August 14, 2024 • 29 mins
Original Release Date: September 6, 2011
A woman enters Rogue’s compartment and leaves her briefcase with him. A man comes to collect the briefcase.
Original Air Date: May 23, 1946
Quote of the Show: “I was in more trouble than a jitterbug at a square dance.”
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Give us a call at 208-991-4783
Take the listener survey at https://survey.greatdetectives.net
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A woman enters Rogue’s compartment and leaves her briefcase with him. A man comes to collect the briefcase.
Original Air Date: May 23, 1946
Quote of the Show: “I was in more trouble than a jitterbug at a square dance.”
Support the show monthly at https://patreon.greatdetectives.net
Support the show on a one-time basis at https://support.greatdetectives.net
Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715
Give us a call at 208-991-4783
Take the listener survey at https://survey.greatdetectives.net
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.If you have a comment, email it
to me Box thirteen at Great Detectivesdot net. Be sure to cast your
vote for the show on podcast Alley, Podcast Alley dot Great Detectives dot net,
and become one of our friends onTwitter at Radio Detectives. Well I
(00:50):
do have I do you want tothank some more people for helping participate in
our listener support campaign with their kindcontribution, So I want to say thank
you to Bob Marshal and Leslie.Also to Harry who who with his donation
(01:11):
requests we send along a copy ofour friends at the Colonial Radio Theater their
production of Para Mason. So we'vegone ahead and we sent him a copy
of the of Perry Mason and theCase of the Velvet Clause. Nancy also
gave a donation and left to commentssays thanks for both Great Detectives and Dragnet
(01:33):
podcast. Although your interest and enthusiasmhave always been evident, your commentary and
presentation have become increasingly professional over thattime. Good job, well, thanks
so much, Nancy, and that'sone of the great opportunities with podcasting,
you really, unlike in a regularbroadcasting, you've got the ability to start
(01:57):
at a kind a low level andto improved. So I appreciate that.
And Nancy would like a copy ofPerry Mason in the case of the Velvet
Clause, and we'll go ahead andsend that along to her as our thank
you. GiB Well. Now it'sTom for today's episode of Rogues Gallery.
This one is called the Latin Topand this one is a Mystery Playhouse episode
(02:22):
from the Armed Forces Radio Services,so enjoy all creeps. This is a
very tired tea for why on theMystery Playhouse. The night's story will be
told by Dick Powells, who playsRichard Rogue. Now and another graphic adventure
(02:45):
from Rogues Gallery. When I goton a rattler for my fifth Central City,
(03:12):
I was not exactly a joy boy. I hate riding on trains,
but a couple of hours later,I'm a happy chattie because who do I
run across in the lounge car isa little ambition of mine with the name
of Betty Callahan, a newspaper womanwho is cheating the movies. She's a
pocket sized brunette with cornflower blue eyesand the complexion which wouldn't come off on
(03:35):
the shoulder of my blue gabardeen suit. I rescued her from the wolves and
Uncle Sam's clothing who were making lifetoo interesting for in the club car,
and we retired to my compartment forto talk about the old time. Nice
(03:59):
was a place you have here,Richard. A guy can get pretty lonesome
a place like this, you know, Betty, Get that gleam out of
your eye. Origin. I'm perfectlycomfortable right where I am, all right,
all right, And I just thoughtmaybe you'd like to sit here with
me and look out of the window. You're so thoughtful. You haven't even
told me where you're going. Thethings finally get too hot for you at
home. Please, I'm going toCentral City, baby, for the same
(04:23):
reason you are. Charlie Millert triallearned run very funny. I am an
expert with this, and I've gota briefcase full of research here that's going
to make the DA very happy.Come a little closer. Oh, whoa,
what do you think Charlie when youget to work? Oh, let's
(04:44):
not talk about Charlie, talk aboutme. Didn't you ever get tired?
Of that. Fucking no, it'sfascinating. Come on, what are you
sitting Claire over there? For youlike it here? Why did your mother
ever tell you anything about like youplenty? Why don't you drop that front
page character angel? We've known eachother for a long time. I was
(05:08):
just trying. Stop trying. Howcan you be so mean to me?
Ever since the first time I sawyou, Betty, I've been stuck on
here, No kidding, did anybodyever believe that line? Once in a
while, you know something's going tohappen to doing this, any lady,
(05:28):
Let's find out quiet? Oh brother, what's the idea? Lady? This
is a private compartment. I'm sorryto intrude. Who is this girl?
Richard? I never saw it before? Who are you? I had to
come in here? My life isin dangerous love hand lady, I don't
think you've improved your situation and breakingin here when you did? Oh?
(05:49):
What does everything have to happen tome? Why don't you buy a ticket
Latin type and then you wouldn't haveto play hide and seek with the conductor.
I had to come in here.I'm hiding. There's a man on
this train who has signs on mylife. Yes, what Bernhard could have
done with that line? You don'tbelieve me? That's right now, scram
Hey the guy with a design Iwant to take a gander. No,
(06:13):
no, no, I've answered myself. I want to talk to you aboute
Dianne. It's impossible, but there'snothing more. I think, Mandy,
you're better. I know where you'regoing Diane, and I know what you've
got, and you want to comeout here? All right? They were
doing. I mean I'll be waiting. Want me to take care of that
(06:36):
funk for you. You stay outof this, please? Will you keep
this briefcase on me? Don't letanyone touches Please next time, why don't
you get a drawing room with arevolving door with it? Oh? Shut
out? You know I'm kind ofworried about that girl. I'm gonna feel
pretty silly if she comes up there. For the next two minutes, I
(07:09):
worried about Diane and the man whohad designs on her life. But I'm
a romantis hi, So I spentthe next fifty eight minutes trying to spell
buying Betty into seeing things by way, but she wasn't looking. At the
end of an hour. My chanceswere still about on the ratio of a
little rock junior high against Notre Dame. So I gave up. Well,
(07:36):
it's been an hour. Sometimes itare checked off. What do you think
the Dame's either as goofy as acub out for her, or she's really
in a jam. You're pulling meoff with my X on the first danta.
