TV-PG | 26min | Adventure, Drama, TV Series | Episode aired 1952
Steve hops on a French train to protect the head of an American plastics corporation who's traveling to a foreign conference. He finds the industrialist shot dead and missing are the man's documents detailing a new discovery in weapons. With the help of a French businessman, Steve goes undercover among the passengers looking for a suspect.
Director: Bill Karn
Writers: Adrian Gendot, Robert Ryf
Stars: Brian Donlevy, Elena Verdugo, Laura Mason
Steve hops on a French train to protect the head of an American plastics corporation who's traveling to a foreign conference. He finds the industrialist shot dead and missing are the man's documents detailing a new discovery in weapons. With the help of a French businessman, Steve goes undercover among the passengers looking for a suspect.
Director: Bill Karn
Writers: Adrian Gendot, Robert Ryf
Stars: Brian Donlevy, Elena Verdugo, Laura Mason
Category
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Short filmTranscript
00:00âȘâȘ
00:15âȘâȘ
00:43Yeah, danger is my assignment.
00:45I get sent to a lot of places I can't even pronounce.
00:47They all spell the same thing, though, trouble.
00:49This time, it's France.
00:51I've missed a train, and I'm trying to overtake it.
00:53I was supposed to meet a man named Holcomb at the Paris depot
00:56and accompany him to a defense conference in Italy.
00:59Holcomb's head of an American plastic company,
01:01and he's carrying a secret report with him.
01:03Somehow I missed him in Paris, but I wasn't the only one.
01:07Duval, a European representative of the plastic company,
01:10was waiting at the depot, too.
01:12Well, if our luck goes good,
01:14we should overtake the train at Clizard, Michel.
01:16I hope so.
01:18This report that Holcomb is carrying,
01:20it's about some kind of a liquid, isn't it?
01:23Oh, yes, a new secret discovery.
01:26It's a liquid which makes weapons
01:28resistant in sub-zero temperatures.
01:31Oh.
01:33You know, Holcomb has conducted
01:35the field test in Scandinavia recently himself.
01:37He's compiled a complete report about it.
01:39The exact formula, the methods of application,
01:42and the results.
01:45You know, it seems to me that...
01:48a report like that would be worth an awful lot of money
01:51if it got into the wrong hands.
01:53Oh, bien sûr.
01:55And someone is trying to get his hands on it all right.
01:57Yeah, that's why I'm here.
01:59That attempt on Holcomb's life at the airport.
02:02But you know something?
02:04Not making these connections has got me worried.
02:07My message was that Holcomb was on the 8.30 train.
02:10As was mine.
02:12It's extremely fortunate that you managed to determine
02:14that he was on an earlier train.
02:16You know, I still don't understand
02:18how you found out so quickly.
02:20That's just part of the job, Duval.
02:23I sure hope missing those connections was an accident.
02:26So do I.
02:29Aah!
02:38Yes, what is it?
02:40A telegram for Monsieur Holcomb.
02:42It was waiting at our last stop.
02:44Thank you, conductor.
02:51That's strange.
02:53Sir?
02:54Oh, nothing.
02:55What time we get in, Cosseri?
02:57At our last stop, uh, one hour.
02:59Thank you, conductor.
03:01By the way, if you see my secretary,
03:03tell her I want to see her right away.
03:23Yes, Mr. Holcomb.
03:25Phyllis, did you send word to Mitchell
03:27that we'd be on the 7.30 train out of Paris?
03:29Why, yes, of course.
03:31Also to Mr. Duval.
03:33You made it.
03:35Somehow Mitchell got the idea we'd be on the 8.30 train,
03:38according to this telegram.
03:40Telegram?
03:41Yeah.
03:42Fortunately, he found out that we would be on the earlier train.
03:45He and Duval are trying to catch up with us at the next stop.
03:48Cosseri.
03:49I see.
03:50Oh, it's a funny thing about this telegram.
03:53I... I don't quite get it.
03:56If Mitchell's getting out at the next stop,
03:58that doesn't give me as much time as I thought.
04:00Phyllis, you?
04:01Me.
04:02So you're the one that's after my report.
04:05I'm telling you now, you can't get away with it.
