March 21, 2025 • 35 mins
Original Release Date: January 4, 2010
A grieving mother sends a letter to Box 13 asking Dan Holiday to find the truth behind her son's death.
Original Air Date: March 17, 1948
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A grieving mother sends a letter to Box 13 asking Dan Holiday to find the truth behind her son's death.
Original Air Date: March 17, 1948
Support the show monthly at patreon.greatdetectives.net
Support the show on a one-time basis at http://support.greatdetectives.net.‘
Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715
Take the listener survey…http://survey.greatdetectives.net
Give us a call 208-991-4783
Become one of our friends on Facebook.
Follow us on Twitter @radiodetectives
Check out our social media at https://www.greatdetectives.net
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:28):
Welcome to the Great Detectives of OldTime Radio from Boise, Idaho. This
is your host, Adam Graham bringingyou another episode of Box thirteen. If
you got any comments on the show, send them my way Box thirteen at
Great Detectives dot net. Also,please cast your vote for us over at
(00:48):
podcast Alley. Last month we gotup to number forty eight, so into
the top fifty. Encourage everybody pleasecast your vote early in the month,
particularly if you don't have a specificcomment to make that way the show's able
to move up the standings. Andthen if at the end of the month
(01:11):
we don't get any votes the lastday or two, then we go down.
But we enjoy being in the topfifty a little while longer. But
gobert to podcast Alley dot Great Detectivesdot net and please cast your vote for
us. It's much appreciated. Gota comment from Sean regarding my linking over
to the to the Digital Deli,and he noted something that stood out that
(01:38):
they mentioned Alan Ladd bankrolled the productionhimself under his Mayfield Transcription Company, and
he's right, he says, there'sa bunch of good info. But he
we knew he was a smart fellowedany way, well, hosting the show
and getting information, it's just amatter of searching around to find the right
(02:00):
rite information. Um As to himactually bankrolling it, it is really interesting.
UM. I think that there weremany reasons to do it. Financially,
it made a whole lot of sensebecause radio's a lot is fairly easy
to produce. Plus, this isUM Box Thirteen's a fifty two week production,
(02:25):
so that means that it's a station. When they buy syndications, fifty
two weeks is pretty common because thenyou can go ahead and you can buy
the whole UH block of shows fora year. And since these episodes were
not necessarily dependent on one another andthere weren't two parters, you could buy
(02:47):
thirteen episodes or twenty six episodes,and so this show actually continued to be
UH syndicated for many years, whichis why it's been so hard to figure
out when it first started. Sothere's a lot you know, there's some
good financial win there. It reallypromoted Ladd as an actor playing in pictures.
(03:12):
You really only got to be infront of the audience, you know,
three or four times a year whenone of your pictures was made.
This put him in homes across Americaevery week, and it really was the
gift that would keep on a givingfor promoting them. Plus I think it
had to be a lot of funto be able to do what you want
(03:35):
to do and to really play,to really play a character. So really
this was a win win. Andhe wasn't the only big Hollywood start to
have his own show. Humphrey Bogartand Lauren McCall actually did their own syndicated
show called Bold Venture, So itwas a pretty good way to actually connect
(03:59):
with people at home. So um, all right, Well, we're gonna
get started in just a moment withthis week's episode of Box thirteen. Before
we do that, I want toencourage it. If you got web hosting
needs, You need an extra domaim, you need, you need a new
web host because the current one isacting up and you're not getting the support
(04:23):
in aid. Well, remember theworld's number one web host one on one.
Go to hosting dot Great detectives dotnet, or click the one on
one banner over at a Great Detectivesdot net and get signed up for the
same web hosting we use with unlimitedbandwidth. All right, Today's episode of
(04:46):
Box thirteen, and I got isforeign correspondent. We're gonna listen, and
we're gonna come back Box thirteen withthe sire Paramount Pictures, Alan Ladd as
Dan Holiday Box fifteen Cara Star Times. They said, my son was killed
(05:17):
in a drunken roll. I knowhe wasn't. He was a good boy.
He was murdered why. I don'tknow. If you'll come to seven
thirty three wins. If you'll cometo seven thirty three winschif avenue anytime and
listen to my story, I'll begrateful to you forever, Missus Catherine Daily.
(05:43):
And that was the letter to Boxthirteen, just a few lines,
but brother, what those few linesled to? And now back to Box
(06:04):
thirteen. I get some funny lettersthrough Box thirteen. Some dom in a
thing. Others are from people whoanswer all the ads. But this one
from missus Catherine Daily. It hada real ring to him. I guess,
(06:24):
so I can spot the letters fromcranks and curiosity hunters are full of
big phrases. It's the simple onesthat count. Like Susie said, well
it's short, mister Holliday, whatare you going to do about it?
Well? What would you do,Susie. Well, you know, Susie,
I don't know how you manage toget right to the point of things
(06:45):
so quickly. Oh, it's eating. Okay, you talk me into it.
I don't know what I'd do withoutyou. I try to make myself
indisposable. The word Susie is indispensable. What's the difference? No, I
guess all right, Susie. I'mon my way to seven thirty three Winship
Avenue. Missus Catherine Daily was alittle woman, maybe about fifty sixty.
(07:13):
It was difficult to tell because grayhair was pushing hard against the brown.
It was her eyes that got me. Maybe not too long ago, they'd
been able to smile, but nowthey were dead, lifeless. Something had
been taken away from from well inside. She led the way to a little
(07:33):
living room, furnished cheaply but neatly. She sat down, pointed to a
chair for me, and then,are you serious about that advertisement, mister
Halliday? Well, yes, Iam, mister Daily. I haven't any
money. That is not much.I can afford something if it's not a
whole lot. Now, look,Missus Daily, I'm a writer, and
(07:55):
sometimes Fox thirteen leads me to agood plot. You see, I don't
take money because I get paid verywell for the stories I get. You
see, I used to be inhis paper reporter, use papers reporter.
Anything wrong with that, Missus dayArthur my son, he was a reporter,
Oh a paper, the evening Record. Your your letter said that your
(08:16):
son was killed. He was Theysaid he was drunk, that he got
into a fight in a cheap saloon. Arthur was never drunk in his life,
and he hated fightin that. Hispicture on the table here is in
uniform. That's the Distinguished Service Cross, isn't it. Yes, Okay,
(08:39):
Missus Daly, start from the beginning. Tell me how you want me to
help. I'm sure Arthur was murdered. Murders a tough word, Missus Daly,
tough to say and tough to prove. But for a week before he
we've killed, he kept telling methat we could get out of this house
soon, that he was going tomake a mean as a reporter. But
(09:00):
he didn't tell you why. No. Then the night he was killed,
he got a phone call from home. I don't know. He hurried out
and the next time I saw himwhispin. They asked me to come down
and it didn't prove him. That'sas much as you can tell me.