Let's take a looking at briefcase sheleft down. Hey, wait a
minute, honey, that's my briefcase. Oh I'm sorry, don't get hoofy,
Rachel. Those two briefcases are practicallyidentical. Yeah, I guess they
(07:59):
aren't that or give me mine,I'm gonna put it up here on the
rack. Hey, what is thisip down? Pretty boy had a light
back on. Richard got up,lady right, give me that great taste,
pretty boy, get that flashlight outof my eyes. Get your hands
but I eye give me that flashlight. Sorry, lady, but you last
(08:24):
now, pretty boy, give methat bag. Hey, what's the gimmick?
What are you pulling? That emergencycard? And I want to have
to show to get your hands out? Hout so long, pretty boy.
(08:48):
As he pulled the cord, Icould see the gleam of a gun on
this character's fist, and I didn'twant any samples of as a marksmanship.
But I could hear Betty groaning onthe floor at my feet, and all
of a sudden, I felt Ihad to get in before he jumped out
of that window he'd knocked out withthe butt of his pistol. I made
a dive for him, expecting tostop a little lead. When I got
worried, Benny wasn't there. Hewas behind me. I knew that when
(09:11):
I heard the flashlight whizzing through theair, it connected expertly right behind my
ear. And there I went againinto the land of Nod, which is
practically my home away from home.Everything was very quiet for a while,
and I slept on log Come on, get up, get up, hut,
(09:43):
it's been heard. Betty away youget up. Oh I can't oh
my head, get up, getup, Wake up? Sudden noise?
Someone watching? Oh, they'll goaway, step out. Let him in.
(10:07):
Betty's been hurt. What happened?I can't remember? Remember the man?
Remember the girl? He came back? Yeah, yeah, I'll cut
it out. Stop that pounding.Oh my head in the gym. Betty's
been hurt. Wake up, getup. I can't I can't watch that
(10:31):
pounding, pounding, pounding. Cutit out, cut it out, stop
it to get here, stop it, stop it, stop it. Remember
open the door. Okay, okay, Betty, oh Betty, your poor
(10:56):
kid. Hello, Hello, I'mcoming. I'm coming. Just keep a
shirt on. I demand an explanationof what's been going on in here.
Come on, come on, helpme bring this girl out of it.
The window broken. You know whatthat does to the air conditioning in this
car. The man got out ofthat window while the train was stopped,
Hope pulling its emergency card. Thisguy, he came in here waving a
(11:18):
gun aerund took a briefcase of somedame and left here, stopped the train
and knocked our brains out. Ijust came to and he's gone. So
let's face a conductor. He musthave jumped out the window. Yes,
And what happened to the young ladywho left the briefcase here in your compartment?
I don't know why I never sawher before. Oh you okay,
baby? Oh sure, my mom? Where shut up? I don't know
(11:46):
I'm holding you responsible for the damagethat's been done to this compartment. What's
your name. The name's Richard Rogge. Now get out of here. I'll
give you some more things to holdme responsible for personal thing. I'm the
conductor on this train. Okay,okay, we'll still be on your train
when you pull into Central City.Goodbye, now, goodbye to your seat.
(12:07):
Please where you're hit im? Please, I've heard you a dynamic when
you got stuff a pit. Yeah, look a dafty dame that came charge.
Yea, I wasn't kidding. Abriefcase hers full of dynamite wash,
it's gone the window. Oh no, it isn't the one that jumper took
my mind. Remember I had itmy hand ready to put it up on
(12:30):
the luggage rack when he came in. Guinea hurries. It's right off there
behind you. Oh sure, luck, I don't know what. Don't you
love life? I just push Idid a scene. Well, comb the
hair over that lump on your head. Dady, we're gonna find and confer
with a young lady whose fart plugthis carnival and mayhem. Okay, I'm
in. Oh that's run. Hada little something go talk to her.
(13:01):
My head had that familiar old feelingof having been washed in the washing machine,
and I was feeling anything but cuteas we wandered down the aisle,
asking porters if they'd seen a bigbrunette wearing a blue pen striped suit and
a hat with cherries on it.That was Diane, you know. Finally,
in cars seventy three, the porterrecognized the description and told us that
the lady was in drawing roomy naturally, the conductor came along about this time.
(13:22):
The Blairs bounced off that haze ofpain that surrounded me like a ricocheting
bullets. He went with us underprotest to drawing room. May no answer,
He isn't in. Why don't youlook in the clump car? I
did knock again? Why don't youtry the door? Okay is open?
(13:46):
Good doctor? Might have we goingto look around? What try have you
to into the state room of astrange woman to m me if you wanted
when I'm gonna take a look around? Uh, nobody at home? I
guess I hope you're satisfied her upthe train walking into other people's drawing room.
Look, mister, I'm trying tohelp you. I've been all over
this train. I say it hasto be someplace all right, all right,
(14:07):
she's not here and I can't standaround all night. Look over there
under the berth, I don't seeanything, you know, maca back.
How do you think that is reading? Why that blood? Police blankets?
Back? Oh? I'm going outof here. Are you convinced now that
something happened to that girl? Here? Curky polk girl, you must be
(14:30):
in here someplace. Open the doorof that wardrobe. Oh, Richie here,
help me move her up on thebus. Nah, you've ever right
where she is. The cops won'twater move. Oh she's dead. Yes,
(14:52):
she was dead, and all weknew about her was that her name
was Diane and that I had thebriefcase which must contain the reason for her
murder. A pleasant thought. Itook one more look at the dead girl,
shuddered and pulled Betty out of thatroom. I wondered what was going
to happen next, and who wasgoing to be the main attractive I must
(15:30):
have been born under a police star. No matter what I started out to
do, I end up with moretrouble than a jitterbug at a square dance.
