount pictures Alan Ladd
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as Dan Holliday.
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Box thirteen, Care of the Star Times.
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I should like very much to see and offer a
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proposition which could be of mutual profit to us. Of course,
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there is some danger involved. But then your advertisement asks
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for adventure. So if you are interested, perhaps we could
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have lunch tomorrow afternoon, said.
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One of them. Say at one o'clock the Golden Arrow,
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ask for mister Waring's table. There's some danger involved. He said, Yes,
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that's what the man said. And brother, that's exactly what
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he meant.
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And now back to Box thirteen and Dan Holliday's newest
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adventure Daytime Nightmare.
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Well, lease this letter.
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I'd bought you to lunch, mister Holliday.
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Uh huh lunch? And then what dangerous sins that don't exciting?
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It always does? You know, Susie, someday I'm going to
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walk into one of these things and not walk on.
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Then follow up one it he does a letter, there's
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one that asks for a babysitter. The woman said, her
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children are an adventure.
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Oh no thanks, I'll take mister Waring's letter and his proposition.
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You better hurry it's almost twelve to thirty.
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Now, Oh, don't push, Susie, don't push.
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What time will you be back?
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Probably this evening, but don't wait for me. Just lock
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up the office and take off. It's along, Susie. An
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only narrow was one of those altar dining and lunch
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in spots where you can get a swell dollar lunch
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for five. I asked for mister Waring's table, and the
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waiter showed me to an icy fruited corner. A small
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orchestra was playing, a couple were dancing, and mister Waring
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was just sitting there. I took a good look at
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him before I sat down. He was big and handsome,
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maybe about fifty, and the diamond he flashed on the
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little finger of his right hand was spelled with fifteen
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hundred capital dollars. He looked up saw me standing there.
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How do you do You're a box thirteen? Yes, that's right,
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you're mister Waring and you're right.
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Please sit down. I've ordered lunch. I hope you approve. Oh, thanks,
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I'm sure I will. You're younger than I expected. Oh disappointed?
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No?
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No, please tell me is box thirteen the way you
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make you living? Aah, not quite Yeah, I read your
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advertisement several times. Adventure wanted go any place, do anything.
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Right Box thirteen. Is that said with disapproval? No, not
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at all, mister dad Holiday, No, not disapproval.
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Then just regret, regret that I hadn't the nerve to
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do such a thing when I was your age.
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Well, sometimes the regrets of mine. Huh oh oh, I see.
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You mean, once in a while you get something that's
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hard to handle, that's it.
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Book, You've always come out on top. Well, I've had
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a lot of luck. Is there any of it left?
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Do I need some? If you do what I ask,
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you will all right? What's on your mind as the work? First,
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we'll have lunch, then we'll talk. Will that be all
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right with you? You say so? Yes, good Charles. You may
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bring our lunch. Now.
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Now let's enjoy ourselves. There's lots of time to get
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serious after lunch.
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Well, Wearing was a very good conversation. I learned he
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was an attorney, an attorney for one of the biggest
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to stay in the country. He kept leading the conversation
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around to that every time we got on something else.
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Then when blunch was over, enjoyed then very much, Oh, no,
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thank you. Now, if you'll come with me, come with you.
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But I thought we were going to talk. I'd rather
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have more privacy. You'll understand why when I tell you
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what I have in mind.
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It's that important. Would you say ten million dollars was important?
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Commands attention? Yes, then please come with me. We left
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the
Load full transcript
Golden Arrow the dormand saluted wearing and signaled a
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big glamousine that sneaked up along the curb, and purred
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to a stop.
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Please get in then, oh, pardon, where are we going?
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Oh?
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For ride through the park. Wait a minute, I want
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to know what this is all up about before I
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go on. You're not very trusting, are you.
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It's not very something wrong? Then in the card damn
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little air will make you feel better. But go on,
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get in, all right, birds, you know where to go.
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I had been drugged before, so I knew what it
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felt like. I felt exactly like this. I came crawling
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out of the long dark tunnel with a buzzing in
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my ears, my mouth dry as cotton. I was lying
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down and I reached up my arms. I was on
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a cot, a nice white cotton, a nice white hoom.
