August 20, 2025 • 25 mins
A collection of gripping detective stories featuring sharp-witted investigators, puzzling crimes, and clever resolutions. Each episode showcases the art of deduction and the thrill of the chase.
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Episode Transcript
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Speaker 1 (00:34):
Well, Bill went about it, got an idea for the lyric?
Yet play that melody once more because I think I've
got some It's of our time. Okay, okay, hold on,
how's it? I won't fall again, I won't follow gay
(00:58):
be me and hey, that's not bad. It's never one
bad for that tune of you. It's times like eight
hundred others. How do you expect me to get any
kind of original idea for a lyric? Give me something
to work for, Lord, Phil, we've been fighting like this
for months. We haven't written a hit tune in months.
We've got to do something. You want to break up
the team. I don't want that, But we both seem
to be written out. Those last songs we did well.
(01:18):
If Joe Hendrix wasn't our friend as well as our
music publisher, he just turn them out in the alley.
He will put together an awful lot of bad lyrics
for that through. So it's my fault. The lyrics were
bad because I couldn't save those tired tunes. If yours
it's my fault, I'll put you right in on all
that would be a point add to our problem. But
at least give me some satisfaction stick time. Warning. I
don't like violence, but I'm getting to a point. I'm
gonna forget how much I hate violent and remember only
how much I dislike you. And now meet Dick Calmer
(01:48):
as Boston Blackie. Enemy to those who make him an enemy,
friend to those who have no friends, because I know
Hendricks Mary, but I won't know him long. If I
asked him to publish the song of your cousins.
Speaker 2 (02:03):
Oh well, maybe it isn't so bad, black.
Speaker 1 (02:05):
He Mary, Dear Mary. Everybody in this country, at some
time or has an idea you can write a song.
This happens to be the time that the thought struck
Your cousin should have been a torontoity car. Oh black, Okay,
he just made a bargain. You laughed at night, Joe.
I'll take your cousins on to Joe Henry. Let me
have it. We have to see how it goes, so
(02:26):
I know what I'm selling it.
Speaker 2 (02:27):
Here's a copy, and Darling, when you play it, use
the other nine fingers.
Speaker 1 (02:31):
Huh, I'll go bother than that. I've got a pretty
bad Barretson voice. I've been holding back for years. Well,
let's see how this epic goes good. Let me croon
me meet the mool in the merry month of you,
(02:54):
the wond you smile as you listen to my tone. Oh,
my mother used to say I should never have taken
piano lessons. Since she was right, Mary, that song is awful.
It didn't sound too bad, which I'm just crazy about
my voice. You say the nicest things about you? Is
(03:15):
the song really terrible? Awful? That's one of the reasons
I'm taking into Joe Hendricks right now.
Speaker 2 (03:19):
Wait a minute, the song is bad and soil. You're
gonna take you to mister Hendricks, the music publishes.
Speaker 1 (03:24):
It took me. I forgot to tell you I don't
like Hendricks. I'll call all three hotels. You'll have to
register in one of them. Leave worded to call Joe
Hendricks when he checks in, right and phone's phone solid
(03:45):
time phones Yeah, boys and Blankie sure sentiment Hi Joe,
Hello Blankie, long time No. I see this is Joe Hendrix, Mary.
He and in frank Fire they make the worst jokes
on the world. Well, what can I do for you, Blackie?
I've got a song, Joe, I like you to publish
(04:06):
it here. What's the title in the blue Canoe with you. You're
kidding with that, aren't you.
Speaker 2 (04:13):
Oh no, mister Hendricks, who are very serious. My cousin
wrote it.
Speaker 1 (04:18):
Your cousin ought to be a very happy character at
he's your cousin, Miss Whiteley. That's fame enough for anybody.
Take this song back, flaky, put it on the floor,
let it crawl out of here by itself, or don't
you even want to hear it? If I want bad songs,
I've got Dick Auton and Bill Rutley under contract. They've
written nothing but bad songs for the past year. Say
how are the boys? I haven't seen him in quite
a while. Physically they're fine, mettle, they're out of town.
(04:41):
How about actually, I mean the piano room down the
hall trying to write a song? Oh please, mister Hendrix.
W don't you listen to my cousin's number.
Speaker 2 (04:47):
A blackie can plan for you.
Speaker 1 (04:48):
Oh bad? Is it? Blakey? I can tell you in
one word, very but I got an idea.
Speaker 2 (04:52):
What is it?
Speaker 1 (04:53):
It isn't so bad that a professional songwriting team couldn't
fix it up. Where'd you say? All in the Rutley
were jone in the piano room? Donald I'm going down
to see them. Maybe they'll do something about your cousin song. Mary,
I won't be too long. Phones phones, phones all the time. Phones,
excuse me, miss Western, Oh Hendrick speaking? Tell me boy
once you get in tom Tommy boy well swell Hi
(05:15):
philipping and the old trump Bonne. She would always waste
the best. Tell me, I'm glad you called back. I
got a scored at Atomic, a musical comedy score. You
know the show? Are you with it? How about doing here?
I go again from it? It's a terrific too. We
shure Wright. Listen to your broadcast. Wouldn't miss him? Oh
you did this song last night? Small wild in it? Hey,
(05:36):
dump around for lunch tomorrow. Tell me about four o'clock.
I got some new tunes to show you. Tommy say,
terrific Tommy, thanks for calling Tommy. Ed that was I know, Thomas.
Speaker 2 (05:46):
This is a very interesting business, mister Hendrick.
Speaker 1 (05:49):
Oh oh black, dare you are?
Speaker 2 (05:50):
Did you find a cartman let?
Speaker 1 (05:51):
Yes, if they were too busy to work on your
cousin's song. Oh come on, Mary, let's get out of here.
Watcha hurry blank you sit still, hang around a while.
I'll buy lunch.