04:07Don't kid yourself.
04:09I'm not alone in this deal.
04:11I've got help.
04:13It's a nice little bucket brigade.
04:29Another five minutes.
04:30Oui.
04:31Glissare is just ahead.
04:47Glissare.
04:48Prochain arrĂȘt.
04:49Préparez vos bagages.
04:50Glissare.
04:51Next stop.
04:52Have your baggage ready.
04:53Glissare.
05:00Glissare.
05:01Prochain arrĂȘt.
05:02Glissare.
05:03Prochain arrĂȘt.
05:04Glissare.
05:05Prochain arrĂȘt.
05:06Glissare.
05:07Prochain arrĂȘt.
05:08Glissare.
05:09Prochain arrĂȘt.
05:10Glissare.
05:11Prochain arrĂȘt.
05:12Glissare.
05:13Prochain arrĂȘt.
05:14Glissare.
05:15Prochain arrĂȘt.
05:16Glissare.
05:17Prochain arrĂȘt.
05:18Glissare.
05:19Prochain arrĂȘt.
05:20Glissare.
05:21Prochain arrĂȘt.
05:22Glissare.
05:23Prochain arrĂȘt.
05:24Glissare.
05:25Prochain arrĂȘt.
05:26Glissare.
05:27Prochain arrĂȘt.
05:28Glissare.
05:30Glissare.
05:31Prochain arrĂȘt.
05:32Prochain arrĂȘt.
05:33Glissare.
05:34Oh, mademoiselle Baxter.
05:35Monsieur Holcombe is expecting someone at Glissare.
05:37We arrive in five minutes.
05:38Thanks very much.
05:39I'll tell him.
05:40Very well, mademoiselle.
05:41at least we arrive in five minutes.
05:43Thanks very much.
05:45I'll tell him.
05:46Very well, mademoiselle.
05:47Good night.
05:48Good night.
05:49Good night.
05:50Good night.
05:51Good night.
05:52Good night.
05:53Good night.
05:54Good night.
05:55Good night.
05:56Good night.
05:57Good night.
05:58Good night.
05:59Good night.
06:00Good night.
06:01Good night.
06:02Good night.
06:03Good night.
06:04Good night.
06:05Good night.
06:06Good night.
06:07Good night.
06:08Good night.
06:09Good night.
06:10Good night.
06:11Good night.
06:12Good night.
06:13Good night.
06:14Good night.
06:15Good night.
06:16Let's go.
06:35I had to do it sooner than we figured,
06:38but I've got it.
06:39Fed me now, I'm gonna get off
06:41and get lost before...
06:46Mr. Holcomb is expecting both of you, gentlemen.
06:58Did he receive my telegram?
06:59I have delivered it myself.
07:00Hey, what's with the lights?
07:01We have had trouble with them ever since we left Paris.
07:11Mr. Holcomb?
07:12Mr. Holcomb?
07:13This is strange.
07:14Got a key?
07:15Yes.
07:18You better use it.
07:27Mr. Holcomb.
07:30Oh, that's horrible.
07:33Miss Baxter, where is she?
07:34The secretary?
07:35Oui.
07:36Wait a minute.
07:37She's the one that sent me that message with the wrong train time.
07:41But, Michel, you believe she killed Holcomb?
07:43Well, she'll do until a better suspect comes along.
07:46But she could have got off at Glissade.
07:48If so, we are too late.
07:49Perhaps not.
07:50We are just leaving the yards.
07:51Look, stop the train, conductor.
07:53Give her description to the local police.
07:55Have them surround the depot.
07:57Maybe somebody spotted her, huh?
07:58Yes, sir.
08:10Hey, Michel.
08:11You believe this Phyllis Baxter killed Holcomb in order to get his report?
08:14If she killed him, that could be a good reason.
08:17Well, the report isn't here anywhere.
08:19It isn't on him.
08:20And it's not in his briefcase.
08:22Have you got any idea what the report looked like?
08:24I...
08:25No.
08:26I, of course, have not seen it.
08:27He compiled it himself and made only one copy.
08:29But I imagine that it would run to several pages.
08:34It did, all right.
