September 29, 2025 • 29 mins
Rocky Jordan was a radio series about an American restaurateur in Cairo who each week became involved in some kind of mystery or adventure. The show was broadcast between 1948 and 1951. The two lead roles were those of Rocky Jordan and Captain Sam Sabaaya of the Cairo Police. For most of the show's history Jordan was played by veteran radio actor Jack Moyles, but he was later replaced by a movie star, George Raft, for the brief period in 1951. Jay Novello played Sabaaya throughout the entire series.
Hope you enjoy this episode of Rocky Jordan! Find more classic radio series at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
Hope you enjoy this episode of Rocky Jordan! Find more classic radio series at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
I'm now for Rocky Jordan. Not far from the Musque
Sultan Hassan in Cairo stands the Cafe Tambourine, run by
(00:25):
Rocky Jordan. The Cafe Tambourine crowded with forgotten men alive
with a babble of many languages. For this is Cairo,
where modern adventurer infrigue unfold against a backdrop of antiquity.
Tonight's story the makeup man, he's.
Speaker 2 (00:59):
Sure, and by a guide book. If you ever come
to Carol, it'll come in pretty handy. I'll tell you
about the pyramids and the religion, and the people to
drink plenty of boiled water and move slow, and the
kind of clothes to wear so you'll be able to
handle a heat. But the guy I met yesterday must
have quit school earlier, or he didn't like guide books.
(01:19):
He was standing at my door in a cutaway coat
and pinstriped pants, derby hap cane gloves, elevated shoes, and
a fist full of.
Speaker 3 (01:27):
Egyptian pound notes.
Speaker 4 (01:28):
You are, mister Jordano, I mix Bloveney have come to
see you only.
Speaker 3 (01:32):
Pointed that's right, I'm Jordan. Aha, I come in sure?
Why not?
Speaker 4 (01:38):
Ah?
Speaker 3 (01:38):
You will do it?
Speaker 4 (01:40):
Do what mister mix Blveney blovedly Mix one six ft
t Moulhullan Drive, Hollywood, twenty eight on Imperial Studio, Perial
Social Security five two four.
Speaker 3 (01:50):
Eight Dash one ninety seventy eight. I am American like yourself.
You're a long way from home, Yankee, so down. I
do not have time, mister Jordan. I will not, however,
I demonstrate.
Speaker 4 (02:02):
You see this flower is wilted.
Speaker 3 (02:05):
I do not need it. This luggage check already lost.
Speaker 5 (02:09):
Also I do not need caine.
Speaker 3 (02:12):
Ah.
Speaker 4 (02:13):
I play some desk, a gift from my grandfather, very
nice fellow. I keep also gloves which I buy in Paris.
Now what I have left, mister Jordan?
Speaker 3 (02:23):
Two hundred pounds an Egyptian banknotes from bank I have
just come. Also this I do not need for you.
All for you, I don't have a knuckle. What I
win the jackpad? Ah? Now what I have? I answer myself?
Speaker 4 (02:37):
Bullet hole in doorby you see, eh is not finished?
Speaker 3 (02:42):
One two three? Those look like thirty eighth sludge? What
do you get them out of doorway? To some stage?
I dig them where I am shot last night as
I work? Who should match you?
Speaker 4 (02:55):
If I know who should I should back.
Speaker 3 (02:57):
I have no enemies.
Speaker 4 (02:58):
Everyone in picture come he is mad in love with
Max Bladney. I can buy new head, but cannot buy
new head. Mister Jordan, please you will stop my body
from dying.
Speaker 3 (03:10):
You're in the wrong place. The police departments eight plucks
down the street.
Speaker 4 (03:13):
I will explain in Imperial Motion Picture Studio, where master
of Makeup, Max Bloodny is imported to Cairo, Egypt with
the entire cast and company of Great Desert Epic time,
I rope tight to create beautiful faces from skinny scores
and fat necks. Is much newspaper free publicity sometimes for
agents to press Egyptian police thing because I work for
(03:36):
Motion Picture company is free trick for agents to press
into newspaper, but is not free.
Speaker 3 (03:42):
Mister Jordan, to you, I come to take no chance.
All right, you made a point in I am mister Jordan.
You will accompany me.