Speaker 2 (05:58):
No, thank you, mister Hendrick. I get hungry long before
four o'clock.
Speaker 1 (06:00):
A normal girl. And what are you doing with Blankie?
Thanks Joe, and thanks for turning down this tune. Kal
remind me not to do something for you sometimes. Don't
leave Blakey listening to you.
Speaker 2 (06:08):
Hear the gigab I think you're right black here. I
think we better leave one the candics.
Speaker 1 (06:11):
It was very nicey Oh is that sounded like a
scream And nothing sounds like a scream except the scream.
Come on, Mary, let's get out of here, all right.
But I never knew you to run away from you.
If you don't pull my kids, snap out of it.
What is it to the other room? Look for yourself.
Come on, Blackie, it's only one of the room, and
that's the Piana room with tickets. But we'll work it.
Let's go, are you it's Marry Frank here, Blanky, Piana room. Okay,
(06:33):
hold everything, kids? Oh, holy Michael, stay back, Mary, Oh,
dick over me and he's been shut through the heart.
I guess i'd better call the police. I guess you'd
better inspected. Friday likes nothing better than a nice, clean murder.
He might possibly pin on me. Hey, Blankie, you were
in here only a few minutes ago, and north and
was alive. Then you said he didn't want to work
on that song you brought me. That's right. Maybe you
(06:55):
better stay here, Blackie. Maybe you couldn't talk Dick and
they're helping you. Maybe you got hired a shooting off
your mouths and switched the shooting off your gun. Okay, okay,
get him all ready for the line up packings. Get
the woman out there first. Okay, Well, let's take this down.
(07:18):
Then take down what she says. Name, Missus William Ridley,
Occupation housewife, charge, suspected homicide. Well, miss Rudley, what have
you got to say? Nothing? I haven't done anything, Inspector.
Why don't you get smart? She found the body, that's all.
That doesn't make her a killer? Planky, I run things
down here, Missus Radley, did you kill Dick Off your
husband's father? No? No, I didn't find him. More.
Speaker 2 (07:44):
Please let me get down from here.
Speaker 1 (07:47):
She's like she's painted Firday happy. Now when that dame
comes too, runs take her in and book her for murder.
I'll be in my office, he'll be in his office.
Wrong with me beat it planky before I find a
reason why you wanted Alton dead? Oh? I had a
reason in the spectrum, eh, a reason, but not a motive.
There's a subtle difference there. You wouldn't understand allR Day's book,
(08:18):
Missus Rugley for Dick Gordon's murder, Mary, But he's too
good account to stop. Then he'll be out looking for
Alton's partner, Missus Rudley's husband right now. Only if we're lucky,
we'll find him first. We'll let your.
Speaker 2 (08:28):
Hendrick said he hangs out in this place.
Speaker 1 (08:30):
You seem the bartender might be of some help, Hey, buddy,
Yeah we did. You'll have a little information for now.
Do you know a fellow named Bill Rupley? I'm sure
he's holding that last book back there. Thanksman, Mary Lackey,
I'm bothering you. Something in your shoe, is something in
your eye? Something on my mind?
Speaker 2 (08:48):
Was Dick Alton alive when you went into the piano
room to get him to work on my cousin?
Speaker 1 (08:53):
Good question, Mary, remind me to answer that sometime. Well,
he's the last booth and coincidentally, Yeah, bro Ruckley, Hi Belle,
what if I said I'm hollo blanking. This is Mary
Wesley Bell. Hello, say, let lo, things aren't that tough? Oa? No,
I think I found a way to get tired of
(09:14):
to release your wife. Oh well, thanks Buck. Yeah, I
appreciate that. And he doesn't get me out of him.
You're in a mess, mister, right. That's right. Sick and
I were fighting. Everybody knows that I was just out
for a walk when Dick was shot. I wouldn't worry, Belle.
The fact that you and Dick were quarreling wouldn't hold
as remotive for murder. No, but the insurance wouldn't. What
insurance partnership insurance. See, when Dick and I were hot
(09:35):
a couple of years ago, we took out partnership insurance
one hundred thousand dollars. WHOA the only business like thing
I ever did in my life. When that policy is uncovered,
I'll be in a spot. You're in such a spot
that the heat is beginning to affect me. Bill, tell
me all you know about Dick. Well, he was single. Legitimately,
he didn't play around. But yeah, well there was some
(09:58):
talk a while ago about him and Hendricks wife. Yeah,
I didn't believe it. In six to night. Oh but
that was six months ago. It couldn't mean anything. No,
maybe not, but it's worth taking a crack at. I've
got to go down and get your wife out of jail.
But you've got nothing to worry about if you didn't
kill your partner. And remember I said, if you didn't
(10:19):
kill him. I don't suppose you want to listen to me, Paraday, Blackie,
I don't even want to look at you. Oh well,
if you don't want me to tell you why Missus
Rutley couldn't have murder it often I won't. So don't
(10:41):
do you mean? I can't tease you when to asking
me to prove it? Blaggie, you couldn't make me carry
an as Festa's umbrella, but it was raining fire. You're
leaving now. You're a little too smug, Paraday. You know something,
And there's a remark. I never thought i'd make bye bye, Blackie.
Bird be seeing inspector. You're holding Missus Rutley. But I
(11:03):
checked her arrival at the Hendrick's building and found that
she got in the elevator only a few seconds before
she found Dick Alton's body. Yes, genius, any smart cop
would have done the same thing, only of course he
wouldn't be any relation of yours. What I'm trying to
tell you is that, according to the coroner's report, the
body had been dead at least half an hour before
Missus Rutley family. Okay, you've told me. It's all wrong.
Speaker 3 (11:23):
Blackie still the same old baronet.
Speaker 1 (11:26):
He won't listen to me. Sure I listener, but it's
a little boring.