Me. I started out to bean expert witness, and I wind
up in the Sheriff's office in CentralCity trying to explain a murder. Betty
was enjoying every minute of this comedyof Terra's being a news hawk. He
was jumping with enthusiasm and theories.The sheriff was jumping with importance. I
(15:52):
was just jumping. I don't likemurder unless there's a profit in it for
me. Sit down in a rope. You shouldn't be so nervous. Always
should be getting a report of thatmurdered woman, shouldn't me, Sheriff.
We're not gonna get any place untilwe find out who she was. My
men are working on it, rogue. I just take it easy. We
know our business here in Central City. Ah, well that's your business,
(16:12):
isn't mine. So if you don'tmind, I think I'll shove off.
I've got a little business to takecare of myself. Just a moment,
I will. We got a positiveidentification on that lady who was stabbed on
the train, Sheriff, And whodo you think she want? Well?
Who was she? Got to it? Hennessey. She was Diane Lewar,
wife of Charlie Miller, who's onfile from murdering Big Joel and Bertie's no
(16:33):
kidding. Yeah, you can goHennessey Sheriff Mills. Yeah, all over
the place. Huh, great work, sergeant. Okay, I'll have a
pick out on him in ten minutes. Thanks. Well, what's the good
news? Have anything to do withthe case, Well, rogue. The
(16:56):
man who stabbed missus Charlie Miller wasFlip Stone Miller's best friend and his first
lieutenant. In the sluck Machine record, his fingerprints were all over the knife.
How do you like that? Idon't like it. It doesn't make
sense yet, Richard. I'm gonnago call this into my city disc Will
you meet me at the hotel andbeen me up debate on what has happened.
Sure, I'll take care of it, baby, you'll run along.
Keep your readers informed. You reminder, if we'll go along with a rogue,
(17:18):
we don't need your help to solvethis case. We're perfectly capable of
taking care of it ourselves. Oh, swell, lots of luck. I've
heard all about you, rogue.Just keep your hands in your pockets while
you're in central city. We don'tlike smart private detectives very well. Remember
that I was all set to tryand help the guy until he said that
(17:44):
I don't approve of people going aroundsticking knives through other people, and I'm
willing to throw in my nickels recipesthat they're discouraged. Then this politician with
muscles running up to the part inhis hair, it gets tough at me.
Oh well, probably had run acrosssome wrong guys in his time.
Anyway, Betty and I lamb backto the hotel splendid. We went up
to my room because we wanted totalk. She called in her story to
(18:06):
a paper, and I sat inthe window and talked the deal over with
myself. She finished her phone call. I really walked into a scoop this
time, said the editors, havinghallucination. He even promised me a raised
throw the ball at that door,William, Why oh, don't be so
conceited. I want to take alook in this briefcase all the excitement is
about. Of course, you knowyou can get put away in the pokey
for a long time, but withholdingeditom, you're the worrying type. Unswer
(18:30):
why do you use the bowlit stonerubbed out's bosses better hat? Maybe she
asked idiotic questions while he was tryingto open a briefcase. You know it's
locked. Yeah, I'm afraid I'mgoing to have to ruin the lock with
my knives. Too bad. That'sbreaking and entrying as something illegal entry.
That'll like twenty years, do youhey, I'm still the young man.
I get out. Oh come on, come on, I'm not going to
(18:52):
be a brobbing and by the lock, hundred dollar bills, millions of them.
Get gander at that, Betty Leney. Oh you catch on quick,
no wonder, Flip Stone was soanxious to get his hot little pink fists
on this letter. You will.Yeah, I'd love to have some letters
in here. I want to beimpolite about three four, five, six,
seven, eight, nine tenth one. Must be fifty thousand dollars here.
(19:17):
Maybe this is the works. Theseletters explain a lot of things.
Eighty one, eighty two, eightythree four. Don't bother me. I
never saw as much money before.Na. Well, I know now why
Flipstone put a kiss of death onthe lovely eye an. He had to
keep these letters and that money frombeing delivered. He didn't want Charlie Miller
to beat that rapp and through sixthousands already and I haven't even made a
(19:37):
hole in the pile. Oh theguy who wrote these letters with the character
give me the Sheriff's office please eightthousand five to seven eight nine thousand.
Oh, I wonder what a niceyacht would cost me? Chicken up that
dough was yours? You would bemissus Richard Rogue tonight, oh eight n
Hello, Hello, Sheriff's office.Let me talk to Sheriff Mills. Richard
Roe Colling, all right, raciousseven eight nine Hello, che if this
(20:03):
is Richard Rogue. Yeah, comedown to seven thirtyth Hotel Splendid right away,
will you. We'll don't ask somany questions. I'm gonna make you
a big man. I want youto help me plan a surprise party right
now. Hurry. Hey, that'sa lot of nless you got that,
Betty Darling Flipstone really grabbed a handfulof disappointment. Went him? Bail out
(20:23):
with that my satire by mistake,there wasn't nearly that much money in mine.
Who could that be? I don'tknow. Look, I'll get over
behind the door. You open it. We look our company over before we
put this artillery away. All thelight guns they come in hand it sometimes?
Okay, what I'm up ready,I'm coming in. You can't come
(20:48):
in here. Just keep backing up. I want that. Do you split
bags on me? I didn't not, I can do it. Where's rogue
check every hotel legislants home? Ithink, where is he? I want
to slap around a little bit beforeoh wishes? Why did you wait so
long? I administered that pistol anesthesiawith masterful precision. Flip was going to
(21:21):
have a long ride in the dreamtrain. Betty and I took a sheet
off the bed, tore it intostrips, and tied Flip up like traffic
at Hollywood and Vine. Then welooked around for someplace to hide him.
We finally picked out a spot thatany old made would have thought of.