Speaker 2 (03:52):
No, I haven't seen a real movie set in a
long time. Joe, why not already better?
Speaker 6 (03:58):
I feel.
Speaker 2 (04:02):
I kind of liked the little guy, I guess I
believe his story sounded screwy enough to be the truth. Well,
we went down, got a cab out of the location set,
which was over in Giza near the Pyramids. I tried
to get a little more information out of him, but
it didn't come to much. He couldn't figure out why
somebody was shooting at him or who was doing it.
Speaker 5 (04:21):
It was about four.
Speaker 2 (04:21):
O'clock in the afternoon when we got to the place.
He had one corner of a portable sound stage that
he used for an apartment. We walked up on the
ramp together and he was pulling things out of his pockets,
looking for his keys. When things began to happen real fast.
Speaker 3 (04:35):
Get out. See what I tell you all the time,
someone shooting Get meg. I'd stay down again. My head
is full of hole.
Speaker 6 (04:44):
Shut up.
Speaker 3 (04:44):
You want to hit Yes, boy, he's frightening. Unless he's
carrying a machine gun. He's through for the day. That
was number six. Wait, why do you buy me?
Speaker 6 (04:53):
Month?
Speaker 3 (04:54):
I stay right way you are. I'm going after him.
Speaker 2 (04:57):
White gunsmoke was still hanging around a clump of date
palms over by knock light. That's where I was headed
when I made it. Nobody was there but one hundred
feet away. I saw a gray haired man, stocky builled
glasses running down the hill to the highway. I pounded
out after him, but I might as well have tried
to catch an elephant with a butterfly net. He was
quite an acrobat. He dived over a wooden road bracer
and skidded down the embankment. He landed feet first in
(05:18):
a jeep he had waiting on the road. By the
time I got to the place, he was a half
mile away. When I got back to the stage, there
was a black Nash convertible in the driveway and a
blonde girl in the doorway. She had her hands full
(05:39):
of Max noises. He had big tears in his eyes,
and she was looking for a handkerchief.
Speaker 6 (05:43):
Something like this happening to you?
Speaker 5 (05:45):
Max? Max?
Speaker 6 (05:46):
Why? Why anybody who want to do such a thing
as beyond me?
Speaker 5 (05:49):
Beyond me?
Speaker 3 (05:50):
Also?
Speaker 4 (05:50):
Is this heel of the What enemy?
Speaker 7 (05:52):
Do I?
Speaker 6 (05:53):
Max Darling? I don't know, I'm sure, but please you
must think think?
Speaker 4 (05:56):
How can I think?
Speaker 6 (05:58):
Max?
Speaker 3 (05:58):
Max?
Speaker 6 (05:58):
How terrible? How? Oh how do you do? You're mister Jordan?
Did you kill him?
Speaker 3 (06:05):
No? No, he got away.
Speaker 4 (06:06):
Oh no, I am again to be shocked, he.
Speaker 6 (06:09):
Said, he got away.
Speaker 3 (06:10):
Yeah. Who are you?
Speaker 4 (06:11):
Oh beg my pardon, this is Hilda Graham. You have
seen her in the movie picture. Some actors they called
the shape or the face. Hilda Graham, we call the hair.
She is my wife.
Speaker 6 (06:24):
Almost I heard shots as I drove up and found
poor Max by the door.
Speaker 4 (06:28):
Oh, it's got to be an end to this business,
mister Jordan, has got to end quickly.
Speaker 3 (06:33):
Next time, maybe I will be in the.
Speaker 6 (06:35):
Head, mister Jordan, it certainly does have to stop, right.
Max Vladner is the finest makeup artist in the world.
Speaker 4 (06:41):
From Hungary to the United States citizen, and it'd.
Speaker 6 (06:45):
Be a great loss the Imperial Motion Picture Studios to
the entire motion picture business if anything ever happened to Max.
Speaker 3 (06:51):
See see I am valuable? Did I not tell you
I am great? Always? Yeah? Yes, sure, got a phone
strung in hair.
Speaker 5 (06:57):
In there in my private workshop and start. But I
hope to work and leave use it.
Speaker 3 (07:02):
Please miss up Jordan before I am.
Speaker 6 (07:04):
There, MAXI Darling's side. Not more You've done for me.
