October 17, 2025 • 32 mins
Original Release Date: July 19, 2010
In answer to a letter to Box 13, Dan goes to lunch with a businessman. He wakes up to find himself strapped down in a saniterium where everyone calls him Mr. Stokes.
Original Air Date: September 22, 1948
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In answer to a letter to Box 13, Dan goes to lunch with a businessman. He wakes up to find himself strapped down in a saniterium where everyone calls him Mr. Stokes.
Original Air Date: September 22, 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
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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.Gotta call an email it to me Box
thirteen at Great Detectives dot net.Cast your vote for the show on podcast
Alley Podcast Alley dot Great Detectives dotnet, and you can become a fan
of the show on Facebook, Facebook, dot Great Detectives dot net. Well,
(00:51):
I'm pleased to announce where this isour one hundred and ninety first daily
episode. Our two hundred episode iscoming up, and our two hundredth episode
special, which will be on Julythirty first, will be suspenses presentation of
The Candy Toothcaper starring Howard Duff asSam Spade, and a sequel to The
(01:15):
Multese Falcon you're sure to enjoy.Now, before we do get into today's
episode of Box thirteen, I wantedto let you know about our sponsors.
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Now let's get into today's episode ofBox thirteen Daytime Nightmare Box thirteen with the
(02:25):
Star of Paramount Pictures, Alan Laddas Dan Holiday Box thirteen Care of the
Star Times. I should like verymuch to see you and offer a proposition
which could be a mutual profit tous. Of course, there is some
danger involved, but then you're atVernisman asks for adventure. So if you
(02:50):
are interested, perhaps we could havelunch tomorrow afternoon, say one of them
said one o'clock the Golden Arrow askfor mister Waring's table. There's some danger
involved, he said, Yes,that's what the man said. And brother,
(03:14):
that's exactly what he meant. Andnow back to box thirteen and Dan
Holiday's Newest Adventure Daytime Nightmares. Wellat least this letter by lunch, mister
(03:36):
Holliday, huh lunch? And thenwhat danger it said? That does it?
Quighting? It always does, youknow, Susie, someday I'm going
to walk into one of these thingsand not walk on. Can't follow up
one of the devil letters, butthere's one that asked for a babysitter.
The woman said her children are anadventure. Oh no thanks, I'll take
mister Waring's letter and his proposition.You better hurry. It's almost twel very
(04:00):
now. Oh I don't push,Susie, don't push. What time will
you be back? Probably this evening, but don't wait for me. Just
lock up the office and take off. So long, Susie. An onlan
Arrow was one of those also diningin lunch and spots where you can get
a swell dollar lunch from five.I asked mister Waring's table, and the
(04:23):
waiter showed me to an nice circledcorner. The small orchestra was playing,
a couple were dancing, and misterWaring was just sitting there. I took
a good look at him before Isat down. He was big and handsome,
maybe about fifteen, and the diamondhe flashed on the little finger of
his right hand was spelled with fifteenhundred capital dollars. He looked up,
(04:44):
saw me standing there. How doyou do You're a box thirteen? Yes,
that's right, you're mister Waring,and you're right. Please sit down.
Avoided lunch. I hope you willprove Oh, thanks, I'm sure
I will. You're a younger thanI expected. Oh disappointed? No?
Oh no, Please tell me.Is a box thirteen the way you make
you're living? Bah? Not quiteyeah. I read your advertisement several times.
(05:08):
Adventure wanted go any place to doanything right? Box thirteen? Is
that said with disapproval? No,not at all, mister that holiday.
Oh no, not disapproval, then, just regret, regret that I hadn't
the nerve to do such a thingwhen I was your age. Sometimes the
regrets are mine. H oh oh, I see you mean once in a
(05:29):
while you get something that's hard tohandle. That's a look you've always come
out on top. Well, I'vehad a lot of luck. Is there
any of it? Length? DoI need some? If you do what
I ask, you will all right? What's on your mind as the work?
First, we'll have lunch, thenwe'll talk. Will I be all
right with you? You say so? Yes, good Charles. You may
(05:51):
bring our lunch. Now. Nowlet's enjoy ourselves. There's lots of time
to get serious after lunch. Well, Wearing was a very good conversationist.
I learned he was an attorney,an attorney for one of the biggest estates
in the country. He kept leadingthe conversation around to that every time we
(06:15):
got on something else. Then whenblunch was over, enjoy it then,
very much a girl? Oh no, thank you. No, if you'll
come with me, come with you. But I thought we were going to
talk. I'd rather have more privacy. You'll understand why when I tell you
what I have in mind, it'sthat important. Would say ten million dollars
was important. Command's attention. Yes, then please come with me. We
(06:40):
left the Golden Arrow. The doormansaluted Wearing and signaled the big glamousine and
sneaked up along the curb and purredto us stop, please get in.
Then well, oh, pardon me, where are we going? Oh?
For ride through the boy? Wait? Wait a minute. I I want
to know what this is all upabout going to play. You're not very
(07:01):
trusting, are you? Dance?It's not? There something wrong, Danny,
I get in the cart. Damnlittle ale, make you feel better.
Go on, get in all right, birds, you know where to
go. I'd been drugged before,so I nobody felt like I felt exactly
(07:32):
like this. I came crawling outof the long dark tunnel with a buzzing
in my ears, my mouth dryis cotton. I was lying down and
I stopped my arms. I wason a cut a nice white cart and
a nice white hoo. I saton the edge of the bed, looked
around. There was a window,but there were bars over it. I
(07:56):
went to the door. Hey,they open up, open the store,
open the stars. How many comeon up the door. Get away from
the door, Get away from it. Open it up. Whoever you are,
move back away from it and Iwill go on. I moved back
in the way. There was apause, and then well, mister Stokes.
(08:22):
You've awakened at last, Stokes,What are you talking about? Come
on, get me out of thisgag. I'll break my way out.
Samuel. You go, h misterStokes. You don't want Samuel and Hugo
to take care of you, doyou? What is this? Sit down?
Mister Stokes, Please sit down.I won't sit on. Where's Wearing?