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I sat on the edge of the bed. Looked around.
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There was a window, but there were bars over it.
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I went to the door. Hey, I open up, open
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this door, Open this door. How many come out o
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the door?
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Get away from the door, Get away from it. You
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are back away from it, and I will go on.
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I moved back in the way. There was a pause
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and then.
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Well, mister Stokes, you've awakened at last.
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Stokes, what are you talking about? Come on, get me
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out of this gag. I'll break my way out.
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Samuel, you'll go huh ah, mister Stokes. You don't want
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Samuel and Hugo to take care of you, do you?
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What is this?
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Sit down? Mister Stokes, please sit down. I won't sit
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down where he's wearing. He'll be here in a moment.
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If you want to see mister Waring, I'm sure that
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can be arranged.
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Well that's better. Call off those mastives and white coats.
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Wait outside, Samuel, you go and close the door. Go ahead,
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I'll be all right. Stay where you are, mister Stokes.
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Because this is a gag. Let's
run it off the
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boards and put a tag to it.
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Okay, why, mister Stokes, you sound almost rational?
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Rational? What are you talking about just that.
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I've no doubt that in a year, perhaps a little more,
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we can discharge you. You mean you mean this is
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no gag. No, it's not a gag. You're Edward Stokes.
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Remember that you're Edward Stokes.
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Where was wearing?
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He'll be here to see you with your wife. My wife,
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of course, I wonder if you remember her.
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I don't know what you're trying to get away with,
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but if I have to play rough, I can play.
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Samuel, you go. I think mister Stokes needs to be quiet.
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Take care of it, Samuel.
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Get them away from me.
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And you've decided to be more calm, mister Stokes, we
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can have a talk in my office. Until then, I
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shall take precautions against your homicidal tendencies.
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Well, if it's no gag. Samuel and Hugo were too
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big for games, and they played rough. Samuel left and
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Hugo sat beside the bed watch me. I knew now
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where I was a sanitarium? Why was I called Edward Stokes?
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I had to find out, so I turned to Hugo. What, oh, Hugo,
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these steps are hurting me. No danks, mister Stokes. I
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can't lose them for you. Look, get my clothes, take
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out my wallet, take the money that sent it, and
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just let me get to a telephone.
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I'm sorry, mister Stokes.
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You know that's against the rules. Who is the man
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who spoke to me before?
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That's mister Courton, mister not a doctor whoa yes and no?
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This here's a kind of a rest home.
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Does everyone get as much rest as I do? You're
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all right, that's pretty funny. Yeah, I'm dying. Were are
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my clothes and I we'll get them for you later. Look,
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I'm not Edward Stokes. I'm Dan Holliday. Get it. My
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name's Dan Holliday. I'm a writer. Swell, I'll bring you
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a pencil and paper. Later. You go go to a phone,
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call the number I'll give you and ask for SUSI.
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You got his sister from me. Now, lest you big lummas,
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this is a frame up. I am not Edward Stokes.
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I don't know who he is. I never even heard
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of him. I'm Dan the Holiday, a writer.
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Okay, okay, I believe you. Once I took care of
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a man who was Shakespeare, I believed him. I also
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took care of Michael Angelo Danty Spinoza.
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Why I but huh, I want to see Cordello one four.
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I want to talk to him. What a bar? Does
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that make any difference?
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Yeah, because if it's not important, you'll get mad at me.
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All right, tell him? Tell him. I remember now that
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I'm Atwood Stokes, it all comes back to me. Now,
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will you go to him?
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Okay, but please, mister Stokes, don't try what you did before.
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I hate to get rough, right, I promise it's a
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good boy, and keep on being a good boy, and
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you'll be allowed visitors this afternoon.
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I'll be very happy to see them, very happy.
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All right, mister Stokes. I brought you to see mister Cardell. Like, yes, now,
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promise you'll take it easy.
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Oh? Sure, thanks, you go, that's nothing here he is,
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mister Cardell.
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Good. Close the door and wait outside. You go.
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Sure you'll be all right, mister Cornell.
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I think mister Stokes has learned his lesson.
