April 26, 2025 • 39 mins
Original Release Date: December 14, 2021
Regan's hired by a songwriter who fears his nightclub singer/wife will be murdered.
Original Air Date: April 19, 1950
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Regan's hired by a songwriter who fears his nightclub singer/wife will be murdered.
Original Air Date: April 19, 1950
Support the show monthly at https://patreon.greatdetectives.net
Support the show on a one-time basis at https://support.greatdetectives.net
Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715
Give us a call at 208-991-4783
Take the listener survey at https://survey.greatdetectives.net
Check out our social media at https://www.greatdetectives.net
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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 I to hold this.
Who is your host, Adam Graham. If you have a comment,
email it to me bucks thirteen atGreat Detectives dot net. Follow us on
Twitter at Radio Detectives, and checkus out on Instagram, Instagram, dot
(00:50):
com, slash Great Detectives. Well, I don't want to encourage you to
check out our other podcast, includingThe War go to the War War dot
Great Detectives dot net. In thatseries, we followed America through wartime via
radio, including news and commentary programs, comedies, dramas, mysteries, and
(01:14):
we actually did a whole series ofwartime Christmas programs in December twenty thirteen.
And it's all available at The Wardot Great Detectives dot net. And you
can find all of our other podcastsover at the Great Detectives of Old Time
Radio. Well, we're gonna getinto Jeff Reagan in a moment, but
(01:34):
I do need to talk about acasting change that's a kind of unique and
probably a change in how we lookat this particular run at Jeff Reagan.
Typically, the entire nineteen forty ninefifty season is called the Frank Graham episodes
of Jeff Reagan. I'm beginning Ithink we should probably view this mor as
(01:56):
the Frank Graham and Paul Dubov episode. Dubob took over as Jeff Reagan on
April the twelfth of nineteen fifty andcontinued on until May twenty sixth of nineteen
fifty, for a total of sevenweeks. Now, when we first did
Jeff Reagan, we had thirteen episodesof the series, twelve of which we're
(02:22):
Frank Graham and one of which ispulled Duvolf. And then in twenty seventeen
we added two more of Graham andone more of Dubob. With this run,
we're going to have whole seven ofDubob's episodes, which is a huge
chunk of this season. And thisis such an unusual situation because we've had
(02:46):
situations where someone fills in for alead actor for an episode or two,
but not really for seven weeks,and then the lead actor comes back and
continue on for another three months.That's an autypically a thing that happened.
Nevertheless, it does here now.I have actually in twenty ten, I
(03:08):
played the third episode with Paul Duboff, and then in twenty seventeen, we
played the first episode, so we'regoing to have the first three complete now
as we're going to bring you thesecond episode with Paul Duboff. The original
air date on this one is Aprilnineteenth, nineteen fifty and the title is
(03:32):
the Smell of Magnolias. My name'sReagan. I worked for Anthony jay lyon
Detective Bureau. They call me theLion's Eye Jeff Regan, Investigator, starring
(04:00):
Paul de Bov as Reagan, withFrank Nelson as Anthony jay Lyon to stand
by for mystery and suspense and adventurein tonight's story titled The Smell of Magnolias.
(04:20):
Wellington Butterfield was a songwriter who wrotetone poems with one finger. Using
both hands, he was capable ofwriting even more impressive ditties. The question
was Wellington Butterfield capable of murder?It began without benefit of overture, in
the office of my boss, AnthonyJ. Lyon one beaming Monday. Anthony
(04:43):
j was on the phone and Iwalked in to look on his face.
Said easy credit terms, no moneydown, no, no, you won't
have to worry about his saying nothing. They it just sit tight now,
said one of my men right out. Yes, I'll thank you, mister
Butterfield. Good day, Good morning, Jeffrey, you client. Yes,
indeed, Jeffrey is a lion.Detective agency is on its told as usual.
(05:09):
Nothing like an efficient organization. Ialways say, you'll send one of
your men out. I heard thatpart of it. Well, now,
Jeoffrey, there might be other menworking for me. Your business picks up
the way it has been well,I you, I may have to increase
the serf at a secretary maybe,Jeoffrey. What a delightful idea, A
(05:30):
thirdly delightful idea. But first wehave to pick up the extra business your
business. Oh oh yes, misterButerfield, I almost forgot you. Better
run right out there, Jeffrey.His office is in the year Johnson Building,
Hollywood. Yeah, a secret lion. And mister Butterfield happened to mention
why he wanted a private detective.He blunder Brunette. That's cut it off.
(05:55):
Oh oh yes, mister Butterfield.Oh yes, he did say something
about a small redhead problem. Letme see m day. Oh, I've
got it. He thinks someone istrying to murder his wife. What would
use at a cute little redhead.The lion got lost in his dreams of
(06:18):
redheads, and I drove out toHollywood and the Johnson Building, two stories
of old stucco covered with more coatsof paint than there were tenants. The
Johnson Building used to be a moviestudio, then studio dressing rooms. Now
tiny cement offices with skylights and battereddoors. Every office on the second floor
faced onto a passageway without a roof. Penhouses. For twenty five bucks a
(06:40):
month. I went up, dodgedthe rooftop ventilators, the broken glass from
windows that hadn't been repaired since Metromet Goldwyn. Hanging above each office was
a shingle. One said notary publicand music copyist. Another one said artwork
reasonable, another one said quiet,keep out. The last one down the
passageway said Wellington Butterfield. I stoodin front of the door and listened,
(07:08):
and the Johnson Building. You don'tknock, you just walk in. Oh
Hi, you're heard him? Yeah, not bad, not bad at all.
Oh, that's not really my kindof music. On It's what I
wanted you to hear. Something else. You like it, mister king?
Sure now don't say anything till youhear. Oh, the blue bonnets is
(07:35):
blooming the Texans, but they won'tbloom for me very long. She still
waits for me, but I'll neversee the blue bonnets blooming down. Did
you say you weren't, mister Kingof King's Music, Bubby. My name's
(07:55):
Regan, Lion detectivations. Oh ohoh, mister Regan. I'm I'm glad
you came. I want to tellme the story. Wellington, just call
me Wellie, mister Reagan. Myfriends call me WELLI welly well well,
sir. It's about Sue. Sueis my wife. Somebody, somebody's going
(08:16):
to kill her, mister Regan.She'll tell you that. Oh no,
no, sir. You see,I was out at the Blue Club one
night. Sue sings there, andI heard voices from her dressing room.
He was saying mean and angry things. This man was go on. But
when I came in, the manwas gone and my wife, Sue,
Sue was crying. She'll tell youwhat the man said. She wouldn't talk
(08:39):
about it, mister Regan. Shejust wouldn't talk about it, that's all.
Well. Finally she admitted that hewanted to kill her, but she
wouldn't say who it was. Youjust got to help her, mister Regan.
You it's all my fault. Ifanything happens, it's all my fault.
Why well, you think I likesitting here day after day writing songs
(09:01):
nobody or buye while my wife workssix nights a week in a nightclub.
You think I like it, misterRegan. Okay, take it easy,
Willie. She needs watching, misterRegan, lots of watching, and and
you got to do it. Okay, I'll watch. Oh, don't let
her out of your sight, notnot for a minute. You love her
(09:22):
a lot, don't you, Willie, more than anything. And it's the
whole world, it's rigging. Youdon't have any idea who the man was,
No, I don't. You're sureyou're not leaving something out of the
story, mister Reggan, at atime like that, Okay, I'll run
out here, Wester Reagan is there'sjust one thing. Don't tell Sue that
(09:45):
you're a detective. He wouldn't likeit at all of us. You know
you understand, Sure I understand.And you may meet the man that leaves
the orchestra, mister Lytton, don'tyou say it work to him. You
don't like little, don't lack him, mister Regan, I'd lack the key.