Immediately, we slipped him under oneof the twin beds. Then we finished
counting the money, twenty five thousanddollars. Oh, it looked beautiful there,
(21:42):
but I had things to do.I called the sheriff. He hadn't
left the jail yet, so Iwent down at a talk with him,
and while I was there, Ihad a chat with Charlie Miller, a
very satisfactory chat. Then the sheriffand I went back to the hotel Betty
made a phone call and we waitedfor company, the sheriff and I squeezed
into a closet when the knock cameat the door. Who is it?
(22:07):
Okay, come in thanice. Nowlet's get this over with, missus Millow.
I want to get out of herein such a hurry. How do
I know you're on the level?You have the money with you, I'll
give it to you after you signthis little document. What is it?
I'll read it to you. I'mLouis Tobin, a member of the jury
(22:29):
and the trial of Charles Miller forthe murder of Big Joe Landetty. Do
you hereby acknowledge to receive at twentyfive thousand dollars from the hand of missus
Charles Miller, but which I agreeto hold out against the conviction of Charles
Miller and to find him not guilty. I also agree to use my best
influence to make the other jurors agreeto a knot guilty verdict. And that's
where you signed. Oh you knowI can't sign a thing like that.
(22:52):
Hell, look, I've got twentyfive grand and hundred's readier for you.
You get it when you sign yourname, right there. No, you
keep feeling word my husband, getthe hung jury or an acquittal. This
pistique wild be torn up. Ifyou don't, I'll give it to the
newspaper. Sign up, okay,okay, I'll sign. Here's a pen.
(23:14):
Yeah, okay, yeah, I'lljust hang on to this until you
give me the money. Two hundredand fifty one hundred dollars bill. Ye,
no, no, I just wantto get out of you. That's
I'll move. Tobbin Chrieff and Iboth have you coming. You double cross
me. I was just killing acoubbin. I'll shake him down, Sheriff.
(23:36):
He's got twenty five thousand dollars onhim. Did you mark yourself?
You haven't got a thing on me. I was just Calhoun. Could I
have that confession? Oh sure,if you'll let me have a bat for
a photo stat later okay, it'llbe yours exclusive. And now I'm going
to take this man down and lockhim up where he belongs. Yeah.
That's a good idea, very practical. Oh here, Sheriff, you better
take this money with you. Ijust spend everything I get my hands on.
(23:56):
Oh yes, yes, of course, thank you, rogue. You
better come it later. No,sheriff, you better count it now.
I can't take the time now,Rogue. If there's any money missing,
I'll be back. And there hadbetter not be any money missing. I
(24:17):
had news for the sheriff, buthe was so impressed with his pinch that
he couldn't see me. Oh well, I knew he'd be back. You
see, I'm a practical guy.I had palmed and pocketed five thousand dollars
out of that water. Though Itook off Tobin, I showed it to
Bedding. She was horrified, butI knew what I was doing. So
I just sat there and waited forthe door to take a beating, and
it did. Who is it?It's the sheriff. Let me in,
(24:41):
Rogue. Why, sheriff, you'reall read in the face. It's your
age. I knew you were acrook the first time I set eyes on
you, Rogue. You probably studiedpsychology at barbery colleagues, that's what makes
you smart. There was only twentyone thousand dollars in that briefcase when I
counted the money at the jail,and I had four honest men as witnesses.
Well, you're hard. Where's thatother five thousand dollars rogue in my
(25:03):
pocket, Sheriff, And that's whereit's gonna stay. That's larceny. And
you you're under arrest now. Isthat silly? Look Sheryl? Please let
her tell him don't need him anymore? Well, Sheriff. Remember when I
went in the soil to see CharlieMiller. What's that got to do with
the missing funds? While he postedthe five thousand dollars reward for the killer
of his wife with you didn't he? Oh? Yes, I suppose you
did? You suppose you know hedid? While if you look under the
(25:25):
bed there in the bedroom, you'llfind Flipstone, the guy who murdered Diane
Miller. It was very simple.I just collected my reward in advance,
That's all, my friend. Thesheriff was a little upset for a while,
but he calmed down when Betty broughtin a photographer to take his picture
(25:47):
for the papers. Isn't it funnywhat some people will do to get their
pictures in their papers. I hadto practically rastle him to keep him profiling
me in a big ham well.I the reward with Betty. Of course,
I didn't just exactly split the weatherI gave her two thousand bucks,
but she didn't want to take anything. Isn't that just like a woman though?
(26:11):
Or is it We're a little late, folks. This is T four
y, good night, sleep tight. This is the Armed Forces ready to
go to turn welcome back. Well, the second train murder story that we
(27:18):
featured so far in the short historyof us doing Rogue's Gallery, and ironically
enough, both were from AFRSS broadcast. I was somewhat disappointed to not hear
how exactly Rogue managed to go aheadand squander his reward here, but uh
(27:42):
it does it does working out fairlywell in the end. I got a
listener question here from Valerie says,Hattam, what do you think of the
Mister District Attorney series? Well,it's definitely was a historic series. It
was made by Philip Philip's Lord,who was the same the person behind Gangbusters,
(28:10):
and it bared some similarity. Thereusually was not a mystery, intended
to be more crime drama rather thandetective story, but it was still very
historic and it had this very interestingfeature of everyone in the story calling the
lead character mister District Attorney. AndI've never heard a name reference specifically,
(28:36):
although The original model for mister DistrictAttorney was the crime busting career of Thomas
Dewey, later Governor of New York, who famously looked sure to win the
nineteen forty eight presidential race. Butthe gallop holes turned out to be incorrect.