08:36Five minutes later, the conductor's back with one of the local police.
08:39None of the porters or cab drivers at the depot saw anybody get off the train at all,
08:43which could mean that Phyllis Baxter is still aboard.
08:47Monsieur Michel, I will make an immediate search of the train for the young woman in question.
08:51I have posted officers on each side of the track.
08:53No one will go undetected.
08:55Well, I'll give you a hand, but let's do it as quietly as possible.
08:58I'd like no one to know the reason why.
09:00Well, the passenger would want to know why the train has been stopped.
09:03Well, think up some reason.
09:07There it is.
09:08Tell him you're working on the light.
09:10Very well, sir.
09:16Lock it.
09:19If you and the conductor want to take one direction, Duval and I will take the other.
09:22From the description the conductor has given us, we should be able to spot her.
09:26Bien.
10:03Thank you, sir.
10:07Shade's drawn and locked, just like Hawkins'.
10:10You'd better go get the others. I've got an idea we've hit the jackpot again.
10:26Phyllis Baxter?
10:27Oui, Monsieur Holcomb's secretary.
10:30If you don't mind, I will wait outside.
10:34Looks like I've been running a poor second all the way.
10:37She seems to have been shot at close range with a large caliber revolver.
10:44Phyllis?
10:45Any sign of the report?
10:47It does not seem to be on her.
10:49No.
10:50Well, perhaps that's it.
10:52Yeah.
10:58Ah, some kind of light, eh?
11:00Yeah.
11:04Aye.
11:06One of those gadgets that develops your picture in one minute.
11:11So that's why she burned the report.
11:14Yeah, she probably photographed it.
11:20No film?
11:21Perhaps it is in her purse.
11:24No.
11:25No, it is not in here.
11:27However, there is this.
11:30A somewhat smaller caliber than the one that killed her.
11:34Has it been fired?
11:36Oui.
11:37Five will get you ten that that's the gun that killed Holcomb.
11:40Phyllis Baxter kills Holcomb and then photographs the report.
11:44But where is the film?
11:46Show me her killer and I'll show you the film.
11:48Oui, that seems to be a good reason for her murder.
11:52I have an idea she passed that film on to someone else.
11:55And collected a payoff she wasn't expecting.
11:58How much longer will it be necessary to hold the train?
12:01Ordinarily, I would make a thorough search of the train,
12:04but in a situation like this...
12:06Yeah, we haven't got a lead on whom we're looking for in the first place.
12:09And in the second place, they'd get rid of the film awful fast
12:12if they thought the search was official.
12:14Ah, you are suggesting that you make an unofficial search?
12:18Well, undercover.
12:21When your medical examiner is through,
12:23could you arrange to get the bodies off the train
12:25without attracting any attention?
12:28Ah, perhaps through the window.
12:30Yeah.
12:32Shortly after midnight. What's our next stop?
12:35Fontaine, a little after three in the morning.
12:37And the next one?
12:38Maglia, a resort at the Italian border, the end of the line.
12:41We will arrive shortly after daybreak.
12:44Well, that gives me all night.
12:46If I run on anything, I'll contact the police in Fontaine.
12:49Bien. I will see if the medical examiner is through
12:52in Mr. and Monsieur Holcomb's compartment.
12:58Well, you find a killer and find some film.
13:01But how? Where do we start?
13:04That's a good question.
13:06Finding a needle in a haystack would be easier than this.
13:10Yeah, we haven't got one lead.
13:16Wait a minute.
13:1733C.
13:1933C?
13:21What does it mean?
13:24It means that maybe we have got a lead.
13:50Salami?
13:51No, thanks.
13:53You?
13:54No, merci.
13:55It's too bad people don't realize what a wonderful thing is salami.
14:00Well, at a distance.
14:03Want some wine?
14:04No, thanks.
14:09How about you?
14:10No, merci.
14:13The little lady, maybe.
14:15No, thank you.
14:17Nobody likes Coluca's wine but Coluca.
14:25Quite a collection of travel folders.
14:28I didn't realize there were so many places to see.
14:32Not much of a traveler, huh?
14:34No. This is my first trip away from home.
14:38What part of Holland is home?
14:40What...