(10:11):
The story was smooth, but mixedup, like pancake batter after a
bout with a mixmaster. I leftWellington. Butterfield hunched over his piano outside.
Footsteps in the passageway made me turn. Suddenly, moving down the corridor
away from Butterfield's window was a tallman in a blue sport coat and gray
flannels. He moved not like aman leaving an office, but like a
man leaving a keyhole. I startedafter him. Come in out of the
(10:35):
sun, Regan, you might getfreckles standing in the open doorway on my
left. A blonde, a realblond. Reel all the way either way
you started looking. I went in. My name's Million, your name's Regan.
(10:56):
You work for the Lion Detective Agency. And Welly Butterfield just hired to
have a cigarette. Thanks. Welly'soffice is right across the passageway. It's
a hot afternoon. He keeps hiswindows open. I keep my windows open.
Anything else, as a matter offact, there is I was about
to follow a guy. When youopened your door. You wouldn't have been
trying to stop me from doing that? Would you, Drake? You would
(11:20):
Reagon. When you follow people,you find out things. You find out
things, people get hurt. Idon't like to see people get only in
your case, it's too late atit. You called Butterfield welly, you're
a friend of his, we're practicallyrelated his wife, my husband. Come
again, the man you've caught spyingon Wellington? Butterfield's my husband. I
(11:45):
forgot to tell you my last name, didn't I It's Litton. My husband's
the orchestra leader at the Blue Club. Change your mind about that? Drink?
Yes, yes, I changed mymind, all right, mister detective.
Drink like a movie hero and saywhy is a nice girl like you
running a publicity office? Or isthat the woman? What about Sue?
(12:09):
Butterfield and your husband live? They? My ears may be big, but
they're also delicate. Who's out toget Butterfield's wife? Every man within reads?
Have you seen it? Hm?Slick, little brunette, willowy,
soft like an agnolia blossom? Twiceit's clad. Only your husband doesn't think
(12:31):
so. I worked forty hours aweek, Regan. What my husband thinks
hasn't bothered me in over two years? What about divorce? I'm the old
fashioned type, you know, Freddycurtains, barbershop quartets and Mary's. I
believe in all of Litton doesn't.I tried, He doesn't. Why would
Litton water kill Butterfield's wife. Itmay be a snake, Reagan, but
(12:54):
he doesn't growl that low. You'reon the wrong crack. It fits that
way, the voice Butterfield heard behind. Maybe you'd better leave, Regan.
I don't want to begin to dislikeyou. Where was Litton going when I
saw him a minute ago out oftown? He left for good? He
is good? My goods toss up? It begins slowly in quick, aren't
(13:18):
they? Regan Sue Butterfield, whowants to kill her? Lil? Maybe
I do, Regan. The onlytrouble is I'd have to stand in line.
Okay, forget it? Like Isaid, Regan, maybe you'd better
leave. I don't want to beginto dislike you. If Wellington Butterfield was
(13:43):
lying, it didn't check with Lilian. Litton put both their stories together,
and Sue Butterfield looked like a candidatefor miss Mortuary of nineteen fifty, there
were still two precincts yet to beheard from Lil's husband and Butterfield's wife.
I headed my car for the BlueClub middle afternoon as rehearsal time on the
(14:05):
strip. It was that way atthe Blue Club. The sign outside said
Jimmy Litton and his orchestra. Thevoice of Sue Butterfield inside the orchestra,
without benefit of Litton, was warmingup on what passed for a rumba.
I wanted a round backstage to thedressing rooms. Found a door that said
Missus Butterfield, and knocked. Shewas everything little said, even including the
(14:31):
magnolia blossom in her hair. Wedon't just stand there, Please come in.
I'm Sue Butterfield. But then youprobably already knew. My name's Regan.
Yes, and what did you wishto speak to me about your husband?
Missus Butterfield? Call miss Sue?Now? What about Willing? He's
worried, Missus Sue worried about you? Got me without certainly Sam silly?
(14:56):
Why are no? I pretty worryabout me? He thinks you're in trouble,
Regan, Why are you concerned inthis? I'm a friend of Welli's
I see, Well, then Iappreciate your interest. But really nothing could
be sillier. Oh now I seesee what he's worried about. Jimmy Jimmy
Litton. Isn't that ridiculous, isit? But of course Jimmy and I
(15:18):
am merely close friends, just becausewe worked together every night on the band
stand in time. Yeah, misSteven Amon, Oh sure, so you
see, mister Riggan, it's allnonsense. Wellington sometimes drives my patience.
Why you shouldn't mate Jimmy, youshould didion. Poor Jimmy is just a
(15:39):
lone, misunderstood man. I'm kindof a mother to him. Mother.
I like people, mister I don'tlike seeing in blue. Jimmy is blue.
So yeah, sure, missus,Sue, thanks, thanks a lot.
And you tell Welling And he shouldhave asked me before spending the money,
(16:02):
spending the money, spending the moneyto hire a prime. I got
out of there in a hurry,out the back entrance around of the parking
lot, and I saw him,blue sport code, gray flannels, getting
out of his car, glancing bothways, closing the door. He looked
(16:23):
scared, very scared, and hisname was Jimmy Litton. Lit I beg
your pardon. You don't remember me. Look please, I'm gonna hurry.
I'm late for you. I'm theguy who was with Wellington Butterfield. When
you look in on us, youremember that, don't you? Please?
Please leave me alone? Well,yeah, I haven't done anything. Nobody
said you have. I just wantto ask you a few questions. Questions,
(16:45):
no, no, no, notnow, some other time. I
really can't stay calm down, lettingyou're getting upset over nothing like a my
arm. Now, litten, It'llgo better the way you want to play
it. James Litton. Dust onhis gray flannels, grease on his monogram
(17:06):
white sport shirt, blood on hischeek, running back inside the Blue Club,
trying to restore his ego and thecrease in his trousers at the same
time. More scared than I thought, I lit a cigarette, headed back
to my car, sat there thinking, but not for long. It came
(17:26):
from the Blue Club, from backstagenear the dressing room. I got to
the doormark Sue Butterfield kinked it open. Two people in Sue Butterfield's dressing room,
Jimmy Lytton and Wellington Butterfield. Lyttonwas the one on the floor dead.
You don't have to look any further, mister Reagan. Actially, I
(17:51):
took the gun out of the littleman's hand and felt sick. Then I
got up and locked the door.Why why did you kill him? It's
like I told you, mister Rigging. He came in here, he shouted
at me, and I saw whatdid he shout at you? Well,
it was something nasty, something I'drather not but that you killed him.
(18:15):
I told you this morning, misterRiggan. I told you I hated him,
that I'd like to kill him.Let's try it once more. You
came out here to see Sue yourwife. Yeah, I tried, mister
Riggan. You came to her dressingroom and she was gone. Yeah.
I tried, mister Rigg, andJimmy Lytton burst into the room. He
said something you got mad? Shothim? Yes, sir. Where did
(18:37):
you get the gun? What Itold you? It was in a dresser
drawer your wife's gun. Yes,mister Raggen. Litton just stood there while
you went to your wife's dresser,took out a gun and killed him.
Mister Reagan, I told you hedidn't know what I was covering for.
Somebody, aren't you? Welly,No, sir, you're covering for somebody.
It's too pad, too easy,too simple. No, no,
no, I'm not covering for anybody. Well he listened to me. What
happened? What really happened? Youdidn't kill it? And did you?
