October 10, 2025 • 32 mins
Original Release Date: June 1, 2021
A banker hires Brad to help him pay off someone who sent a letter threatening his wife.
Original Air Date: May 19, 1955
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A banker hires Brad to help him pay off someone who sent a letter threatening his wife.
Original Air Date: May 19, 1955
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.If you have a comment, email at
to me Box thirteen at Great Detectivesdot net, follow us on Twitter and
Radio Detectives, and become one ofour friends on Facebook, Facebook dot com,
(00:49):
slash Radio Detectives. I do wantto encourage you to check out the
video version of our podcast. Goto videotheater dot Great Detectives dot net.
We post two videos every month.Most recently we've been doing episodes of the
TV shows Man with a Camera andFederal Man. And you can check out
(01:11):
all the podcast I do over aGreat Detectives dot net. Right along the
top there's a length of them.But now it's time for this week's episode
of The Fat Man. The originalair dates may not Teams nineteen fifty five
and the title is Murder Makes aPayoff. There he goes into that drug
(01:37):
store, he's stepping on the scale. What June, Who is it the
fat Man? And now here's afat man in Murder makes the Playoff.
(02:23):
It was one of those brisk,clear mornings in early spring, and I've
gone up town to say hello toHenry. They were letting him out today.
Poor guy had been in for thelast five months. Henry hadn't done
anything to deserve the rap, justthat Henry is a lion, and they
spent the winter months in a nice, warm indoor cage. I walked around
(02:44):
the zoo for a couple of hours, enjoying spring in New York, and
suddenly I realized it was a workingday. I grabbed the cabin headed to
my office, where I found thephone clanging away as I walked in,
running, speaking, I must seeyou at once, rugging my wife isn't
terrible dangers? Who is this?George Mitchell, United Bank and Trust.
(03:06):
Well, mister Mitchell, you knowwhere my office is. I can't come
here office, mister running. It'stoo dangerous. You see, I might
be followed, and no one didyou understand? No one must know that
I've come to you. I seeall right. You know a place called
Clemon's Bar and Grill. It's abouttwo blocks east of my office, on
the same street. Clemon's Bar andGrill. No, I don't know it,
(03:27):
but I'll find it. I'll bethere in fifteen minutes. I'll be
waiting for you. How will Iknow you well. I won't wear a
red carnation, mister Mitchell. Theydon't call me the fat man because I'm
a nemic. I haven't been waitingmore than three minutes. When George Mitchell
(03:47):
rushed into the bar. He wasa big guy. I'm heaving. He
looked as if there wasn't a situationhe couldn't handle. But right now he
was nervous. In a hurry.The door seemed to jump off at hinger
as a bank of clothes. Butthen, hey, take it easy,
mister, you'll live longer. I'llthank you to Oh you'll Runyon. That's
(04:08):
right. I can't go to thepolice, mister Runyon. These men will
kill us. Whoa whoa summer dawn, mister Mitchell. We'll do better if
we started the beginning. You mustgive me. I haven't had any sleep
since it happened. And three daysago, then squad happened. I received
a note, the note telling meto bring ten thousand dollars to it.
We'll get around to them later.Right now, i'd like to see this
(04:30):
note. I brought it with mehere. You've got a nice wife.
You want to keep her that way? Bring ten thousand dollars to north here
on West fifty thirds two the nightone am. Do it like we say,
or your wife comes home in thebar. Yeah you see now?
Why yeah? Yeah, this isFriday. What happened Tuesday? That's just
(04:53):
it, mister Runyon. Nothing happenednothing. I drew the money from my
bank and went to the pier alone, as they told me. Way.
He didn't wait an no one came. Finally I went home, but then
I got a phone call to godown to the pier again tonight at the
same time. You know, misterMitchell, the police should analyst. I
don't want anything handled. I wantto pay them off, but I want
you around in case I run intoin the difficulty. I know what you
(05:15):
mean. Have you any idea whothem is? Who should as they are?
No, I haven't any idea.I just want to get it out
of the way. No, here'sthe money, holy all ten thousand dollars
of it. I'd prefer that youcarry it. And here's an additional five
hundred for yourself. That should coveryour feet. It covers it. Okay,
(05:36):
mister Mitchell, you've got you offa private detective. Let's go calling
calling. Yeah, we don't haveto go down to the pier the late
tonight. I'd like to meet missusMitchell first. I don't want to wait
till she comes home in a box. We left Clemen's barn grill headed for
(06:00):
my car to box three blocks away. The street was crowded with people,
yet Mitchell walked along with his headdown, his shoulders hunched, not saying
a word once. I tried todraw him out of it, but it
seemed that he told me everything hewas going to and from now on,
and anything I wanted to know.I have to find out myself. We
hadn't gone more than a block whensuddenly, and without my turning round,
(06:24):
I knew instinctively that mister George Mitchelland I had uninvited company in the crowd.
Mitchell, keep looking ahead, anddon't change your face. I listen
to me, listen picked up ashadow. Just keep walking. Okay,
Now let's go look at those antiquesin that window. I want to see
(06:45):
what our friend looks like. Whichone is he? Never mind looking at
the antiques. I can see himin that big mirror over the Grand Rapids,
Chippendale. He stopped to look onthe up a window. Oh yes,
I can see him now, Aredder, short and heavy, said
dark completion that boy. Have Iseen him before? No, I'm sure
(07:09):
I hadn't. Not very smart.If you knew anything about failing, you'd
walked past us when we stop andpick us up further down the street.
What do you suggest we do abouthim? Nothing but give me our card?
You hear a cabin, go home? If he follows you out hit
him off. There's a cab,now, a cab. I I hope
you know what you're doing. Here'smy card. Okay, now take this
(07:32):
cabin off. You at your placelater. I waited for Mitchell's cab to
turn the next corner while I keptan eye on the mirror and the little
guy who was so interested in us. They might have started off down the
street the way I'd come a littleblood hammed right after me, I came
(07:55):
to the corner. I walked roundit slowly, Ben switched back and flapped
myself against the wall. He walkedright into the oldest set up in the
business. Got a match, happy, huh oh, yeah, yeah,
sure, a match right right here. Keep the hands out of the pockets,
happy, or I'll tell your headout. Yeah yeah, sure,
that better will. Where'd you getthis happy stuff? I don't know no
(08:18):
gay names happy. I don't playgames in the street. I'll go that
a while back. Let's step atthe clements bar here and you tell me
who's paying you to tail me?Look, mister, you got me all
wrong, honest, get your nuts. I don't know what you're talking about.