Speaker 2 (11:32):
You see.
Speaker 1 (11:32):
I checked all the details about the elevator myself this morning,
and missus Rudley has been free for two hours and
now back to Boston. Blackie Dick Alten, part of the
(11:57):
songwriting team of Alton and Rutley, has been murder. The
body was discovered by Missus Rutley, who promptly was booked
for murder by Inspector Faraday, but later released when it
was proven that she came into the building only seconds
before she found the body, and that the body had
been dead almost a half hour at that time. Austin
Blackie has discovered that the songwriting team had a partnership
(12:19):
insurance policy payable to one on the death of the other,
which makes Bill Roughley a suspect. But he has also
uncovered the fact that at one time, there was talk
concerning the murdered man and the wife of Joe Hendrick's
music publisher. As we returned to our story, Blackie is
in Hendrick talker. I can't talk to you enough, Blackie.
(12:41):
I'm busy, don't talk. Listen, Joe, I hear that there
was some gossip concerning Dick Autman and your wife about
six months ago. When you heard that. What's the difference
where it's true, isn't it? There was some talk. Sure,
that's true. We an't have a paid any time. Hey,
(13:02):
I'm not thinking. I don't know why you say that.
Jealousy is pretty strong motive. You'd think, can I killed
Dick Gordon for something that happened six months ago but
happened at all, which I doubt it could be. You know, Joe,
you're in a fascinating business words and music. Stay honest
and the world dances your songs. What a fool around
with murder? Joe, and you'll dance at the end of
(13:24):
a rope. Please connect me with mister Lambert as inspect
the Paraday again that you get into Bushman Lamb speaking fine,
Thank you, I don't think so fine. Anybody catch in
(13:44):
there late me fine here, Inspector, I had the information
you wanted on the bank accounts of Dick Gordon's Bill Rutley.
That's just a second, all right, we're getting somewhere there.
Speaker 2 (13:55):
You're going somewhere. It's Joe at day to find out.
Speaker 1 (13:58):
Where you think about it? That's all ooh hello, inspected
by day. I'm so half uh. Richard Alton's account has
remained around thirty thousand dollars for several years. Would you
met Marry Rutley have a joint account. It was very
large at one time, but it's just a two thousand
lit now. Checks have been drawn against it every few
days for the past month. Oh, sign the checks and
(14:19):
to whom when they made out? Sorry, I I don't
have that information at the moment. If you would care
to drop down to the bank, I'd think glad to
get the checks we have on hands. No, I'll do that,
and thanks very much. A right. And it result of
that call was to find out that Dick Alton had
thirty thousand dollars if missus Rutley had the same first
name as yours, Mary, that she and her husband had
a joint account, and that had shrunken some considerably in
(14:41):
the past month.
Speaker 2 (14:42):
Put that all together and it sells murder.
Speaker 1 (14:44):
I got 'em come in at second one on not
that I know. Uh what do you mean by well what,
missus Rutley, please come in?
Speaker 2 (14:55):
Uh didn't mean to improved that THEE I guess the
United Thanks you for your help.
Speaker 1 (14:58):
Well, yeah, intruding, enormous is rightly get glace you dropped in?
This is Mary Wesley. How do you do? Hello? Sit
down with Jim? Thank you cigarette? Yes? Thanks, Oh dear,
I'm sorry. I have no matches. I did have a lighter,
but I wore out one of the parts my thumb.
Speaker 2 (15:13):
I have my own medic things with me, maybe if
I can ever find them in this bag of don't
you find that No matter how big a handbag you carry,
it's never large enough to hold what a girl needs
cerfinitly do well?
Speaker 1 (15:25):
You weak of uncovered one book of magic? Yeah? I
like your cigarette. This is rightly let me have him?
Yah yah, thank you Blackie.
Speaker 2 (15:35):
You're the police place to finding Dick's murderers.
Speaker 1 (15:37):
I don't know, Missus Rudley. All I do know is
I'm not well.
Speaker 3 (15:41):
I'm sure you will do.
Speaker 1 (15:43):
Thank you, missus Rudley. I'll just sit back and listen.
Why you tell me how wonderful I really am.
Speaker 2 (15:48):
I'd liked too, Blackie, but I really did come down
just to thank you, and I have thanks you. So
I guess I'll run along nice.
Speaker 1 (15:56):
You've met you, Missus Wesley.
Speaker 2 (15:57):
Uh, don't bother black Yeah, I can get to go
on my shelf.
Speaker 1 (16:00):
Bye bye, goodbye.
Speaker 2 (16:02):
You know she has charn Brackie.
Speaker 1 (16:05):
You have green eyes, Mary, I do not.
Speaker 2 (16:07):
They just shot I'm the observing type. For instance, I
observed that you forgot to give Missus Rutley back her matches.
Speaker 1 (16:14):
MM a real cafe, it says, I'm a match bank
to tell ever been.
Speaker 2 (16:19):
To the real Nope, I don't go for that Rombuan
samper stuff. I like to dance in English.
Speaker 1 (16:24):
The real's quite a spot damping called downstairs. If you
know the right people, you get in. I wonder how
missus Rutley got these matches.
Speaker 2 (16:34):
I once had a book of matches with an ad
Britishment on the cover urging me to buy my hay
seed and brain at damn what I was to bottle?
I just bet my cattle get hunger.
Speaker 1 (16:43):
The talk is good, but the results are negligible. Get
your coat on, Mary, way back for the bank. To
the bank.
Speaker 2 (16:48):
Uh could I just throw in a casual fly to.
Speaker 1 (16:51):
Withdraw some information and the positive to the account of
an unsolved murder.
Speaker 3 (16:55):
Oh yeah, there are the checks, inspector fire. They just
as you ask for.
Speaker 1 (17:07):
They're the ones drawn this month on the joint account
of William and Mary Rutley. Thank you, mister Lemming, you
mind of my secretary. And I looked them over and
not a toll.