(08:45):
He'll be here in a moment.If you want to see mister Waring,
I'm sure that can be arranged.Well, that's better. Call off
those mastives and white coats. Waitoutside, Samuel, you go and close
the door. Go ahead, I'llbe all right. Stay where you are,
mister Stokes. So this is agag, let's run it off the
boys and put a tag to it. Gay. Why, mister Stokes,
(09:07):
you sound almost rational? Rational?What are you talking about? Just that,
I've no doubt that in a year, perhaps a little more, we
can discharge you. You mean youmean this is no gag? No,
it's not a gag. You're EdwardStokes. Remember that you're Edward Stokes.
(09:31):
Where's Wearing? You will be hereto see you with your wife. My
wife, of course, I wonderif you remember her. I don't know
what you're trying to get away with. But if I have to play a
rough, I can play. Samuel. You're going, I think, mister
Stokes sneaks to be quiet. Takecare of it, Samuel, get them
away from me. And you've decidedto be more calm, mister Stokes,
(09:54):
we can have a talk in myoffice. Until then, I shall take
precautions against your homicide tens. Well, it's no gag. Samuel and Hugo
were too big for games, andthey played rough. Samuel left and Hugo
sat beside the bed to watch me. I knew now where I was a
sanitary. Why was I called EdwardsStokes? I had to find out,
(10:22):
so I turned to Hugo. Whatoh, Hugoly straps are hurting me?
No danks, mister Stokes. Ican't lose him for him. Look,
get my clothes, take out mywallet, take the money to send it,
and just let me get to atelephone. I'm sorry, mister Stokes.
You know that's against the rules.Who is the man who spoke to
me before. That's mister Cordoon,mister not a doctor whoa yes and no?
(10:48):
This here's a kind of a resthome. Does everyone get as much
rest as I do. You're allright, Stokes, that's pretty funny.
I'm dying by my clothes. No, no, no, we'll get him
for you later. Look, I'mnot Edward Stokes. I'm Dan Holliday.
Get it. My name's Dan Holiday. I'm a writer. I swell.
(11:11):
I'll bring you a pencil and paper. Later, you go go to a
phone, call the number. I'llgive you an ask for Suzi. Yo.
See you ain't got a sister fromme. Now listen you, pig
Lummis. This is a frame up. I am not Edward Stokes. I
don't know who he is. Inever even heard of him. I'm Dan
Holiday, a writer. Okay,okay, I believe you. Once I
took care of a man who wasShakespeare. I believed him. I also
(11:33):
took care of Michaelangelo Danty Spinoza.Why I I want to see Cowdell one
for I want to talk to him. What a bar? Does that make
any difference? Yeah? Because ifit's not important, you'll get mad at
me? All right? Tell him? Tell him. I remember now that
I'm Edward Stokes. It all comesback to me. Will you go to
(11:56):
him? Okay, but please,mister Stoke, just don't try what you
did before. I hate to getrough. I promise it's a good boy,
and keep on being a good boy, and you'll be allowed visitors this
afternoon. I'll be very happy tosee them, very happy. All right,
(12:20):
mister Stokes brought you to see misterCordell like, yes, now,
promise you'll take it easy. Ohsure, thanks, Hugo. It's nothing
here, he is, mister Cordell. Good, close the door and wait
outside you go. Are you sureyou'll be all right mister Cornell? I
think mister Stokes has learned his lesson. Sure, please be a good boy
(12:43):
now. Yeah, I will,Hugo so you'll become reconciled. Mister Stokes.
I know I can talk myself bluein the face to Hugo or anyone
else around here and not get anywhere. But I want you to tell me
what this is all about. I'llbe glad to you're Edward Stokes. You're
here for a rest. You wereformerly at the mill Haven Sanitarium, but
(13:05):
your wife thought this would be abetter place. Don't you remember, remember?
Of course I do. You've madeit all so clear. Gooor good.
Oh, by the way, you'relooking so much better than when I
saw you last, mister Stokes,would you like to see how much better?
What do you mean? There's amirror on the door of that closet
(13:26):
to your right, Open it andsee how you've improved. I looked in
the mirror. I didn't see DanHolliday. I saw a stranger. God
El's voice came to me from amillion miles away. There's some gray in
your hair, of course, butthat's to be expected. As a whole.
(13:48):
It's still a nice, deep,rich black. My husband died as
it. I'll bet you think itwas once blonde. I imagine you think
your name was once Dan Holiday.Take a good look at yourself, mister
Stokes. Get acquainted with your newpersonality. You will be with it for
quite a while. Cordell smiled atme. Then I knew for certain this
(14:09):
was no joke. I was Edward'sStokes, my hair dyed, clever touches
of make up here and there.Even Susie wouldn't have known me. Do
you know why you've become Edward Stokes? Why, mister Cordel, Because mister
Edward Stokes is dead And now backto daytime nightmare? Another box thirteen adventure
(14:39):
with Allan Land as Dan Holliday.Well, there was a twist. I
was a dead man, yet Iwas alive and being kept alive. But
for what. Later in my roomI thought of making a break for it,
but there was always Samuel. Thenyou go. Then later I was
(15:01):
taken again to Cordell's office. Thistime you go in with me. Cordell
wasn't alone with him. We're wearingthe woman. The woman looked at me
as I entered. Edward, Edward, Darling, would you mind just calling
me Dan? Please? Edward?You remember me? Of course you remember
your wife, don't you? Edward? Oh? Hallo? Wearing I must
(15:24):
buy you lunch sometime, lunch.Oh of course, of course I told
your wife and mister Waring that youwere so much better mister Stokes. But
now you've disappointed me. Oh,I'm so sorry, mister Cordell. You
go, please wait outside. I'llcall you if I need you. Mister
Cordell, he does look like Edward. Must you say? It's so loud?
(15:46):
Philip? Oh? Sorry? Howlong does this go on? Not
much longer? Of course, itall depends on you. Yes, how
we'll leave that until later. Clarice, you've got to sign us for papers.
They're all right, of course,Oh Edward, it might be interesting
for you to watch yourself being committed. I'm wanting all of you. I'm
(16:07):
going to get out of here.And when I do, when you do,
what? Where's the real Edward Stokes? How does he know about it?
Cordell? Did you open your mouth? What's the difference? He can
babble his head off and no onewill pay any attention. Suppose something goes
wrong? How can it? It'sall too perfect? Course it is.
Sign the papers, claries. Getit over with. Good Now, let's
(16:27):
go. Nothing can go wrong,not unless you double across me. You've
got your money and you're in asdeeply as anyone. You better see that
everything goes all right it We're finenow, goodbye, Edward and good luck.