14:42Rotterdam.
14:43Now, how did you know I was a Dutch girl?
14:45That freshly scrubbed look is hard to mistake.
14:49Oh, yeah.
14:51Now that I'm traveling, I should use makeup like other women.
14:54But Mama always said...
14:56Mama was right.
14:57Nice cheese?
14:59No, thanks.
15:02Hey, you must have a hollow leg.
15:04Eating and drinking is wonderful when you're riding.
15:08What about when you're not riding?
15:10It's just as wonderful.
15:13The guy who sneaks peeks at me over a newspaper.
15:16A little Dutch girl?
15:18The salami kid.
15:21Hey, do you think we're in the right compartment?
15:23Who can say?
15:25The man with the newspaper.
15:27Did you see the brick case?
15:29The one with the newspaper?
15:31The one with the newspaper?
15:33I don't know.
15:34I'm not sure.
15:35I'm not sure.
15:36I'm not sure.
15:37I'm not sure.
15:38I'm not sure.
15:39I'm not sure.
15:40I'm not sure.
15:41Did you see the brick case?
15:42Yeah, strapped to his wrist.
15:44Well, if he's got our film,
15:45I don't think he'd carry it in as conspicuous a spot as that.
15:49Posing as a diplomatic courier, you know, could be good cover.
15:53That's a thought.
15:54Look, I can't fight that salami any longer.
15:58I think I'll go out and smoke a cigarette.
16:00You keep your eye on him, will you?
16:11Fontaine, next stop.
16:24Monsieur Michel, what happened?
16:28Somebody just tried to invite me off the train.
16:30Who was it?
16:31I don't know.
16:32Must have heard you coming.
16:33It is fortunate I came along as I did.
16:35Yeah.
16:36What's the next stop?
16:37Fontaine, we arrive in a few minutes.
16:39You have anything to tell the police?
16:40No.
16:41Haven't found the killer yet,
16:42but it's as if he's found me.
17:04Duval.
17:05Hmm?
17:06Oh.
17:08Oh, Michel.
17:09Fine watchdog you turned out to be.
17:12Why, what do you mean?
17:13Your hand is bleeding.
17:16Here, put some wine on it.
17:17It'll fix it right away.
17:19No, thanks.
17:20What, uh, what happened?
17:22Somebody jumped me.
17:24Where's the guy with the briefcase?
17:26He left the compartment right after you did.
17:29Thanks a lot.
17:31I'm sorry, but the air in here made me so drowsy.
17:43Speak of the devil.
17:45Are you referring to me, monsieur?
17:47I certainly am.
17:53Oh, the lights again.
17:55I thought that's why they delayed the train,
17:57to fix the lights.
17:58The train.
18:08Michel.
18:11You know, I had a hunch this wasn't a good seat
18:13to be in in the dark.
18:15Looks like I was right.
18:22Plenty sharp.
18:24Yeah.
18:28It's sharp.
18:31Where were you a few moments ago?
18:34That is none of your affair.
18:36You could be wrong.
18:37Where were you?
18:39I was getting a drink of water,
18:41if that meets with your approval.
18:43You sure you weren't out in the vestibule?
18:45Of course not.
18:47Monsieur, I suggest you mind your own business.
18:54Did you leave the compartment?
18:57I've been busy eating.
19:02Oh, your hand.
19:04Let me see it.
19:05Okay.
19:13Oh, it should be washed.
19:16It's just a scrape.
19:18Please.
19:28Where is the drinking water?
19:30At the end of the cup.
19:42What's on your mind, miss?
19:44Karen.
19:45You know the man eating salami?
19:47Gluka, yes.
19:48What about him?
19:49He lied to you.
19:50What?
19:51He did leave the compartment after you left.
19:54Oh.
19:55I was afraid to tell you in front of him.
19:58Thank you, miss Karen.
20:00Richard.
20:01Yes.
20:04Miss Karen just told me that Gluka did leave the compartment
20:07while you were taking your nap.
20:09What?
20:10But I just came to tell you that Gluka is getting off here.
20:14We must follow him.
20:18I was looking for you.
20:20Here, I want to leave you the rest of this
20:22because now I go home and have dinner.