Speaker 3 (17:14):
Inspector.
Speaker 1 (17:14):
Just call me if you want anything but Mary. Except
for a few small ones, all the checks are pretty
large amounts or med out the cans and sign MILLI
wentley who endorsement after? Let's see wood Stone, wood Stone
and wood Stone and Edward Stone endorsed them all. Well, no,
they don't mean anything till we find out who Edward
Stone is.
Speaker 3 (17:34):
Try the phone book.
Speaker 1 (17:35):
Yes we can, right after, right after work, right after
we try the Leo Club. I'd be real fine if
they haven't Edward Stone there, it's worth to try anyhow,
Come on the phone books over here. Uh just wait
here while I phone the Leo Club. Let's see the
numbers should be in this match box. Oh yes, here
it is second nine seven eight hundred. Keep your fingers crossed.
Speaker 2 (18:10):
Oh did I use Leo clubs?
Speaker 1 (18:15):
Edy Stone? Please? Did you?
Speaker 2 (18:16):
Joney at the moment doing it me?
Speaker 1 (18:19):
Hello? Uh Stone A Stone's biggin Uh. This is Mr
Fleming at the twelfth National Bank. You endorsed several checks
made out by MSUs Mary Rutley. Goold mad An they box, No,
they're good. I just wanted to verify your signature. It's fine,
al right. I don't write so good. I'm just let it,
I say. Oh, mister Stone, if I wanted to come
(18:42):
to the Leo Club, could you see to it that
I was allowed downstairs? Do you know about the downstairs? Yeah?
Uh a a friend of mine told me about it. Uh,
Bill Rutley, he's never been here. Is part that a
guy who got fucked yesterday started coming to you? But
put to goh pretty well too well. I couldn't very
well get him to take me to the club. Good day.
(19:03):
Oh I just have mister flemingos and you do here.
You don't need that for me. Oh, thank you, missus Stone,
thank you very very much. Goodbye. It works Mary. Now
I'm going to get Paraday on the wire and ask
him to have Hendricks and mister and Missus Rutley and
Hendrick's office in half an hour. All right, Blankie, I
(19:30):
got Joe Hendricks and mister and missus Bill Rutley and
sign in Hendrick's office just as you asked. Now, don't
you think it's about time you told me why I
did it? You did it, Paraday, because you have great
confidence and implicit faith in me, and because I'm a
little bit dumb. Half the time I listen to you,
I could kick myself after for the other half of
good times, you pat yourself on the bank. This is
one of the kicking times. I can feel it. Tell
me one of those three doing inside, one of them murdered,
(19:51):
Vick Alden. Well take a deep rap. Here we go. Hello, everybody,
take a seat, Faraday, go ahead the what's the idea
of this, black Ye, I'm trying to run a business here,
I'm trying to run down a murderer. That's more important.
You're looking at me, Blackie. Possibly the bell You were
the lyric writer and the Alton Rutley team, weren't you.
That's right. I just wanted to make sure how you comfortable,
(20:14):
Miss Rubbi.
Speaker 2 (20:15):
Yes, thank you, very.
Speaker 1 (20:17):
Oh, now that we're all here, I've got to confess something.
Yesterday morning, I left Hendricks and Mary in this office,
went into a piano room where I found the murdered
body of Dick Alton, and I picked up a piece
of music manuscript paper that was lying on the floor
near the body. Dick was putting a tune down on
paper when I left him. Dick was working on that
music when his killer walked in. He took one look
(20:38):
and feverishly wrote down five notes at the bottom of
the manuscript page. Here's the manuscript paper, and I'm going
to play you the five notes right now. All right,
to use your piano jone, Wow, all right, go ahead, thanks. Now,
here are the five notes. That's all, just those five notes.
(20:58):
Anybody recognized the two It's nothing a mad baking. I don't.
That's because there are no harmonies. Let's do it now, Hey,
that's Georgjim Cohen's Mary. What's that got to do with
this everything? The first line of the lyric from one
that matches these notes is because it was Mary, Dick
(21:19):
Alton named his murderer just before he was shocked. Mary Rudby,
you killed Dick Alton. Rab a Faraday, don't let a
guy out that door? Well, that's a fitting climax. And
the music publishing office I supply the words and music
and a murderist decides to sing, what don't you understand? Paradays?
(21:46):
If that were news? Why missus Radley killed her husband's populer?
Anybody knows the answer to that, inspected? Sure, anybody but me?
Do you know, miss Wesley? I think so.
Speaker 2 (21:56):
Dick Golden had seen this as let the gambling at
the real club. He threatened to tell her husband that
she didn't stop, but she couldn't stop. She had to
try to win enough money to put back in the
joint account that she's been draining.
Speaker 1 (22:08):
Touchdown for Mary Westley, Thank you for so Missus Rothby
kill Dalton because she knew we would expose her. What
about her coming into the building and the elevator, Blackie? Uh?
You checked the time she simply used the stairs the
first time when she shot often and left the building,
and then came back half an hour later using the
elevator where she could be seen. You were such a genius, Blackie,
When you had a clue like that music thing in
(22:30):
your pocket all the time, It practically told you that
Mary Ridley murdered Alton. You could have gotten it the
same way I did. Paraday, wrought it yourself, That's what
I did. Huh. I knew my thanks were right, but
I couldn't prove any of them, so I had to
pretend that Dick Alton had named this killer in the
hope of getting her to make a break. Yes, she did. Well,
aren't you gonna congratulate me? What for you getting married? No,
(22:50):
I'm solving this case for you, Paraday. You've solved it
for me. You solved it for yourself so you could
ride all over me next time. You know, Blackie, I've got.
Speaker 3 (22:59):
Half mr mine.