So it was a very historic,well done series. And I've liked
(29:00):
the episodes I've heard, just likeI've liked the episodes of other programs such
as Bigtown that haven't quite fit inwith the detectives genre we're going with here,
But it's definitely a good show.And there was actually a TV version
as well I've heard about but I'venot yet seen. But thanks so much
for the question, Valorie. We'llbe back tomorrow with let George you do
(29:22):
it. In the meanwhile, besure to visit support dot Great Detectives dot
net and make your donation to helpsupport the show. To participate in this
listener support him Payne, please donateby September tenth, or if you would
like to mail in your donation,please have the envelope postmark by September tenth,
and you can email me at Boxthirteen at Great Detectives dot net for
(29:45):
the address. Follow us on Twitterat Radio Detectives and become one of our
friends on Facebook, Facebook dot comSlash radio Detectives. But from Boise,
Idaho, this is your host,Adam Grahamson and off
Welcome to the Great Detectives of OldTime Radio from Boise, Idaho. This
is your host, Adam Graham.If you have a comment, email it
to me Box thirteen at Great Detectivesdot net. Be sure to cast your
vote for the show on podcast Alley, Podcast Alley dot Great Detectives dot net,
and become one of our friends onTwitter at Radio Detectives. Well I
(00:50):
do have I do you want tothank some more people for helping participate in
our listener support campaign with their kindcontribution, So I want to say thank
you to Bob Marshal and Leslie.Also to Harry who who with his donation
(01:11):
requests we send along a copy ofour friends at the Colonial Radio Theater their
production of Para Mason. So we'vegone ahead and we sent him a copy
of the of Perry Mason and theCase of the Velvet Clause. Nancy also
gave a donation and left to commentssays thanks for both Great Detectives and Dragnet
(01:33):
podcast. Although your interest and enthusiasmhave always been evident, your commentary and
presentation have become increasingly professional over thattime. Good job, well, thanks
so much, Nancy, and that'sone of the great opportunities with podcasting,
you really, unlike in a regularbroadcasting, you've got the ability to start
(01:57):
at a kind a low level andto improved. So I appreciate that.
And Nancy would like a copy ofPerry Mason in the case of the Velvet
Clause, and we'll go ahead andsend that along to her as our thank
you. GiB Well. Now it'sTom for today's episode of Rogues Gallery.
This one is called the Latin Topand this one is a Mystery Playhouse episode
(02:22):
from the Armed Forces Radio Services,so enjoy all creeps. This is a
very tired tea for why on theMystery Playhouse. The night's story will be
told by Dick Powells, who playsRichard Rogue. Now and another graphic adventure
(02:45):
from Rogues Gallery. When I goton a rattler for my fifth Central City,
(03:12):
I was not exactly a joy boy. I hate riding on trains,
but a couple of hours later,I'm a happy chattie because who do I
run across in the lounge car isa little ambition of mine with the name
of Betty Callahan, a newspaper womanwho is cheating the movies. She's a
pocket sized brunette with cornflower blue eyesand the complexion which wouldn't come off on
(03:35):
the shoulder of my blue gabardeen suit. I rescued her from the wolves and
Uncle Sam's clothing who were making lifetoo interesting for in the club car,
and we retired to my compartment forto talk about the old time. Nice
(03:59):
was a place you have here,Richard. A guy can get pretty lonesome
a place like this, you know, Betty, Get that gleam out of
your eye. Origin. I'm perfectlycomfortable right where I am, all right,
all right, And I just thoughtmaybe you'd like to sit here with
me and look out of the window. You're so thoughtful. You haven't even
told me where you're going. Thethings finally get too hot for you at
home. Please, I'm going toCentral City, baby, for the same
(04:23):
reason you are. Charlie Millert triallearned run very funny. I am an
expert with this, and I've gota briefcase full of research here that's going
to make the DA very happy.Come a little closer. Oh, whoa,
what do you think Charlie when youget to work? Oh, let's
(04:44):
not talk about Charlie, talk aboutme. Didn't you ever get tired?
Of that. Fucking no, it'sfascinating. Come on, what are you
sitting Claire over there? For youlike it here? Why did your mother
ever tell you anything about like youplenty? Why don't you drop that front
page character angel? We've known eachother for a long time. I was
(05:08):
just trying. Stop trying. Howcan you be so mean to me?
Ever since the first time I sawyou, Betty, I've been stuck on
here, No kidding, did anybodyever believe that line? Once in a
while, you know something's going tohappen to doing this, any lady,
(05:28):
Let's find out quiet? Oh brother, what's the idea? Lady? This
is a private compartment. I'm sorryto intrude. Who is this girl?
Richard? I never saw it before? Who are you? I had to
come in here? My life isin dangerous love hand lady, I don't
think you've improved your situation and breakingin here when you did? Oh?
(05:49):
What does everything have to happen tome? Why don't you buy a ticket
Latin type and then you wouldn't haveto play hide and seek with the conductor.
I had to come in here.I'm hiding. There's a man on
this train who has signs on mylife. Yes, what Bernhard could have
done with that line? You don'tbelieve me? That's right now, scram
Hey the guy with a design Iwant to take a gander. No,
(06:13):
no, no, I've answered myself. I want to talk to you aboute
Dianne. It's impossible, but there'snothing more. I think, Mandy,
you're better. I know where you'regoing Diane, and I know what you've
got, and you want to comeout here? All right? They were
doing. I mean I'll be waiting. Want me to take care of that
(06:36):
funk for you. You stay outof this, please? Will you keep
this briefcase on me? Don't letanyone touches Please next time, why don't
you get a drawing room with arevolving door with it? Oh? Shut
out? You know I'm kind ofworried about that girl. I'm gonna feel
pretty silly if she comes up there. For the next two minutes, I
(07:09):
worried about Diane and the man whohad designs on her life. But I'm
a romantis hi, So I spentthe next fifty eight minutes trying to spell
buying Betty into seeing things by way, but she wasn't looking. At the
end of an hour. My chanceswere still about on the ratio of a
little rock junior high against Notre Dame. So I gave up. Well,
(07:36):
it's been an hour. Sometimes itare checked off. What do you think
the Dame's either as goofy as acub out for her, or she's really
in a jam. You're pulling meoff with my X on the first danta.