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Mm sure, please be a good boy now, yeah, I will, Hugo.
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So you've become reconciled, mister Stokes.
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I know I can talk myself blue in the face
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to Hugo or anyone else around here and not get anywhere.
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But I want you to tell me what this is
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all about.
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I'll be glad to you're Edward Stokes. You're here for
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a rest. You were formerly at the mill Haven Sanitarium,
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but your wife thought this would be a better place.
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Don't you remember, Oh course I do. You've made it
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all so clear, good, good, Oh. By the way, you're
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looking so much better than when I saw you last,
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mister Stokes. Would you like to see how much better?
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What do you mean?
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There's a mirror on the door of that closet to
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your right. Open it and see how you've improved.
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I looked in the mirror. I didn't see Dan Holliday.
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I saw a stranger. Gord El's voice came to me
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from a million miles away.
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There's some gray in your hair, of course, but that's
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to be expected as a whole. It's still a nice, deep,
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rich black.
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My husband died, has it.
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I'll bet you think it was once blonde. I imagine
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you think your name was once Dan Holiday. Take a
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good look at yourself, mister Stokes. Get acquainted with your
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new personality. You'll be with it for quite a while.
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Cordel smiled at me. Then I know for certainness was
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no I was Edward Stokes. My hair dyed clever, touches
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a makeup here and there. Even Susie wouldn't have known me.
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Do you know why you've become Edward Stokes?
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Why, mister Cordell, Because mister Edward Stokes is dead?
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And now back to daytime nightmare? Another Box thirteen adventure
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with Alan Land as Dan Holliday.
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Well, there was a twist. I was a dead man,
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yet I was alive and being kept alive. But for what.
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Later in my room I thought of making a break
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for it, but there was always Samuel and Hugo. Then
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later I was taken again to Cordell's office. This time
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Hugo went in with me. Cordell wasn't alone with him.
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We're wearing a woman. The woman looked at me as
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I entered, Edward, Edward Darling, would you mind just calling
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me Dan?
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Please?
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Edward?
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You remember me?
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Of course you remember your wife, don't you? Edward? Oh, hello, Wearing,
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I must buy you lunch some time. Lunch. Oh, of course,
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of course.
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I told your wife and mister Wearing that you were
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so much better, mister Stokes. But now you've disappointed me.
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Oh, I'm so sorry, mister Cardell.
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Hugo, please wait outside.
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I'll call you if I need you shere, mister Cordell,
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he does look like Edward?
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Must you say it so loud? Philip?
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Oh? Sorry? How long does this go on?
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Not much longer? Course, it all depends on you. Yes,
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how we'll leave that until later, Clarice. What you've got
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to sign those transfer papers? They're all right, of course,
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Oh Edward, it might be interesting for you to watch
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yourself being committed.
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I'm wanting all of you. I'm going to get out
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of here, and when I do.
243
00:14:10.840 --> 00:14:12.200
It, when you do what?
244
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Where's the real Edward Stokes? How does he know that
245
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it would?
246
00:14:16.600 --> 00:14:19.480
Hodell? Did you open your mouth? What's the difference? He
247
00:14:19.519 --> 00:14:21.200
can babble his head off and no one will pay
248
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any attention.
249
00:14:21.840 --> 00:14:23.159
Suppose something goes wrong?
250
00:14:23.279 --> 00:14:25.080
How can it? It's all too perfect?
251
00:14:25.159 --> 00:14:27.600
Course it is. Sign the paper's cleries. Get it over
252
00:14:27.639 --> 00:14:29.960
with good Now, let's go.
253
00:14:30.480 --> 00:14:33.159
Nothing can go wrong, not unless you double across me.
254
00:14:33.360 --> 00:14:35.840
You've got your money and you're in as deeply as anyone.
255
00:14:36.360 --> 00:14:40.080
You better see that everything goes all right. It will fine.
256
00:14:40.320 --> 00:14:44.399
Now, good bye, Edward, and good luck. Come along.
257
00:14:48.120 --> 00:14:51.320
Well, mister Stokes, you are now officially in my care.