Speaker 1 (23:00):
Hold it right there, Inspector, right where, right where you were.
You said, I've got half a mind, and you know something, Inspector,
that's the first time you've been right in years
Well, Bill went about it, got an idea for the lyric?
Yet play that melody once more because I think I've
got some It's of our time. Okay, okay, hold on,
how's it? I won't fall again, I won't follow gay
(00:58):
be me and hey, that's not bad. It's never one
bad for that tune of you. It's times like eight
hundred others. How do you expect me to get any
kind of original idea for a lyric? Give me something
to work for, Lord, Phil, we've been fighting like this
for months. We haven't written a hit tune in months.
We've got to do something. You want to break up
the team. I don't want that, But we both seem
to be written out. Those last songs we did well.
(01:18):
If Joe Hendrix wasn't our friend as well as our
music publisher, he just turn them out in the alley.
He will put together an awful lot of bad lyrics
for that through. So it's my fault. The lyrics were
bad because I couldn't save those tired tunes. If yours
it's my fault, I'll put you right in on all
that would be a point add to our problem. But
at least give me some satisfaction stick time. Warning. I
don't like violence, but I'm getting to a point. I'm
gonna forget how much I hate violent and remember only
how much I dislike you. And now meet Dick Calmer
(01:48):
as Boston Blackie. Enemy to those who make him an enemy,
friend to those who have no friends, because I know
Hendricks Mary, but I won't know him long. If I
asked him to publish the song of your cousins.
Speaker 2 (02:03):
Oh well, maybe it isn't so bad, black.
Speaker 1 (02:05):
He Mary, Dear Mary. Everybody in this country, at some
time or has an idea you can write a song.
This happens to be the time that the thought struck
Your cousin should have been a torontoity car. Oh black, Okay,
he just made a bargain. You laughed at night, Joe.
I'll take your cousins on to Joe Henry. Let me
have it. We have to see how it goes, so
(02:26):
I know what I'm selling it.
Speaker 2 (02:27):
Here's a copy, and Darling, when you play it, use
the other nine fingers.
Speaker 1 (02:31):
Huh, I'll go bother than that. I've got a pretty
bad Barretson voice. I've been holding back for years. Well,
let's see how this epic goes good. Let me croon
me meet the mool in the merry month of you,
(02:54):
the wond you smile as you listen to my tone. Oh,
my mother used to say I should never have taken
piano lessons. Since she was right, Mary, that song is awful.
It didn't sound too bad, which I'm just crazy about
my voice. You say the nicest things about you? Is
(03:15):
the song really terrible? Awful? That's one of the reasons
I'm taking into Joe Hendricks right now.
Speaker 2 (03:19):
Wait a minute, the song is bad and soil. You're
gonna take you to mister Hendricks, the music publishes.
Speaker 1 (03:24):
It took me. I forgot to tell you I don't
like Hendricks. I'll call all three hotels. You'll have to
register in one of them. Leave worded to call Joe
Hendricks when he checks in, right and phone's phone solid
(03:45):
time phones Yeah, boys and Blankie sure sentiment Hi Joe,
Hello Blankie, long time No. I see this is Joe Hendrix, Mary.
He and in frank Fire they make the worst jokes
on the world. Well, what can I do for you, Blackie?
I've got a song, Joe, I like you to publish
(04:06):
it here. What's the title in the blue Canoe with you. You're
kidding with that, aren't you.
Speaker 2 (04:13):
Oh no, mister Hendricks, who are very serious. My cousin
wrote it.
Speaker 1 (04:18):
Your cousin ought to be a very happy character at
he's your cousin, Miss Whiteley. That's fame enough for anybody.
Take this song back, flaky, put it on the floor,
let it crawl out of here by itself, or don't
you even want to hear it? If I want bad songs,
I've got Dick Auton and Bill Rutley under contract. They've
written nothing but bad songs for the past year. Say
how are the boys? I haven't seen him in quite
a while. Physically they're fine, mettle, they're out of town.
(04:41):
How about actually, I mean the piano room down the
hall trying to write a song? Oh please, mister Hendrix.
W don't you listen to my cousin's number.
Speaker 2 (04:47):
A blackie can plan for you.
Speaker 1 (04:48):
Oh bad? Is it? Blakey? I can tell you in
one word, very but I got an idea.
Speaker 2 (04:52):
What is it?
Speaker 1 (04:53):
It isn't so bad that a professional songwriting team couldn't
fix it up. Where'd you say? All in the Rutley
were jone in the piano room? Donald I'm going down
to see them. Maybe they'll do something about your cousin song. Mary,
I won't be too long. Phones phones, phones all the time. Phones,
excuse me, miss Western, Oh Hendrick speaking? Tell me boy
once you get in tom Tommy boy well swell Hi
(05:15):
philipping and the old trump Bonne. She would always waste
the best. Tell me, I'm glad you called back. I
got a scored at Atomic, a musical comedy score. You
know the show? Are you with it? How about doing here?
I go again from it? It's a terrific too. We
shure Wright. Listen to your broadcast. Wouldn't miss him? Oh
you did this song last night? Small wild in it? Hey,
(05:36):
dump around for lunch tomorrow. Tell me about four o'clock.
I got some new tunes to show you. Tommy say,
terrific Tommy, thanks for calling Tommy. Ed that was I know, Thomas.
Speaker 2 (05:46):
This is a very interesting business, mister Hendrick.
Speaker 1 (05:49):
Oh oh black, dare you are?
Speaker 2 (05:50):
Did you find a cartman let?
Speaker 1 (05:51):
Yes, if they were too busy to work on your
cousin's song. Oh come on, Mary, let's get out of here.
Watcha hurry blank you sit still, hang around a while.
I'll buy lunch.
Speaker 2 (05:58):
No, thank you, mister Hendrick. I get hungry long before
four o'clock.