Come along well, mister Stokes.You're now officially in my care.
(16:49):
That should make everything just ducky.Oh it will if it's not asking too
much. What happens now, mydear mister Stokes, if you knew you
wouldn't like it, what's to preventme from reaching across this desk knocking your
head off just for the fun ofus? This gun will prevent it.
You wouldn't dare use it. No, not directly. But suppose you did
(17:12):
try something. Suppose we struggled andthe gun went off accidentally. Suppose it
did and killed you. Who wouldbe your witness? Not you? You'd
be dead, not Hugo. Becausehe saw you attack me this morning.
Cordell leaned back in his chair andgrinned. Then he laid the gun on
(17:33):
the desk. It was so closeto me, so close. He knew
what I was thinking, because he'sgrin widened. But I had to take
the chance. I jumped. Stayright there, Cordel. All right,
now that you've got the gun,what will you do? Hand me that
phone? Certainly here you are,keep your hands on top of the desk
(17:55):
with pleasure. Ah, whom areyou going to call up? Please?
All right? Go ahead, yougo, you go, Stokes, Be
careful, Hugo, he's raving,Hugo. You've got to believe me.
I'm not Edward Stokes. I'm danHoliday. Give me two minutes to put
through a phone call on mister Stokes. You don't want to do anything with
that gun. Better give it tome like a good boy. You'll go,
(18:18):
Please, please stay back care full, Hugo, he may shoot.
Stay back, mister Cardell. Ican handle them. You'll go. Listen
to me. Listen to me.Give me two minutes on that phone.
Just one minute, mister Stokes.Give me that gun. Go on,
give it to me, right,Hugo. Wait, I don't want to
shoot, but I'll have to doit. If you're come ay closer,
better or not, He'll go.I'm in a spot. The real Edward
(18:40):
Stokes is dad, Hugo. He'sbeen killed by his wife and his attorney.
Listen to me, stand still andlisten to me. Easy, easy,
mister Stokes. Real Stokes has beenkilled. He was taken from the
first Sanitarium and killed. I wasbrought here, Hugo, brought here to
impersonate Stokes. Cardell wants me toshoot you, Hugo, so I can
be killed legally. The Stokes you. I know all that, mister Stokes.
But but if you do, yougot you got. I'm afraid you
(19:11):
killed him, Stokes, Cordel,you shot the poor devil. Of course
I did, mister Stokes. Youshot him with another gun you just took
out of that drawer. That's perfectlytrue, mister Stokes. Ballistics can prove
which gun killed Hugo. That's truetoo, mister Stokes. But who would
(19:32):
think of ballistics in connection with amaniac? Cordel stood there, a smoking
gun in his hand. It wasa beautiful frame and a second. The
rest of the people in the place, we crowd into that office. What
chance would I have? None?I tuck myself into a ladder. Cordell
(19:52):
put the gun back under his desk. Well, mister Stokes, what now
I can I didn't shoot the gun. I think you will get the chance.
I'll be back. Get out ofthe way. Be careful, all
of you. Don't he killed you? Stay by Let it go, stayer.
(20:14):
I ran up into the night outand the rest of my nightmare.
I cleared the grounds of the resthome and took to the woods. There's
only one thing in my favorite ofthe darkness. I stayed in the woods,
but I had to get to aphone. I don't know how long
I walked, maybe an hour,maybe two, and I saw a house
there were lights in it. Ihesitated, but I had to get to
(20:37):
that phone. Did you worry?Yeah, yeah, it's me. Don't
don't scream, please get back,please, please don't look I'm not going
to hurt you. I I wantto get to a phone. Have you
got one? No, there's nowhere? Where's the nurse one? The
(21:02):
villain station down the road. Haveyou got any men's clothes here in the
closet? Would you mind getting themout? Go away? Please? I
won't tell anybody you've been here,But don't hurt me. Please? You
know who I am. The radio? They see how long ago? Half
an hour? Maybe it does closefor me? Please get them all right,
(21:27):
they won't picture, they're too small. I don't care about that.
Throw them on the table there,Just trousers and coat, all right.
I pulled the trousers and coat onover the pajamas I was wearing. The
woman watched me, and she watchedthe door. She was expecting someone Whalley,
probably her husband. Then please pleasego? Now? How far is
(21:48):
that filling station? Two miles?There's no phone closer than there? All
right? You staying here? You'renot going to get her? Just staying
here until you're sure I'm far enoughaway? Do you get that? Yes,
sir, I won't move good.I'll return the clothes later. She
screamed out, the hair strings,fading into the night. As I ran,
(22:11):
I had two miles to go,two miles to the brush and woods.
I couldn't risk get into the road. Then I heard something. I
ran. I ran until my legswere torn by the brush. I ran
until my breath choked in my throat. Then I saw the station, but
I couldn't get to it. Icrept closer and lay down on the mud
(22:34):
filled ditch. I knew then whata fox must feel like. With the
hands tearing at his heels, Ilistened. I heard Cordell's voice begin with
he's dark haired, wearing pajamas man. But he may have picked up some
clue somewhere. I haven't seen anybody. Better be careful. I'm glade.
He's got a gun, already killeda man back at the home. Don't
take no chances, shoot to killour wheel shaff. Thanks for warning me.
(22:56):
Okay, Clade, Oh got agun? Sure'll always keep one station.
Good. Keep your radio turned ontoo. We're running bulletins on the
air the way. You can tellif he's headed this way. Sure see,
you are the sheriff. Remember he'sdangerous, homicidal maniac. Take no
chances, Oh came as the Cornell. Thanks, I watched the attendant play
(23:32):
go back into the filling station.I watched him take a gun from a
drawer and shove it into his pocket. I kept across the road, my
stomach hurt from pressing it close againstthe concrete pipe. Came out of the
station, looked up and down theroad. Then he turned off the lights
and locked the door. Don't takeanother step from don't look around, don't
(23:53):
reach for that gun in your pocket. What are you gonna do? Nothing?
You won't get hurt. I wantto use the phone in the station.
It's a lot of order. You'relying. I'm not lying. Why
don't you try it? Where arethe keys to the door in my pocket?