258
00:14:52.080 --> 00:14:55.159
That should make everything just ducky Oh, it will if
259
00:14:55.159 --> 00:14:56.360
it's not asking too much.
260
00:14:57.120 --> 00:15:00.960
What happens now, my dear mister Stokes, if you knew
261
00:15:01.440 --> 00:15:02.440
you wouldn't like it?
262
00:15:03.000 --> 00:15:06.000
What's to prevent me from reaching across this desk knocking
263
00:15:06.039 --> 00:15:08.960
your head off just for the fun of it. This
264
00:15:09.279 --> 00:15:12.320
gun will prevent it. You wouldn't dare use.
265
00:15:12.159 --> 00:15:15.720
It, No, not directly. But suppose you did try something.
266
00:15:16.000 --> 00:15:18.759
Suppose we struggled and the gun went
off accidentally.
267
00:15:19.080 --> 00:15:20.320
Supposed it did.
268
00:15:20.240 --> 00:15:24.639
And killed you. Who would be your witness? Not you?
269
00:15:24.639 --> 00:15:28.559
You'd be dead, Not Hugo. Because he saw you attack
270
00:15:28.639 --> 00:15:29.320
me this morning.
271
00:15:29.919 --> 00:15:32.919
Cordell leaned back in his chair and grinned. Then he
272
00:15:33.480 --> 00:15:36.600
laid the gun on the desk. It was so close
273
00:15:36.639 --> 00:15:41.399
to me, so close He knew what I was thinking,
274
00:15:41.440 --> 00:15:44.360
because his grin widened. But I had to take the chance.
275
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I jumped.
276
00:15:46.000 --> 00:15:49.720
Stay right here, Cordle, All right, now that you've got
277
00:15:49.759 --> 00:15:51.480
the gun, what will you do?
278
00:15:52.159 --> 00:15:52.919
Hand me that phone?
279
00:15:53.240 --> 00:15:56.240
Certainly here you are, keep your hands on top of
280
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the desk with pleasure?
281
00:15:58.200 --> 00:16:01.480
Ah, whom are you going to call the police?
282
00:16:01.919 --> 00:16:08.360
All right, go ahead, you go, you go, be careful Hugo,
283
00:16:08.440 --> 00:16:09.000
he's raving.
284
00:16:09.279 --> 00:16:11.600
You've got to believe me. I'm not Edward Stokes. I'm
285
00:16:11.639 --> 00:16:13.840
Dad Holiday. Give me two minutes to put through a
286
00:16:13.879 --> 00:16:15.840
phone calls.
287
00:16:16.159 --> 00:16:18.159
You don't want to do anything with that gun.
288
00:16:18.759 --> 00:16:20.559
Better give it to me like a good boy.
289
00:16:20.639 --> 00:16:22.679
You'll go. Please, please stay.
290
00:16:22.440 --> 00:16:25.639
Back, careful, Hugo. He may shoot. Stay back, mister Cardell.
291
00:16:25.679 --> 00:16:26.279
I can handle him.
292
00:16:26.279 --> 00:16:28.200
You'll go. Listen to me, Listen to him. Give me
293
00:16:28.240 --> 00:16:30.159
two minutes on that phone, just one minute.
294
00:16:31.600 --> 00:16:34.279
Give me that gun on, give it to me.
295
00:16:34.320 --> 00:16:37.559
Wait. Wait, I don't want to shoot, but I'll have
296
00:16:37.600 --> 00:16:39.240
to do it. If you're come in closer, better not,
297
00:16:39.600 --> 00:16:41.519
He'll go. I'm in a spot. The real Edward Stokes
298
00:16:41.600 --> 00:16:43.799
is dead, Hugo. He's been killed by his wife and
299
00:16:43.840 --> 00:16:46.200
his attorney. Listen to me, stand still and listen to me.
300
00:16:46.240 --> 00:16:48.919
Easy is he Mister Stokes.
301
00:16:49.440 --> 00:16:51.440
Stokes has been killed. He was taken from the first
302
00:16:51.440 --> 00:16:53.919
Sanitarium and killed. I was brought here, Hugo, brought here
303
00:16:53.919 --> 00:16:56.240
to impersonate Stokes. Cordell wants me to shoot your Hugo
304
00:16:56.279 --> 00:16:57.200
so I can be killed legally.