You're sure sure? Jack to bearsright, Look miss joke and said
(08:43):
you got the wrong guy. Myname means happy. Change the lyric bust
here you're happy McCoy A small timehustle with a long time record. I
recognized you the minute I spotted youin the street. That's why you went
for me information mostly if I don'tget it. We got out of headquarters.
You used to pack a night.Maybe you're loaded right now. You
(09:07):
could go back to the can tothat. It looks were a guy for
your information. I'm on parole,but I have a shiv on me now.
It's too bad because for the informationI want, there's only one other
way to get. Hey, what'sgoing on here? Relax? My friend
here is dying of Thursday. Yeah, we'll just cut out the rust up.
(09:28):
This is a respectable place. Here'syour peers. Thanks, here's the
dog. Keep the change and don'tworry. Hey. Thanks, Okay,
how happy do we talk? Ordo we go back to my office and
see just how much you can reallytake? Yeah? Sure, shine talk.
They should think all this from bigGino. He gets the care of
himself. You know. So he'sin there. Yeah, you know it's
(09:54):
place, don'ttown. Yeah, thePelican C's let me out in the bank.
Maybe spend too much time there.Anyway, I'm into the house for
a couple of hundred bucks. Sobig Gino tells me to do a job.
I do it. And the jobtam a certain guy Galline on Holy
Season and then the port to Bigino. What certain guy Gan you were just
(10:16):
talking to? Big Gino showed mehis picture. Okay, let's go down
to the Pelican Club and you canmake your apart to Gino? Are you
crazy? Look? So you scareme? So I talked too much?
A big Gino scares me? SoI dropped dead. Besides, go take
a walk for yourself, that's all, don't I've beat it getting tough again.
(10:39):
That's all I got banking. Now, there's a beautiful thal sitting in
a booth behind you here, goahead, take a walk. That thing
in her hand, she's pointing ajob that ain't the menu. Turned from
the bar and look at the rowof booth that ran along the opposite wall.
(11:00):
Sure enough, sitting in a boothright behind this was a slim,
cool blonde and a dark, shinymink. The last time I've seen her,
she'd been third from the left inthe front line of the chorus at
the Old Crystal Club. If Iremembered her, and it'd been a good
many years ago. There's been alot more of it the scene. She
still looked beautiful, even with asmall nickel played. The revolver in her
(11:22):
hand, hidden with a handkerchief,but pointed right at my head. Okay,
sweetheart, you call an next movie. That's right, batman, Now
you've been flied. The boy goodbye, coming to find me like the
mice, lady says, that's all. Be that happy. You're lucky.
If I'm now, I ain't scaredyou no more. You understand, I'm
(11:45):
even leal slowing as I wanted.See far Vender bring my dink over to
this table. I'm joining the lady. Look, mister, we don't allow
that for a thing. To hear. This is a respectable play. The
lady asked me, didn't your sweetheart? That's wrong, mister nan see now
(12:07):
be a nice guy. Okay,okay, you can put the artillery away,
sweetheart. If I'd wanted to goby Happy before I got out of
the door, I would have.I guess you would have, sad.
Tell me, why do you covera guy like that? What do I?
Oh, I'll tell you what.Happy's a friend, little friend of
mine. You will move in interestingcircles. I just happened to see you
(12:31):
tag him in the street a fewmonths ago. I slipped in. I'm
sat in miss Bruce while you wereslapping him around. How I see you?
Linda? It is Linda. Isn'tyour head a good memory? Yes,
Linda Kellerman the Crystal Club on thefront line of the chorus, I
remember as if it was yesterday.Yesterday's last about fifteen years. That was
(12:54):
Gino's place, wasn't mane? Yeah, that's where you got to start.
That's right, verse for Amember HappyMcCoy, Gino stooge number one, hatchet
man? You still working for Gino. I'm a married woman now. I
left the cars in the Crystal Cluband Big Gina years ago. So the
big rescue act for Happy a fewminutes ago was just for old time's sake.
(13:15):
You might call it that. Well, I think I'll say hello,
ther ex boss, just for oldtime's sake. And by the way,
Linda, since it's not Kellaman anymoreMitchell, now it wouldn't be missus George
Mitchell. That's right, missus GeorgeMitchell. The gal was coming home in
a box. Linda was the galsome I was gunning for, at least
(13:43):
a going to the note her husbandhad chosen. But aside from the ten
thousand dollars, which might easily bereason enough, she couldn't or wouldn't tell
me why, and her husband saidhe didn't know. But like her husband,
Linda also impressed me as someone whocould take pretty good care of herself.
I left in Clemons barn Gill andwent back to my office. Yeah,
(14:05):
I called headquarters and got the dopeon have him McCoy's current status with
the police. After mulling the thingover for a while, I decided to
have another talk with George Mitchell.He lived in a converted private house in
the upper seventies near Central Park,and there was a cop on a small
crowd milling around the front door,and my cab stopped. Sorry, mister
(14:26):
Runyon, I can't let you goin. Those are the orders me in
particular, officers, nobody, misterOnion, there's been a killing in there,
and nobody goes in, nobody goesout. A killing, a killing,
and a fine job they did ofa tool. Who is it,
mister George Mitchell? The coup wouldn'tlet me into Mitchell's house, so I
(15:03):
headed a big Gino. Big Ginohad run four or five speaks during prohibition,
but with repeal and the dropping,the market had gone legitimate. Maybe
running a club with a gambling layoutand back wasn't legitimate in the strict sense
of the word, compared to someof his previous activities, you'd call it
that anyway. He was a toughboy. We'd paid cops and robbers on
(15:28):
several occasions. I got a thoroughgoing over by two of his boys before
I was rushered into his private office. Well, fast man, how long
I forget what you look like?I was nice to see all the friends.