Speaker 2 (07:09):
Now I should be able to help you when I
feel so helpless, Sam, missus Jordan. Yes, Jordan, I'll give
you the details later. I'm calling from the motion picture location.
A little guy named Max Vladne isn't very popular. What
do you mean somebody just threw some slugs at him?
Speaker 5 (07:27):
Was anyone in Jordan?
Speaker 3 (07:28):
So far?
Speaker 5 (07:29):
No? Thank you for calling Jordan?
Speaker 3 (07:31):
What do you mean thank you for calling? Look? Sam,
this little one he made.
Speaker 5 (07:35):
I suppose you have been paid money to use your
influence with me so that police will be called in
and the newspapers will carry a story about in prega
murder with the Motion Picture Company.
Speaker 3 (07:45):
Look, I tell you that that is all. Listen, Sam
name mister Jordan's yeah, I want to drink.
Speaker 6 (08:04):
Okay, I have a brand of something much better than
that in my hotel room.
Speaker 3 (08:10):
I'll bet you have.
Speaker 6 (08:12):
Not. Patient trips are often very arduous and rustic, but
this time I have a lovely suite of rooms and shepherds.
Do you know where it is?
Speaker 3 (08:20):
Been around?
Speaker 6 (08:21):
And I'm all alone there?
Speaker 2 (08:23):
Don't you think you ought to be in there holding
hands with your boyfriend. He's had a hard day, Max,
He'll keep in your life. L burnout, mister Jordan.
Speaker 6 (08:34):
Who do you suppose is shooting at Max?
Speaker 3 (08:36):
You tell me, lady, I just met him.
Speaker 6 (08:37):
I thought you said you saw whoever it was? I did,
a lady, maybe perhaps someone from the Motion Picture Company.
Maybe you're sort of confused, aren't you. You don't really
know whether it's just a trick or.
Speaker 3 (08:51):
Not, do you. Oh, that isn't what I'm confused about.
Speaker 6 (08:57):
Oh well, I have to be on I said early
tomorrow morning. If there's anything I can do at t All,
I'd be only too happy to cooperate.
Speaker 2 (09:05):
Why don't you start by telling me who handles your
properties here? Thirty eight isn't very popular in this part
of the world. It's an American gun, one you might
be using in this movie. Any American gun is registered
with customs really, and I have some slugs that Max
game me. Oh, I can dig some more out of
the wall, and then why police ballistics will look into
it from there if they want to look into it.
Speaker 3 (09:27):
Yeah, if they want to look into it.
Speaker 6 (09:31):
Well, mister Jordan, it's been very nice meeting you, and
I know that you're going to take very good care
of matth.
Speaker 3 (09:36):
You were going to tell me the name of the property.
Speaker 6 (09:38):
Man, Isn't that funny? I really don't know, mister Jordan.
I really don't know. But ugh, if there's anything else
I can do, yeah, I'll.
Speaker 3 (09:49):
Give you a ring.
Speaker 6 (09:51):
Do that, mister Jordan.
Speaker 2 (09:57):
I stood there and watched to walk through the front room.
She looked like a leopard after a good breakfast, and
she had a few nice spots too well. She panted
Max on the cheek and kissed him on the head
and slid under the wheel of a convertible. That famous
long golden hair was blowing behind her. By the time
she got out of the driveway, Max waved her goodbye.
Speaker 4 (10:16):
Be careful, my darling.
Speaker 5 (10:18):
Careful.
Speaker 4 (10:20):
Ah lovely she is, mister Jordan, Eh, maxy, she's just
fine for her too.
Speaker 3 (10:25):
I most keep myself alive, gonna marry her, But of course,
as soon as we finished this picture, she needs me. Yeah.
I'll bet.
Speaker 4 (10:34):
Mister Jordan you killed someone. What now happens we get
some reinforcements, aha, reinforce us.
Speaker 3 (10:42):
I like you, mister Jordan. You are good to me
already better I feel.
Speaker 2 (10:52):
I waited till Max went to bed, and I got
on the phone and called one of my boys from
the Tambourine, a big kid from Texas who was doubling
his extra bar tender until he made it it's fair
back to San Antonio.