(19:00):
You're covering for somebody. I killhim, I kill him, mister Ricket.
Okay, welly, we'll call thepolice. Lieutenant sand Ducci came and
went and took Wellington Butterfield with him. I waited around for nothing for a
(19:22):
rumba band that quit practicing, onlylong enough for the sound of the police
are under fade like a bad tastein your mouth, and then start practicing
again. I went to the barout front and found Sue Butterfield coming in
the front door. Here, mister, I thought you might leave with those
police. Gentlemen, I like toooze out. Then, if you will
excuse me, I have for her. You got a minute? We really
(19:45):
all right, It will only bea minute. Mister Eaton, do you
think your husband killed Litton? Butit's just like I told him. Mister
Wellington should never have hated Jinny.It should have felt pitiful. You didn't
answer my question. Well, misterReegan, you'd hardly like a wife.
I think her husband guilty. Wherewere you, I beg your guys when
it happened? Where were you backstagechanging my garten a rehearsal. Yeah,
(20:10):
for all, miss Regan. Ihad to see if it look all right?
What a night. But you didn'tuse your dressing room. Somebody put
my dress in the wrong room.I won't there alone. It's Reegan.
In the tone of your con oh, never mind, forget it. Well,
listen to the way you talk aperson. I said, forget it,
missus. Butterfield. The orchestra iswaiting. The slow eyed brunette drifted
(20:32):
down to the band stand like milkleaves in a Southern breeze. And then
suddenly I couldn't stand the air aroundthe Blue Club. I drove back to
Hollywood. Reagan, mind if Icome in, Lilan, I'm sorry about
(20:56):
this afternoon. It's okay, LittleThey can something bothering you, something you
don't like. I know, Ican't tell your husband's dead, little hut.
He was shot an hour ago,your kid, No, oh,
you're not kidding. I found himin Sue Butterfield's dressing room. Butterfield had
(21:18):
the gun in his hand. Well, yeah, yeah, I know.
I told you this morning about myhusband, and you don't have to let
me finish. I told you,Jimmy and I the way it is was,
I said, I stopt kring whathe did two years ago. I'm
in at Regan. I'm not gonnalie to you now. Thanks little he
was smooth and slick and clever.He's dead. Let's forget it. I've
(21:40):
got to know something. It's alittle It's important that I know. Well
a Butterfield wouldn't kill a man,not even my husband. Well, he
worked over there, right across theway from me. I knew him.
Regany wouldn't kill a man. Iknow that, but you just Wellington said,
gun in hand. He told mehe shot your husband. For thirty
minutes, he stuck to it.Isn't there anything you can do anything?
Or mix a drink? She mixeda drink, two of them. Lilian
(22:07):
littened the dead man's widow, andwe drank the drinks and talked about everything
and nothing, and not murder orher dead husband or the little man on
the weight of the gas chamber.But it wouldn't stay that way. I
borrowed Lilian Litton's phone and call theLion, Anthony J. Jeoffrey. I
was hoping you'd check in if misterButterfield call. He called from the police
(22:30):
station, Jeoffrey. Our clients committedmurder. That's why I call you,
Lieutenant. Sanducci told him he couldmake the call if mister Butterfield just wanted
to thank you for everything? Isthat all he told me? It wasn't
your fault. Did you tried tohelp him? He said he was getting
ready to sign a confation. Hedidn't tell you anything else, Fatso,
No, he sounded so sad,Jeffrey, Why did he kill the man?
(22:51):
Later? Fats? But I thoughtit was his wife who was in
Dan that's it. Hang up,Fats, So you're wasting time. The
lion was wasting time, all right. I told Lil i'd see her later,
and had my car towards City Hall. If I pushed the speed limit,
I might get there before Sanduch.She could have the little man's statement
typed up for signature. I gotthere, Hallo, Regan, what's the
(23:14):
hurry, Sanducci? Did Butterfield signyet? No? Not take it easy,
Regan. My Stan's typing it up. He was getting excited. Butterfield
didn't kill that man. I knowhe didn't. Oh that's an interesting twist.
Man comes to me asking to belocked up by new say, is
not guilty. What's your evidence?I haven't any not yet, but give
me time time to talk my numberone inmate out of a confession. Are
(23:36):
you crazy, Regan? Listen,Sanduci, Butterfield is taking the rap for
somebody else. He's that kind ofa guy. Well, it's a twist,
all right, nicest story as I'veheard. Give me ten minutes with
him, Sanduchi, just ten minutes. Give me a chance to get the
real story. Rig and you're steppingout of bounds. I know you want
to protect the client, but messingwith an opening shot case, it's something
else. Yes, I got thatstatement ready for the prisoner to sign.
(24:00):
Lieutenant good bring it in. Reallyhurt him, Reagan, sand Ducci.
Ten minutes, that's all I asked. Just ten minutes. Thanks, thanks
a lot. The turnkey took meto the cell of Wellington Butterfield and I
was on my own. Hello,mister Reagan, Well he listened. They've
(24:23):
got a statement in, they're alltyped up. Sign it and you've got
a season's passed to the gas chamber. Yes, Toronto knows that. Wellie,
it's your life. You were alonewhen you shot Litton. I told
you that, mister Reagan. Yourwife wasn't in that room. You're forgetting
something, aren't you. Wellie,Sue wasn't the room changing costume when Litton
(24:45):
burst in. She told me that, welly she did. She said she
was behind the screen, putting onthe dress she was going to wear for
the show. How come you forgotthat? Well, it musted just mamma,
sure it did. Your wife toldme something else, Well, she
said, nobody threatened her life.Well, mister Regan, I know better.
(25:08):
I heard go on, mister Regan, I don't like what you're trying
to make me say, and I'llsay it for you. You lied lie
to me about Sue's life and danger. Sure, you overheard a conversation in
her dressing room, but there's nothingwrong with your ears. You knew what
they were saying. They Sue andJimmy Lytton. Sue was asking Lytton to
(25:30):
kill you. You knew that.That's why you hired me to watch her.
You loved her too much to turnher over to the police, so
you hired me to protect yourself.But that doesn't mean I didn't kill Lytton.
Suell testified she saw me do it. How could she have seen you
do it when she was behind thescreen dressing. Well, your story so
crossed up. Well even you can'tmake sense out of it. Well,
your wife wanted Jimmy Lytton to getrid of you. He backed out.
(25:52):
That's why he was so frightened whenI saw him. That's why he ran
from me outside your office. Butonce he'd gotten in over his head,
Sue is not that mean, Regan. She just need to understand. I
heard that once before. But evenJimmy Lytton couldn't take her any longer.
He was leaving her cold, soshe shot him. And you're taking the
rap statement, Reagan. You saidyou'd give me ten minutes. Reagan,
(26:15):
you're just making it hard on everybodythere is very well, but there must
be facts. Sand She let meread that statement first. Any weary you
read it, Regan, mister Regan, place to Regan, you're just obstructing
justice. You know I could haveyour run in Sanduc. It says here
(26:37):
the body was found with bruises aboutthe face, a cut under the eye.
That's right, But you left thatpart out of it at first.
But when we examined that body,he admitted there'd been a few blows between
them at rot Mister Regan, I'dforgot that part, and do she Butterfield
didn't fight with Lytton. He's lying, Reagan, get out of here.