It's a pretty wood missus day.This may sound brutal, but but your
(09:26):
son's dead. Now, why wouldyou rather have it said he was murdered?
I won't to show everyone he couldn'thave died in that cheap, shuddy
way. A Well, that wasthat I believed him. Maybe it was
the way she talked. Maybe itwas her eyes. I don't know.
(09:52):
Anyway, I left her house withnothing to go on but what she had
told me, and that was littleenough, just that I was on to
something would make a name for himas a reporter. Anyway. I want
to see what Lieutenant Cling knew aboutit about What are they about the kid
they got killed in the saloon brawl? That's with the record show? They
show anything else? No, no, they don't. You know I I
(10:16):
like you. Thanks, you couldhave the next dance. I'm serious.
Okay, so you're serious? Whatabout You're not satisfied with the Daily Case
either? What makes you think I'mnot? That's the way you talk.
You don't believe it's right. Ibelieve what the witnesses and that dive said.
The Daily kid got drunk. Somebodysaid somebody that girly was with nothing
bad, but Daily get mad andstarted swinging, and then they ended up
(10:39):
in the red. You didn't arrestanybody. Look, we get a dozen
calls the night from down that theyhear the places like that. Somebody's always
getting pushed around, wrapped up,killed. Some of the things don't even
hit the newspapers one of the middlestep. Sure, sure, but look,
cling, what kind of guys getkilled in places like the bombs?
Why those characters who hang out inthose joints? But not a kid like
(11:00):
Daily. And you're an honest cop. What was that track for or a
compliment? The Daily thing bothers youbecause you know as well as I do
that something's wrong about it. Thenyou tell me I'll try later. I'll
look holiday. I'm not on thecase anymore. Homicide's got enough to do
without running down a flightness alone.But what but I don't like it?
(11:24):
You're right, I knew I likedyou. Okay, I'll marry in the
morning. The place you want isone hundred and eighty three River Street.
Oh nice neighborhood, right, thecops going quartets down there? Thanks,
see you later and for the loveof Mike, don't end up on the
meat wagon like daily playing was right. It was the neighborhood to raise kids
(11:48):
or anything else. And the placeI wanted was called the river View.
Fancy name or a great place.I stepped over a couple of borders spending
the night on the doorstep and walkedinside. There was a tinny piano played
by a guy mechanically banging out atune that its own composer wouldn't have recognized.
(12:09):
The bar was set at the backfacing the door. I went over
to it. The bar tendant tooka long good look at me. I
must have looked strange. I waswearing a necktie in a shirt. He
walked over. Yeah, what's withbudd ohire? Awful? You practically dead?
(12:30):
Okay, neither we know each other. What's on your mind? What
they got to drink? As Nickwants them? Straight water on the side,
funny man, ag Sure, Look, what do you want a drink?
Baby? No, you don't thatsuits you got on course? Maybe
(12:52):
one hundred and fifty the tie fivebucks? Any cookie comes in here dressed
like you don't want to drink?All right? You win? Swell slumming
huh no, looking what last weekthere was a fighting here. The kid
got killed, Arthur Daily. Ididn't see nothing. My back was turned.
(13:16):
Did you ever see the girl Iwas with? Daily? I told
you I didn't see nothing. Oh, all through the fight, you just
kept your back turn. Yeah.I hate fight. I can't stand the
side of blood. That's what youtold the police. Same thing. Who
are the witnesses work when a fightstart? And here there ain't no witnesses.
Everybody's blind. That makes it easy. You are a friend of this
(13:41):
Daily character? Yeah, yeah,a good friend. I still don't know
nothing. Now, blow mister out, get it out. He knew something,
all right, but he was clammedup tight. I left and walked
(14:03):
up the street. I was closeto the spot where I'd parked my car
when I heard something. I stopped. Somebody was tailing me, following me
from the saloon. Okay, somebodydidn't like me nosing around. I walked
past my car. Just ahead ofme was an alley, and pulling out
(14:26):
of the alley was a truck.I walked a little faster. I got
to the alley, skirted around backof the truck so my trailer would lose
me. For a couple of seconds. Then I stepped inside a doorway.
It was dark. The truck pulledaway. I waited. Then I heard
the steps. He didn't know whereI had gone, but if he was
(14:50):
going to pick me up again,he'd have to pass the doorway where I
waited for him. I follow me. Oh, oh, you heard me?
Shut up, hester you don't crook. I wasn't gonna put this thing
right. You're telling me you're talkingto back keep back down. I wanted
to talk to you, honest,that's all caught up with me before this,
Gee, miss, I didn't wantanybody to see me, honest,
(15:11):
all right? Talk? Oh youwanted to know something? Cold on?
Come on, what do you wantto say? Well, honest, I'm
like, get in trouble. Look, I gotta know I'll get somebody,
is hey? So what you've gottento see? How much it's for it?
Maybe a fiver? Maybe? Goon? Talk? Look, I
(15:31):
could get in bad trouble. Youare right now? All right, all
right, I get a fiver.Well do you know about that the daily
I saw the fighters or the wholething? Did you tell the police me?
I don't get nothing to do withthe cuts. Oh, I tell
me. This guy that was Bump. He didn't start the fight a pug
(15:54):
ex pug named Bully Connor. TheDaily guy didn't have nothing to do with
starting. It was a frames daydrunk. Nah, No, you had
one drink. The girl slipped somethingminutes I saw her. She was a
good look as I was watching it. Do you know her? Me me
know a thing like that? Nah? All right, here's your fine.
(16:15):
I keep that must shut understanding.Oh sure, sure, maybe you'd like
to know something else. Huh what? Oh mister, it ought to be
worth something. All right here thanks. You ain't been out of that joint
down the street more than a coupleof seconds when a black keep goes to
the phone. So I heard himtell somebody that he was nosing around.
(16:38):
Mister, something tells me that you'rein bad trouble right now. And now
back to box thirteen with Alan ladAs damn Holiday. Well, I had
(17:03):
a few facts now. First,Daily knew something that might have got him
killed. Second, the girl whowas with him put something in his drink,
so he'd looked drunk. Third,an ex pug named Billy Connor started
the fight. Why the answer tothat would put me on first base?
So I asked around a little andfound out that Billy Connor, a third
(17:26):
rate fighter down at the heels,suddenly came into money, and right after
the fight in the saloon, Ifound him in a second rate nightclub.