Let's take a looking at briefcase sheleft down. Hey, wait a
minute, honey, that's my briefcase. Oh I'm sorry, don't get hoofy,
Rachel. Those two briefcases are practicallyidentical. Yeah, I guess they
(07:59):
aren't that or give me mine,I'm gonna put it up here on the
rack. Hey, what is thisip down? Pretty boy had a light
back on. Richard got up,lady right, give me that great taste,
pretty boy, get that flashlight outof my eyes. Get your hands
but I eye give me that flashlight. Sorry, lady, but you last
(08:24):
now, pretty boy, give methat bag. Hey, what's the gimmick?
What are you pulling? That emergencycard? And I want to have
to show to get your hands out? Hout so long, pretty boy.
(08:48):
As he pulled the cord, Icould see the gleam of a gun on
this character's fist, and I didn'twant any samples of as a marksmanship.
But I could hear Betty groaning onthe floor at my feet, and all
of a sudden, I felt Ihad to get in before he jumped out
of that window he'd knocked out withthe butt of his pistol. I made
a dive for him, expecting tostop a little lead. When I got
worried, Benny wasn't there. Hewas behind me. I knew that when
(09:11):
I heard the flashlight whizzing through theair, it connected expertly right behind my
ear. And there I went againinto the land of Nod, which is
practically my home away from home.Everything was very quiet for a while,
and I slept on log Come on, get up, get up, hut,
(09:43):
it's been heard. Betty away youget up. Oh I can't oh
my head, get up, getup, Wake up? Sudden noise?
Someone watching? Oh, they'll goaway, step out. Let him in.
(10:07):
Betty's been hurt. What happened?I can't remember? Remember the man?
Remember the girl? He came back? Yeah, yeah, I'll cut
it out. Stop that pounding.Oh my head in the gym. Betty's
been hurt. Wake up, getup. I can't I can't watch that
(10:31):
pounding, pounding, pounding. Cutit out, cut it out, stop
it to get here, stop it, stop it, stop it. Remember
open the door. Okay, okay, Betty, oh Betty, your poor
(10:56):
kid. Hello, Hello, I'mcoming. I'm coming. Just keep a
shirt on. I demand an explanationof what's been going on in here.
Come on, come on, helpme bring this girl out of it.
The window broken. You know whatthat does to the air conditioning in this
car. The man got out ofthat window while the train was stopped,
Hope pulling its emergency card. Thisguy, he came in here waving a
(11:18):
gun aerund took a briefcase of somedame and left here, stopped the train
and knocked our brains out. Ijust came to and he's gone. So
let's face a conductor. He musthave jumped out the window. Yes,
And what happened to the young ladywho left the briefcase here in your compartment?
I don't know why I never sawher before. Oh you okay,
baby? Oh sure, my mom? Where shut up? I don't know
(11:46):
I'm holding you responsible for the damagethat's been done to this compartment. What's
your name. The name's Richard Rogge. Now get out of here. I'll
give you some more things to holdme responsible for personal thing. I'm the
conductor on this train. Okay,okay, we'll still be on your train
when you pull into Central City.Goodbye, now, goodbye to your seat.
(12:07):
Please where you're hit im? Please, I've heard you a dynamic when
you got stuff a pit. Yeah, look a dafty dame that came charge.
Yea, I wasn't kidding. Abriefcase hers full of dynamite wash,
it's gone the window. Oh no, it isn't the one that jumper took
my mind. Remember I had itmy hand ready to put it up on
(12:30):
the luggage rack when he came in. Guinea hurries. It's right off there
behind you. Oh sure, luck, I don't know what. Don't you
love life? I just push Idid a scene. Well, comb the
hair over that lump on your head. Dady, we're gonna find and confer
with a young lady whose fart plugthis carnival and mayhem. Okay, I'm
in. Oh that's run. Hada little something go talk to her.
(13:01):
My head had that familiar old feelingof having been washed in the washing machine,
and I was feeling anything but cuteas we wandered down the aisle,
asking porters if they'd seen a bigbrunette wearing a blue pen striped suit and
a hat with cherries on it.That was Diane, you know. Finally,
in cars seventy three, the porterrecognized the description and told us that
the lady was in drawing roomy naturally, the conductor came along about this time.
(13:22):
The Blairs bounced off that haze ofpain that surrounded me like a ricocheting
bullets. He went with us underprotest to drawing room. May no answer,
He isn't in. Why don't youlook in the clump car? I
did knock again? Why don't youtry the door? Okay is open?
(13:46):
Good doctor? Might have we goingto look around? What try have you
to into the state room of astrange woman to m me if you wanted
when I'm gonna take a look around? Uh, nobody at home? I
guess I hope you're satisfied her upthe train walking into other people's drawing room.
Look, mister, I'm trying tohelp you. I've been all over
this train. I say it hasto be someplace all right, all right,
(14:07):
she's not here and I can't standaround all night. Look over there
under the berth, I don't seeanything, you know, maca back.
How do you think that is reading? Why that blood? Police blankets?
Back? Oh? I'm going outof here. Are you convinced now that
something happened to that girl? Here? Curky polk girl, you must be
(14:30):
in here someplace. Open the doorof that wardrobe. Oh, Richie here,
help me move her up on thebus. Nah, you've ever right
where she is. The cops won'twater move. Oh she's dead. Yes,
(14:52):
she was dead, and all weknew about her was that her name
was Diane and that I had thebriefcase which must contain the reason for her
murder. A pleasant thought. Itook one more look at the dead girl,
shuddered and pulled Betty out of thatroom. I wondered what was going
to happen next, and who wasgoing to be the main attractive I must
(15:30):
have been born under a police star. No matter what I started out to
do, I end up with moretrouble than a jitterbug at a square dance.
Me. I started out to bean expert witness, and I wind
up in the Sheriff's office in CentralCity trying to explain a murder. Betty
was enjoying every minute of this comedyof Terra's being a news hawk. He
was jumping with enthusiasm and theories.The sheriff was jumping with importance. I
(15:52):
was just jumping. I don't likemurder unless there's a profit in it for
me. Sit down in a rope. You shouldn't be so nervous. Always
should be getting a report of thatmurdered woman, shouldn't me, Sheriff.