I'm deeply touched. Gin know yourboys frisked me when I came in
(15:48):
I'd like my gun back when Ileave. Of course, my friend,
when you leave? Why you cometo my club so early? We don't
open to the seven business business withme. I'm a clean these days,
betterman, clean and legit. Doyou know a clean and legit hustler named
Happy McCoy? Never heard of him, Gino. I used to like the
(16:15):
floor show at the old Crystal Club. Remember, yeah, I remember Happy
was on your payroll, so soI think he's still on your pay road.
Also, I just called headquarters.They told me about his parole record.
You're at the top of the listof people he's supposed to stay away
from. He has my sympathy,wonder Gino. Happy tailed me today.
(16:41):
I tagged him and Happy with afinger on me. No, I'm putting
a finger on you. Are youin business for yourself? For a client,
Gino? And for a girl namedLinda Mitchell? Remember her? You
used to work for you of cafette? Man, I've been real nice to
(17:02):
you. How then you come inhere, take up my time and say
many stupid things to me? NowI am tired of being nice. Y.
Edit the door over there, useit while you still can, Okay,
do you know as I said,this is required unless the right guy
gets paid off. Linda Mitchell's introuble. My client can't make the payoff,
(17:27):
so I'm doing it to night atthe north Ram Pier on West fifty
third Street. Do you bore me, fete man? Maybe you and I
are on the same side, ginknow, I don't think so. You
and me. We are never onthe same side about anything. You understand?
Now get out, stay away fromme. Yeah, boys, this
(17:48):
guy's leaving Nikky. Okay, boys, I think you're making a mistakes,
you know, beat it and Niggygive him a back his gun. Maybe
he'll surely himself with it. They'vesomebody that traveled. I went back up
(18:12):
pound of the late George Mitchell's past, just out of Central Park. The
homicide boys had finished taking pictures andpowdering the place of Prince, so the
cop on duty let me in.I got the maid aside and gave her
a small token, not too smallat the current rate of exchange, for
which she took me up the backstairs, passed the reporters, and showed me
(18:32):
into the upstairs sitting room. Thenshe went to call her mistress. Yeah,
just a bit late, aren't youmister Runyon, we'll see. Maybe
I'm just a bit early. Youdon't quite fit the picture of the bereaved
widow in the presses downstairs. Theymight not like it. Look you're through,
Runyon, finished, washed up onthis case. My husband hired you.
(18:56):
My husband is dead. The dis murdered, all right, murdered.
But I'm paying you off. It'sstill the guy who wrote the note
to your husband, Linda. Hehasn't been paid off yet. A friend
of mine was taking care of that, a friend named Gino. I thought
(19:18):
you were smart, Grandon. Getup, Take it easy, sweetheart.
As you say, your husband hiredme. He hired me to pay off
the guy who was going to sendyou home in a box. And your
husband also gave me ten grand topay off this guy. I don't believe
you anyway. I have the slightestidea who would threaten me or why?
All I know is, sweetheart,but I saw the note your husband gott
(19:41):
and I was paid to do ajob. That's ten thousand is legally mine
now, Runyan, and I wantit. Even if there isn't any payoff,
you wouldn't get it till this wholething is finished. We'll see about
that. Look. Just for therecord, Lindre, how did Gino know
about the note? I told him? I went to him as a George
show to me? Why Gino?Why do you think Gino in love with
(20:06):
you? Of course you always hasthem, ever since the old day of
the Crystal Club. You in lovewith him? No, dear, I've
never been in love with anybody.I know. Linda just loves Linda.
It makes the decisions easier if you'rehappy that way. I'm happy. When
I married George, big Gino toldme to come and see him if I
(20:27):
ever needed help, and you neededhelp quite off? If you mean did
I see a big Gino often?Yeah? I did. George was a
nice guy, but the United Bankand Trust was his wife, not me,
so big Gino? When did yourhusband find out about Gino? Look?
(20:48):
I told you, why when didyour husband find out? You read
something in a column about a monthago, some gothic column that about ties
it up. What do you meanI'm going down for that payoff to night.
If there's anything in this note,we'll find that. If not,
(21:10):
maybe i'll see some old friends alllooking for a round. I left Linda
and had myself mistake at my favoriteshop house on the corner of fifty six
feet in the second avenue. Iwas still puzzled at Linda's lack of concern
about the note. After dinner,I killed a couple of hours at the
(21:30):
movie about a private eye whatever.Then it was time to take care of
George Mitchell's unfinished business. I boughtmy car at the inshore end of the
Northland Pier. A big frater wastied up alongside, and the only light
came from the lamps that hung fromthe side of the ship over the line.
A watchman check stood at the offshoreend of the pier, and I
(21:53):
started walking toward him. That's afar enough that man. Don't reach for
him. I got a gun onyou, and I don't want to use
it. That he is bad well, Gino, so we're on opposite side.
After all, you asked for Mitchell. I don't like your clients.
(22:15):
Mitchell's dead, Gino. Somebody killedhim. Yeah, I know, I'm
not interested. I got the doughon you. Sorry, I'll have to
give you a check. It's mad, guy. Don't make ghosts at a
time like this. It's not healthy, Gino. When the husband is dead.
Okay, okay, so you hadit a coming. But I don't
know anything about it. No,I don't think you do. But the
(22:38):
police, GINO about them, theymight think differently. So far, it
adds up like this. Mitchell gotmad when you moved it on his wife.
I never moved in. I lovehim, Inda, but he's another
man's wife and I don't move inwhile he's around. He thought you're dead.
But the same thing. But youknow who wrote that note threatening Linda?
(23:03):
You're the wise guy us. Itwasn't you. But you're down here
to get the ten grand for yourgirlfriend, aren't you. That's my business,
fatman. Well, my business isto find out about that note.
I've got a strong hunt. Whoeverkilled Mitchell will try to collect the dough.
Whether that note is on the levelor not, your hunt. You
should payout as good as this one. Wow, Hello, happy Happy,
(23:27):
that's a big heap of as asa little guy. Yeah, that's a
small time. Now, Huntino,I got you covered from the BATO.