You're the guy who wants to seeme, Billy Connor, I'm the guy
who are you knowing that will makeany prettier? You're a smart boy.
Huh, maybe you're not acting smile. What what are you talking about?
(17:48):
You're making too much splash, Connor. The boss doesn't like it. People
might start asking questions about the money, the money you got for killing daily.
Oh no, I just started tofight. Then I ducked somebody else,
banging his head for him, notme. That's the way it was.
I'm sure you know oo you anyway, I get a kind of wait
(18:10):
a minute, follow, what wouldyou say? That's the way it was?
Didn't you know? Sure? Sure? I know you ain't from them?
Come home, get Jake Sneak,you're coppa. Maybe think it over,
Connor hard. I left him standingthere with his mouth open. I
thought I'd follow what I wanted himknow, but Kling told me doesn't mean
(18:33):
a thing. You can't prove anythingholiday. What if I get proof how
you've got the name and address ofthe girl Daily was with, and that
he was killed and your water wasat it, you could get hurt,
meaning you won't give me the girl'sname, meaning that if I do,
you're on your own. I'll takethat chance. Do I get a name
in address? Eileen Simmons forty sixsept me for Robert's drive, and I
(18:53):
hope you'll get more out of itthan we did. I hope so too.
I didn't like walking up a blindalley with murder at my back and
maybe in front of me. Igot to the girl's home, a boarding
house in a shabby section, andtook a look at the mailboxes downstairs.
(19:14):
While I was walking up to herflat, something tingled the back of my
neck, something that screamed a warning. I got to her flat. She
didn't answer. Then I smelled itgas. I stooped down on one look
at the crack between the door andthe sill was enough. It was stuffed
(19:37):
with newspapers. It was only onething to do. Eileen Simmons wasn't going
to talk to anybody. The roomwas heavy with jass. When do I
broke let in some air scared facesstead in at the door I smashed open
and I yelled at him, youcall a police, that's for lieutenic quaint,
(19:57):
go on hurry. I took aquick look around before I left,
and one closet was a fur coat, and from what I knew about fur
this one took money to buy.It had our initials embroidered in the lining,
but it didn't fit with the cheapflat and I thought it was about
time to make a trip to theEvening Record, where Daily worked as a
(20:18):
reporter. Some of the boys knewme, so it was easy to get
to talk to Daily's editor. Idon't know Holiday. All I know is
that Daily promised me a big story, something he was working on. I
looked, Sharlie, any idea whatit was? None? The kid was
close smug. Oh, but youmust have some idea. Didn't he give
you any hint to that it wasbig and would blow at the top of
(20:41):
the building when we printed it.How long did he work for you?
Oh? About six months? Nomore. What big assignments did you give
him? None? Routine stuff.He didn't have enough experience, just out
of journalism, colleague. When thewar broke went through it then served at
the war trials in Germany and inthe six months with the year. There
wasn't anything important enough to get himkilled. No, no, there wasn't
(21:04):
all. Let's see, we senthim on a routine assignment to San Carlito
and San Corlito. What's that?Just one of those little islands in the
West INDIESA the papers doing his serieson Latin American neighbors, and we anything
there that might have been the bigstory. You mean what he was talking
about? Yeah, that's it.How long after he got back that they
begin to talk about the something big? He just about the same day walked
(21:26):
in here. Where's his desk?Just outside this office? All this stuff
in there, most of it.We were going to send it to his
mother, but well, you knowhow things are, It was too soon.
We figured we'd wait. Come ona second, look, just the
(21:51):
usual stuff. One are these photographsnever saw him before, full face profiles
and men you know, not fromAdam Oh Charley, Can I have Lisa?
Well, I don't know, holidayone X newspaperman to an editor,
come on, let me have him. Okay, I didn't see it.
Take him, eh, thanks?Now, mind if I go through the
(22:14):
rest of his stuff. No,help yourself, I'll be at my desk
right. I went through Daily's papers. There was one little notebook with an
entry in it that read, gotto be careful, never be alone.
They won't dare make a try forme unless I'm alone. I've got proof
on film photos of the men Irecognized. Okay, so Daly's notebook gave
(22:41):
me another lead. But where too, Well, maybe Daily's mother would know.
I looked at my watch, butit was after midnight, so I
figured it was too late to seeher, and I decided to wait until
morning. I wish i'd have goneright then and there. Next morning,
I went to see Daily's mother,and I found her in the middle of
(23:03):
an excited bunch of neighbors. WhenI got a lunch, he told me
what was up. There were burgutters. They ransacked Arthur's room. Let's take
a look. But there's nothing written. Well, let's look anyway. They
went through all the drawers. Youdidn't hear them, No, I slipped
right through it. Huh, missusDaily. What could they have wanted?
I don't know. There's nothing ofvalue here. Look. When Arthur came
(23:27):
back from San Calito, did hebring anything with him. I don't think,
Sue. A camera maybe his own, but he took that with him
when he wins. Now I thinkhard, Missus Daily. Did he take
any film out of that camera whenhe got back? I think he did,
(23:48):
Yes, I remember he hurried outwith some film to have it developed.
Where isn't I don't know. Didhe get it back from the shop
where he took him. I don'tthink, Sue. I think you'd have
shown him to me if he had, And they roll of film he took
out of his cameras still in theshop, it must be, Missus Daily.
We've got to find a check forthat film, the kind you get
(24:10):
when you leave film to be developed. Let's look. We looked and looked
and looked. No check. Beganto seem as though whoever ransacked the room
found the check, and if hehad, well, the thing was over.
After half an hour we gave up, but there was still one more
thing to find out, Missus Daily. Would you mind taking a look at
(24:34):
these photographs? Do you know anyof these men? Why? I'm not
sure he looked from me in youhis scrap book that when he propped back
from the boor they are pictures likethose in the scrap book. Well show
it to me, William. It'sin my room, right next door.
(24:55):
Here, it is here. Theyare the pictures, but I don't see.
I think I do, but I'mafraid to believe in. Look,
missus Daly, whatever you do,stay with your neighbors, don't be alone
for a minute. I left thehouse and the idea I had was buzzing
(25:18):
around inside my head. If Iwas right, then the whole thing was
fantastic. But the pieces began tofit together. Maybe I was thinking too
hard. I didn't see the bigblack car that turned down the corner.
I didn't see it until I wasalmost staring between its headlines. I jumped
(25:41):
back in up in the fence ofthe car, took the skin off my
legs, and the car rode away. That big black buggy had my name
for a license plate. It wouldhave looked just like an accident. But
it told me something that whoever wasdoing the dirty work didn't have the check
for the film, because proof ofwhat Daily knew was on that film,
(26:02):
and if mister accident maker had it, he wouldn't have risked another accident.