Speaker 1 (06:00):
A normal girl. And what are you doing with Blankie?
Thanks Joe, and thanks for turning down this tune. Kal
remind me not to do something for you sometimes. Don't
leave Blakey listening to you.
Speaker 2 (06:08):
Hear the gigab I think you're right black here. I
think we better leave one the candics.
Speaker 1 (06:11):
It was very nicey Oh is that sounded like a
scream And nothing sounds like a scream except the scream.
Come on, Mary, let's get out of here, all right.
But I never knew you to run away from you.
If you don't pull my kids, snap out of it.
What is it to the other room? Look for yourself.
Come on, Blackie, it's only one of the room, and
that's the Piana room with tickets. But we'll work it.
Let's go, are you it's Marry Frank here, Blanky, Piana room. Okay,
(06:33):
hold everything, kids? Oh, holy Michael, stay back, Mary, Oh,
dick over me and he's been shut through the heart.
I guess i'd better call the police. I guess you'd
better inspected. Friday likes nothing better than a nice, clean murder.
He might possibly pin on me. Hey, Blankie, you were
in here only a few minutes ago, and north and
was alive. Then you said he didn't want to work
on that song you brought me. That's right. Maybe you
(06:55):
better stay here, Blackie. Maybe you couldn't talk Dick and
they're helping you. Maybe you got hired a shooting off
your mouths and switched the shooting off your gun. Okay, okay,
get him all ready for the line up packings. Get
the woman out there first. Okay, Well, let's take this down.
(07:18):
Then take down what she says. Name, Missus William Ridley,
Occupation housewife, charge, suspected homicide. Well, miss Rudley, what have
you got to say? Nothing? I haven't done anything, Inspector.
Why don't you get smart? She found the body, that's all.
That doesn't make her a killer? Planky, I run things
down here, Missus Radley, did you kill Dick Off your
husband's father? No? No, I didn't find him. More.
Speaker 2 (07:44):
Please let me get down from here.
Speaker 1 (07:47):
She's like she's painted Firday happy. Now when that dame
comes too, runs take her in and book her for murder.
I'll be in my office, he'll be in his office.
Wrong with me beat it planky before I find a
reason why you wanted Alton dead? Oh? I had a
reason in the spectrum, eh, a reason, but not a motive.
There's a subtle difference there. You wouldn't understand allR Day's book,
(08:18):
Missus Rugley for Dick Gordon's murder, Mary, But he's too
good account to stop. Then he'll be out looking for
Alton's partner, Missus Rudley's husband right now. Only if we're lucky,
we'll find him first. We'll let your.
Speaker 2 (08:28):
Hendrick said he hangs out in this place.
Speaker 1 (08:30):
You seem the bartender might be of some help, Hey, buddy,
Yeah we did. You'll have a little information for now.
Do you know a fellow named Bill Rupley? I'm sure
he's holding that last book back there. Thanksman, Mary Lackey,
I'm bothering you. Something in your shoe, is something in
your eye? Something on my mind?
Speaker 2 (08:48):
Was Dick Alton alive when you went into the piano
room to get him to work on my cousin?
Speaker 1 (08:53):
Good question, Mary, remind me to answer that sometime. Well,
he's the last booth and coincidentally, Yeah, bro Ruckley, Hi Belle,
what if I said I'm hollo blanking. This is Mary
Wesley Bell. Hello, say, let lo, things aren't that tough? Oa? No,
I think I found a way to get tired of
(09:14):
to release your wife. Oh well, thanks Buck. Yeah, I
appreciate that. And he doesn't get me out of him.
You're in a mess, mister, right. That's right. Sick and
I were fighting. Everybody knows that I was just out
for a walk when Dick was shot. I wouldn't worry, Belle.
The fact that you and Dick were quarreling wouldn't hold
as remotive for murder. No, but the insurance wouldn't. What
insurance partnership insurance. See, when Dick and I were hot
(09:35):
a couple of years ago, we took out partnership insurance
one hundred thousand dollars. WHOA the only business like thing
I ever did in my life. When that policy is uncovered,
I'll be in a spot. You're in such a spot
that the heat is beginning to affect me. Bill, tell
me all you know about Dick. Well, he was single. Legitimately,
he didn't play around. But yeah, well there was some
(09:58):
talk a while ago about him and Hendricks wife. Yeah,
I didn't believe it. In six to night. Oh but
that was six months ago. It couldn't mean anything. No,
maybe not, but it's worth taking a crack at. I've
got to go down and get your wife out of jail.
But you've got nothing to worry about if you didn't
kill your partner. And remember I said, if you didn't
(10:19):
kill him. I don't suppose you want to listen to me, Paraday, Blackie,
I don't even want to look at you. Oh well,
if you don't want me to tell you why Missus
Rutley couldn't have murder it often I won't. So don't
(10:41):
do you mean? I can't tease you when to asking
me to prove it? Blaggie, you couldn't make me carry
an as Festa's umbrella, but it was raining fire. You're
leaving now. You're a little too smug, Paraday. You know something,
And there's a remark. I never thought i'd make bye bye, Blackie.
Bird be seeing inspector. You're holding Missus Rutley. But I
(11:03):
checked her arrival at the Hendrick's building and found that
she got in the elevator only a few seconds before
she found Dick Alton's body. Yes, genius, any smart cop
would have done the same thing, only of course he
wouldn't be any relation of yours. What I'm trying to
tell you is that, according to the coroner's report, the
body had been dead at least half an hour before
Missus Rutley family. Okay, you've told me. It's all wrong.
Speaker 3 (11:23):
Blackie still the same old baronet.
Speaker 1 (11:26):
He won't listen to me. Sure I listener, but it's
a little boring.
Speaker 2 (11:32):
You see.