Speaker 7 (11:02):
He showed up in twenty minutes, so many me, Rocky,
take it yet, I text come on in. Where's our
clay pigeon.
Speaker 3 (11:10):
Roosting in there? Uh? Bring it, m hum, one for you,
one for me. Who are we gonna shoot at?
Speaker 2 (11:17):
I don't know, but the police aren't interested in finding out.
I'm gonna have to find out.
Speaker 3 (11:21):
Uh this legal worried? Oh Sabaya doesn't like it? What
makes you interested? I don't know. Maybe I like the
little guy in there. Yeah, go on. Maybe he's in
a tough spot where somebody's trying to make it look
like he isn't a lot of maybes. Don't you like it?
Speaker 7 (11:41):
You run a cafe here, Rocky, You're getting pretty far
from the cash register.
Speaker 3 (11:45):
Oh, I can call somebody else, text what do I do?
Speaker 6 (11:49):
Wait?
Speaker 3 (11:49):
He'll I get back. Keep your eyes open? Anything else? Now?
Somebody's a real good shot or a real bad shot.
I don't know. I'm gonna find out.
Speaker 7 (11:57):
Sam Houston talked the same way, scared. I'll take your time, Rocky,
I'll be here.
Speaker 3 (12:04):
Eh already better. I feel that was easier than I figured.
Speaker 2 (12:14):
Aging Cairo or wired to the port authorities told me
the Motion Picture Company had brought in some small arms
as props. Three of them were thirty Eighth's The wire
told me the consignment had been handled by a man
named Pete Berger, head of the property department, and it
gave a second rate apartment address. There was a chief
parked in front mark property of Imperial Picture Studios. It
could have been the one I saw that afternoon, and
(12:36):
the girl who answered the door, and a voice that
sounded like an empty oil drum full of bullberrings.
Speaker 6 (12:41):
Will it be Buddy Brahms or Bevoper?
Speaker 5 (12:43):
Oh?
Speaker 3 (12:43):
Neither one, lady, Well, we ain't got either one for you.
How'd you get so nice?
Speaker 6 (12:48):
I finished finish in school.
Speaker 3 (12:50):
That guy at the piano, Pete Berger, who wants to
know my name is Jordan. I'm looking for him. Well,
that ain't him, and goodbon I'll ask him myself.
Speaker 6 (13:00):
Besides, his name's Bali Ritchie Valley.
Speaker 3 (13:02):
What do you want Pete Berger? He tell me he
lives here.
Speaker 6 (13:04):
Richie and me ain't never heard of no Pete Berger,
And he don't live here. Ain't that right, Richie? See?
Richie says it's so.
Speaker 3 (13:11):
Is there that door leader rooms upstairs?
Speaker 5 (13:13):
Yeah?
Speaker 6 (13:13):
That door leads her rooms upstairs?
Speaker 3 (13:15):
Why if I take a look, I mind a lot
of things.
Speaker 6 (13:17):
I'm taking a look as one of them.
Speaker 3 (13:19):
And you're gonna be real put out because I'm taking
a look anyway.
Speaker 6 (13:21):
I'll let him go there, hozy.
Speaker 2 (13:28):
I was only halfway up when a man in a
sweatshirt backed over the top of the stairs. There were
three holes just about the center of his chest. He
turned and tried to say something. I saw what was
gonna happen, and hug the banister. She was kneeling beside him, holding.
Speaker 3 (13:47):
His head in her arms, rocking back and forth.
Speaker 2 (13:50):
Here you guessed it. It was the same gray haired
man I chased that afternoon. He didn't live five seconds.
Speaker 1 (14:09):
You are listening to The Makeup Man Tonight's Adventure with
Rocky Jordan Monday night at six. Irene Don and James
Mason will take you into mysterious Siam for a great
story of intrigue in the court of a young king.
At last, the fine motion picture Anna and the King
of Siam has come to CBS Radio Theater. Don't miss
(14:31):
it Tomorrow night at six over CBS Now we return
you to Cairo and Rocky Jordan for Tonight's adventure The
Makeup Man.