I called clean, got him onthe phone. What do you want me
to do check every photoshop in thecity for a roll of filmmail. Just
before Daily was killed because he wouldn'thave been full enough to take it to
a photoshop. He knew they weretailing him, waiting to grab that film,
so I mailed it with a notethat he'd call for it. Okay,
(26:26):
I'll pick up the film. Ohno, clan, don't pick it
up. Please faint, tell mewhere it is, Call my office and
I'll pick it up. Look,you're asking for a great breathe and you're
doing those babies. I want youto say, they'll cut your little pieces.
You want him, don't you sure? But the only way to get
him and make him come after thatfilm. And they won't call it headquarters
for it, Clean, but theywill try to get it from me.
(26:51):
I waited. Finally Clean gave methe word. I picked up the film
and printed the little finishing shop.Clint had given orders that I was to
have it. I got in mycar, look in the rear vision mirror
and saw a big black sedan pullin behind me. This was it.
I couldn't spot cling in the squadcar. He said it would be handy.
(27:11):
Maybe something held it up. Ididn't know. I got to my
apartment. Sedan pulled up behind meand parked. I walked up to my
apartment, went over to the windowand saw a man get out of the
sedan. He walked slowly and disappearedinto my apartment building. I sat down
with a film and prince burning ahole in my pocket. Then, who
(27:34):
is it? Holiday? I'd liketo talk to you. I took one
more look out of the window.The street was empty except for the sedan.
No squad car, no cling brother. If ever, I wanted to
see that big guy. It wasnow. I walked to the door.
It's still holiday. Huh? Whoare you? My name is, we'd
(27:59):
say stiff m okay, you're misterStephen. So what I should be brief?
You have a role of film insome prints. I am a Kimmel
enthusiast. I shall pay you agood prize for the film. M how
much you're going to do that?That's fine? Shall we say ten thousand?
(28:22):
That's big money for a strip ofcelluloid. I am very enthusiastic about
photography, you know. I likepictures myself, especially pictures of some nice
little Nazis who got out of Germanywith a lot of money. Oh,
you're guessed. Yeah, but Dailywasn't guessing when he recognized them in San
Clito. He wasn't guessing that SanClido's a little island with lots of deserted
(28:45):
coastline, easy to land on.It's very hindy, and they paid well
to escape the trials in Nuremberg.You just talked yourself out of ten thousand
dollars. Oh, now, that'svery funny. You would have killed me
anyway, as you killed Daily tokeep him from spreading the story. Yes,
(29:06):
so right now, mister Holiday.Oh, that gun didn't look nice.
He had it right of my head, I said, still, Stephen
came slowly toward me. The blackhole in the bell of his gun looked
like the business end of a cannon. Then claying, at this particular minute,
(29:32):
you're the most beautiful thing in theworld. Then what happened after Holliday,
Well, at that moment, Susie, Lieutenant clang landed and took over.
Sorry, I drew it so closeHoliday that I had let step and
(29:56):
talk Alai. Yeah, but bythe way, was that squad car who
there wasn't any The squad car wouldhave scared stepping away. I had to
make it look safe. Boys Nilright next door had been for an hour
now, he tells me. Andit's up to the Federals. Now we're
cleaning this end. He I,oh, mister Holiday, you might have
(30:22):
been killed. Oh it's okay now, Susie, it's all over. But
you might have been killed. AndI like this job so much. What
I say, very funny cling nothing, Susie, nothing. Good Night,
next week, same time. AllanLadd stars as Dan Holiday in Box thirteen.
(30:52):
Allen Ladd appears through the courtesy ofParamount Pictures and may hardly be seen
in Wild Harvests. Box thirteen isdirected by Richard Sandville, with original story
by Russell Hughes and original music composedand conducted by Rudy Schrager. The part
of Suzie is played by Sylvia Pickerand Lieutenant Kling by Edmund McDonald. This
(31:15):
is a Mayfair production. Welcome Back. The episode Foreign Correspondent We Just Heard
is often known as and his mostpopularly shown in on most log sides as
(31:37):
suicide or murder. Dennis at theDigital Delie actually found a new old newspaper
that had the title of the showas foreign correspondent and that actually that may
not have been the best title inthe world, but it makes a lot
(31:57):
more sense than suicide or murder,since there was never really, as far
as I could tell, any thoughtthat he might have that he might have
committed suicide. And this is ofcourse, being as it was a post
war episode. It really I thinkthis is one plot you see a lot
(32:20):
in old time radio where it'll involvethe missing h it'll involve missing Nazis,
And of course this continued to bea trend, but during the old time
radio era that was always a strongpossibility that you would be dealing with missing
Nazis. We also get a cluethat this was actually this particular because I
(32:46):
think the one thing they would haveto change is they resyndicated the show,
or maybe it's just um shorts withshort sighted miss was they announced the picture
that Alan Lay could be seen in, so this uh, and the picture
that they announced was actually out inSeptember of forty seven, so it would
(33:09):
have to have been made. Thisparticular transcription would have to have been made
around then. I do wonder ifother you know, like if you get
into the fifties, if you becauseLike I said, this was syndicated multiple
times on multiple stations. Whether theyactually were able to change the title of
(33:30):
the movie or if this was kindof a goof where they didn't think about
Gee mentioning the movie that he's currentlystarring in he might not be starring in
it four years from now. Interms of the episode itself, this one
was I think a little bit ofan off episode. There aren't couple now.
(33:52):
First of all, it should besaid, this episode the beginning of
all the box thirteens we've done.The beginning most reminded me of let George
do It. But the one thingthere was ten things I didn't like.
One was basically we went from noinformation at all, we had no clue
(34:12):
what was going on, to basicallyeverything just falls into our laps, and
I tend to like a little bitmore progress towards the solution. We didn't
even meet the villa until the lastwhat three or four minutes of the program,
and I like to have some suspects. The other thing was just the
way everybody was giving Dan Holiday someinformation, the lieutenant and the newspaper editor.
(34:40):
Oh sure, particularly the lieutenant becausehe's always concerned about Holiday getting his
nose into police business, and herehe's putting him in there, putting his
life kind of on the line bygiving this information. Every show has its
(35:00):
off episodes, and I think Ithink we'll definitely have a better episode next
week. Do you want to shareone more comment on podcast Alley Podcast Alley
dot Great Detectives dot net. JohnDonnelly says, great show, keep up
the great work. Thank you verymuch, and again I encourage you to
cast your vote at podcast Alley dotGreat Detectives dot net. And I've got
(35:25):
any comments on the show, sendingmy way Box thirteen at Great Detectors dot
net. But we'll be back withanother episode of Box thirteen next week,
and be sure to listen tomorrow.Pat Novac for hire from Boise, Idaho.