Speaker 1 (11:32):
I checked all the details about the elevator myself this morning,
and missus Rudley has been free for two hours and
now back to Boston. Blackie Dick Alten, part of the
(11:57):
songwriting team of Alton and Rutley, has been murder. The
body was discovered by Missus Rutley, who promptly was booked
for murder by Inspector Faraday, but later released when it
was proven that she came into the building only seconds
before she found the body, and that the body had
been dead almost a half hour at that time. Austin
Blackie has discovered that the songwriting team had a partnership
(12:19):
insurance policy payable to one on the death of the other,
which makes Bill Roughley a suspect. But he has also
uncovered the fact that at one time, there was talk
concerning the murdered man and the wife of Joe Hendrick's
music publisher. As we returned to our story, Blackie is
in Hendrick talker. I can't talk to you enough, Blackie.
(12:41):
I'm busy, don't talk. Listen, Joe, I hear that there
was some gossip concerning Dick Autman and your wife about
six months ago. When you heard that. What's the difference
where it's true, isn't it? There was some talk. Sure,
that's true. We an't have a paid any time. Hey,
(13:02):
I'm not thinking. I don't know why you say that.
Jealousy is pretty strong motive. You'd think, can I killed
Dick Gordon for something that happened six months ago but
happened at all, which I doubt it could be. You know, Joe,
you're in a fascinating business words and music. Stay honest
and the world dances your songs. What a fool around
with murder? Joe, and you'll dance at the end of
(13:24):
a rope. Please connect me with mister Lambert as inspect
the Paraday again that you get into Bushman Lamb speaking fine,
Thank you, I don't think so fine. Anybody catch in
(13:44):
there late me fine here, Inspector, I had the information
you wanted on the bank accounts of Dick Gordon's Bill Rutley.
That's just a second, all right, we're getting somewhere there.
Speaker 2 (13:55):
You're going somewhere. It's Joe at day to find out.
Speaker 1 (13:58):
Where you think about it? That's all ooh hello, inspected
by day. I'm so half uh. Richard Alton's account has
remained around thirty thousand dollars for several years. Would you
met Marry Rutley have a joint account. It was very
large at one time, but it's just a two thousand
lit now. Checks have been drawn against it every few
days for the past month. Oh, sign the checks and
(14:19):
to whom when they made out? Sorry, I I don't
have that information at the moment. If you would care
to drop down to the bank, I'd think glad to
get the checks we have on hands. No, I'll do that,
and thanks very much. A right. And it result of
that call was to find out that Dick Alton had
thirty thousand dollars if missus Rutley had the same first
name as yours, Mary, that she and her husband had
a joint account, and that had shrunken some considerably in
(14:41):
the past month.
Speaker 2 (14:42):
Put that all together and it sells murder.
Speaker 1 (14:44):
I got 'em come in at second one on not
that I know. Uh what do you mean by well what,
missus Rutley, please come in?
Speaker 2 (14:55):
Uh didn't mean to improved that THEE I guess the
United Thanks you for your help.
Speaker 1 (14:58):
Well, yeah, intruding, enormous is rightly get glace you dropped in?
This is Mary Wesley. How do you do? Hello? Sit
down with Jim? Thank you cigarette? Yes? Thanks, Oh dear,
I'm sorry. I have no matches. I did have a lighter,
but I wore out one of the parts my thumb.
Speaker 2 (15:13):
I have my own medic things with me, maybe if
I can ever find them in this bag of don't
you find that No matter how big a handbag you carry,
it's never large enough to hold what a girl needs
cerfinitly do well?
Speaker 1 (15:25):
You weak of uncovered one book of magic? Yeah? I
like your cigarette. This is rightly let me have him?
Yah yah, thank you Blackie.
Speaker 2 (15:35):
You're the police place to finding Dick's murderers.
Speaker 1 (15:37):
I don't know, Missus Rudley. All I do know is
I'm not well.
Speaker 3 (15:41):
I'm sure you will do.
Speaker 1 (15:43):
Thank you, missus Rudley. I'll just sit back and listen.
Why you tell me how wonderful I really am.
Speaker 2 (15:48):
I'd liked too, Blackie, but I really did come down
just to thank you, and I have thanks you. So
I guess I'll run along nice.
Speaker 1 (15:56):
You've met you, Missus Wesley.
Speaker 2 (15:57):
Uh, don't bother black Yeah, I can get to go
on my shelf.
Speaker 1 (16:00):
Bye bye, goodbye.
Speaker 2 (16:02):
You know she has charn Brackie.
Speaker 1 (16:05):
You have green eyes, Mary, I do not.
Speaker 2 (16:07):
They just shot I'm the observing type. For instance, I
observed that you forgot to give Missus Rutley back her matches.
Speaker 1 (16:14):
MM a real cafe, it says, I'm a match bank
to tell ever been.
Speaker 2 (16:19):
To the real Nope, I don't go for that Rombuan
samper stuff. I like to dance in English.
Speaker 1 (16:24):
The real's quite a spot damping called downstairs. If you
know the right people, you get in. I wonder how
missus Rutley got these matches.
Speaker 2 (16:34):
I once had a book of matches with an ad
Britishment on the cover urging me to buy my hay
seed and brain at damn what I was to bottle?
I just bet my cattle get hunger.
Speaker 1 (16:43):
The talk is good, but the results are negligible. Get
your coat on, Mary, way back for the bank. To
the bank.
Speaker 2 (16:48):
Uh could I just throw in a casual fly to.
Speaker 1 (16:51):
Withdraw some information and the positive to the account of
an unsolved murder.
Speaker 3 (16:55):
Oh yeah, there are the checks, inspector fire. They just
as you ask for.
Speaker 1 (17:07):
They're the ones drawn this month on the joint account
of William and Mary Rutley. Thank you, mister Lemming, you
mind of my secretary. And I looked them over and
not a toll.
Speaker 3 (17:14):
Inspector.