Give your hands out of that pocket? You want the keys, don't
you get back turned. I knowthat gun is in your coat pocket.
(24:14):
The keys there too, no inmy trousers. Reach in, get them
off, but be careful. Nahunlocked the station door and going ahead of
me and my mind the lights.Look, why don't you give me your
gun. You haven't got a chance, fellow. The roads are crawling with
(24:36):
prowl cars. They were here justa minute ago. Yes, I know
what I saw him. I'm reachingthat coat pocket back to me. Reach
in and take out that gun.All right, hold it by two fingers
and drop it on the floor.Go on, stand over there while I
use the phone. It's a lotof order. I told you stay where
you are. Hello, Hello,I told you it's another phone. The
(25:03):
merest woman's about five miles down theroad, y'all lying like I was about
this phone. Look, please,why don't you give up? Give me
that gun. We'll go into town. Please. They'll shoot you down on
slight if if you leave here alone. I've got to take that chance.
No you don't. I want togive you a break, fellow. I
want to give you a break becausebecause once I saw a dog shot and
(25:27):
dog they all said was mad.It wasn't mad. All I wanted was
water, but they shot it withoutgiving it a chance. Please give me
your gun. Look, if Itell you a story, you won't believe
it. I know you won't.Maybe I will go ahead. I'm not
(25:48):
Edwards Stokes. I'm not the manthey're hunting for. He's dead, killed
by his wife and his a tunny. I think because they wanted his estate.
Bi'm killed as Stokes. They'll identifyme as him. Please give me
the gun. You. You don'tbelieve me. To you, I believe
only that if you leave here andget out on that road, you'll be
shot down. Hi, you're hurt. It's never mind. Got me to
(26:12):
a phone. I can't all righthere, take the gun? Take him?
What's the way? Phone? Nowyou've got the gun. I want
you to do one thing. Getme to a phone. Let me call
a police, Let me identify myself. Will you come on? I've got
(26:34):
a car. Clay got me toa phone. I called Lieutenant Cling and
told him the story, and lessthan an hour later, the sheriff his
men Clayton I walked into Cardell's office. Ah, you've got him. Good
work, sheriff. Here we gothim. Ah. I am surprised you
(26:55):
took him alive. Yea? Soare we? Mind? Stepped over here
a minute, mister car down?What what for? Get over? What
is this? You'll find the gunthat kill Hugo in that drawer? Chat
what whish Man's mad? Shirry?I heard different from the city. Look
Outdell. That's the gun that killHugo, not the one I gave Clay.
(27:21):
You were right, mister Cardell.No one would have thought of ballistics
to see which gun had killed Hugo. I think I need a bath and
a nice long rest Wearing and missusStokes were arrested on suspicion of murder.
(27:52):
Police are searching for the body ofEdward Stokes. Jee, mister Holliday,
Well it wasn't nice, Susie.Let's forget it. Sure I know what
you mean. Oh oh see,I have to remind of what You've got
a luncheon appointment today at luncheon.Oh no, Susie, next week,
(28:14):
same time. Through the courtesy ofParamount Pictures. Alan Ladd stars as Dan
Holiday in Box thirteen. Box thirteenis directed by Richard Sandville, with this
week's original story by Russell Hughes.Original music is composed and conducted by Rudy
Schrager. Part of Susie is playedby Sylvia Picker, and production is supervised
by Burne Carstenson. Box thirteen isa Mayfair production from Hollywood. Watch for
(28:45):
Alan Ladd in his latest Paramount picture, Welcome Back. This is one of
these episodes that really does make aBox thirteen different from other detective shows.
It's kind of harder to get yourdetectives into this into this type of situation,
but the Box thirteen ad in particular, I kind of invites it.
(29:10):
I did like the twist. Ithought this was some good writing and an
unexpected way to resolve it in termsof Dan having just defined someone who would
give him half a chance. Allright, when we have some listener comments,
a well done and enjoyable podcast.Controversial only in that Adam's commentary seems
(29:30):
to place listeners firmly in either thelove it or hate it camp. I
appreciate the commentary and insight, andhave gradually come to accept his voice,
reminiscent of a prepuvestent Jimmy Stewart esquevoice, as exactly what it is real.
Keep it up well, thanks JimmyStewart, like when he was introducing
(29:52):
that Bill in Mister Smith Goes toWashington. Interesting comparison. Thanks for the
con comment. Though the shows themselvesare fantastically written and great for listening to
just before sleeping, Adam's commentary isalways interesting, and then we have this
one. Box thirteen is a greatshow. This is one show where the
(30:14):
character isn't isn't too hard, butnot a push over either. And I
like the idea of mister Holliday goingout to find adventure, not for money
or fame, but research in hisnews books. Not really a detective,
but not a policeman either, Justa straight and narrow man that finds adventure
whether he goes, whether he goes, wherever he goes. It's a wonder
(30:37):
why I didn't last longer. Idon't think they gave it a chance.
The reason it didn't last longer AlanLadd actually is the producer of the show,
and I think the show really didserve to forward Lad as a motion
picture star and also to provide someadditional money by being able to resyndicate the
(31:00):
show. And the show at fiftytwo weeks is a perfect length for syndication
because the radio stations bought up theshows in thirteen, twenty six and fifty
two episode chunks, so a fiftytwo episode chunk could be used either thirteen
episodes here or twenty six episodes,or buying all fifty two episodes to play
(31:23):
on the show. In terms ofwhy it didn't last longer, I think
mister Ladd's career really caught on firein the forties and fifties, and the
film credits were quite a bit interms of the financial incentive there. Plus,
once you started into the nineteen fifties, there was less money in radio.
(31:45):
Nineteen fifty one was the first yearthat television out performed a radio financially,
and so a syndication process after thattime just didn't make sense. A
good question, Thanks so much forthat. That's from powers Over on Facebook
well, and you can become afan on Facebook, Facebook dot Great Detectives
dot net, follow us on Twitterat Radio Detectives, and as always,
(32:07):
feel free to send your emails toBox thirteen at Great Detectives dot net,
and remember to cast your vote forthe show on Podcast Ali this month.