This is your host, Adam Graham. Sign it off.
Welcome to the Great Detectives of OldTime Radio from Boise, Idaho. This
is your host, Adam Graham bringingyou another episode of Box thirteen. If
you got any comments on the show, send them my way Box thirteen at
Great Detectives dot net. Also,please cast your vote for us over at
(00:48):
podcast Alley. Last month we gotup to number forty eight, so into
the top fifty. Encourage everybody pleasecast your vote early in the month,
particularly if you don't have a specificcomment to make that way the show's able
to move up the standings. Andthen if at the end of the month
(01:11):
we don't get any votes the lastday or two, then we go down.
But we enjoy being in the topfifty a little while longer. But
gobert to podcast Alley dot Great Detectivesdot net and please cast your vote for
us. It's much appreciated. Gota comment from Sean regarding my linking over
to the to the Digital Deli,and he noted something that stood out that
(01:38):
they mentioned Alan Ladd bankrolled the productionhimself under his Mayfield Transcription Company, and
he's right, he says, there'sa bunch of good info. But he
we knew he was a smart fellowedany way, well, hosting the show
and getting information, it's just amatter of searching around to find the right
(02:00):
rite information. Um As to himactually bankrolling it, it is really interesting.
UM. I think that there weremany reasons to do it. Financially,
it made a whole lot of sensebecause radio's a lot is fairly easy
to produce. Plus, this isUM Box Thirteen's a fifty two week production,
(02:25):
so that means that it's a station. When they buy syndications, fifty
two weeks is pretty common because thenyou can go ahead and you can buy
the whole UH block of shows fora year. And since these episodes were
not necessarily dependent on one another andthere weren't two parters, you could buy
(02:47):
thirteen episodes or twenty six episodes,and so this show actually continued to be
UH syndicated for many years, whichis why it's been so hard to figure
out when it first started. Sothere's a lot you know, there's some
good financial win there. It reallypromoted Ladd as an actor playing in pictures.
(03:12):
You really only got to be infront of the audience, you know,
three or four times a year whenone of your pictures was made.
This put him in homes across Americaevery week, and it really was the
gift that would keep on a givingfor promoting them. Plus I think it
had to be a lot of funto be able to do what you want
(03:35):
to do and to really play,to really play a character. So really
this was a win win. Andhe wasn't the only big Hollywood start to
have his own show. Humphrey Bogartand Lauren McCall actually did their own syndicated
show called Bold Venture, So itwas a pretty good way to actually connect
(03:59):
with people at home. So um, all right, Well, we're gonna
get started in just a moment withthis week's episode of Box thirteen. Before
we do that, I want toencourage it. If you got web hosting
needs, You need an extra domaim, you need, you need a new
web host because the current one isacting up and you're not getting the support
(04:23):
in aid. Well, remember theworld's number one web host one on one.
Go to hosting dot Great detectives dotnet, or click the one on
one banner over at a Great Detectivesdot net and get signed up for the
same web hosting we use with unlimitedbandwidth. All right, Today's episode of
(04:46):
Box thirteen, and I got isforeign correspondent. We're gonna listen, and
we're gonna come back Box thirteen withthe sire Paramount Pictures, Alan Ladd as
Dan Holiday Box fifteen Cara Star Times. They said, my son was killed
(05:17):
in a drunken roll. I knowhe wasn't. He was a good boy.
He was murdered why. I don'tknow. If you'll come to seven
thirty three wins. If you'll cometo seven thirty three winschif avenue anytime and
listen to my story, I'll begrateful to you forever, Missus Catherine Daily.
(05:43):
And that was the letter to Boxthirteen, just a few lines,
but brother, what those few linesled to? And now back to Box
(06:04):
thirteen. I get some funny lettersthrough Box thirteen. Some dom in a
thing. Others are from people whoanswer all the ads. But this one
from missus Catherine Daily. It hada real ring to him. I guess,
(06:24):
so I can spot the letters fromcranks and curiosity hunters are full of
big phrases. It's the simple onesthat count. Like Susie said, well
it's short, mister Holliday, whatare you going to do about it?
Well? What would you do,Susie. Well, you know, Susie,
I don't know how you manage toget right to the point of things
(06:45):
so quickly. Oh, it's eating. Okay, you talk me into it.
I don't know what I'd do withoutyou. I try to make myself
indisposable. The word Susie is indispensable. What's the difference? No, I
guess all right, Susie. I'mon my way to seven thirty three Winship
Avenue. Missus Catherine Daily was alittle woman, maybe about fifty sixty.
(07:13):
It was difficult to tell because grayhair was pushing hard against the brown.
It was her eyes that got me. Maybe not too long ago, they'd
been able to smile, but nowthey were dead, lifeless. Something had
been taken away from from well inside. She led the way to a little
(07:33):
living room, furnished cheaply but neatly. She sat down, pointed to a
chair for me, and then,are you serious about that advertisement, mister
Halliday? Well, yes, Iam, mister Daily. I haven't any
money. That is not much.I can afford something if it's not a
whole lot. Now, look,Missus Daily, I'm a writer, and
(07:55):
sometimes Fox thirteen leads me to agood plot. You see, I don't
take money because I get paid verywell for the stories I get. You
see, I used to be inhis paper reporter, use papers reporter.
Anything wrong with that, Missus dayArthur my son, he was a reporter,
Oh a paper, the evening Record. Your your letter said that your
(08:16):
son was killed. He was Theysaid he was drunk, that he got
into a fight in a cheap saloon. Arthur was never drunk in his life,
and he hated fightin that. Hispicture on the table here is in
uniform. That's the Distinguished Service Cross, isn't it. Yes, Okay,
(08:39):
Missus Daly, start from the beginning. Tell me how you want me to
help. I'm sure Arthur was murdered. Murders a tough word, Missus Daly,
tough to say and tough to prove. But for a week before he
we've killed, he kept telling methat we could get out of this house
soon, that he was going tomake a mean as a reporter. But
(09:00):
he didn't tell you why. No. Then the night he was killed,
he got a phone call from home. I don't know. He hurried out
and the next time I saw himwhispin. They asked me to come down
and it didn't prove him. That'sas much as you can tell me.
It's a pretty wood missus day.This may sound brutal, but but your
(09:26):
son's dead. Now, why wouldyou rather have it said he was murdered?