That's bad, ain't it, BigGeno nuts, big McCoy, Now,
(23:48):
don't be a fool, happy andyou fat so you'll get your gun in
your pockets sold in two minutes.You'll get it anyway. No, I'll
wait. Thank so you're big.I'm not happy, big happy McCay.
I mean I knew it doesn't fit. You want the ten grand an hour
later? Don't make him hard togo a difference long as I get it.
(24:11):
So you're the boy happy, eh? And I put you under the
whole thing. Yes, that's right, Gino, can you tell me to
pale Mitchell. You'll tell me tokeep an eye on his friends, trying
to find out who he pays off. I find out, all right,
he pays off nobody. The notesof pony. What do you mean?
And going to his house this morning, I get the foot out of him.
(24:37):
I can do cute things with theship. Once they get to jump
on a guy. You'll tell meanything. He wrote that note to give
himself an alibi and gave Feto hehad ten grand to clinch it clear enough.
When you're fats, where is abet he was gonna kill Linda because
he thought you was two timing.It was, Gino. That note might
(25:00):
have given him a good eyes.What that's right. Mitchell didn't behave himself,
and they had to heat on himthis morning, so he had to
give it to him for keeps withthe shim too bad. He and you
get it with the gun. Okay, Gino, you first and in the
back, and that's all that's takehim, Gino. Okay, man,
(25:23):
we are coming for you. Happy, nah, I don't move, stay
away from you here. Thanks fast, happy, make up your mind,
you know. I mean you gotone week at one. That's fair.
It's not happy. I'm killing bothof you. I got your mom.
You never did like the gun?Did you keep punk? No? Not
(25:44):
having my car A knife maybe ora blackjack or never a gun. We're
almost on you. I don't getyour well, we got him, petman.
We got the punk. You know, we got him. Like you
(26:08):
said, we get one, hegets one. Take a look. I
think maybe it's bad. Yeah,I see that's not so bad. When
the cops get here, we'll getyou an ambulance cos Yeah, but don't
worry. This is one shooting messwhere I'll keep you and the clear.
I hope you can say onion,see that Linda gets the tim grand I
(26:33):
know what she's alike, but Ilove that dame. Ten grams in the
bank where I put a geno.I never planned to make this playoff.
It sounded phony from the beginning.It was a top phony Mitchell, but
it happy wasn't dead. He justshow me burned. Don't worry about that,
Gino. Where he's going, he'llbe burned anyway. Well that's that.
(27:18):
It seems that I've been my life. I'm getting into trouble and getting
out of it. But at thesame time I generally managed to get from
other people in and out of troubletoo. Be seeing you again, Sol,
welcome back. A nice action packconclusion. I definitely wasn't expecting that
(27:44):
it was going to be the husbandwho intended to murder the wife, particularly
after he got killed himself. Sothat was a good surprise, all right.
Well, listener comments and feedback now, And that's one I'm kind of
excited about because it's the first oneI've gotten off of Sprinker. And this
was in regards to episode three threefive two Murder and the Peacock Berry Rights.
(28:10):
I just listened to this episode todayMay nineteenth. I found it interesting,
for sure. I was very disappointedthough, when peacocks were mentioned and
the sound effects play chickens. Igrew up with a peacock next door.
I know the obnoxious noise pollution theyproduce. Maybe Australians just didn't know.
Well, thanks so much for thecomment. Berry, good point. Obviously,
(28:40):
peacocks are not native to Australia.Of course they're native to India.
But I've been set to a wholelot of places around the world, and
in twenty twenty one there are peacockfarms. But it's safe to say that
your average Australian was particularly well advisedabout how peacock sounded, and perhaps your
(29:04):
average Australian soundman in the nineteen fiftieswasn't knowledgeable on that point. I do
you think even in America when itcomes to sound effects, skull was often
to add enough sound to contribute tothe atmosphere to make you kind of conjure
(29:27):
up the image with as little workas possible. That's kind of why Dragnet
stands out, because most people weren't, you know, trying to create like
an immersive feel where you felt likeyou were actually there. But that was
particularly in the early days. Thatwas what Jack Webb went for with Dragnet,
(29:52):
and even today, I think alot of modern audio dramas go for
very minimal work on sound effects.Certainly not all Big Finish. The British
company does a lot of Doctor Whoadaptations, also does the Avengers and some
(30:12):
Sherlock Holmes episodes when you listen tobecause they'll do like extras after each perform,
you know, each release they do, and sometimes they'll have the sound
designer on and the sound designer willtalk and say, okay, well,
(30:33):
I was listening. You know,I've always wanted to figure out how do
I make this sound like you're inthe jungle and so I you know,
and they'll go through this very involvedprocess of how they tried to create this
super realistic soundscape. And if toadmit, I get spoiled a bit because
(30:53):
there are you know, there areother people who you know, they you
know, they get good script writtentogether, some good dialogue, and they're
like, yeah, let's just goahead and grab three or four sounds off
of sound effects CD to kind ofsuggest where we are and let the listener's
imagination do the rest. And sometimesI'm not, I'm just so spoiled by
(31:15):
all the efforts that you know,Big Finish puts in two things that I
kind of them like, you reallycould try harder on this. All that
to say, I think in nineteenfifty five in Australia. You know the
sound guy is going to take alook and say, okay, I have
no idea how to do a peacalk, and listeners aren't going to care.
(31:37):
They don't know what it sounds like. Let's just go ahead and do a
chicken. That'll be good. Thanksonce again so much for the comment,
Barry. I definitely I appreciate it, and I do want to go ahead
now and thank our Patreon supporter ofthe day. Thank you to Andrew,
Patreon supporter since March of twenty twenty, currently supporting the show at the rookie
level of two dollars or more permonth. Well that's all for now.
(31:59):
Join us back here tomorrow for TheMan Cold X, and we'll be back
next Tuesday with another episode of TheFat Man in the Mean Times and your
comments to Box thirteen at Great Detectivesdot yeah, follow us on Twitter at
Radio Detectives, and become one ofour friends on Facebook, Facebook dot com.