305
00:16:58.480 --> 00:17:13.359
Yogo. I know all that, mister, but if you.
306
00:17:07.440 --> 00:17:10.599
You go, you go.
307
00:17:11.599 --> 00:17:13.160
I'm afraid you killed him.
308
00:17:13.319 --> 00:17:19.720
Stokes, Cordell, you shot the poor devil. Of course I did,
309
00:17:19.839 --> 00:17:22.359
mister Stokes. You shot him with another gun you just
310
00:17:22.359 --> 00:17:25.680
took out of that drawer. That's perfectly true, mister Stokes.
311
00:17:26.559 --> 00:17:29.319
Ballistics can prove which gun killed Hugo.
312
00:17:29.720 --> 00:17:33.440
That's true to mister Stokes. But who would think of
313
00:17:33.519 --> 00:17:36.039
ballistics in connection with a maniac?
314
00:17:40.079 --> 00:17:43.759
Cordell stood there, smoking gun in his hand. Ah, it
315
00:17:43.839 --> 00:17:46.519
was a beautiful frame. In the second the rest of
316
00:17:46.559 --> 00:17:48.599
the people in the place would crowd into that office.
317
00:17:48.839 --> 00:17:52.680
What chance would I have none? I tuck myself into
318
00:17:52.720 --> 00:17:56.079
a ladder. Cardell put the gun back onto his desk.
319
00:17:56.680 --> 00:17:59.279
Well, mister Stokes, what now.
320
00:17:59.680 --> 00:18:02.000
I I can prove I didn't shoot the gun.
321
00:18:02.160 --> 00:18:03.480
I think you'll get the chance.
322
00:18:04.000 --> 00:18:07.799
I'll be back. Get on the way, beck.
323
00:18:07.680 --> 00:18:10.279
Capful, all of you don't say he's got a cough.
324
00:18:10.680 --> 00:18:11.480
He killed Hugo.
325
00:18:11.839 --> 00:18:14.839
Stay by, let it go, Stay out of tenerable law.
326
00:18:15.880 --> 00:18:17.319
I ran up into the night, up and the rest
327
00:18:17.319 --> 00:18:19.000
of my nightmare. I cleared the grounds of the rest
328
00:18:19.000 --> 00:18:21.240
home and took to the woods. There was only one
329
00:18:21.240 --> 00:18:23.880
thing in my favor, the darkness. I stayed in the woods,
330
00:18:24.000 --> 00:18:29.960
but I had to get to a phone. I don't
331
00:18:30.000 --> 00:18:33.759
know how long I walked, maybe an hour, maybe two.
332
00:18:34.119 --> 00:18:36.119
Then I saw a house there were lights in it.
333
00:18:37.079 --> 00:18:39.519
I hesitated, but I had to get to that phone.
334
00:18:45.160 --> 00:18:45.960
Did you worry?
335
00:18:46.720 --> 00:18:54.400
Yeah, yeah, it's me. Don't don't scream. Please get back, Please,
336
00:18:55.119 --> 00:18:57.440
please don't look. I'm not going to hurt you. I
337
00:18:58.079 --> 00:18:59.519
want to get to a phone. Have you got one?
338
00:18:59.680 --> 00:19:01.519
No, there's no phone here.
339
00:19:02.119 --> 00:19:03.119
Where's a nurse one.
340
00:19:03.440 --> 00:19:04.920
The filling station down the road.
341
00:19:06.400 --> 00:19:09.920
Have you got any men's clothes here in the closet?
342
00:19:10.440 --> 00:19:11.480
Would you mind getting them out?
343
00:19:11.799 --> 00:19:12.359
Go? Wait?
344
00:19:12.480 --> 00:19:15.680
Please, I won't tell anybody you've been here, but don't
345
00:19:15.720 --> 00:19:16.119
hurt me.
346
00:19:16.319 --> 00:19:18.240
Please. You you
know who I am.
347
00:19:19.359 --> 00:19:20.920
The radio they said.