Speaker 2 (15:01):
How can you keep a straight face when a little
guy in a cutaway coat comes to you and complains
about the bullet holes in his derby and tells her
that because he's a makeup man with a motion picture company,
the police think it's a publicity gag. Well, the next
thing you know, somebody is throwing thirty eight slugs, and
even though nobody gets hurt, it stops being funny. And
if the head prompt man Pete Berger, who was throwing
(15:21):
the slugs, does a brodie down a flight of stairs,
all loaded up with bullet holes without speaking his piece,
then you start to make phone calls. His girlfriend's name
turned out to be Flossy.
Speaker 3 (15:33):
She had a good cry over him. When I call
Sam Sapaia, Sam.
Speaker 2 (15:36):
Showed up five minutes later. He gathered everybody together, asked
him on a lot of questions, and he began to
look tired, like he'd never been to bed ay.
Speaker 5 (15:45):
Eye sergeant, take them down and book them as material
witnesses this week. Please just a minute, Sweaty, I got
my rights. Oh you wedd he's white, dine right.
Speaker 6 (15:53):
Me and Pete Land married since nineteen thirty seven.
Speaker 5 (15:56):
My deepest sympothies, missus Burger.
Speaker 6 (15:57):
You don't know why anybody's put the clot on pear
old people. I know my rights that I want to
see the American count.
Speaker 5 (16:02):
One of my offices has already notified the American Consul
of tonight occurrence. In all probability, a representative of the
American Council Office will be awaiting you at headquarters. OK,
then we will discuss it later. Yes, sure, sure, and you, Jordan.
I get one story and I wish to hear it
this way. It seems that every time there is a
(16:24):
disturbance of note in Cairo, you are involved. Was my idea,
I might be forced to book you on technical ground.
Speaker 3 (16:31):
Oh stop it. You know I didn't have anything to
do with Burger taking a long nap.
Speaker 5 (16:34):
When a man from your hometown is shot in your
press my hometown? Didn't you know? Jordan Bergo was from
Saint Louis. Our sport office will tell you that much.
Speaker 3 (16:43):
I don't know anything about him.
Speaker 5 (16:45):
But you did have anymies in Saint Louis.
Speaker 3 (16:47):
What do you get next?
Speaker 5 (16:48):
Same, Jordans, I have known you for a long while.
Our fortunes and misfortunes have a way of running parallel.
Perhaps it is that we are born under the style
you're past. You have never disclosed I have never questioned.
Speaker 3 (17:05):
What about that passport office of yours?
Speaker 5 (17:08):
There is a great hurt.
Speaker 3 (17:10):
What else I do not know.
Speaker 2 (17:12):
Sam, You can deport me anytime you want to. You
can kick me out of Caro, even out of Egypt.
Speaker 5 (17:17):
All right, Jordan, it was a thought. The coincidence was extraordinary.
I will listen, all right.
Speaker 2 (17:23):
A little guy named Max Vladni came to me and
told me somebody's been shooting at him.
Speaker 3 (17:27):
He said the police wouldn't listen.
Speaker 5 (17:29):
Once before, when a motion picture company came to Cairo
on location, we were the victims of an over zealous
publicity man.
Speaker 2 (17:35):
And I might have had the same idea. I telephoned
you the same afternoon. Somebody really was shooting at.
Speaker 5 (17:40):
MAXI many men, expert with firearms, able to cleave a
button off his shirt in a long distance I employed
on the picture.
Speaker 2 (17:47):
Well, that occurred to me too, but I want to
make sure. So I got a line on the one
that was making the.
Speaker 5 (17:51):
Noise, and you came to have a talk with him.
Only now he is dead.
Speaker 3 (17:54):
Yeah, I had Sam on the floor in there.
Speaker 5 (17:56):
The police did not totally ignore Max of Vladney's requests.
We allow a company of Alians to arrive in our
city without proper credentials, and of course we know their backgrounds.
Pete Berger was an ex convict.
Speaker 3 (18:10):
Some people get caught and get away with it.
Speaker 5 (18:12):
Since his released from prison, he held many positions as
a stuntman, as an actor in finally as a property man.
Speaker 3 (18:18):
All right, what's this got to do with me?
Speaker 5 (18:20):
Perhaps, Jordan, you are unwillingly an accomplice in a murder.
Speaker 3 (18:24):
That's something to go on.