Slash Radio Detectives from Boise, Idaho. This is your host, Adam
(32:22):
Grahamson and all
Welcome to the Great Detectives of OldTime Radio from Boise, Idaho. This
is your host, Adam Graham.If you have a comment, email at
to me Box thirteen at Great Detectivesdot net, follow us on Twitter and
Radio Detectives, and become one ofour friends on Facebook, Facebook dot com,
(00:49):
slash Radio Detectives. I do wantto encourage you to check out the
video version of our podcast. Goto videotheater dot Great Detectives dot net.
We post two videos every month.Most recently we've been doing episodes of the
TV shows Man with a Camera andFederal Man. And you can check out
(01:11):
all the podcast I do over aGreat Detectives dot net. Right along the
top there's a length of them.But now it's time for this week's episode
of The Fat Man. The originalair dates may not Teams nineteen fifty five
and the title is Murder Makes aPayoff. There he goes into that drug
(01:37):
store, he's stepping on the scale. What June, Who is it the
fat Man? And now here's afat man in Murder makes the Playoff.
(02:23):
It was one of those brisk,clear mornings in early spring, and I've
gone up town to say hello toHenry. They were letting him out today.
Poor guy had been in for thelast five months. Henry hadn't done
anything to deserve the rap, justthat Henry is a lion, and they
spent the winter months in a nice, warm indoor cage. I walked around
(02:44):
the zoo for a couple of hours, enjoying spring in New York, and
suddenly I realized it was a workingday. I grabbed the cabin headed to
my office, where I found thephone clanging away as I walked in,
running, speaking, I must seeyou at once, rugging my wife isn't
terrible dangers? Who is this?George Mitchell, United Bank and Trust.
(03:06):
Well, mister Mitchell, you knowwhere my office is. I can't come
here office, mister running. It'stoo dangerous. You see, I might
be followed, and no one didyou understand? No one must know that
I've come to you. I seeall right. You know a place called
Clemon's Bar and Grill. It's abouttwo blocks east of my office, on
the same street. Clemon's Bar andGrill. No, I don't know it,
(03:27):
but I'll find it. I'll bethere in fifteen minutes. I'll be
waiting for you. How will Iknow you well. I won't wear a
red carnation, mister Mitchell. Theydon't call me the fat man because I'm
a nemic. I haven't been waitingmore than three minutes. When George Mitchell
(03:47):
rushed into the bar. He wasa big guy. I'm heaving. He
looked as if there wasn't a situationhe couldn't handle. But right now he
was nervous. In a hurry.The door seemed to jump off at hinger
as a bank of clothes. Butthen, hey, take it easy,
mister, you'll live longer. I'llthank you to Oh you'll Runyon. That's
(04:08):
right. I can't go to thepolice, mister Runyon. These men will
kill us. Whoa whoa summer dawn, mister Mitchell. We'll do better if
we started the beginning. You mustgive me. I haven't had any sleep
since it happened. And three daysago, then squad happened. I received
a note, the note telling meto bring ten thousand dollars to it.
We'll get around to them later.Right now, i'd like to see this
(04:30):
note. I brought it with mehere. You've got a nice wife.
You want to keep her that way? Bring ten thousand dollars to north here
on West fifty thirds two the nightone am. Do it like we say,
or your wife comes home in thebar. Yeah you see now?
Why yeah? Yeah, this isFriday. What happened Tuesday? That's just
(04:53):
it, mister Runyon. Nothing happenednothing. I drew the money from my
bank and went to the pier alone, as they told me. Way.
He didn't wait an no one came. Finally I went home, but then
I got a phone call to godown to the pier again tonight at the
same time. You know, misterMitchell, the police should analyst. I
don't want anything handled. I wantto pay them off, but I want
you around in case I run intoin the difficulty. I know what you
(05:15):
mean. Have you any idea whothem is? Who should as they are?
No, I haven't any idea.I just want to get it out
of the way. No, here'sthe money, holy all ten thousand dollars
of it. I'd prefer that youcarry it. And here's an additional five
hundred for yourself. That should coveryour feet. It covers it. Okay,
(05:36):
mister Mitchell, you've got you offa private detective. Let's go calling
calling. Yeah, we don't haveto go down to the pier the late
tonight. I'd like to meet missusMitchell first. I don't want to wait
till she comes home in a box. We left Clemen's barn grill headed for
(06:00):
my car to box three blocks away. The street was crowded with people,
yet Mitchell walked along with his headdown, his shoulders hunched, not saying
a word once. I tried todraw him out of it, but it
seemed that he told me everything hewas going to and from now on,
and anything I wanted to know.I have to find out myself. We
hadn't gone more than a block whensuddenly, and without my turning round,
(06:24):
I knew instinctively that mister George Mitchelland I had uninvited company in the crowd.
Mitchell, keep looking ahead, anddon't change your face. I listen
to me, listen picked up ashadow. Just keep walking. Okay,
Now let's go look at those antiquesin that window. I want to see
(06:45):
what our friend looks like. Whichone is he? Never mind looking at
the antiques. I can see himin that big mirror over the Grand Rapids,
Chippendale. He stopped to look onthe up a window. Oh yes,
I can see him now, Aredder, short and heavy, said
dark completion that boy. Have Iseen him before? No, I'm sure
(07:09):
I hadn't. Not very smart.If you knew anything about failing, you'd
walked past us when we stop andpick us up further down the street.
What do you suggest we do abouthim? Nothing but give me our card?
You hear a cabin, go home? If he follows you out hit
him off. There's a cab,now, a cab. I I hope
you know what you're doing. Here'smy card. Okay, now take this
(07:32):
cabin off. You at your placelater. I waited for Mitchell's cab to
turn the next corner while I keptan eye on the mirror and the little
guy who was so interested in us. They might have started off down the
street the way I'd come a littleblood hammed right after me, I came
(07:55):
to the corner. I walked roundit slowly, Ben switched back and flapped
myself against the wall. He walkedright into the oldest set up in the
business. Got a match, happy, huh oh, yeah, yeah,
sure, a match right right here. Keep the hands out of the pockets,
happy, or I'll tell your headout. Yeah yeah, sure,
that better will. Where'd you getthis happy stuff? I don't know no
(08:18):
gay names happy. I don't playgames in the street. I'll go that
a while back. Let's step atthe clements bar here and you tell me
who's paying you to tail me?Look, mister, you got me all
wrong, honest, get your nuts. I don't know what you're talking about.