I won't to show everyone he couldn'thave died in that cheap, shuddy
way. A Well, that wasthat I believed him. Maybe it was
the way she talked. Maybe itwas her eyes. I don't know.
(09:52):
Anyway, I left her house withnothing to go on but what she had
told me, and that was littleenough, just that I was on to
something would make a name for himas a reporter. Anyway. I want
to see what Lieutenant Cling knew aboutit about What are they about the kid
they got killed in the saloon brawl? That's with the record show? They
show anything else? No, no, they don't. You know I I
(10:16):
like you. Thanks, you couldhave the next dance. I'm serious.
Okay, so you're serious? Whatabout You're not satisfied with the Daily Case
either? What makes you think I'mnot? That's the way you talk.
You don't believe it's right. Ibelieve what the witnesses and that dive said.
The Daily kid got drunk. Somebodysaid somebody that girly was with nothing
bad, but Daily get mad andstarted swinging, and then they ended up
(10:39):
in the red. You didn't arrestanybody. Look, we get a dozen
calls the night from down that theyhear the places like that. Somebody's always
getting pushed around, wrapped up,killed. Some of the things don't even
hit the newspapers one of the middlestep. Sure, sure, but look,
cling, what kind of guys getkilled in places like the bombs?
Why those characters who hang out inthose joints? But not a kid like
(11:00):
Daily. And you're an honest cop. What was that track for or a
compliment? The Daily thing bothers youbecause you know as well as I do
that something's wrong about it. Thenyou tell me I'll try later. I'll
look holiday. I'm not on thecase anymore. Homicide's got enough to do
without running down a flightness alone.But what but I don't like it?
(11:24):
You're right, I knew I likedyou. Okay, I'll marry in the
morning. The place you want isone hundred and eighty three River Street.
Oh nice neighborhood, right, thecops going quartets down there? Thanks,
see you later and for the loveof Mike, don't end up on the
meat wagon like daily playing was right. It was the neighborhood to raise kids
(11:48):
or anything else. And the placeI wanted was called the river View.
Fancy name or a great place.I stepped over a couple of borders spending
the night on the doorstep and walkedinside. There was a tinny piano played
by a guy mechanically banging out atune that its own composer wouldn't have recognized.
(12:09):
The bar was set at the backfacing the door. I went over
to it. The bar tendant tooka long good look at me. I
must have looked strange. I waswearing a necktie in a shirt. He
walked over. Yeah, what's withbudd ohire? Awful? You practically dead?
(12:30):
Okay, neither we know each other. What's on your mind? What
they got to drink? As Nickwants them? Straight water on the side,
funny man, ag Sure, Look, what do you want a drink?
Baby? No, you don't thatsuits you got on course? Maybe
(12:52):
one hundred and fifty the tie fivebucks? Any cookie comes in here dressed
like you don't want to drink?All right? You win? Swell slumming
huh no, looking what last weekthere was a fighting here. The kid
got killed, Arthur Daily. Ididn't see nothing. My back was turned.
(13:16):
Did you ever see the girl Iwas with? Daily? I told
you I didn't see nothing. Oh, all through the fight, you just
kept your back turn. Yeah.I hate fight. I can't stand the
side of blood. That's what youtold the police. Same thing. Who
are the witnesses work when a fightstart? And here there ain't no witnesses.
Everybody's blind. That makes it easy. You are a friend of this
(13:41):
Daily character? Yeah, yeah,a good friend. I still don't know
nothing. Now, blow mister out, get it out. He knew something,
all right, but he was clammedup tight. I left and walked
(14:03):
up the street. I was closeto the spot where I'd parked my car
when I heard something. I stopped. Somebody was tailing me, following me
from the saloon. Okay, somebodydidn't like me nosing around. I walked
past my car. Just ahead ofme was an alley, and pulling out
(14:26):
of the alley was a truck.I walked a little faster. I got
to the alley, skirted around backof the truck so my trailer would lose
me. For a couple of seconds. Then I stepped inside a doorway.
It was dark. The truck pulledaway. I waited. Then I heard
the steps. He didn't know whereI had gone, but if he was
(14:50):
going to pick me up again,he'd have to pass the doorway where I
waited for him. I follow me. Oh, oh, you heard me?
Shut up, hester you don't crook. I wasn't gonna put this thing
right. You're telling me you're talkingto back keep back down. I wanted
to talk to you, honest,that's all caught up with me before this,
Gee, miss, I didn't wantanybody to see me, honest,
(15:11):
all right? Talk? Oh youwanted to know something? Cold on?
Come on, what do you wantto say? Well, honest, I'm
like, get in trouble. Look, I gotta know I'll get somebody,
is hey? So what you've gottento see? How much it's for it?
Maybe a fiver? Maybe? Goon? Talk? Look, I
(15:31):
could get in bad trouble. Youare right now? All right, all
right, I get a fiver.Well do you know about that the daily
I saw the fighters or the wholething? Did you tell the police me?
I don't get nothing to do withthe cuts. Oh, I tell
me. This guy that was Bump. He didn't start the fight a pug
(15:54):
ex pug named Bully Connor. TheDaily guy didn't have nothing to do with
starting. It was a frames daydrunk. Nah, No, you had
one drink. The girl slipped somethingminutes I saw her. She was a
good look as I was watching it. Do you know her? Me me
know a thing like that? Nah? All right, here's your fine.
(16:15):
I keep that must shut understanding.Oh sure, sure, maybe you'd like
to know something else. Huh what? Oh mister, it ought to be
worth something. All right here thanks. You ain't been out of that joint
down the street more than a coupleof seconds when a black keep goes to
the phone. So I heard himtell somebody that he was nosing around.
(16:38):
Mister, something tells me that you'rein bad trouble right now. And now
back to box thirteen with Alan ladAs damn Holiday. Well, I had
(17:03):
a few facts now. First,Daily knew something that might have got him
killed. Second, the girl whowas with him put something in his drink,
so he'd looked drunk. Third,an ex pug named Billy Connor started
the fight. Why the answer tothat would put me on first base?
So I asked around a little andfound out that Billy Connor, a third
(17:26):
rate fighter down at the heels,suddenly came into money, and right after
the fight in the saloon, Ifound him in a second rate nightclub.
You're the guy who wants to seeme, Billy Connor, I'm the guy
who are you knowing that will makeany prettier? You're a smart boy.
Huh, maybe you're not acting smile. What what are you talking about?
(17:48):
You're making too much splash, Connor. The boss doesn't like it. People
might start asking questions about the money, the money you got for killing daily.