Wait a minute. You said hetold you they exchanged blows. Did you
(26:57):
find bruises or cuts on Butterfield yetLitton was beaten about the face Lytton,
a man almost twice the size ofButterfield, has found beaten, but Butterfield
hasn't got a scratch on him,So that still does not prove he proves
Wellington. Butterfield lied. If helied once, he lied for all of
it. I know sand Duchy becauseI'm the guy who gave Litton those cuts
and bruises Regon for the last time. Then I exchanged the blow sand Duchy
(27:22):
outside the Blue Club. It wasjust after that that Litton ran inside him
was killed. When you found thebruises, Butterfield had to change the story
to make it fit. I'm helied again about being alone in the room.
He just told me his wife wasthere with him. That's right,
Butterfield yes, sir, Sue wasSue was women. How many lies can
you take? Sand Duchy? Howmany lies before you wake up? This
(27:45):
man's covering all the way, tryingto take the raft oh Reagon for his
wife. Mister Regan, you shouldn'thave said that I had enough, san
Ducci, give me a motive.Reagan Lytton was running around with Butterfield's wife.
She fell for him, but thenhe ditched her. Lytton's wife told
(28:06):
me he was leaving town, notwith Sue Butterfield, like I thought.
Lytton was pulling out alone. Iam still listening. Sue Butterfield wanted Lytton
to kill her husband. He turnedher down, and she couldn't take that
woman scorn. San Duci, shehad to kill him. He could have
testified against her. Butterfield, you'vegot anything to say about that. She
(28:30):
Sue loved Lytton. She told methat she didn't never love me. I
tried to be what she wanted itI did. I tried to write music.
It did sell and make a lotof money so she wouldn't have to
work. It just wasn't my kindof music. I always feeled her it
(28:52):
was my fault. Don't you seeif I'd only have been what she wanted
me to be, this, thiswould not happen. Yeah, Letton came
into a dressing room. You're angry. He blamed Sue for bringing the detective
mister rigging into it. They saidthings to each other, Sushan. Then
(29:19):
you took the gun and made herleave. You took all the guilt,
all the blame for everything she wasand stood for. I had enough,
Sain duci. But it was myfault, don't you see I've had enough
(29:41):
freaking I gave a statement, Liliangave a statement. Sue Butterfield came to
jail with a bevy of lawyers.Didn't figure the lawyers do much good?
And I was sick of a smellof magnolia blossoms. Oh yes, Reagan,
(30:34):
where have you been resting, fatSo, resting and relaxing? How
are you still working for the LionDetective Agency or have you retired from active
duty? Now? Lion, thecase was only closed a couple of hours
ago. Well, at least youcould have done this report back to me.
After all, I'm interested in thewelfare of our clients. Sorry,
fat So, Well, we'll forgetit. For now, e Jeoffrey,
(30:56):
I have here in mister Harrington.He says he wants us to handle his
casion. I believe he needs ourhell just a minute, FATSI, okay,
fatsol Shoot well, Jeffrey. Ourclient is a most unusual case.
It seems he was out driving theother day in his new Nash Ramblers.
Now he had the top down,so he didn't notice there was a helica,
(31:19):
and so actually he was shocked shutout of the helicopter. I said,
Lou, you mixed good drinks.Now our client, Frey, are
you taking all this down? JeffReagan Investigator is written by William Prugans William
(31:52):
Fifield, produced and directed by SterlingTracy, and stars Paul Above as Regan,
with Frank Nelson as Anthony jay LyonGital Music is by Dick Ran.
Jeff Regan Investigator has hurt Each weekat the same time over CBS, Bob
Stephenson speaking inviting you to be withus again next Wednesday at nine for more
suspense and mystery and adventure with JeffRegan Investigator. Welcome back. Well an
(33:36):
interesting episode in a number of ways, and we'll talk about dubalve In a
moment. I think that it's interestingin that it does seem to add a
bit more drama than what we gotduring the original period, where Frank Graham
was in the wrong or often thannot, the people who darken the door
(34:00):
of international tended to be oddballs,and these stories kind of served a big
comedic interest. Here, you getmore of a touch of drama, like
there's a little bit of reality andwhite to the events that happened that affect
the guest characters, and they avoiddoing it in a way that makes the
(34:25):
story dour or overly down be There'sstill some really fun parts in it,
but it does have more of thatsense of these events did have some real
consequences for real people. Also.I don't know if I've ever heard Barton
Yarborough sing, but it was niceto get to hear that, at least
(34:49):
for a few seconds on the episode. Now. Paul Dubov was a quintessential
character actor, and throughout most ofhis career he played a lot of supporting
rules. Beyond his time on JeffRegan, his other big acting credit was
being the second voice of Frank Raceafter the first star, Tom Collins departed.
(35:15):
He did get into writing as hegot older, and I worked with
his wife on several projects. Theyhelped to create the TV series Honey West,
among other things. Well, somelistener comments and feedback Now, and
we start with an email. Thiscomes from an Keene who writes, Hi,
Adam, I've been listening to yourpodcast over eight years now, and
(35:38):
today I reached an exciting milestone.I finally, after starting from episode one,
am completely caught up for the firsttime. I want to tell you
how much your show has meant tome. It's a true treasure. I'm
so grateful that you brought Johnny Dowler, Boston Blackie, Richard Diamond, and
Dan Holiday into this decade. Thankyou for keeping those great detectives in my
(36:02):
life and all of our lives.Well, thank you so much. I'm
glad you've enjoyed it, and congratulationson getting caught up. It really does
take a while, because if youstarted eight years ago, you know there
was already a thousand episode backlog.So I appreciate you sticking with it and
(36:23):
sticking with me as well. Soappreciate your comment and congratulations. And then
David says, thanks for all thebest radio shows from the golden era of
Radio Entertainment. All the best fromIreland and have a great Christmas. Well,
thank you so much, David.Ireland's Aloys been on my list of
(36:45):
places I'd like to visit and gettinga note from there is great and I
appreciate you sending it and I hopeyou have a great Christmas as well.
All right, well, now itis time to thank our Patreon supporters of
the day. Thank you to Robert, Patreon supporter since August twenty sixteen,
currently supporting this show at the sealmust level of four dollars or more per
(37:09):
month. Again, thank you somuch for your support, Robert, and
that will do it for today.If you are enjoying this podcast, please
be sure to rate and review itwherever you download your podcast from. We'll
be back next Tuesday with another episodeof Jeff Reagan. But coming up tomorrow
check out The Man Cold at whereamen as It's the desk And he studied
(37:34):
the papers in front of him unready, his fingers tapping rhythmically against the publicstin
may. His white face mirrored inthe dec New World. Yeah, come
in, come in. He hadto hope you would come. Oh I
am sorry, I was expecting someoneelse what can I do? These are
(38:10):
the reports from the Commissioner's office inVienna, can and I've been through him.
Chief Jack Woods Billhelm Little is deadand all we get his words,
I know, but what can youexpect in a place like that, the
city divided into four sectors and aninternational zone. It's practically impossible to run
down as killer. And even ifyou're dead, don't forget. The Russians
(38:31):
have been trying to close down Littlenewspaper for the last five years, and
Chief, if I hit, wasthe last great free newspaper in Eastern Europe.
Yeah, I know you've heard aboutthe fight for his ownership. Well
I did read something. There's twochildren fighting each other over the inheritance from
drag on for months years and therewon't be an issue of published until it
(38:52):
settled. But Kim, it's notthe first time a brother and a sister
got into a squabble over a will. They went just rather than assistant Chief.
They were closer to each other thanlet any two kids out of the
sea. People do change, notthat much. I'd take my life on
it. Yeah, take a lookat this cable. When will you visit
(39:15):
Vienna again? Solaria yeah, itwas sent with than a few hours of
my father's murder. Chief I'd liketo go to Vienna. Sure, I
can. Hope you'll be with usthen. In the meantime, do send
your comments to Box thirteen at GreatDetectives dot net. Check us out on
(39:35):
Instagram, Instagram, dot com,slash Great Detectives from boise Ida Hole.