But from Boise, Idaho, thisis your host, Adam Grahamson and off
Welcome to the Great Detectives of OldTime Radio from Boise, Idaho. This
is your host, Adam Graham.Gotta call an email it to me Box
thirteen at Great Detectives dot net.Cast your vote for the show on podcast
Alley Podcast Alley dot Great Detectives dotnet, and you can become a fan
of the show on Facebook, Facebook, dot Great Detectives dot net. Well,
(00:51):
I'm pleased to announce where this isour one hundred and ninety first daily
episode. Our two hundred episode iscoming up, and our two hundredth episode
special, which will be on Julythirty first, will be suspenses presentation of
The Candy Toothcaper starring Howard Duff asSam Spade, and a sequel to The
(01:15):
Multese Falcon you're sure to enjoy.Now, before we do get into today's
episode of Box thirteen, I wantedto let you know about our sponsors.
It can be a challenge to growyour business. It seems there are never
ending list of activities that eat intolimited time. That's why I'm so glad
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Old Time Radio can try Go toMeeting free for forty five days. For
the special offer, visit Go toMeeting dot com slash podcast. That's Go
to Meeting dot Com slash podcast tostart your free forty five day trial.
Now let's get into today's episode ofBox thirteen Daytime Nightmare Box thirteen with the
(02:25):
Star of Paramount Pictures, Alan Laddas Dan Holiday Box thirteen Care of the
Star Times. I should like verymuch to see you and offer a proposition
which could be a mutual profit tous. Of course, there is some
danger involved, but then you're atVernisman asks for adventure. So if you
(02:50):
are interested, perhaps we could havelunch tomorrow afternoon, say one of them
said one o'clock the Golden Arrow askfor mister Waring's table. There's some danger
involved, he said, Yes,that's what the man said. And brother,
(03:14):
that's exactly what he meant. Andnow back to box thirteen and Dan
Holiday's Newest Adventure Daytime Nightmares. Wellat least this letter by lunch, mister
(03:36):
Holliday, huh lunch? And thenwhat danger it said? That does it?
Quighting? It always does, youknow, Susie, someday I'm going
to walk into one of these thingsand not walk on. Can't follow up
one of the devil letters, butthere's one that asked for a babysitter.
The woman said her children are anadventure. Oh no thanks, I'll take
mister Waring's letter and his proposition.You better hurry. It's almost twel very
(04:00):
now. Oh I don't push,Susie, don't push. What time will
you be back? Probably this evening, but don't wait for me. Just
lock up the office and take off. So long, Susie. An onlan
Arrow was one of those also diningin lunch and spots where you can get
a swell dollar lunch from five.I asked mister Waring's table, and the
(04:23):
waiter showed me to an nice circledcorner. The small orchestra was playing,
a couple were dancing, and misterWaring was just sitting there. I took
a good look at him before Isat down. He was big and handsome,
maybe about fifteen, and the diamondhe flashed on the little finger of
his right hand was spelled with fifteenhundred capital dollars. He looked up,
(04:44):
saw me standing there. How doyou do You're a box thirteen? Yes,
that's right, you're mister Waring,and you're right. Please sit down.
Avoided lunch. I hope you willprove Oh, thanks, I'm sure
I will. You're a younger thanI expected. Oh disappointed? No?
Oh no, Please tell me.Is a box thirteen the way you make
you're living? Bah? Not quiteyeah. I read your advertisement several times.
(05:08):
Adventure wanted go any place to doanything right? Box thirteen? Is
that said with disapproval? No,not at all, mister that holiday.
Oh no, not disapproval, then, just regret, regret that I hadn't
the nerve to do such a thingwhen I was your age. Sometimes the
regrets are mine. H oh oh, I see you mean once in a
(05:29):
while you get something that's hard tohandle. That's a look you've always come
out on top. Well, I'vehad a lot of luck. Is there
any of it? Length? DoI need some? If you do what
I ask, you will all right? What's on your mind as the work?
First, we'll have lunch, thenwe'll talk. Will I be all
right with you? You say so? Yes, good Charles. You may
(05:51):
bring our lunch. Now. Nowlet's enjoy ourselves. There's lots of time
to get serious after lunch. Well, Wearing was a very good conversationist.
I learned he was an attorney,an attorney for one of the biggest estates
in the country. He kept leadingthe conversation around to that every time we
(06:15):
got on something else. Then whenblunch was over, enjoy it then,
very much a girl? Oh no, thank you. No, if you'll
come with me, come with you. But I thought we were going to
talk. I'd rather have more privacy. You'll understand why when I tell you
what I have in mind, it'sthat important. Would say ten million dollars
was important. Command's attention. Yes, then please come with me. We
(06:40):
left the Golden Arrow. The doormansaluted Wearing and signaled the big glamousine and
sneaked up along the curb and purredto us stop, please get in.
Then well, oh, pardon me, where are we going? Oh?
For ride through the boy? Wait? Wait a minute. I I want
to know what this is all upabout going to play. You're not very
(07:01):
trusting, are you? Dance?It's not? There something wrong, Danny,
I get in the cart. Damnlittle ale, make you feel better.
Go on, get in all right, birds, you know where to
go. I'd been drugged before,so I nobody felt like I felt exactly
(07:32):
like this. I came crawling outof the long dark tunnel with a buzzing
in my ears, my mouth dryis cotton. I was lying down and
I stopped my arms. I wason a cut a nice white cart and
a nice white hoo. I saton the edge of the bed, looked
around. There was a window,but there were bars over it. I
(07:56):
went to the door. Hey,they open up, open the store,
open the stars. How many comeon up the door. Get away from
the door, Get away from it. Open it up. Whoever you are,
move back away from it and Iwill go on. I moved back
in the way. There was apause, and then well, mister Stokes.
(08:22):
You've awakened at last, Stokes,What are you talking about? Come
on, get me out of thisgag. I'll break my way out.
Samuel. You go, h misterStokes. You don't want Samuel and Hugo
to take care of you, doyou? What is this? Sit down?
Mister Stokes, Please sit down.I won't sit on. Where's Wearing?
(08:45):
He'll be here in a moment.If you want to see mister Waring,
I'm sure that can be arranged.Well, that's better. Call off
those mastives and white coats. Waitoutside, Samuel, you go and close
the door. Go ahead, I'llbe all right. Stay where you are,
mister Stokes. So this is agag, let's run it off the
boys and put a tag to it. Gay. Why, mister Stokes,
(09:07):
you sound almost rational? Rational?What are you talking about? Just that,
I've no doubt that in a year, perhaps a little more, we
can discharge you. You mean youmean this is no gag? No,
it's not a gag. You're EdwardStokes. Remember that you're Edward Stokes.