You're sure sure? Jack to bearsright, Look miss joke and said
(08:43):
you got the wrong guy. Myname means happy. Change the lyric bust
here you're happy McCoy A small timehustle with a long time record. I
recognized you the minute I spotted youin the street. That's why you went
for me information mostly if I don'tget it. We got out of headquarters.
You used to pack a night.Maybe you're loaded right now. You
(09:07):
could go back to the can tothat. It looks were a guy for
your information. I'm on parole,but I have a shiv on me now.
It's too bad because for the informationI want, there's only one other
way to get. Hey, what'sgoing on here? Relax? My friend
here is dying of Thursday. Yeah, we'll just cut out the rust up.
(09:28):
This is a respectable place. Here'syour peers. Thanks, here's the
dog. Keep the change and don'tworry. Hey. Thanks, Okay,
how happy do we talk? Ordo we go back to my office and
see just how much you can reallytake? Yeah? Sure, shine talk.
They should think all this from bigGino. He gets the care of
himself. You know. So he'sin there. Yeah, you know it's
(09:54):
place, don'ttown. Yeah, thePelican C's let me out in the bank.
Maybe spend too much time there.Anyway, I'm into the house for
a couple of hundred bucks. Sobig Gino tells me to do a job.
I do it. And the jobtam a certain guy Galline on Holy
Season and then the port to Bigino. What certain guy Gan you were just
(10:16):
talking to? Big Gino showed mehis picture. Okay, let's go down
to the Pelican Club and you canmake your apart to Gino? Are you
crazy? Look? So you scareme? So I talked too much?
A big Gino scares me? SoI dropped dead. Besides, go take
a walk for yourself, that's all, don't I've beat it getting tough again.
(10:39):
That's all I got banking. Now, there's a beautiful thal sitting in
a booth behind you here, goahead, take a walk. That thing
in her hand, she's pointing ajob that ain't the menu. Turned from
the bar and look at the rowof booth that ran along the opposite wall.
(11:00):
Sure enough, sitting in a boothright behind this was a slim,
cool blonde and a dark, shinymink. The last time I've seen her,
she'd been third from the left inthe front line of the chorus at
the Old Crystal Club. If Iremembered her, and it'd been a good
many years ago. There's been alot more of it the scene. She
still looked beautiful, even with asmall nickel played. The revolver in her
(11:22):
hand, hidden with a handkerchief,but pointed right at my head. Okay,
sweetheart, you call an next movie. That's right, batman, Now
you've been flied. The boy goodbye, coming to find me like the
mice, lady says, that's all. Be that happy. You're lucky.
If I'm now, I ain't scaredyou no more. You understand, I'm
(11:45):
even leal slowing as I wanted.See far Vender bring my dink over to
this table. I'm joining the lady. Look, mister, we don't allow
that for a thing. To hear. This is a respectable play. The
lady asked me, didn't your sweetheart? That's wrong, mister nan see now
(12:07):
be a nice guy. Okay,okay, you can put the artillery away,
sweetheart. If I'd wanted to goby Happy before I got out of
the door, I would have.I guess you would have, sad.
Tell me, why do you covera guy like that? What do I?
Oh, I'll tell you what.Happy's a friend, little friend of
mine. You will move in interestingcircles. I just happened to see you
(12:31):
tag him in the street a fewmonths ago. I slipped in. I'm
sat in miss Bruce while you wereslapping him around. How I see you?
Linda? It is Linda. Isn'tyour head a good memory? Yes,
Linda Kellerman the Crystal Club on thefront line of the chorus, I
remember as if it was yesterday.Yesterday's last about fifteen years. That was
(12:54):
Gino's place, wasn't mane? Yeah, that's where you got to start.
That's right, verse for Amember HappyMcCoy, Gino stooge number one, hatchet
man? You still working for Gino. I'm a married woman now. I
left the cars in the Crystal Cluband Big Gina years ago. So the
big rescue act for Happy a fewminutes ago was just for old time's sake.
(13:15):
You might call it that. Well, I think I'll say hello,
ther ex boss, just for oldtime's sake. And by the way,
Linda, since it's not Kellaman anymoreMitchell, now it wouldn't be missus George
Mitchell. That's right, missus GeorgeMitchell. The gal was coming home in
a box. Linda was the galsome I was gunning for, at least
(13:43):
a going to the note her husbandhad chosen. But aside from the ten
thousand dollars, which might easily bereason enough, she couldn't or wouldn't tell
me why, and her husband saidhe didn't know. But like her husband,
Linda also impressed me as someone whocould take pretty good care of herself.
I left in Clemons barn Gill andwent back to my office. Yeah,
(14:05):
I called headquarters and got the dopeon have him McCoy's current status with
the police. After mulling the thingover for a while, I decided to
have another talk with George Mitchell.He lived in a converted private house in
the upper seventies near Central Park,and there was a cop on a small
crowd milling around the front door,and my cab stopped. Sorry, mister
(14:26):
Runyon, I can't let you goin. Those are the orders me in
particular, officers, nobody, misterOnion, there's been a killing in there,
and nobody goes in, nobody goesout. A killing, a killing,
and a fine job they did ofa tool. Who is it,
mister George Mitchell? The coup wouldn'tlet me into Mitchell's house, so I
(15:03):
headed a big Gino. Big Ginohad run four or five speaks during prohibition,
but with repeal and the dropping,the market had gone legitimate. Maybe
running a club with a gambling layoutand back wasn't legitimate in the strict sense
of the word, compared to someof his previous activities, you'd call it
that anyway. He was a toughboy. We'd paid cops and robbers on
(15:28):
several occasions. I got a thoroughgoing over by two of his boys before
I was rushered into his private office. Well, fast man, how long
I forget what you look like?I was nice to see all the friends.