This is your host, Adam Graham. Sign and off.
Welcome to the Great Detectives of OldTime Radio from Boise I to hold this.
Who is your host, Adam Graham. If you have a comment,
email it to me bucks thirteen atGreat Detectives dot net. Follow us on
Twitter at Radio Detectives, and checkus out on Instagram, Instagram, dot
(00:50):
com, slash Great Detectives. Well, I don't want to encourage you to
check out our other podcast, includingThe War go to the War War dot
Great Detectives dot net. In thatseries, we followed America through wartime via
radio, including news and commentary programs, comedies, dramas, mysteries, and
(01:14):
we actually did a whole series ofwartime Christmas programs in December twenty thirteen.
And it's all available at The Wardot Great Detectives dot net. And you
can find all of our other podcastsover at the Great Detectives of Old Time
Radio. Well, we're gonna getinto Jeff Reagan in a moment, but
(01:34):
I do need to talk about acasting change that's a kind of unique and
probably a change in how we lookat this particular run at Jeff Reagan.
Typically, the entire nineteen forty ninefifty season is called the Frank Graham episodes
of Jeff Reagan. I'm beginning Ithink we should probably view this mor as
(01:56):
the Frank Graham and Paul Dubov episode. Dubob took over as Jeff Reagan on
April the twelfth of nineteen fifty andcontinued on until May twenty sixth of nineteen
fifty, for a total of sevenweeks. Now, when we first did
Jeff Reagan, we had thirteen episodesof the series, twelve of which we're
(02:22):
Frank Graham and one of which ispulled Duvolf. And then in twenty seventeen
we added two more of Graham andone more of Dubob. With this run,
we're going to have whole seven ofDubob's episodes, which is a huge
chunk of this season. And thisis such an unusual situation because we've had
(02:46):
situations where someone fills in for alead actor for an episode or two,
but not really for seven weeks,and then the lead actor comes back and
continue on for another three months.That's an autypically a thing that happened.
Nevertheless, it does here now.I have actually in twenty ten, I
(03:08):
played the third episode with Paul Duboff, and then in twenty seventeen, we
played the first episode, so we'regoing to have the first three complete now
as we're going to bring you thesecond episode with Paul Duboff. The original
air date on this one is Aprilnineteenth, nineteen fifty and the title is
(03:32):
the Smell of Magnolias. My name'sReagan. I worked for Anthony jay lyon
Detective Bureau. They call me theLion's Eye Jeff Regan, Investigator, starring
(04:00):
Paul de Bov as Reagan, withFrank Nelson as Anthony jay Lyon to stand
by for mystery and suspense and adventurein tonight's story titled The Smell of Magnolias.
(04:20):
Wellington Butterfield was a songwriter who wrotetone poems with one finger. Using
both hands, he was capable ofwriting even more impressive ditties. The question
was Wellington Butterfield capable of murder?It began without benefit of overture, in
the office of my boss, AnthonyJ. Lyon one beaming Monday. Anthony
(04:43):
j was on the phone and Iwalked in to look on his face.
Said easy credit terms, no moneydown, no, no, you won't
have to worry about his saying nothing. They it just sit tight now,
said one of my men right out. Yes, I'll thank you, mister
Butterfield. Good day, Good morning, Jeffrey, you client. Yes,
indeed, Jeffrey is a lion.Detective agency is on its told as usual.
(05:09):
Nothing like an efficient organization. Ialways say, you'll send one of
your men out. I heard thatpart of it. Well, now,
Jeoffrey, there might be other menworking for me. Your business picks up
the way it has been well,I you, I may have to increase
the serf at a secretary maybe,Jeoffrey. What a delightful idea, A
(05:30):
thirdly delightful idea. But first wehave to pick up the extra business your
business. Oh oh yes, misterButerfield, I almost forgot you. Better
run right out there, Jeffrey.His office is in the year Johnson Building,
Hollywood. Yeah, a secret lion. And mister Butterfield happened to mention
why he wanted a private detective.He blunder Brunette. That's cut it off.
(05:55):
Oh oh yes, mister Butterfield.Oh yes, he did say something
about a small redhead problem. Letme see m day. Oh, I've
got it. He thinks someone istrying to murder his wife. What would
use at a cute little redhead.The lion got lost in his dreams of
(06:18):
redheads, and I drove out toHollywood and the Johnson Building, two stories
of old stucco covered with more coatsof paint than there were tenants. The
Johnson Building used to be a moviestudio, then studio dressing rooms. Now
tiny cement offices with skylights and battereddoors. Every office on the second floor
faced onto a passageway without a roof. Penhouses. For twenty five bucks a
(06:40):
month. I went up, dodgedthe rooftop ventilators, the broken glass from
windows that hadn't been repaired since Metromet Goldwyn. Hanging above each office was
a shingle. One said notary publicand music copyist. Another one said artwork
reasonable, another one said quiet,keep out. The last one down the
passageway said Wellington Butterfield. I stoodin front of the door and listened,
(07:08):
and the Johnson Building. You don'tknock, you just walk in. Oh
Hi, you're heard him? Yeah, not bad, not bad at all.
Oh, that's not really my kindof music. On It's what I
wanted you to hear. Something else. You like it, mister king?
Sure now don't say anything till youhear. Oh, the blue bonnets is
(07:35):
blooming the Texans, but they won'tbloom for me very long. She still
waits for me, but I'll neversee the blue bonnets blooming down. Did
you say you weren't, mister Kingof King's Music, Bubby. My name's
(07:55):
Regan, Lion detectivations. Oh ohoh, mister Regan. I'm I'm glad
you came. I want to tellme the story. Wellington, just call
me Wellie, mister Reagan. Myfriends call me WELLI welly well well,
sir. It's about Sue. Sueis my wife. Somebody, somebody's going
(08:16):
to kill her, mister Regan.She'll tell you that. Oh no,
no, sir. You see,I was out at the Blue Club one
night. Sue sings there, andI heard voices from her dressing room.
He was saying mean and angry things. This man was go on. But
when I came in, the manwas gone and my wife, Sue,
Sue was crying. She'll tell youwhat the man said. She wouldn't talk
(08:39):
about it, mister Regan. Shejust wouldn't talk about it, that's all.
Well. Finally she admitted that hewanted to kill her, but she
wouldn't say who it was. Youjust got to help her, mister Regan.
You it's all my fault. Ifanything happens, it's all my fault.
Why well, you think I likesitting here day after day writing songs
(09:01):
nobody or buye while my wife workssix nights a week in a nightclub.
You think I like it, misterRegan. Okay, take it easy,
Willie. She needs watching, misterRegan, lots of watching, and and
you got to do it. Okay, I'll watch. Oh, don't let
her out of your sight, notnot for a minute. You love her
(09:22):
a lot, don't you, Willie, more than anything. And it's the
whole world, it's rigging. Youdon't have any idea who the man was,
No, I don't. You're sureyou're not leaving something out of the
story, mister Reggan, at atime like that, Okay, I'll run
out here, Wester Reagan is there'sjust one thing. Don't tell Sue that
(09:45):
you're a detective. He wouldn't likeit at all of us. You know
you understand, Sure I understand.And you may meet the man that leaves
the orchestra, mister Lytton, don'tyou say it work to him. You
don't like little, don't lack him, mister Regan, I'd lack the key.