Oh no, I just started tofight. Then I ducked somebody else,
banging his head for him, notme. That's the way it was.
I'm sure you know oo you anyway, I get a kind of wait
(18:10):
a minute, follow, what wouldyou say? That's the way it was?
Didn't you know? Sure? Sure? I know you ain't from them?
Come home, get Jake Sneak,you're coppa. Maybe think it over,
Connor hard. I left him standingthere with his mouth open. I
thought I'd follow what I wanted himknow, but Kling told me doesn't mean
(18:33):
a thing. You can't prove anythingholiday. What if I get proof how
you've got the name and address ofthe girl Daily was with, and that
he was killed and your water wasat it, you could get hurt,
meaning you won't give me the girl'sname, meaning that if I do,
you're on your own. I'll takethat chance. Do I get a name
in address? Eileen Simmons forty sixsept me for Robert's drive, and I
(18:53):
hope you'll get more out of itthan we did. I hope so too.
I didn't like walking up a blindalley with murder at my back and
maybe in front of me. Igot to the girl's home, a boarding
house in a shabby section, andtook a look at the mailboxes downstairs.
(19:14):
While I was walking up to herflat, something tingled the back of my
neck, something that screamed a warning. I got to her flat. She
didn't answer. Then I smelled itgas. I stooped down on one look
at the crack between the door andthe sill was enough. It was stuffed
(19:37):
with newspapers. It was only onething to do. Eileen Simmons wasn't going
to talk to anybody. The roomwas heavy with jass. When do I
broke let in some air scared facesstead in at the door I smashed open
and I yelled at him, youcall a police, that's for lieutenic quaint,
(19:57):
go on hurry. I took aquick look around before I left,
and one closet was a fur coat, and from what I knew about fur
this one took money to buy.It had our initials embroidered in the lining,
but it didn't fit with the cheapflat and I thought it was about
time to make a trip to theEvening Record, where Daily worked as a
(20:18):
reporter. Some of the boys knewme, so it was easy to get
to talk to Daily's editor. Idon't know Holiday. All I know is
that Daily promised me a big story, something he was working on. I
looked, Sharlie, any idea whatit was? None? The kid was
close smug. Oh, but youmust have some idea. Didn't he give
you any hint to that it wasbig and would blow at the top of
(20:41):
the building when we printed it.How long did he work for you?
Oh? About six months? Nomore. What big assignments did you give
him? None? Routine stuff.He didn't have enough experience, just out
of journalism, colleague. When thewar broke went through it then served at
the war trials in Germany and inthe six months with the year. There
wasn't anything important enough to get himkilled. No, no, there wasn't
(21:04):
all. Let's see, we senthim on a routine assignment to San Carlito
and San Corlito. What's that?Just one of those little islands in the
West INDIESA the papers doing his serieson Latin American neighbors, and we anything
there that might have been the bigstory. You mean what he was talking
about? Yeah, that's it.How long after he got back that they
begin to talk about the something big? He just about the same day walked
(21:26):
in here. Where's his desk?Just outside this office? All this stuff
in there, most of it.We were going to send it to his
mother, but well, you knowhow things are, It was too soon.
We figured we'd wait. Come ona second, look, just the
(21:51):
usual stuff. One are these photographsnever saw him before, full face profiles
and men you know, not fromAdam Oh Charley, Can I have Lisa?
Well, I don't know, holidayone X newspaperman to an editor,
come on, let me have him. Okay, I didn't see it.
Take him, eh, thanks?Now, mind if I go through the
(22:14):
rest of his stuff. No,help yourself, I'll be at my desk
right. I went through Daily's papers. There was one little notebook with an
entry in it that read, gotto be careful, never be alone.
They won't dare make a try forme unless I'm alone. I've got proof
on film photos of the men Irecognized. Okay, so Daly's notebook gave
(22:41):
me another lead. But where too, Well, maybe Daily's mother would know.
I looked at my watch, butit was after midnight, so I
figured it was too late to seeher, and I decided to wait until
morning. I wish i'd have goneright then and there. Next morning,
I went to see Daily's mother,and I found her in the middle of
(23:03):
an excited bunch of neighbors. WhenI got a lunch, he told me
what was up. There were burgutters. They ransacked Arthur's room. Let's take
a look. But there's nothing written. Well, let's look anyway. They
went through all the drawers. Youdidn't hear them, No, I slipped
right through it. Huh, missusDaily. What could they have wanted?
I don't know. There's nothing ofvalue here. Look. When Arthur came
(23:27):
back from San Calito, did hebring anything with him. I don't think,
Sue. A camera maybe his own, but he took that with him
when he wins. Now I thinkhard, Missus Daily. Did he take
any film out of that camera whenhe got back? I think he did,
(23:48):
Yes, I remember he hurried outwith some film to have it developed.
Where isn't I don't know. Didhe get it back from the shop
where he took him. I don'tthink, Sue. I think you'd have
shown him to me if he had, And they roll of film he took
out of his cameras still in theshop, it must be, Missus Daily.
We've got to find a check forthat film, the kind you get
(24:10):
when you leave film to be developed. Let's look. We looked and looked
and looked. No check. Beganto seem as though whoever ransacked the room
found the check, and if hehad, well, the thing was over.
After half an hour we gave up, but there was still one more
thing to find out, Missus Daily. Would you mind taking a look at
(24:34):
these photographs? Do you know anyof these men? Why? I'm not
sure he looked from me in youhis scrap book that when he propped back
from the boor they are pictures likethose in the scrap book. Well show
it to me, William. It'sin my room, right next door.
(24:55):
Here, it is here. Theyare the pictures, but I don't see.
I think I do, but I'mafraid to believe in. Look,
missus Daly, whatever you do,stay with your neighbors, don't be alone
for a minute. I left thehouse and the idea I had was buzzing
(25:18):
around inside my head. If Iwas right, then the whole thing was
fantastic. But the pieces began tofit together. Maybe I was thinking too
hard. I didn't see the bigblack car that turned down the corner.
I didn't see it until I wasalmost staring between its headlines. I jumped
(25:41):
back in up in the fence ofthe car, took the skin off my
legs, and the car rode away. That big black buggy had my name
for a license plate. It wouldhave looked just like an accident. But
it told me something that whoever wasdoing the dirty work didn't have the check
for the film, because proof ofwhat Daily knew was on that film,
(26:02):
and if mister accident maker had it, he wouldn't have risked another accident.