We're not gonna get any place untilwe find out who she was. My
men are working on it, rogue. I just take it easy. We
know our business here in Central City. Ah, well that's your business,
(16:12):
isn't mine. So if you don'tmind, I think I'll shove off.
I've got a little business to takecare of myself. Just a moment,
I will. We got a positiveidentification on that lady who was stabbed on
the train, Sheriff, And whodo you think she want? Well?
Who was she? Got to it? Hennessey. She was Diane Lewar,
wife of Charlie Miller, who's onfile from murdering Big Joel and Bertie's no
(16:33):
kidding. Yeah, you can goHennessey Sheriff Mills. Yeah, all over
the place. Huh, great work, sergeant. Okay, I'll have a
pick out on him in ten minutes. Thanks. Well, what's the good
news? Have anything to do withthe case, Well, rogue. The
(16:56):
man who stabbed missus Charlie Miller wasFlip Stone Miller's best friend and his first
lieutenant. In the sluck Machine record, his fingerprints were all over the knife.
How do you like that? Idon't like it. It doesn't make
sense yet, Richard. I'm gonnago call this into my city disc Will
you meet me at the hotel andbeen me up debate on what has happened.
Sure, I'll take care of it, baby, you'll run along.
Keep your readers informed. You reminder, if we'll go along with a rogue,
(17:18):
we don't need your help to solvethis case. We're perfectly capable of
taking care of it ourselves. Oh, swell, lots of luck. I've
heard all about you, rogue.Just keep your hands in your pockets while
you're in central city. We don'tlike smart private detectives very well. Remember
that I was all set to tryand help the guy until he said that
(17:44):
I don't approve of people going aroundsticking knives through other people, and I'm
willing to throw in my nickels recipesthat they're discouraged. Then this politician with
muscles running up to the part inhis hair, it gets tough at me.
Oh well, probably had run acrosssome wrong guys in his time.
Anyway, Betty and I lamb backto the hotel splendid. We went up
to my room because we wanted totalk. She called in her story to
(18:06):
a paper, and I sat inthe window and talked the deal over with
myself. She finished her phone call. I really walked into a scoop this
time, said the editors, havinghallucination. He even promised me a raised
throw the ball at that door,William, Why oh, don't be so
conceited. I want to take alook in this briefcase all the excitement is
about. Of course, you knowyou can get put away in the pokey
for a long time, but withholdingeditom, you're the worrying type. Unswer
(18:30):
why do you use the bowlit stonerubbed out's bosses better hat? Maybe she
asked idiotic questions while he was tryingto open a briefcase. You know it's
locked. Yeah, I'm afraid I'mgoing to have to ruin the lock with
my knives. Too bad. That'sbreaking and entrying as something illegal entry.
That'll like twenty years, do youhey, I'm still the young man.
I get out. Oh come on, come on, I'm not going to
(18:52):
be a brobbing and by the lock, hundred dollar bills, millions of them.
Get gander at that, Betty Leney. Oh you catch on quick,
no wonder, Flip Stone was soanxious to get his hot little pink fists
on this letter. You will.Yeah, I'd love to have some letters
in here. I want to beimpolite about three four, five, six,
seven, eight, nine tenth one. Must be fifty thousand dollars here.
(19:17):
Maybe this is the works. Theseletters explain a lot of things.
Eighty one, eighty two, eightythree four. Don't bother me. I
never saw as much money before.Na. Well, I know now why
Flipstone put a kiss of death onthe lovely eye an. He had to
keep these letters and that money frombeing delivered. He didn't want Charlie Miller
to beat that rapp and through sixthousands already and I haven't even made a
(19:37):
hole in the pile. Oh theguy who wrote these letters with the character
give me the Sheriff's office please eightthousand five to seven eight nine thousand.
Oh, I wonder what a niceyacht would cost me? Chicken up that
dough was yours? You would bemissus Richard Rogue tonight, oh eight n
Hello, Hello, Sheriff's office.Let me talk to Sheriff Mills. Richard
Roe Colling, all right, raciousseven eight nine Hello, che if this
(20:03):
is Richard Rogue. Yeah, comedown to seven thirtyth Hotel Splendid right away,
will you. We'll don't ask somany questions. I'm gonna make you
a big man. I want youto help me plan a surprise party right
now. Hurry. Hey, that'sa lot of nless you got that,
Betty Darling Flipstone really grabbed a handfulof disappointment. Went him? Bail out
(20:23):
with that my satire by mistake,there wasn't nearly that much money in mine.
Who could that be? I don'tknow. Look, I'll get over
behind the door. You open it. We look our company over before we
put this artillery away. All thelight guns they come in hand it sometimes?
Okay, what I'm up ready,I'm coming in. You can't come
(20:48):
in here. Just keep backing up. I want that. Do you split
bags on me? I didn't not, I can do it. Where's rogue
check every hotel legislants home? Ithink, where is he? I want
to slap around a little bit beforeoh wishes? Why did you wait so
long? I administered that pistol anesthesiawith masterful precision. Flip was going to
(21:21):
have a long ride in the dreamtrain. Betty and I took a sheet
off the bed, tore it intostrips, and tied Flip up like traffic
at Hollywood and Vine. Then welooked around for someplace to hide him.
We finally picked out a spot thatany old made would have thought of.
Immediately, we slipped him under oneof the twin beds. Then we finished
counting the money, twenty five thousanddollars. Oh, it looked beautiful there,
(21:42):
but I had things to do.I called the sheriff. He hadn't
left the jail yet, so Iwent down at a talk with him,
and while I was there, Ihad a chat with Charlie Miller, a
very satisfactory chat. Then the sheriffand I went back to the hotel Betty
made a phone call and we waitedfor company, the sheriff and I squeezed
into a closet when the knock cameat the door. Who is it?
(22:07):
Okay, come in thanice. Nowlet's get this over with, missus Millow.