(10:11):
The story was smooth, but mixedup, like pancake batter after a
bout with a mixmaster. I leftWellington. Butterfield hunched over his piano outside.
Footsteps in the passageway made me turn. Suddenly, moving down the corridor
away from Butterfield's window was a tallman in a blue sport coat and gray
flannels. He moved not like aman leaving an office, but like a
man leaving a keyhole. I startedafter him. Come in out of the
(10:35):
sun, Regan, you might getfreckles standing in the open doorway on my
left. A blonde, a realblond. Reel all the way either way
you started looking. I went in. My name's Million, your name's Regan.
(10:56):
You work for the Lion Detective Agency. And Welly Butterfield just hired to
have a cigarette. Thanks. Welly'soffice is right across the passageway. It's
a hot afternoon. He keeps hiswindows open. I keep my windows open.
Anything else, as a matter offact, there is I was about
to follow a guy. When youopened your door. You wouldn't have been
trying to stop me from doing that? Would you, Drake? You would
(11:20):
Reagon. When you follow people,you find out things. You find out
things, people get hurt. Idon't like to see people get only in
your case, it's too late atit. You called Butterfield welly, you're
a friend of his, we're practicallyrelated his wife, my husband. Come
again, the man you've caught spyingon Wellington? Butterfield's my husband. I
(11:45):
forgot to tell you my last name, didn't I It's Litton. My husband's
the orchestra leader at the Blue Club. Change your mind about that? Drink?
Yes, yes, I changed mymind, all right, mister detective.
Drink like a movie hero and saywhy is a nice girl like you
running a publicity office? Or isthat the woman? What about Sue?
(12:09):
Butterfield and your husband live? They? My ears may be big, but
they're also delicate. Who's out toget Butterfield's wife? Every man within reads?
Have you seen it? Hm?Slick, little brunette, willowy,
soft like an agnolia blossom? Twiceit's clad. Only your husband doesn't think
(12:31):
so. I worked forty hours aweek, Regan. What my husband thinks
hasn't bothered me in over two years? What about divorce? I'm the old
fashioned type, you know, Freddycurtains, barbershop quartets and Mary's. I
believe in all of Litton doesn't.I tried, He doesn't. Why would
Litton water kill Butterfield's wife. Itmay be a snake, Reagan, but
(12:54):
he doesn't growl that low. You'reon the wrong crack. It fits that
way, the voice Butterfield heard behind. Maybe you'd better leave, Regan.
I don't want to begin to dislikeyou. Where was Litton going when I
saw him a minute ago out oftown? He left for good? He
is good? My goods toss up? It begins slowly in quick, aren't
(13:18):
they? Regan Sue Butterfield, whowants to kill her? Lil? Maybe
I do, Regan. The onlytrouble is I'd have to stand in line.
Okay, forget it? Like Isaid, Regan, maybe you'd better
leave. I don't want to beginto dislike you. If Wellington Butterfield was
(13:43):
lying, it didn't check with Lilian. Litton put both their stories together,
and Sue Butterfield looked like a candidatefor miss Mortuary of nineteen fifty, there
were still two precincts yet to beheard from Lil's husband and Butterfield's wife.
I headed my car for the BlueClub middle afternoon as rehearsal time on the
(14:05):
strip. It was that way atthe Blue Club. The sign outside said
Jimmy Litton and his orchestra. Thevoice of Sue Butterfield inside the orchestra,
without benefit of Litton, was warmingup on what passed for a rumba.
I wanted a round backstage to thedressing rooms. Found a door that said
Missus Butterfield, and knocked. Shewas everything little said, even including the
(14:31):
magnolia blossom in her hair. Wedon't just stand there, Please come in.
I'm Sue Butterfield. But then youprobably already knew. My name's Regan.
Yes, and what did you wishto speak to me about your husband?
Missus Butterfield? Call miss Sue?Now? What about Willing? He's
worried, Missus Sue worried about you? Got me without certainly Sam silly?
(14:56):
Why are no? I pretty worryabout me? He thinks you're in trouble,
Regan, Why are you concerned inthis? I'm a friend of Welli's
I see, Well, then Iappreciate your interest. But really nothing could
be sillier. Oh now I seesee what he's worried about. Jimmy Jimmy
Litton. Isn't that ridiculous, isit? But of course Jimmy and I
(15:18):
am merely close friends, just becausewe worked together every night on the band
stand in time. Yeah, misSteven Amon, Oh sure, so you
see, mister Riggan, it's allnonsense. Wellington sometimes drives my patience.
Why you shouldn't mate Jimmy, youshould didion. Poor Jimmy is just a
(15:39):
lone, misunderstood man. I'm kindof a mother to him. Mother.
I like people, mister I don'tlike seeing in blue. Jimmy is blue.
So yeah, sure, missus,Sue, thanks, thanks a lot.
And you tell Welling And he shouldhave asked me before spending the money,
(16:02):
spending the money, spending the moneyto hire a prime. I got
out of there in a hurry,out the back entrance around of the parking
lot, and I saw him,blue sport code, gray flannels, getting
out of his car, glancing bothways, closing the door. He looked
(16:23):
scared, very scared, and hisname was Jimmy Litton. Lit I beg
your pardon. You don't remember me. Look please, I'm gonna hurry.
I'm late for you. I'm theguy who was with Wellington Butterfield. When
you look in on us, youremember that, don't you? Please?
Please leave me alone? Well,yeah, I haven't done anything. Nobody
said you have. I just wantto ask you a few questions. Questions,
(16:45):
no, no, no, notnow, some other time. I
really can't stay calm down, lettingyou're getting upset over nothing like a my
arm. Now, litten, It'llgo better the way you want to play
it. James Litton. Dust onhis gray flannels, grease on his monogram
(17:06):
white sport shirt, blood on hischeek, running back inside the Blue Club,
trying to restore his ego and thecrease in his trousers at the same
time. More scared than I thought, I lit a cigarette, headed back
to my car, sat there thinking, but not for long. It came
(17:26):
from the Blue Club, from backstagenear the dressing room. I got to
the doormark Sue Butterfield kinked it open. Two people in Sue Butterfield's dressing room,
Jimmy Lytton and Wellington Butterfield. Lyttonwas the one on the floor dead.
You don't have to look any further, mister Reagan. Actially, I
(17:51):
took the gun out of the littleman's hand and felt sick. Then I
got up and locked the door.Why why did you kill him? It's
like I told you, mister Rigging. He came in here, he shouted
at me, and I saw whatdid he shout at you? Well,
it was something nasty, something I'drather not but that you killed him.
(18:15):
I told you this morning, misterRiggan. I told you I hated him,
that I'd like to kill him.Let's try it once more. You
came out here to see Sue yourwife. Yeah, I tried, mister
Riggan. You came to her dressingroom and she was gone. Yeah.
I tried, mister Rigg, andJimmy Lytton burst into the room. He
said something you got mad? Shothim? Yes, sir. Where did
(18:37):
you get the gun? What Itold you? It was in a dresser
drawer your wife's gun. Yes,mister Raggen. Litton just stood there while
you went to your wife's dresser,took out a gun and killed him.
Mister Reagan, I told you hedidn't know what I was covering for.
Somebody, aren't you? Welly,No, sir, you're covering for somebody.
It's too pad, too easy,too simple. No, no,
no, I'm not covering for anybody. Well he listened to me. What
happened? What really happened? Youdidn't kill it? And did you?
(19:00):
You're covering for somebody. I killhim, I kill him, mister Ricket.