I'm deeply touched. Gin know yourboys frisked me when I came in
(15:48):
I'd like my gun back when Ileave. Of course, my friend,
when you leave? Why you cometo my club so early? We don't
open to the seven business business withme. I'm a clean these days,
betterman, clean and legit. Doyou know a clean and legit hustler named
Happy McCoy? Never heard of him, Gino. I used to like the
(16:15):
floor show at the old Crystal Club. Remember, yeah, I remember Happy
was on your payroll, so soI think he's still on your pay road.
Also, I just called headquarters.They told me about his parole record.
You're at the top of the listof people he's supposed to stay away
from. He has my sympathy,wonder Gino. Happy tailed me today.
(16:41):
I tagged him and Happy with afinger on me. No, I'm putting
a finger on you. Are youin business for yourself? For a client,
Gino? And for a girl namedLinda Mitchell? Remember her? You
used to work for you of cafette? Man, I've been real nice to
(17:02):
you. How then you come inhere, take up my time and say
many stupid things to me? NowI am tired of being nice. Y.
Edit the door over there, useit while you still can, Okay,
do you know as I said,this is required unless the right guy
gets paid off. Linda Mitchell's introuble. My client can't make the payoff,
(17:27):
so I'm doing it to night atthe north Ram Pier on West fifty
third Street. Do you bore me, fete man? Maybe you and I
are on the same side, ginknow, I don't think so. You
and me. We are never onthe same side about anything. You understand?
Now get out, stay away fromme. Yeah, boys, this
(17:48):
guy's leaving Nikky. Okay, boys, I think you're making a mistakes,
you know, beat it and Niggygive him a back his gun. Maybe
he'll surely himself with it. They'vesomebody that traveled. I went back up
(18:12):
pound of the late George Mitchell's past, just out of Central Park. The
homicide boys had finished taking pictures andpowdering the place of Prince, so the
cop on duty let me in.I got the maid aside and gave her
a small token, not too smallat the current rate of exchange, for
which she took me up the backstairs, passed the reporters, and showed me
(18:32):
into the upstairs sitting room. Thenshe went to call her mistress. Yeah,
just a bit late, aren't youmister Runyon, we'll see. Maybe
I'm just a bit early. Youdon't quite fit the picture of the bereaved
widow in the presses downstairs. Theymight not like it. Look you're through,
Runyon, finished, washed up onthis case. My husband hired you.
(18:56):
My husband is dead. The dis murdered, all right, murdered.
But I'm paying you off. It'sstill the guy who wrote the note
to your husband, Linda. Hehasn't been paid off yet. A friend
of mine was taking care of that, a friend named Gino. I thought
(19:18):
you were smart, Grandon. Getup, Take it easy, sweetheart.
As you say, your husband hiredme. He hired me to pay off
the guy who was going to sendyou home in a box. And your
husband also gave me ten grand topay off this guy. I don't believe
you anyway. I have the slightestidea who would threaten me or why?
All I know is, sweetheart,but I saw the note your husband gott
(19:41):
and I was paid to do ajob. That's ten thousand is legally mine
now, Runyan, and I wantit. Even if there isn't any payoff,
you wouldn't get it till this wholething is finished. We'll see about
that. Look. Just for therecord, Lindre, how did Gino know
about the note? I told him? I went to him as a George
show to me? Why Gino?Why do you think Gino in love with
(20:06):
you? Of course you always hasthem, ever since the old day of
the Crystal Club. You in lovewith him? No, dear, I've
never been in love with anybody.I know. Linda just loves Linda.
It makes the decisions easier if you'rehappy that way. I'm happy. When
I married George, big Gino toldme to come and see him if I
(20:27):
ever needed help, and you neededhelp quite off? If you mean did
I see a big Gino often?Yeah? I did. George was a
nice guy, but the United Bankand Trust was his wife, not me,
so big Gino? When did yourhusband find out about Gino? Look?
(20:48):
I told you, why when didyour husband find out? You read
something in a column about a monthago, some gothic column that about ties
it up. What do you meanI'm going down for that payoff to night.
If there's anything in this note,we'll find that. If not,
(21:10):
maybe i'll see some old friends alllooking for a round. I left Linda
and had myself mistake at my favoriteshop house on the corner of fifty six
feet in the second avenue. Iwas still puzzled at Linda's lack of concern
about the note. After dinner,I killed a couple of hours at the
(21:30):
movie about a private eye whatever.Then it was time to take care of
George Mitchell's unfinished business. I boughtmy car at the inshore end of the
Northland Pier. A big frater wastied up alongside, and the only light
came from the lamps that hung fromthe side of the ship over the line.
A watchman check stood at the offshoreend of the pier, and I
(21:53):
started walking toward him. That's afar enough that man. Don't reach for
him. I got a gun onyou, and I don't want to use
it. That he is bad well, Gino, so we're on opposite side.
After all, you asked for Mitchell. I don't like your clients.
(22:15):
Mitchell's dead, Gino. Somebody killedhim. Yeah, I know, I'm
not interested. I got the doughon you. Sorry, I'll have to
give you a check. It's mad, guy. Don't make ghosts at a
time like this. It's not healthy, Gino. When the husband is dead.
Okay, okay, so you hadit a coming. But I don't
know anything about it. No,I don't think you do. But the
(22:38):
police, GINO about them, theymight think differently. So far, it
adds up like this. Mitchell gotmad when you moved it on his wife.
I never moved in. I lovehim, Inda, but he's another
man's wife and I don't move inwhile he's around. He thought you're dead.
But the same thing. But youknow who wrote that note threatening Linda?
(23:03):
You're the wise guy us. Itwasn't you. But you're down here
to get the ten grand for yourgirlfriend, aren't you. That's my business,
fatman. Well, my business isto find out about that note.
I've got a strong hunt. Whoeverkilled Mitchell will try to collect the dough.
Whether that note is on the levelor not, your hunt. You
should payout as good as this one. Wow, Hello, happy Happy,
(23:27):
that's a big heap of as asa little guy. Yeah, that's a
small time. Now, Huntino,I got you covered from the BATO.