20:25I couldn't be more pleased.
20:30Well, looks like our briefcase boy is riding to the end of the line.
20:34You know, something bothers me about this deal.
20:37Something bothers me, too.
20:38Gluka.
20:39And we must hurry or the train will start up.
20:42I'm not staying a hunch.
20:43I'm staying.
20:44But the girl told us that Gluka lied.
20:46Yeah, I know.
20:47So we're going to guard both ends.
20:49You get off here and follow Gluka.
20:51I'll stay and keep my eye on the briefcase boy.
20:53Very well.
20:54And try and stay awake.
21:01The rest of the way to Maglia, I keep my eye on Pierre,
21:04who divides his time between tossing me nasty glances
21:07and making an occasional pitch at Karen,
21:09who in her wide-eyed way seems flattered by the attention.
21:13But I've still got that feeling,
21:15something pecking away at my brain that I can't peg,
21:18something that doesn't quite add up.
21:21It's daylight when we arrive at Maglia.
21:23I overhear Pierre and Karen talking about an inn
21:25where they can get breakfast.
21:27I follow them.
21:40Ah, buongiorno, signore.
21:42Come stai stamattina?
21:44Se te vuole mangiare, io tengo qualche cosa giusto speciale.
21:48Okay, I'll take some.
21:50Wait a minute.
21:51What is it?
21:52Oh, never mind.
21:53This will do.
21:58This has gone far enough.
22:00Mitchell, I know why you are following me.
22:03Well, now that we understand each other.
22:05You are obviously a rival agent.
22:07So?
22:08For a rival manufacturer.
22:10Rival what?
22:12Do not attempt subterfuge.
22:14You learned of our new creation.
22:15You learned I am on my way to Italy to introduce it.
22:18You followed me to steal it.
22:20Wait a minute.
22:21You're leaving me way behind.
22:23Who do you work for anyway?
22:25As you know, for a Jane Bonnet.
22:28A Jane...
22:30What's that?
22:31What?
22:32You do not know the name of a Jane Bonnet.
22:35No.
22:36I'm beginning to think I do not know what you have in there either.
22:39Sir, I believe you are telling me the truth.
22:47A new model.
22:48Exquisite and revolutionary.
22:51Not a two-way, not a three-way, but a four-way stretch.
22:56I have not trouble of my own.
22:58I have to get mixed up with a girdle salesman yet.
23:03It seems that my salesmanship is not so good in other directions.
23:07I am what you say.
23:09I stood up.
23:10Do not worry, four-way.
23:12She's probably just gone to powder her nose.
23:30Mr. Mitchell.
23:32Yes, Mr. Mitchell.
23:35What is the meaning of this?
23:37I think the meaning is right here.
23:41What's so strange about a woman's compact?
23:44Nothing, except when it's carried by someone who's pretending to be a freshly scrubbed little Dutch girl who does not wear makeup.
23:52You know, when you offered to help me with my hand on the train, I spotted this in your purse.
23:58And you took me out in the corridor and whispered sweet nothings about Glukka.
24:02But it didn't register until just a moment ago.
24:06You have no proof.
24:08I have the film.
24:09That's proof enough.
24:11You took this off Phyllis Baxter right after you killed her.
24:15That's not true.
24:17Save the portents, my dear.
24:19Deval, how did you get here ahead of the train?
24:23The way that you taught me to once, in a fast car.
24:27So it's been you and Karen all along, huh?
24:29Exactly.
24:30Sure.
24:31You were the one that bopped me on the train and then pretended you were asleep.
24:35You tried for me with a knife, too.
24:38Kill him, Deval.
24:39In a moment, my dear.
24:41All right, Mitchell.
24:43The film.
24:44Okay.
24:50Uh-uh.
24:52Come here, little pumpernickel.
24:58Sit down.
25:02You got a date with the police.
25:04You know, that was a pretty good scheme you had rigged.
25:07Might have gone over, too, except that you overplayed your part a little.
25:11What do you mean?
25:12Well, if you'd really been wearing makeup, I would never have tumbled to the compact.
25:17Yeah.
25:18But then the whole matter might have taken on an entirely different complexion.
25:27THE END
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