Okay, welly, we'll call thepolice. Lieutenant sand Ducci came and
went and took Wellington Butterfield with him. I waited around for nothing for a
(19:22):
rumba band that quit practicing, onlylong enough for the sound of the police
are under fade like a bad tastein your mouth, and then start practicing
again. I went to the barout front and found Sue Butterfield coming in
the front door. Here, mister, I thought you might leave with those
police. Gentlemen, I like toooze out. Then, if you will
excuse me, I have for her. You got a minute? We really
(19:45):
all right, It will only bea minute. Mister Eaton, do you
think your husband killed Litton? Butit's just like I told him. Mister
Wellington should never have hated Jinny.It should have felt pitiful. You didn't
answer my question. Well, misterReegan, you'd hardly like a wife.
I think her husband guilty. Wherewere you, I beg your guys when
it happened? Where were you backstagechanging my garten a rehearsal. Yeah,
(20:10):
for all, miss Regan. Ihad to see if it look all right?
What a night. But you didn'tuse your dressing room. Somebody put
my dress in the wrong room.I won't there alone. It's Reegan.
In the tone of your con oh, never mind, forget it. Well,
listen to the way you talk aperson. I said, forget it,
missus. Butterfield. The orchestra iswaiting. The slow eyed brunette drifted
(20:32):
down to the band stand like milkleaves in a Southern breeze. And then
suddenly I couldn't stand the air aroundthe Blue Club. I drove back to
Hollywood. Reagan, mind if Icome in, Lilan, I'm sorry about
(20:56):
this afternoon. It's okay, LittleThey can something bothering you, something you
don't like. I know, Ican't tell your husband's dead, little hut.
He was shot an hour ago,your kid, No, oh,
you're not kidding. I found himin Sue Butterfield's dressing room. Butterfield had
(21:18):
the gun in his hand. Well, yeah, yeah, I know.
I told you this morning about myhusband, and you don't have to let
me finish. I told you,Jimmy and I the way it is was,
I said, I stopt kring whathe did two years ago. I'm
in at Regan. I'm not gonnalie to you now. Thanks little he
was smooth and slick and clever.He's dead. Let's forget it. I've
(21:40):
got to know something. It's alittle It's important that I know. Well
a Butterfield wouldn't kill a man,not even my husband. Well, he
worked over there, right across theway from me. I knew him.
Regany wouldn't kill a man. Iknow that, but you just Wellington said,
gun in hand. He told mehe shot your husband. For thirty
minutes, he stuck to it.Isn't there anything you can do anything?
Or mix a drink? She mixeda drink, two of them. Lilian
(22:07):
littened the dead man's widow, andwe drank the drinks and talked about everything
and nothing, and not murder orher dead husband or the little man on
the weight of the gas chamber.But it wouldn't stay that way. I
borrowed Lilian Litton's phone and call theLion, Anthony J. Jeoffrey. I
was hoping you'd check in if misterButterfield call. He called from the police
(22:30):
station, Jeoffrey. Our clients committedmurder. That's why I call you,
Lieutenant. Sanducci told him he couldmake the call if mister Butterfield just wanted
to thank you for everything? Isthat all he told me? It wasn't
your fault. Did you tried tohelp him? He said he was getting
ready to sign a confation. Hedidn't tell you anything else, Fatso,
No, he sounded so sad,Jeffrey, Why did he kill the man?
(22:51):
Later? Fats? But I thoughtit was his wife who was in
Dan that's it. Hang up,Fats, So you're wasting time. The
lion was wasting time, all right. I told Lil i'd see her later,
and had my car towards City Hall. If I pushed the speed limit,
I might get there before Sanduch.She could have the little man's statement
typed up for signature. I gotthere, Hallo, Regan, what's the
(23:14):
hurry, Sanducci? Did Butterfield signyet? No? Not take it easy,
Regan. My Stan's typing it up. He was getting excited. Butterfield
didn't kill that man. I knowhe didn't. Oh that's an interesting twist.
Man comes to me asking to belocked up by new say, is
not guilty. What's your evidence?I haven't any not yet, but give
me time time to talk my numberone inmate out of a confession. Are
(23:36):
you crazy, Regan? Listen,Sanduci, Butterfield is taking the rap for
somebody else. He's that kind ofa guy. Well, it's a twist,
all right, nicest story as I'veheard. Give me ten minutes with
him, Sanduchi, just ten minutes. Give me a chance to get the
real story. Rig and you're steppingout of bounds. I know you want
to protect the client, but messingwith an opening shot case, it's something
else. Yes, I got thatstatement ready for the prisoner to sign.
(24:00):
Lieutenant good bring it in. Reallyhurt him, Reagan, sand Ducci.
Ten minutes, that's all I asked. Just ten minutes. Thanks, thanks
a lot. The turnkey took meto the cell of Wellington Butterfield and I
was on my own. Hello,mister Reagan, Well he listened. They've
(24:23):
got a statement in, they're alltyped up. Sign it and you've got
a season's passed to the gas chamber. Yes, Toronto knows that. Wellie,
it's your life. You were alonewhen you shot Litton. I told
you that, mister Reagan. Yourwife wasn't in that room. You're forgetting
something, aren't you. Wellie,Sue wasn't the room changing costume when Litton
(24:45):
burst in. She told me that, welly she did. She said she
was behind the screen, putting onthe dress she was going to wear for
the show. How come you forgotthat? Well, it musted just mamma,
sure it did. Your wife toldme something else, Well, she
said, nobody threatened her life.Well, mister Regan, I know better.
(25:08):
I heard go on, mister Regan, I don't like what you're trying
to make me say, and I'llsay it for you. You lied lie
to me about Sue's life and danger. Sure, you overheard a conversation in
her dressing room, but there's nothingwrong with your ears. You knew what
they were saying. They Sue andJimmy Lytton. Sue was asking Lytton to
(25:30):
kill you. You knew that.That's why you hired me to watch her.
You loved her too much to turnher over to the police, so
you hired me to protect yourself.But that doesn't mean I didn't kill Lytton.
Suell testified she saw me do it. How could she have seen you
do it when she was behind thescreen dressing. Well, your story so
crossed up. Well even you can'tmake sense out of it. Well,
your wife wanted Jimmy Lytton to getrid of you. He backed out.
(25:52):
That's why he was so frightened whenI saw him. That's why he ran
from me outside your office. Butonce he'd gotten in over his head,
Sue is not that mean, Regan. She just need to understand. I
heard that once before. But evenJimmy Lytton couldn't take her any longer.
He was leaving her cold, soshe shot him. And you're taking the
rap statement, Reagan. You saidyou'd give me ten minutes. Reagan,
(26:15):
you're just making it hard on everybodythere is very well, but there must
be facts. Sand She let meread that statement first. Any weary you
read it, Regan, mister Regan, place to Regan, you're just obstructing
justice. You know I could haveyour run in Sanduc. It says here
(26:37):
the body was found with bruises aboutthe face, a cut under the eye.
That's right, But you left thatpart out of it at first.
But when we examined that body,he admitted there'd been a few blows between
them at rot Mister Regan, I'dforgot that part, and do she Butterfield
didn't fight with Lytton. He's lying, Reagan, get out of here.
Wait a minute. You said hetold you they exchanged blows. Did you
(26:57):
find bruises or cuts on Butterfield yetLitton was beaten about the face Lytton,
a man almost twice the size ofButterfield, has found beaten, but Butterfield
hasn't got a scratch on him,So that still does not prove he proves
Wellington. Butterfield lied. If helied once, he lied for all of
it. I know sand Duchy becauseI'm the guy who gave Litton those cuts
and bruises Regon for the last time. Then I exchanged the blow sand Duchy
(27:22):
outside the Blue Club. It wasjust after that that Litton ran inside him
was killed. When you found thebruises, Butterfield had to change the story
to make it fit. I'm helied again about being alone in the room.