(09:31):
Where's Wearing? You will be hereto see you with your wife. My
wife, of course, I wonderif you remember her. I don't know
what you're trying to get away with. But if I have to play a
rough, I can play. Samuel. You're going, I think, mister
Stokes sneaks to be quiet. Takecare of it, Samuel, get them
away from me. And you've decidedto be more calm, mister Stokes,
(09:54):
we can have a talk in myoffice. Until then, I shall take
precautions against your homicide tens. Well, it's no gag. Samuel and Hugo
were too big for games, andthey played rough. Samuel left and Hugo
sat beside the bed to watch me. I knew now where I was a
sanitary. Why was I called EdwardsStokes? I had to find out,
(10:22):
so I turned to Hugo. Whatoh, Hugoly straps are hurting me?
No danks, mister Stokes. Ican't lose him for him. Look,
get my clothes, take out mywallet, take the money to send it,
and just let me get to atelephone. I'm sorry, mister Stokes.
You know that's against the rules.Who is the man who spoke to
me before. That's mister Cordoon,mister not a doctor whoa yes and no?
(10:48):
This here's a kind of a resthome. Does everyone get as much
rest as I do. You're allright, Stokes, that's pretty funny.
I'm dying by my clothes. No, no, no, we'll get him
for you later. Look, I'mnot Edward Stokes. I'm Dan Holliday.
Get it. My name's Dan Holiday. I'm a writer. I swell.
(11:11):
I'll bring you a pencil and paper. Later, you go go to a
phone, call the number. I'llgive you an ask for Suzi. Yo.
See you ain't got a sister fromme. Now listen you, pig
Lummis. This is a frame up. I am not Edward Stokes. I
don't know who he is. Inever even heard of him. I'm Dan
Holiday, a writer. Okay,okay, I believe you. Once I
took care of a man who wasShakespeare. I believed him. I also
(11:33):
took care of Michaelangelo Danty Spinoza.Why I I want to see Cowdell one
for I want to talk to him. What a bar? Does that make
any difference? Yeah? Because ifit's not important, you'll get mad at
me? All right? Tell him? Tell him. I remember now that
I'm Edward Stokes. It all comesback to me. Will you go to
(11:56):
him? Okay, but please,mister Stoke, just don't try what you
did before. I hate to getrough. I promise it's a good boy,
and keep on being a good boy, and you'll be allowed visitors this
afternoon. I'll be very happy tosee them, very happy. All right,
(12:20):
mister Stokes brought you to see misterCordell like, yes, now,
promise you'll take it easy. Ohsure, thanks, Hugo. It's nothing
here, he is, mister Cordell. Good, close the door and wait
outside you go. Are you sureyou'll be all right mister Cornell? I
think mister Stokes has learned his lesson. Sure, please be a good boy
(12:43):
now. Yeah, I will,Hugo so you'll become reconciled. Mister Stokes.
I know I can talk myself bluein the face to Hugo or anyone
else around here and not get anywhere. But I want you to tell me
what this is all about. I'llbe glad to you're Edward Stokes. You're
here for a rest. You wereformerly at the mill Haven Sanitarium, but
(13:05):
your wife thought this would be abetter place. Don't you remember, remember?
Of course I do. You've madeit all so clear. Gooor good.
Oh, by the way, you'relooking so much better than when I
saw you last, mister Stokes,would you like to see how much better?
What do you mean? There's amirror on the door of that closet
(13:26):
to your right, Open it andsee how you've improved. I looked in
the mirror. I didn't see DanHolliday. I saw a stranger. God
El's voice came to me from amillion miles away. There's some gray in
your hair, of course, butthat's to be expected. As a whole.
(13:48):
It's still a nice, deep,rich black. My husband died as
it. I'll bet you think itwas once blonde. I imagine you think
your name was once Dan Holiday.Take a good look at yourself, mister
Stokes. Get acquainted with your newpersonality. You will be with it for
quite a while. Cordell smiled atme. Then I knew for certain this
(14:09):
was no joke. I was Edward'sStokes, my hair dyed, clever touches
of make up here and there.Even Susie wouldn't have known me. Do
you know why you've become Edward Stokes? Why, mister Cordel, Because mister
Edward Stokes is dead And now backto daytime nightmare? Another box thirteen adventure
(14:39):
with Allan Land as Dan Holliday.Well, there was a twist. I
was a dead man, yet Iwas alive and being kept alive. But
for what. Later in my roomI thought of making a break for it,
but there was always Samuel. Thenyou go. Then later I was
(15:01):
taken again to Cordell's office. Thistime you go in with me. Cordell
wasn't alone with him. We're wearingthe woman. The woman looked at me
as I entered. Edward, Edward, Darling, would you mind just calling
me Dan? Please? Edward?You remember me? Of course you remember
your wife, don't you? Edward? Oh? Hallo? Wearing I must
(15:24):
buy you lunch sometime, lunch.Oh of course, of course I told
your wife and mister Waring that youwere so much better mister Stokes. But
now you've disappointed me. Oh,I'm so sorry, mister Cordell. You
go, please wait outside. I'llcall you if I need you. Mister
Cordell, he does look like Edward. Must you say? It's so loud?
(15:46):
Philip? Oh? Sorry? Howlong does this go on? Not
much longer? Of course, itall depends on you. Yes, how
we'll leave that until later. Clarice, you've got to sign us for papers.
They're all right, of course,Oh Edward, it might be interesting
for you to watch yourself being committed. I'm wanting all of you. I'm
(16:07):
going to get out of here.And when I do, when you do,
what? Where's the real Edward Stokes? How does he know about it?
Cordell? Did you open your mouth? What's the difference? He can
babble his head off and no onewill pay any attention. Suppose something goes
wrong? How can it? It'sall too perfect? Course it is.
Sign the papers, claries. Getit over with. Good Now, let's
(16:27):
go. Nothing can go wrong,not unless you double across me. You've
got your money and you're in asdeeply as anyone. You better see that
everything goes all right it We're finenow, goodbye, Edward and good luck.
Come along well, mister Stokes.You're now officially in my care.