I called clean, got him onthe phone. What do you want me
to do check every photoshop in thecity for a roll of filmmail. Just
before Daily was killed because he wouldn'thave been full enough to take it to
a photoshop. He knew they weretailing him, waiting to grab that film,
so I mailed it with a notethat he'd call for it. Okay,
(26:26):
I'll pick up the film. Ohno, clan, don't pick it
up. Please faint, tell mewhere it is, Call my office and
I'll pick it up. Look,you're asking for a great breathe and you're
doing those babies. I want youto say, they'll cut your little pieces.
You want him, don't you sure? But the only way to get
him and make him come after thatfilm. And they won't call it headquarters
for it, Clean, but theywill try to get it from me.
(26:51):
I waited. Finally Clean gave methe word. I picked up the film
and printed the little finishing shop.Clint had given orders that I was to
have it. I got in mycar, look in the rear vision mirror
and saw a big black sedan pullin behind me. This was it.
I couldn't spot cling in the squadcar. He said it would be handy.
(27:11):
Maybe something held it up. Ididn't know. I got to my
apartment. Sedan pulled up behind meand parked. I walked up to my
apartment, went over to the windowand saw a man get out of the
sedan. He walked slowly and disappearedinto my apartment building. I sat down
with a film and prince burning ahole in my pocket. Then, who
(27:34):
is it? Holiday? I'd liketo talk to you. I took one
more look out of the window.The street was empty except for the sedan.
No squad car, no cling brother. If ever, I wanted to
see that big guy. It wasnow. I walked to the door.
It's still holiday. Huh? Whoare you? My name is, we'd
(27:59):
say stiff m okay, you're misterStephen. So what I should be brief?
You have a role of film insome prints. I am a Kimmel
enthusiast. I shall pay you agood prize for the film. M how
much you're going to do that?That's fine? Shall we say ten thousand?
(28:22):
That's big money for a strip ofcelluloid. I am very enthusiastic about
photography, you know. I likepictures myself, especially pictures of some nice
little Nazis who got out of Germanywith a lot of money. Oh,
you're guessed. Yeah, but Dailywasn't guessing when he recognized them in San
Clito. He wasn't guessing that SanClido's a little island with lots of deserted
(28:45):
coastline, easy to land on.It's very hindy, and they paid well
to escape the trials in Nuremberg.You just talked yourself out of ten thousand
dollars. Oh, now, that'svery funny. You would have killed me
anyway, as you killed Daily tokeep him from spreading the story. Yes,
(29:06):
so right now, mister Holiday.Oh, that gun didn't look nice.
He had it right of my head, I said, still, Stephen
came slowly toward me. The blackhole in the bell of his gun looked
like the business end of a cannon. Then claying, at this particular minute,
(29:32):
you're the most beautiful thing in theworld. Then what happened after Holliday,
Well, at that moment, Susie, Lieutenant clang landed and took over.
Sorry, I drew it so closeHoliday that I had let step and
(29:56):
talk Alai. Yeah, but bythe way, was that squad car who
there wasn't any The squad car wouldhave scared stepping away. I had to
make it look safe. Boys Nilright next door had been for an hour
now, he tells me. Andit's up to the Federals. Now we're
cleaning this end. He I,oh, mister Holiday, you might have
(30:22):
been killed. Oh it's okay now, Susie, it's all over. But
you might have been killed. AndI like this job so much. What
I say, very funny cling nothing, Susie, nothing. Good Night,
next week, same time. AllanLadd stars as Dan Holiday in Box thirteen.
(30:52):
Allen Ladd appears through the courtesy ofParamount Pictures and may hardly be seen
in Wild Harvests. Box thirteen isdirected by Richard Sandville, with original story
by Russell Hughes and original music composedand conducted by Rudy Schrager. The part
of Suzie is played by Sylvia Pickerand Lieutenant Kling by Edmund McDonald. This
(31:15):
is a Mayfair production. Welcome Back. The episode Foreign Correspondent We Just Heard
is often known as and his mostpopularly shown in on most log sides as
(31:37):
suicide or murder. Dennis at theDigital Delie actually found a new old newspaper
that had the title of the showas foreign correspondent and that actually that may
not have been the best title inthe world, but it makes a lot
(31:57):
more sense than suicide or murder,since there was never really, as far
as I could tell, any thoughtthat he might have that he might have
committed suicide. And this is ofcourse, being as it was a post
war episode. It really I thinkthis is one plot you see a lot
(32:20):
in old time radio where it'll involvethe missing h it'll involve missing Nazis,
And of course this continued to bea trend, but during the old time
radio era that was always a strongpossibility that you would be dealing with missing
Nazis. We also get a cluethat this was actually this particular because I
(32:46):
think the one thing they would haveto change is they resyndicated the show,
or maybe it's just um shorts withshort sighted miss was they announced the picture
that Alan Lay could be seen in, so this uh, and the picture
that they announced was actually out inSeptember of forty seven, so it would
(33:09):
have to have been made. Thisparticular transcription would have to have been made
around then. I do wonder ifother you know, like if you get
into the fifties, if you becauseLike I said, this was syndicated multiple
times on multiple stations. Whether theyactually were able to change the title of
(33:30):
the movie or if this was kindof a goof where they didn't think about
Gee mentioning the movie that he's currentlystarring in he might not be starring in
it four years from now. Interms of the episode itself, this one
was I think a little bit ofan off episode. There aren't couple now.
(33:52):
First of all, it should besaid, this episode the beginning of
all the box thirteens we've done.The beginning most reminded me of let George
do It. But the one thingthere was ten things I didn't like.
One was basically we went from noinformation at all, we had no clue
(34:12):
what was going on, to basicallyeverything just falls into our laps, and
I tend to like a little bitmore progress towards the solution. We didn't
even meet the villa until the lastwhat three or four minutes of the program,
and I like to have some suspects. The other thing was just the
way everybody was giving Dan Holiday someinformation, the lieutenant and the newspaper editor.
(34:40):
Oh sure, particularly the lieutenant becausehe's always concerned about Holiday getting his
nose into police business, and herehe's putting him in there, putting his
life kind of on the line bygiving this information. Every show has its
(35:00):
off episodes, and I think Ithink we'll definitely have a better episode next
week. Do you want to shareone more comment on podcast Alley Podcast Alley
dot Great Detectives dot net. JohnDonnelly says, great show, keep up
the great work. Thank you verymuch, and again I encourage you to
cast your vote at podcast Alley dotGreat Detectives dot net. And I've got
(35:25):
any comments on the show, sendingmy way Box thirteen at Great Detectors dot
net. But we'll be back withanother episode of Box thirteen next week,
and be sure to listen tomorrow.Pat Novac for hire from Boise, Idaho.
This is your host, Adam Graham. Sign it off.
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