Speaker 1 (17:14):
Just call me if you want anything but Mary. Except
for a few small ones, all the checks are pretty
large amounts or med out the cans and sign MILLI
wentley who endorsement after? Let's see wood Stone, wood Stone
and wood Stone and Edward Stone endorsed them all. Well, no,
they don't mean anything till we find out who Edward
Stone is.
Speaker 3 (17:34):
Try the phone book.
Speaker 1 (17:35):
Yes we can, right after, right after work, right after
we try the Leo Club. I'd be real fine if
they haven't Edward Stone there, it's worth to try anyhow,
Come on the phone books over here. Uh just wait
here while I phone the Leo Club. Let's see the
numbers should be in this match box. Oh yes, here
it is second nine seven eight hundred. Keep your fingers crossed.
Speaker 2 (18:10):
Oh did I use Leo clubs?
Speaker 1 (18:15):
Edy Stone? Please? Did you?
Speaker 2 (18:16):
Joney at the moment doing it me?
Speaker 1 (18:19):
Hello? Uh Stone A Stone's biggin Uh. This is Mr
Fleming at the twelfth National Bank. You endorsed several checks
made out by MSUs Mary Rutley. Goold mad An they box, No,
they're good. I just wanted to verify your signature. It's fine,
al right. I don't write so good. I'm just let it,
I say. Oh, mister Stone, if I wanted to come
(18:42):
to the Leo Club, could you see to it that
I was allowed downstairs? Do you know about the downstairs? Yeah?
Uh a a friend of mine told me about it. Uh,
Bill Rutley, he's never been here. Is part that a
guy who got fucked yesterday started coming to you? But
put to goh pretty well too well. I couldn't very
well get him to take me to the club. Good day.
(19:03):
Oh I just have mister flemingos and you do here.
You don't need that for me. Oh, thank you, missus Stone,
thank you very very much. Goodbye. It works Mary. Now
I'm going to get Paraday on the wire and ask
him to have Hendricks and mister and Missus Rutley and
Hendrick's office in half an hour. All right, Blankie, I
(19:30):
got Joe Hendricks and mister and missus Bill Rutley and
sign in Hendrick's office just as you asked. Now, don't
you think it's about time you told me why I
did it? You did it, Paraday, because you have great
confidence and implicit faith in me, and because I'm a
little bit dumb. Half the time I listen to you,
I could kick myself after for the other half of
good times, you pat yourself on the bank. This is
one of the kicking times. I can feel it. Tell
me one of those three doing inside, one of them murdered,
(19:51):
Vick Alden. Well take a deep rap. Here we go. Hello, everybody,
take a seat, Faraday, go ahead the what's the idea
of this, black Ye, I'm trying to run a business here,
I'm trying to run down a murderer. That's more important.
You're looking at me, Blackie. Possibly the bell You were
the lyric writer and the Alton Rutley team, weren't you.
That's right. I just wanted to make sure how you comfortable,
(20:14):
Miss Rubbi.
Speaker 2 (20:15):
Yes, thank you, very.
Speaker 1 (20:17):
Oh, now that we're all here, I've got to confess something.
Yesterday morning, I left Hendricks and Mary in this office,
went into a piano room where I found the murdered
body of Dick Alton, and I picked up a piece
of music manuscript paper that was lying on the floor
near the body. Dick was putting a tune down on
paper when I left him. Dick was working on that
music when his killer walked in. He took one look
(20:38):
and feverishly wrote down five notes at the bottom of
the manuscript page. Here's the manuscript paper, and I'm going
to play you the five notes right now. All right,
to use your piano jone, Wow, all right, go ahead, thanks. Now,
here are the five notes. That's all, just those five notes.
(20:58):
Anybody recognized the two It's nothing a mad baking. I don't.
That's because there are no harmonies. Let's do it now, Hey,
that's Georgjim Cohen's Mary. What's that got to do with
this everything? The first line of the lyric from one
that matches these notes is because it was Mary, Dick
(21:19):
Alton named his murderer just before he was shocked. Mary Rudby,
you killed Dick Alton. Rab a Faraday, don't let a
guy out that door? Well, that's a fitting climax. And
the music publishing office I supply the words and music
and a murderist decides to sing, what don't you understand? Paradays?
(21:46):
If that were news? Why missus Radley killed her husband's populer?
Anybody knows the answer to that, inspected? Sure, anybody but me?
Do you know, miss Wesley? I think so.
Speaker 2 (21:56):
Dick Golden had seen this as let the gambling at
the real club. He threatened to tell her husband that
she didn't stop, but she couldn't stop. She had to
try to win enough money to put back in the
joint account that she's been draining.
Speaker 1 (22:08):
Touchdown for Mary Westley, Thank you for so Missus Rothby
kill Dalton because she knew we would expose her. What
about her coming into the building and the elevator, Blackie? Uh?
You checked the time she simply used the stairs the
first time when she shot often and left the building,
and then came back half an hour later using the
elevator where she could be seen. You were such a genius, Blackie,
When you had a clue like that music thing in
(22:30):
your pocket all the time, It practically told you that
Mary Ridley murdered Alton. You could have gotten it the
same way I did. Paraday, wrought it yourself, That's what
I did. Huh. I knew my thanks were right, but
I couldn't prove any of them, so I had to
pretend that Dick Alton had named this killer in the
hope of getting her to make a break. Yes, she did. Well,
aren't you gonna congratulate me? What for you getting married? No,
(22:50):
I'm solving this case for you, Paraday. You've solved it
for me. You solved it for yourself so you could
ride all over me next time. You know, Blackie, I've got.
Speaker 3 (22:59):
Half mr mine.
Speaker 1 (23:00):
Hold it right there, Inspector, right where, right where you were.
You said, I've got half a mind, and you know something, Inspector,
that's the first time you've been right in years
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