348
00:19:20.880 --> 00:19:23.720
How long ago? Half an hour? Maybe get those clothes
349
00:19:23.720 --> 00:19:26.960
for me? Please get them all right.
350
00:19:29.599 --> 00:19:31.640
You won't pitch your they're too small.
351
00:19:32.000 --> 00:19:34.240
I don't care about that. Throw them on the table. There.
352
00:19:34.920 --> 00:19:38.359
Just trousers and coat, all right. I put the trousers
353
00:19:38.400 --> 00:19:41.000
and coat on over the pajamas I was wearing. The
354
00:19:41.039 --> 00:19:43.440
woman watched me, and she watched the door. She was
355
00:19:43.440 --> 00:19:49.440
expecting someone wally, probably her husband. Then please please go? Now?
356
00:19:50.000 --> 00:19:53.160
How far is that filling station? About two miles there's
357
00:19:53.200 --> 00:19:56.559
no phone closer than there. No. All right, you stay
358
00:19:56.559 --> 00:19:58.279
in here. You're not going to get her. Just stay
359
00:19:58.279 --> 00:20:00.440
in here until you're sure I'm far enough away you
360
00:20:00.480 --> 00:20:01.039
get there.
361
00:20:01.480 --> 00:20:04.119
Yes, sir, I won't move good.
362
00:20:03.960 --> 00:20:09.920
I'll return the clothes later. She screamed. I could hear
363
00:20:09.960 --> 00:20:12.279
a screams fading into the night as I ran. I
364
00:20:12.279 --> 00:20:14.200
had two miles to go, two miles of the brush
365
00:20:14.240 --> 00:20:16.799
and woods. I couldn't risk it into the road. Then
366
00:20:16.839 --> 00:20:21.920
I heard something. I ran. I ran until my legs
367
00:20:21.920 --> 00:20:23.559
were torn by the brush. I ran until my breath
368
00:20:23.640 --> 00:20:26.559
choked in my throat. Then I saw the station, but
369
00:20:26.599 --> 00:20:36.480
I couldn't get to it. I crept closer and laid
370
00:20:36.480 --> 00:20:39.079
down in the mud filled ditch. I knew then what
371
00:20:39.119 --> 00:20:41.160
a fox must feel like, with the hounds tearing at
372
00:20:41.160 --> 00:20:44.480
his heels. I listened. I heard Cordell's voice.
373
00:20:44.599 --> 00:20:47.680
Begin with he's dark haired, wearing pajamas. But he may
374
00:20:47.680 --> 00:20:49.960
have picked up some clothes somewhere. I haven't seen anybody.
375
00:20:50.079 --> 00:20:50.759
Better be careful.
376
00:20:50.799 --> 00:20:53.000
I'm glade he's got a gun, already killed a man
377
00:20:53.039 --> 00:20:53.640
back at the home.
378
00:20:53.839 --> 00:20:56.319
Don't take no chances shoot to kill.
379
00:20:56.039 --> 00:20:56.880
Our wheel sheriff.
380
00:20:56.880 --> 00:20:57.759
Thanks for warning me.
381
00:20:57.880 --> 00:21:01.079
Okay, claydy oh got a gun? Sure, I'll always keep
382
00:21:01.079 --> 00:21:03.839
on the station. Good, keep your radio turned on too.
383
00:21:03.960 --> 00:21:06.160
We're running bulletins on the air. That way you can
384
00:21:06.200 --> 00:21:07.279
tell if he's headed this way.
385
00:21:07.400
--> 00:21:09.039
Sure, see you way a sheriff.
386
00:21:09.079 --> 00:21:10.720
Remember he's dangerous.
387
00:21:10.359 --> 00:21:13.480
A homicidal maniac. Take no chancewers okaymis to Crodell.
388
00:21:13.599 --> 00:21:33.559
Thanks, go on. Then I watched the attendant Klayde go
389
00:21:33.599 --> 00:21:36.359
back into the filling station. I watched him take a
390
00:21:36.359 --> 00:21:38.440
gun from a drawer and shove it into his pocket.