(16:49):
That should make everything just ducky.Oh it will if it's not asking too
much. What happens now, mydear mister Stokes, if you knew you
wouldn't like it, what's to preventme from reaching across this desk knocking your
head off just for the fun ofus? This gun will prevent it.
You wouldn't dare use it. No, not directly. But suppose you did
(17:12):
try something. Suppose we struggled andthe gun went off accidentally. Suppose it
did and killed you. Who wouldbe your witness? Not you? You'd
be dead, not Hugo. Becausehe saw you attack me this morning.
Cordell leaned back in his chair andgrinned. Then he laid the gun on
(17:33):
the desk. It was so closeto me, so close. He knew
what I was thinking, because he'sgrin widened. But I had to take
the chance. I jumped. Stayright there, Cordel. All right,
now that you've got the gun,what will you do? Hand me that
phone? Certainly here you are,keep your hands on top of the desk
(17:55):
with pleasure. Ah, whom areyou going to call up? Please?
All right? Go ahead, yougo, you go, Stokes, Be
careful, Hugo, he's raving,Hugo. You've got to believe me.
I'm not Edward Stokes. I'm danHoliday. Give me two minutes to put
through a phone call on mister Stokes. You don't want to do anything with
that gun. Better give it tome like a good boy. You'll go,
(18:18):
Please, please stay back care full, Hugo, he may shoot.
Stay back, mister Cardell. Ican handle them. You'll go. Listen
to me. Listen to me.Give me two minutes on that phone.
Just one minute, mister Stokes.Give me that gun. Go on,
give it to me, right,Hugo. Wait, I don't want to
shoot, but I'll have to doit. If you're come ay closer,
better or not, He'll go.I'm in a spot. The real Edward
(18:40):
Stokes is dad, Hugo. He'sbeen killed by his wife and his attorney.
Listen to me, stand still andlisten to me. Easy, easy,
mister Stokes. Real Stokes has beenkilled. He was taken from the
first Sanitarium and killed. I wasbrought here, Hugo, brought here to
impersonate Stokes. Cardell wants me toshoot you, Hugo, so I can
be killed legally. The Stokes you. I know all that, mister Stokes.
But but if you do, yougot you got. I'm afraid you
(19:11):
killed him, Stokes, Cordel,you shot the poor devil. Of course
I did, mister Stokes. Youshot him with another gun you just took
out of that drawer. That's perfectlytrue, mister Stokes. Ballistics can prove
which gun killed Hugo. That's truetoo, mister Stokes. But who would
(19:32):
think of ballistics in connection with amaniac? Cordel stood there, a smoking
gun in his hand. It wasa beautiful frame and a second. The
rest of the people in the place, we crowd into that office. What
chance would I have? None?I tuck myself into a ladder. Cordell
(19:52):
put the gun back under his desk. Well, mister Stokes, what now
I can I didn't shoot the gun. I think you will get the chance.
I'll be back. Get out ofthe way. Be careful, all
of you. Don't he killed you? Stay by Let it go, stayer.
(20:14):
I ran up into the night outand the rest of my nightmare.
I cleared the grounds of the resthome and took to the woods. There's
only one thing in my favorite ofthe darkness. I stayed in the woods,
but I had to get to aphone. I don't know how long
I walked, maybe an hour,maybe two, and I saw a house
there were lights in it. Ihesitated, but I had to get to
(20:37):
that phone. Did you worry?Yeah, yeah, it's me. Don't
don't scream, please get back,please, please don't look I'm not going
to hurt you. I I wantto get to a phone. Have you
got one? No, there's nowhere? Where's the nurse one? The
(21:02):
villain station down the road. Haveyou got any men's clothes here in the
closet? Would you mind getting themout? Go away? Please? I
won't tell anybody you've been here,But don't hurt me. Please? You
know who I am. The radio? They see how long ago? Half
an hour? Maybe it does closefor me? Please get them all right,
(21:27):
they won't picture, they're too small. I don't care about that.
Throw them on the table there,Just trousers and coat, all right.
I pulled the trousers and coat onover the pajamas I was wearing. The
woman watched me, and she watchedthe door. She was expecting someone Whalley,
probably her husband. Then please pleasego? Now? How far is
(21:48):
that filling station? Two miles?There's no phone closer than there? All
right? You staying here? You'renot going to get her? Just staying
here until you're sure I'm far enoughaway? Do you get that? Yes,
sir, I won't move good.I'll return the clothes later. She
screamed out, the hair strings,fading into the night. As I ran,
(22:11):
I had two miles to go,two miles to the brush and woods.
I couldn't risk get into the road. Then I heard something. I
ran. I ran until my legswere torn by the brush. I ran
until my breath choked in my throat. Then I saw the station, but
I couldn't get to it. Icrept closer and lay down on the mud
(22:34):
filled ditch. I knew then whata fox must feel like. With the
hands tearing at his heels, Ilistened. I heard Cordell's voice begin with
he's dark haired, wearing pajamas man. But he may have picked up some
clue somewhere. I haven't seen anybody. Better be careful. I'm glade.
He's got a gun, already killeda man back at the home. Don't
take no chances, shoot to killour wheel shaff. Thanks for warning me.
(22:56):
Okay, Clade, Oh got agun? Sure'll always keep one station.
Good. Keep your radio turned ontoo. We're running bulletins on the
air the way. You can tellif he's headed this way. Sure see,
you are the sheriff. Remember he'sdangerous, homicidal maniac. Take no
chances, Oh came as the Cornell. Thanks, I watched the attendant play
(23:32):
go back into the filling station.I watched him take a gun from a
drawer and shove it into his pocket. I kept across the road, my
stomach hurt from pressing it close againstthe concrete pipe. Came out of the
station, looked up and down theroad. Then he turned off the lights
and locked the door. Don't takeanother step from don't look around, don't
(23:53):
reach for that gun in your pocket. What are you gonna do? Nothing?
You won't get hurt. I wantto use the phone in the station.
It's a lot of order. You'relying. I'm not lying. Why
don't you try it? Where arethe keys to the door in my pocket?
Give your hands out of that pocket? You want the keys, don't
you get back turned. I knowthat gun is in your coat pocket.