That's bad, ain't it, BigGeno nuts, big McCoy, Now,
(23:48):
don't be a fool, happy andyou fat so you'll get your gun in
your pockets sold in two minutes.You'll get it anyway. No, I'll
wait. Thank so you're big.I'm not happy, big happy McCay.
I mean I knew it doesn't fit. You want the ten grand an hour
later? Don't make him hard togo a difference long as I get it.
(24:11):
So you're the boy happy, eh? And I put you under the
whole thing. Yes, that's right, Gino, can you tell me to
pale Mitchell. You'll tell me tokeep an eye on his friends, trying
to find out who he pays off. I find out, all right,
he pays off nobody. The notesof pony. What do you mean?
And going to his house this morning, I get the foot out of him.
(24:37):
I can do cute things with theship. Once they get to jump
on a guy. You'll tell meanything. He wrote that note to give
himself an alibi and gave Feto hehad ten grand to clinch it clear enough.
When you're fats, where is abet he was gonna kill Linda because
he thought you was two timing.It was, Gino. That note might
(25:00):
have given him a good eyes.What that's right. Mitchell didn't behave himself,
and they had to heat on himthis morning, so he had to
give it to him for keeps withthe shim too bad. He and you
get it with the gun. Okay, Gino, you first and in the
back, and that's all that's takehim, Gino. Okay, man,
(25:23):
we are coming for you. Happy, nah, I don't move, stay
away from you here. Thanks fast, happy, make up your mind,
you know. I mean you gotone week at one. That's fair.
It's not happy. I'm killing bothof you. I got your mom.
You never did like the gun?Did you keep punk? No? Not
(25:44):
having my car A knife maybe ora blackjack or never a gun. We're
almost on you. I don't getyour well, we got him, petman.
We got the punk. You know, we got him. Like you
(26:08):
said, we get one, hegets one. Take a look. I
think maybe it's bad. Yeah,I see that's not so bad. When
the cops get here, we'll getyou an ambulance cos Yeah, but don't
worry. This is one shooting messwhere I'll keep you and the clear.
I hope you can say onion,see that Linda gets the tim grand I
(26:33):
know what she's alike, but Ilove that dame. Ten grams in the
bank where I put a geno.I never planned to make this playoff.
It sounded phony from the beginning.It was a top phony Mitchell, but
it happy wasn't dead. He justshow me burned. Don't worry about that,
Gino. Where he's going, he'llbe burned anyway. Well that's that.
(27:18):
It seems that I've been my life. I'm getting into trouble and getting
out of it. But at thesame time I generally managed to get from
other people in and out of troubletoo. Be seeing you again, Sol,
welcome back. A nice action packconclusion. I definitely wasn't expecting that
(27:44):
it was going to be the husbandwho intended to murder the wife, particularly
after he got killed himself. Sothat was a good surprise, all right.
Well, listener comments and feedback now, And that's one I'm kind of
excited about because it's the first oneI've gotten off of Sprinker. And this
was in regards to episode three threefive two Murder and the Peacock Berry Rights.
(28:10):
I just listened to this episode todayMay nineteenth. I found it interesting,
for sure. I was very disappointedthough, when peacocks were mentioned and
the sound effects play chickens. Igrew up with a peacock next door.
I know the obnoxious noise pollution theyproduce. Maybe Australians just didn't know.
Well, thanks so much for thecomment. Berry, good point. Obviously,
(28:40):
peacocks are not native to Australia.Of course they're native to India.
But I've been set to a wholelot of places around the world, and
in twenty twenty one there are peacockfarms. But it's safe to say that
your average Australian was particularly well advisedabout how peacock sounded, and perhaps your
(29:04):
average Australian soundman in the nineteen fiftieswasn't knowledgeable on that point. I do
you think even in America when itcomes to sound effects, skull was often
to add enough sound to contribute tothe atmosphere to make you kind of conjure
(29:27):
up the image with as little workas possible. That's kind of why Dragnet
stands out, because most people weren't, you know, trying to create like
an immersive feel where you felt likeyou were actually there. But that was
particularly in the early days. Thatwas what Jack Webb went for with Dragnet,
(29:52):
and even today, I think alot of modern audio dramas go for
very minimal work on sound effects.Certainly not all Big Finish. The British
company does a lot of Doctor Whoadaptations, also does the Avengers and some
(30:12):
Sherlock Holmes episodes when you listen tobecause they'll do like extras after each perform,
you know, each release they do, and sometimes they'll have the sound
designer on and the sound designer willtalk and say, okay, well,
(30:33):
I was listening. You know,I've always wanted to figure out how do
I make this sound like you're inthe jungle and so I you know,
and they'll go through this very involvedprocess of how they tried to create this
super realistic soundscape. And if toadmit, I get spoiled a bit because
(30:53):
there are you know, there areother people who you know, they you
know, they get good script writtentogether, some good dialogue, and they're
like, yeah, let's just goahead and grab three or four sounds off
of sound effects CD to kind ofsuggest where we are and let the listener's
imagination do the rest. And sometimesI'm not, I'm just so spoiled by
(31:15):
all the efforts that you know,Big Finish puts in two things that I
kind of them like, you reallycould try harder on this. All that
to say, I think in nineteenfifty five in Australia. You know the
sound guy is going to take alook and say, okay, I have
no idea how to do a peacalk, and listeners aren't going to care.
(31:37):
They don't know what it sounds like. Let's just go ahead and do a
chicken. That'll be good. Thanksonce again so much for the comment,
Barry. I definitely I appreciate it, and I do want to go ahead
now and thank our Patreon supporter ofthe day. Thank you to Andrew,
Patreon supporter since March of twenty twenty, currently supporting the show at the rookie
level of two dollars or more permonth. Well that's all for now.
(31:59):
Join us back here tomorrow for TheMan Cold X, and we'll be back
next Tuesday with another episode of TheFat Man in the Mean Times and your
comments to Box thirteen at Great Detectivesdot yeah, follow us on Twitter at
Radio Detectives, and become one ofour friends on Facebook, Facebook dot com.
Slash Radio Detectives from Boise, Idaho. This is your host, Adam
(32:22):
Grahamson and all
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