391
00:21:39.240 --> 00:21:42.400
I kept across the road, my stomach head from pressing
392
00:21:42.400 --> 00:21:45.519
it close against the concrete plate. Came out of the station,
393
00:21:45.799 --> 00:21:48.200
looked up and down the road. Then he turned off
394
00:21:48.200 --> 00:21:54.079
the lights and locked the door. Don't take another step
395
00:21:54.119 --> 00:21:56.640
from don't look around, don't reach for that gun in
396
00:21:56.680 --> 00:22:00.480
your pocket. What are you gonna do? Nothing, you get hurt.
397
00:22:01.200 --> 00:22:03.160
I want to use the phone in the station. It's
398
00:22:03.160 --> 00:22:05.920
a lot of order. You're lying. I'm not lying. Why
399
00:22:05.920 --> 00:22:08.000
don't you try it. We are the keys to the
400
00:22:08.039 --> 00:22:10.160
door in my pocket. Keep your hands out of that pocket.
401
00:22:10.319 --> 00:22:13.559
You want the keys, don't you go back turned. I
402
00:22:13.640 --> 00:22:16.480
know that gun is in your coat pocket. The keys
403
00:22:16.519 --> 00:22:20.240
there too. No, in my trousers. Reach in, get them out,
404
00:22:21.039 --> 00:22:27.400
but be careful. Yeah, unlock the station door and go
405
00:22:27.400 --> 00:22:33.519
in ahead of me. Never mind the lights.
406
00:22:33.640 --> 00:22:35.319
Look, why don't you give me your gun. You haven't
407
00:22:35.359 --> 00:22:37.960
got a chance, fellow. The roads are crawling with prowl cars.
408
00:22:37.960 --> 00:22:39.039
They were here just a minute ago.
409
00:22:39.160 --> 00:22:41.480
Yes, I know what I saw them. Reached in that
410
00:22:41.559 --> 00:22:45.240
coat pocket back to me. Reach in and take out
411
00:22:45.240 --> 00:22:48.480
that gun. All right, hold it my two fingers and
412
00:22:48.559 --> 00:22:54.079
drop it on the floor. Go on, ah, stand over
413
00:22:54.119 --> 00:22:55.839
there while I use the phone. There's a lot of order.
414
00:22:55.880 --> 00:23:01.680
I told you stay where you are. Hello, Hello, I
415
00:23:01.759 --> 00:23:04.480
told you there's another phone.
416
00:23:04.839 --> 00:23:07.279
The nearest one is about five miles down the road.
417
00:23:07.319 --> 00:23:12.200
You're lying like I was about this phone. Look, please,
418
00:23:12.240 --> 00:23:13.319
why don't you give up?
419
00:23:13.680 --> 00:23:16.440
Give me that gun. We'll go into town. Please.
420
00:23:16.920 --> 00:23:19.480
They'll shoot you down on side if you leave here alone.
421
00:23:19.559 --> 00:23:21.799
I've got to take that chance. No you
don't. I
422
00:23:21.880 --> 00:23:24.160
want to give you a break, fella. I want to
423
00:23:24.200 --> 00:23:25.640
give you a break because.
424
00:23:25.400 --> 00:23:30.319
Because once I saw a dog shot and dog they
425
00:23:30.359 --> 00:23:31.279
all said was mad.
426
00:23:32.480 --> 00:23:33.200
It wasn't mad.
427
00:23:33.279 --> 00:23:37.039
All I wanted was water, But they shot it without
428
00:23:37.079 --> 00:23:41.880
giving it a chance. Please give me your gun.
429
00:23:42.279 --> 00:23:45.440
Look, if I tell you a story, you won't believe it.
430
00:23:46.039 --> 00:23:48.799
I know you won't. Maybe I will go ahead. I'm
431
00:23:49.200 --> 00:23:51.279
I'm not Edward Stokes. I'm not the man they're hunting for.
432
00:23:51.440 --> 00:23:53.960
He's dead, killed by his wife and his aunny. What
433
00:23:54.799 --> 00:23:57.799
I think because they wanted a state I'm killed his Stokes.
434
00:23:57.799 --> 00:24:00.920
They'll identify me as him. Please give me the gun.