(24:14):
The keys there too, no inmy trousers. Reach in, get them
off, but be careful. Nahunlocked the station door and going ahead of
me and my mind the lights.Look, why don't you give me your
gun. You haven't got a chance, fellow. The roads are crawling with
(24:36):
prowl cars. They were here justa minute ago. Yes, I know
what I saw him. I'm reachingthat coat pocket back to me. Reach
in and take out that gun.All right, hold it by two fingers
and drop it on the floor.Go on, stand over there while I
use the phone. It's a lotof order. I told you stay where
you are. Hello, Hello,I told you it's another phone. The
(25:03):
merest woman's about five miles down theroad, y'all lying like I was about
this phone. Look, please,why don't you give up? Give me
that gun. We'll go into town. Please. They'll shoot you down on
slight if if you leave here alone. I've got to take that chance.
No you don't. I want togive you a break, fellow. I
want to give you a break becausebecause once I saw a dog shot and
(25:27):
dog they all said was mad.It wasn't mad. All I wanted was
water, but they shot it withoutgiving it a chance. Please give me
your gun. Look, if Itell you a story, you won't believe
it. I know you won't.Maybe I will go ahead. I'm not
(25:48):
Edwards Stokes. I'm not the manthey're hunting for. He's dead, killed
by his wife and his a tunny. I think because they wanted his estate.
Bi'm killed as Stokes. They'll identifyme as him. Please give me
the gun. You. You don'tbelieve me. To you, I believe
only that if you leave here andget out on that road, you'll be
shot down. Hi, you're hurt. It's never mind. Got me to
(26:12):
a phone. I can't all righthere, take the gun? Take him?
What's the way? Phone? Nowyou've got the gun. I want
you to do one thing. Getme to a phone. Let me call
a police, Let me identify myself. Will you come on? I've got
(26:34):
a car. Clay got me toa phone. I called Lieutenant Cling and
told him the story, and lessthan an hour later, the sheriff his
men Clayton I walked into Cardell's office. Ah, you've got him. Good
work, sheriff. Here we gothim. Ah. I am surprised you
(26:55):
took him alive. Yea? Soare we? Mind? Stepped over here
a minute, mister car down?What what for? Get over? What
is this? You'll find the gunthat kill Hugo in that drawer? Chat
what whish Man's mad? Shirry?I heard different from the city. Look
Outdell. That's the gun that killHugo, not the one I gave Clay.
(27:21):
You were right, mister Cardell.No one would have thought of ballistics
to see which gun had killed Hugo. I think I need a bath and
a nice long rest Wearing and missusStokes were arrested on suspicion of murder.
(27:52):
Police are searching for the body ofEdward Stokes. Jee, mister Holliday,
Well it wasn't nice, Susie.Let's forget it. Sure I know what
you mean. Oh oh see,I have to remind of what You've got
a luncheon appointment today at luncheon.Oh no, Susie, next week,
(28:14):
same time. Through the courtesy ofParamount Pictures. Alan Ladd stars as Dan
Holiday in Box thirteen. Box thirteenis directed by Richard Sandville, with this
week's original story by Russell Hughes.Original music is composed and conducted by Rudy
Schrager. Part of Susie is playedby Sylvia Picker, and production is supervised
by Burne Carstenson. Box thirteen isa Mayfair production from Hollywood. Watch for
(28:45):
Alan Ladd in his latest Paramount picture, Welcome Back. This is one of
these episodes that really does make aBox thirteen different from other detective shows.
It's kind of harder to get yourdetectives into this into this type of situation,
but the Box thirteen ad in particular, I kind of invites it.
(29:10):
I did like the twist. Ithought this was some good writing and an
unexpected way to resolve it in termsof Dan having just defined someone who would
give him half a chance. Allright, when we have some listener comments,
a well done and enjoyable podcast.Controversial only in that Adam's commentary seems
(29:30):
to place listeners firmly in either thelove it or hate it camp. I
appreciate the commentary and insight, andhave gradually come to accept his voice,
reminiscent of a prepuvestent Jimmy Stewart esquevoice, as exactly what it is real.
Keep it up well, thanks JimmyStewart, like when he was introducing
(29:52):
that Bill in Mister Smith Goes toWashington. Interesting comparison. Thanks for the
con comment. Though the shows themselvesare fantastically written and great for listening to
just before sleeping, Adam's commentary isalways interesting, and then we have this
one. Box thirteen is a greatshow. This is one show where the
(30:14):
character isn't isn't too hard, butnot a push over either. And I
like the idea of mister Holliday goingout to find adventure, not for money
or fame, but research in hisnews books. Not really a detective,
but not a policeman either, Justa straight and narrow man that finds adventure
whether he goes, whether he goes, wherever he goes. It's a wonder
(30:37):
why I didn't last longer. Idon't think they gave it a chance.
The reason it didn't last longer AlanLadd actually is the producer of the show,
and I think the show really didserve to forward Lad as a motion
picture star and also to provide someadditional money by being able to resyndicate the
(31:00):
show. And the show at fiftytwo weeks is a perfect length for syndication
because the radio stations bought up theshows in thirteen, twenty six and fifty
two episode chunks, so a fiftytwo episode chunk could be used either thirteen
episodes here or twenty six episodes,or buying all fifty two episodes to play
(31:23):
on the show. In terms ofwhy it didn't last longer, I think
mister Ladd's career really caught on firein the forties and fifties, and the
film credits were quite a bit interms of the financial incentive there. Plus,
once you started into the nineteen fifties, there was less money in radio.
(31:45):
Nineteen fifty one was the first yearthat television out performed a radio financially,
and so a syndication process after thattime just didn't make sense. A
good question, Thanks so much forthat. That's from powers Over on Facebook
well, and you can become afan on Facebook, Facebook dot Great Detectives
dot net, follow us on Twitterat Radio Detectives, and as always,
(32:07):
feel free to send your emails toBox thirteen at Great Detectives dot net,
and remember to cast your vote forthe show on Podcast Ali this month.
But from Boise, Idaho, thisis your host, Adam Grahamson and off
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If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Las Culturistas with Matt Rogers and Bowen Yang
Ding dong! Join your culture consultants, Matt Rogers and Bowen Yang, on an unforgettable journey into the beating heart of CULTURE. Alongside sizzling special guests, they GET INTO the hottest pop-culture moments of the day and the formative cultural experiences that turned them into Culturistas. Produced by the Big Money Players Network and iHeartRadio.
Crime Junkie
Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.