I want to get out of herein such a hurry. How do
I know you're on the level?You have the money with you, I'll
give it to you after you signthis little document. What is it?
I'll read it to you. I'mLouis Tobin, a member of the jury
(22:29):
and the trial of Charles Miller forthe murder of Big Joe Landetty. Do
you hereby acknowledge to receive at twentyfive thousand dollars from the hand of missus
Charles Miller, but which I agreeto hold out against the conviction of Charles
Miller and to find him not guilty. I also agree to use my best
influence to make the other jurors agreeto a knot guilty verdict. And that's
where you signed. Oh you knowI can't sign a thing like that.
(22:52):
Hell, look, I've got twentyfive grand and hundred's readier for you.
You get it when you sign yourname, right there. No, you
keep feeling word my husband, getthe hung jury or an acquittal. This
pistique wild be torn up. Ifyou don't, I'll give it to the
newspaper. Sign up, okay,okay, I'll sign. Here's a pen.
(23:14):
Yeah, okay, yeah, I'lljust hang on to this until you
give me the money. Two hundredand fifty one hundred dollars bill. Ye,
no, no, I just wantto get out of you. That's
I'll move. Tobbin Chrieff and Iboth have you coming. You double cross
me. I was just killing acoubbin. I'll shake him down, Sheriff.
(23:36):
He's got twenty five thousand dollars onhim. Did you mark yourself?
You haven't got a thing on me. I was just Calhoun. Could I
have that confession? Oh sure,if you'll let me have a bat for
a photo stat later okay, it'llbe yours exclusive. And now I'm going
to take this man down and lockhim up where he belongs. Yeah.
That's a good idea, very practical. Oh here, Sheriff, you better
take this money with you. Ijust spend everything I get my hands on.
(23:56):
Oh yes, yes, of course, thank you, rogue. You
better come it later. No,sheriff, you better count it now.
I can't take the time now,Rogue. If there's any money missing,
I'll be back. And there hadbetter not be any money missing. I
(24:17):
had news for the sheriff, buthe was so impressed with his pinch that
he couldn't see me. Oh well, I knew he'd be back. You
see, I'm a practical guy.I had palmed and pocketed five thousand dollars
out of that water. Though Itook off Tobin, I showed it to
Bedding. She was horrified, butI knew what I was doing. So
I just sat there and waited forthe door to take a beating, and
it did. Who is it?It's the sheriff. Let me in,
(24:41):
Rogue. Why, sheriff, you'reall read in the face. It's your
age. I knew you were acrook the first time I set eyes on
you, Rogue. You probably studiedpsychology at barbery colleagues, that's what makes
you smart. There was only twentyone thousand dollars in that briefcase when I
counted the money at the jail,and I had four honest men as witnesses.
Well, you're hard. Where's thatother five thousand dollars rogue in my
(25:03):
pocket, Sheriff, And that's whereit's gonna stay. That's larceny. And
you you're under arrest now. Isthat silly? Look Sheryl? Please let
her tell him don't need him anymore? Well, Sheriff. Remember when I
went in the soil to see CharlieMiller. What's that got to do with
the missing funds? While he postedthe five thousand dollars reward for the killer
of his wife with you didn't he? Oh? Yes, I suppose you
did? You suppose you know hedid? While if you look under the
(25:25):
bed there in the bedroom, you'llfind Flipstone, the guy who murdered Diane
Miller. It was very simple.I just collected my reward in advance,
That's all, my friend. Thesheriff was a little upset for a while,
but he calmed down when Betty broughtin a photographer to take his picture
(25:47):
for the papers. Isn't it funnywhat some people will do to get their
pictures in their papers. I hadto practically rastle him to keep him profiling
me in a big ham well.I the reward with Betty. Of course,
I didn't just exactly split the weatherI gave her two thousand bucks,
but she didn't want to take anything. Isn't that just like a woman though?
(26:11):
Or is it We're a little late, folks. This is T four
y, good night, sleep tight. This is the Armed Forces ready to
go to turn welcome back. Well, the second train murder story that we
(27:18):
featured so far in the short historyof us doing Rogue's Gallery, and ironically
enough, both were from AFRSS broadcast. I was somewhat disappointed to not hear
how exactly Rogue managed to go aheadand squander his reward here, but uh
(27:42):
it does it does working out fairlywell in the end. I got a
listener question here from Valerie says,Hattam, what do you think of the
Mister District Attorney series? Well,it's definitely was a historic series. It
was made by Philip Philip's Lord,who was the same the person behind Gangbusters,
(28:10):
and it bared some similarity. Thereusually was not a mystery, intended
to be more crime drama rather thandetective story, but it was still very
historic and it had this very interestingfeature of everyone in the story calling the
lead character mister District Attorney. AndI've never heard a name reference specifically,
(28:36):
although The original model for mister DistrictAttorney was the crime busting career of Thomas
Dewey, later Governor of New York, who famously looked sure to win the
nineteen forty eight presidential race. Butthe gallop holes turned out to be incorrect.
So it was a very historic,well done series. And I've liked
(29:00):
the episodes I've heard, just likeI've liked the episodes of other programs such
as Bigtown that haven't quite fit inwith the detectives genre we're going with here,
But it's definitely a good show.And there was actually a TV version
as well I've heard about but I'venot yet seen. But thanks so much
for the question, Valorie. We'llbe back tomorrow with let George you do
(29:22):
it. In the meanwhile, besure to visit support dot Great Detectives dot
net and make your donation to helpsupport the show. To participate in this
listener support him Payne, please donateby September tenth, or if you would
like to mail in your donation,please have the envelope postmark by September tenth,
and you can email me at Boxthirteen at Great Detectives dot net for
(29:45):
the address. Follow us on Twitterat Radio Detectives and become one of our
friends on Facebook, Facebook dot comSlash radio Detectives. But from Boise,
Idaho, this is your host,Adam Grahamson and off
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