435
00:24:01.759 --> 00:24:03.880
You you don't believe me, do you?
436
00:24:05.039 --> 00:24:06.799
I believe only that if you leave here and get
437
00:24:06.799 --> 00:24:08.319
out on that road, you'll be shot down.
438
00:24:08.640 --> 00:24:15.640
Hi, you're hurt. It's never mind. Get me to a phone.
439
00:24:15.920 --> 00:24:23.000
I can't all right here, take the gun. Take him.
440
00:24:23.519 --> 00:24:28.079
What's the way for? Now you've got the gun. I
441
00:24:28.119 --> 00:24:30.240
want you to do one thing. Get me to a phone.
442
00:24:30.400 --> 00:24:32.400
Let me call the police. Let me identify myself.
443
00:24:32.400 --> 00:24:38.160
Will you come on, I've got a car.
444
00:24:42.279 --> 00:24:44.559
Clay got me to a phone. I called Lieutenant Kling
445
00:24:44.559 --> 00:24:47.319
and told him the story, and less than an hour later,
446
00:24:47.400 --> 00:24:50.359
the sheriff, his men, Clayton and I walked into Cardell's office.
447
00:24:50.640 --> 00:24:52.920
Oh you've got him, good work, sheriff.
448
00:24:53.079 --> 00:24:54.400
Yeah, we got him.
449
00:24:55.160 --> 00:24:57.119
I'm surprised he took him alive.
450
00:24:57.559 --> 00:25:00.720
Yeah, so are we mind? Step over here a minute
451
00:25:00.720 --> 00:25:03.519
mister Cordell, what what for get over?
452
00:25:04.000 --> 00:25:06.440
What is this? You'll find the gun that killed Hugo
453
00:25:06.480 --> 00:25:07.799
in that drawer shot? What?
454
00:25:07.799 --> 00:25:08.319
What?
455
00:25:08.319 --> 00:25:08.359
What?
456
00:25:08.480 --> 00:25:09.640
This man's mad, Sir?
457
00:25:09.880 --> 00:25:17.839
I heard different from the city. Look up, that's the
458
00:25:17.880 --> 00:25:20.160
gun that killed Hugo, not the one I gave Clay.
459
00:25:22.640 --> 00:25:25.599
You were right, mister Cardell. No one would have thought
460
00:25:25.599 --> 00:25:31.039
of ballistics to see which gun had killed Hugo. I
461
00:25:31.039 --> 00:26:07.839
think I need a bath and a nice long rest.
462
00:25:55.319 --> 00:25:58.759
Wearing And this is Stokes were arrested on suspicion of murder.
463
00:25:59.039 --> 00:26:03.240
Police are searching for the body of Edward Stokes. Gee,
464
00:26:03.279 --> 00:26:04.279
mister Holliday.
465
00:26:04.960 --> 00:26:07.720
And it was nice, Susie, but let's forget it.
466
00:26:08.039 --> 00:26:11.319
Sure I know what you mean? Oh stay, I have
467
00:26:11.400 --> 00:26:14.680
to remind huh of what You've got a luncheon appointment
468
00:26:14.720 --> 00:26:15.720
today at luncheon?
469
00:26:16.680 --> 00:26:22.240
Oh No, Susie.
470
00:26:21.160 --> 00:26:24.400
Next week, same time. Through the courtesy of Paramount Pictures.
471
00:26:24.720 --> 00:26:29.920
Alan Ladds stars as Dan Holliday and Box thirteen. Box
472
00:26:30.000 --> 00:26:33.440
thirteen is directed by Richard Sandville, with this week's original
473
00:26:33.480 --> 00:26:37.359
story by Russell Hughes. Original music is composed and conducted
474
00:26:37.400 --> 00:26:40.640
by Rudy Schrager. Part of Susie is played by Sylvia
475
00:26:40.680 --> 00:26:45.240
Picker and production is supervised by Burne Carstensen. Box thirteen
476
00:26:45.400 --> 00:26:53.200
is a Mayfair production from Hollywood. Watch for Alan Ladd
477
00:26:53.200 --> 00:26:54.599
in his latest Paramount picture.