Speaker 5 (18:26):
Well, someone in the motion picture company knew of Burger's background,
and that's someone while blackmailing him, forcing him to pay
money to keep his position. Sounds like an old fairy
tales say one day Burger refused to pay and threaten
this someone.
Speaker 3 (18:40):
Also sounds a lot of backwards to me. Burger wound
up dead.
Speaker 5 (18:43):
Now my conjecture is no longer hypothetical. It becomes almost
a theorem. Someone must read himself of a threat. Positions
are reversed.
Speaker 3 (18:53):
You should making up a lot of questions.
Speaker 5 (18:55):
Oh no, Jordan answers. A complaint about being shot is unheated.
Lean would not be suspected. But if he somehow arranges
for an innocent witness to bed out his story and
then waits his opportunity to read himself of the threat.
Speaker 3 (19:09):
You've got a name.
Speaker 5 (19:10):
Where is your friend Max? VALPLI now out.
Speaker 3 (19:12):
At his place. One of my boy's textas keeping an
eye on.
Speaker 5 (19:14):
Him to check the possibility. Shall we make certain of
that shore?
Speaker 3 (19:19):
Why not? That is what I say, Geordan?
Speaker 6 (19:22):
Why not?
Speaker 2 (19:28):
Sam didn't say a word on the way out of
the place, but I know he was thinking that little
Max he'd shot Pete Berger.
Speaker 3 (19:33):
The way he'd put it made sense.
Speaker 2 (19:35):
While it was about four in the morning when we
got there, the sun was just starting to make the
sky look like.
Speaker 3 (19:40):
A load of mud. When we pull up in front,
one light was still burning in the window. The rest
of the lace was dark. Everything was quiet, all right,
Georgian I Jordian, Yeah, cordite fur rooms full of it.
Guns have been fired. Come on the bedroom way.
Speaker 2 (20:04):
Max Vlatdeny was lying face down, half on the floor
and half on the table, and he used for a workshop.
A bottle of spirit gum was spilled on the floor,
along with some false blonde hair and a cracked wig block.
He had one free arm around a white plaster cast
of a head. He looked like a little wax dummy.
Holding a doll, but the two blue holes in the
middle of his head weren't planned.
Speaker 3 (20:25):
I was mistaken, Georgia.
Speaker 5 (20:29):
Here you said there was someone from your cafe watching
him for you.
Speaker 3 (20:33):
Yeah, I got the what's that he's from?
Speaker 5 (20:35):
Over there by the bed.
Speaker 3 (20:37):
It was text. He was lying over by the foot
of the bed. There was a trickle coming out one
side of his mouth. Oh no, no, no, I don't
try to move me, Rocky.
Speaker 7 (20:45):
It's in along somewhere. I don't think I got any
blood despair. I've been laying here waiting for you, Rocky.
Happened about an hour ago. Nois in MAXI room. Next
thing I know, I'm taking get a slug myself.
Speaker 3 (21:02):
Call me a doc Wood, you're Rocky, call me a
dock quick well.
Speaker 2 (21:14):
Sam had a lot of phone calls before it was
all over. An ambulance came by to pick up Text
and take him to the hospital. Then Sam got his
crew in there to take pictures and look at Maxie.
He didn't say a word to me, just went around
snipping things and looking. I kept thinking of Maxie and texts,
and part of it began to get hot inside of me.
Speaker 5 (21:32):
Jordan, Yeah, Jordan, when do you think you're going.
Speaker 3 (21:34):
I got some things to do. You aren't doing them
fast enough for me, Jordan.
Speaker 5 (21:37):
You aren't contemplating get foolish gesture.
Speaker 3 (21:39):
Look, I've seen two dead men to night, and a
friend of mine all shot up.
Speaker 5 (21:42):
The police will find out who his response.
Speaker 3 (21:44):
They don't work fast enough for your guesses went very good, Sam,
I got some of my own. Wait, I haven't got time.
Speaker 5 (21:48):
This is a matter for the police to head.
Speaker 3 (21:50):
They could have stopped it if they listened to Maxie.
Speaker 5 (21:51):
I warn you, Jordan, I will not tolerate any interfering.
Speaker 2 (21:54):
Look, I like Maxie in Texas. My friend he's lying
in the hospital right now. We don't know whether he's
gonna live a die. And you're talking about interferru enough.