He just told me his wife wasthere with him. That's right,
Butterfield yes, sir, Sue wasSue was women. How many lies can
you take? Sand Duchy? Howmany lies before you wake up? This
(27:45):
man's covering all the way, tryingto take the raft oh Reagon for his
wife. Mister Regan, you shouldn'thave said that I had enough, san
Ducci, give me a motive.Reagan Lytton was running around with Butterfield's wife.
She fell for him, but thenhe ditched her. Lytton's wife told
(28:06):
me he was leaving town, notwith Sue Butterfield, like I thought.
Lytton was pulling out alone. Iam still listening. Sue Butterfield wanted Lytton
to kill her husband. He turnedher down, and she couldn't take that
woman scorn. San Duci, shehad to kill him. He could have
testified against her. Butterfield, you'vegot anything to say about that. She
(28:30):
Sue loved Lytton. She told methat she didn't never love me. I
tried to be what she wanted itI did. I tried to write music.
It did sell and make a lotof money so she wouldn't have to
work. It just wasn't my kindof music. I always feeled her it
(28:52):
was my fault. Don't you seeif I'd only have been what she wanted
me to be, this, thiswould not happen. Yeah, Letton came
into a dressing room. You're angry. He blamed Sue for bringing the detective
mister rigging into it. They saidthings to each other, Sushan. Then
(29:19):
you took the gun and made herleave. You took all the guilt,
all the blame for everything she wasand stood for. I had enough,
Sain duci. But it was myfault, don't you see I've had enough
(29:41):
freaking I gave a statement, Liliangave a statement. Sue Butterfield came to
jail with a bevy of lawyers.Didn't figure the lawyers do much good?
And I was sick of a smellof magnolia blossoms. Oh yes, Reagan,
(30:34):
where have you been resting, fatSo, resting and relaxing? How
are you still working for the LionDetective Agency or have you retired from active
duty? Now? Lion, thecase was only closed a couple of hours
ago. Well, at least youcould have done this report back to me.
After all, I'm interested in thewelfare of our clients. Sorry,
fat So, Well, we'll forgetit. For now, e Jeoffrey,
(30:56):
I have here in mister Harrington.He says he wants us to handle his
casion. I believe he needs ourhell just a minute, FATSI, okay,
fatsol Shoot well, Jeffrey. Ourclient is a most unusual case.
It seems he was out driving theother day in his new Nash Ramblers.
Now he had the top down,so he didn't notice there was a helica,
(31:19):
and so actually he was shocked shutout of the helicopter. I said,
Lou, you mixed good drinks.Now our client, Frey, are
you taking all this down? JeffReagan Investigator is written by William Prugans William
(31:52):
Fifield, produced and directed by SterlingTracy, and stars Paul Above as Regan,
with Frank Nelson as Anthony jay LyonGital Music is by Dick Ran.
Jeff Regan Investigator has hurt Each weekat the same time over CBS, Bob
Stephenson speaking inviting you to be withus again next Wednesday at nine for more
suspense and mystery and adventure with JeffRegan Investigator. Welcome back. Well an
(33:36):
interesting episode in a number of ways, and we'll talk about dubalve In a
moment. I think that it's interestingin that it does seem to add a
bit more drama than what we gotduring the original period, where Frank Graham
was in the wrong or often thannot, the people who darken the door
(34:00):
of international tended to be oddballs,and these stories kind of served a big
comedic interest. Here, you getmore of a touch of drama, like
there's a little bit of reality andwhite to the events that happened that affect
the guest characters, and they avoiddoing it in a way that makes the
(34:25):
story dour or overly down be There'sstill some really fun parts in it,
but it does have more of thatsense of these events did have some real
consequences for real people. Also.I don't know if I've ever heard Barton
Yarborough sing, but it was niceto get to hear that, at least
(34:49):
for a few seconds on the episode. Now. Paul Dubov was a quintessential
character actor, and throughout most ofhis career he played a lot of supporting
rules. Beyond his time on JeffRegan, his other big acting credit was
being the second voice of Frank Raceafter the first star, Tom Collins departed.
(35:15):
He did get into writing as hegot older, and I worked with
his wife on several projects. Theyhelped to create the TV series Honey West,
among other things. Well, somelistener comments and feedback Now, and
we start with an email. Thiscomes from an Keene who writes, Hi,
Adam, I've been listening to yourpodcast over eight years now, and
(35:38):
today I reached an exciting milestone.I finally, after starting from episode one,
am completely caught up for the firsttime. I want to tell you
how much your show has meant tome. It's a true treasure. I'm
so grateful that you brought Johnny Dowler, Boston Blackie, Richard Diamond, and
Dan Holiday into this decade. Thankyou for keeping those great detectives in my
(36:02):
life and all of our lives.Well, thank you so much. I'm
glad you've enjoyed it, and congratulationson getting caught up. It really does
take a while, because if youstarted eight years ago, you know there
was already a thousand episode backlog.So I appreciate you sticking with it and
(36:23):
sticking with me as well. Soappreciate your comment and congratulations. And then
David says, thanks for all thebest radio shows from the golden era of
Radio Entertainment. All the best fromIreland and have a great Christmas. Well,
thank you so much, David.Ireland's Aloys been on my list of
(36:45):
places I'd like to visit and gettinga note from there is great and I
appreciate you sending it and I hopeyou have a great Christmas as well.
All right, well, now itis time to thank our Patreon supporters of
the day. Thank you to Robert, Patreon supporter since August twenty sixteen,
currently supporting this show at the sealmust level of four dollars or more per
(37:09):
month. Again, thank you somuch for your support, Robert, and
that will do it for today.If you are enjoying this podcast, please
be sure to rate and review itwherever you download your podcast from. We'll
be back next Tuesday with another episodeof Jeff Reagan. But coming up tomorrow
check out The Man Cold at whereamen as It's the desk And he studied
(37:34):
the papers in front of him unready, his fingers tapping rhythmically against the publicstin
may. His white face mirrored inthe dec New World. Yeah, come
in, come in. He hadto hope you would come. Oh I
am sorry, I was expecting someoneelse what can I do? These are
(38:10):
the reports from the Commissioner's office inVienna, can and I've been through him.
Chief Jack Woods Billhelm Little is deadand all we get his words,
I know, but what can youexpect in a place like that, the
city divided into four sectors and aninternational zone. It's practically impossible to run
down as killer. And even ifyou're dead, don't forget. The Russians
(38:31):
have been trying to close down Littlenewspaper for the last five years, and
Chief, if I hit, wasthe last great free newspaper in Eastern Europe.
Yeah, I know you've heard aboutthe fight for his ownership. Well
I did read something. There's twochildren fighting each other over the inheritance from
drag on for months years and therewon't be an issue of published until it
(38:52):
settled. But Kim, it's notthe first time a brother and a sister
got into a squabble over a will. They went just rather than assistant Chief.
They were closer to each other thanlet any two kids out of the
sea. People do change, notthat much. I'd take my life on
it. Yeah, take a lookat this cable. When will you visit
(39:15):
Vienna again? Solaria yeah, itwas sent with than a few hours of
my father's murder. Chief I'd liketo go to Vienna. Sure, I
can. Hope you'll be with usthen. In the meantime, do send
your comments to Box thirteen at GreatDetectives dot net. Check us out on
(39:35):
Instagram, Instagram, dot com,slash Great Detectives from boise Ida Hole.
This is your host, Adam Graham. Sign and off.
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