It doesn't happen enough, Sam, Have I I got business.
Speaker 3 (22:10):
I didn't know where to start or to start with
right then.
Speaker 2 (22:13):
It's like that sometimes a flag's up, the meter's ticking,
but you're getting nowhere. And it came to me that
Maxi's girlfriend, the hare didn't know about him yet, so
I went over to tell her. It was six o'clock
in the morning, but she was wearing a dress that
was meant only for nighttime.
Speaker 6 (22:29):
Where mister Jordan. When I saw you at Max's yesterday,
I didn't think you'd be by for that drink so soon.
But come in, Come in. I was just having some coffee.
I have to be on occasion early. I'm all dressed
for the scene, but I have to have a makeup job.
Speaker 3 (22:47):
You'll go right to me the way.
Speaker 6 (22:48):
Uh, you can be nice.
Speaker 3 (22:51):
I have some tough news for you.
Speaker 6 (22:53):
Max. Something's happened to Max.
Speaker 3 (22:56):
He's dead.
Speaker 6 (22:58):
Oh no, no, not Max, poor Maxy.
Speaker 3 (23:02):
Somebody shot him three hours before.
Speaker 6 (23:04):
Why would anybody want to kill Max?
Speaker 3 (23:05):
I want to know too.
Speaker 6 (23:07):
Max expected me to marry him, and he had so
many plans. Mister Jordan, What can I do to help?
Speaker 2 (23:13):
A smart cop named Sabaya is going to be knocking
on your door pretty soon. He'll want some answers.
Speaker 6 (23:17):
I want him first, Would you mind terror if we
sat down? I see Max was all I had and
I want to be near someone. Sure, sure, I know
I'm not doing this scene very well, mister Jordan. What
can I tell you?
Speaker 3 (23:34):
Max ever mentioned a man named Pete Berger.
Speaker 6 (23:38):
I never heard the name before.
Speaker 2 (23:39):
He was the head of your property department. He was
the one that shot at Max yesterday he killed Max.
Speaker 3 (23:44):
No, no, but Burger's dead too. I was there when
he got shot.
Speaker 6 (23:49):
Look, I'm not very good at this sort of thing.
Speaker 3 (23:50):
What are you trying to find a reason?
Speaker 2 (23:53):
People kill for money, or for love or just for
the plain crazy feeling of blasting a gun at somebody?
Speaker 6 (24:00):
Has been a lot for you. You liked Max, didn't you?
Speaker 3 (24:03):
He was a nice little guy. But I got more
than that. A friend of mine he was shot too.
Speaker 6 (24:08):
Another death.
Speaker 3 (24:09):
Oh he's still alive in the hospital. Oh so there's
a reason.
Speaker 6 (24:12):
Well the police.
Speaker 2 (24:13):
Look, I want to find out who I see. What
kind of worked as a makeup man do with a
plaster cast?
Speaker 6 (24:21):
I don't know. I suppose he studies the contour of
the face and familiarizes himself with his subject. That way,
he'd have one of you, I suppose, so he'd have
one of every principle in the cast.
Speaker 3 (24:37):
That's a nice face. Yeah, I've seen it in pictures.
Speaker 6 (24:42):
My my press agents. Thick my hair as my fortune?
Speaker 3 (24:46):
Yeah, long golden hair.
Speaker 6 (24:52):
Does it feel soft and warm the way you hoped
it would feel? H You've been wanting to help me
like this, to see me like this, haven't you? I
and my lips.
Speaker 3 (25:10):
How do you like them?
Speaker 6 (25:11):
Rocky. I never loved Max. I was indebted to him. See,
I was terribly ill several years ago, and he helped me.
Speaker 3 (25:27):
I can see why he felt the way he did
about you.
Speaker 6 (25:35):
I like the way you did that.
Speaker 3 (25:39):
No, Max was working on something for you. Really, he
had a plaster cast of your head in his arms
when I found him. There was no hair on it,
and it looked funny.
Speaker 6 (25:50):
Don't say that. Don't ever say a thing like that.
Speaker 3 (25:52):
But figures, what are you talking to? Murder lady, and
lots of it?
Speaker 6 (25:56):
Jet Off.
Speaker 2 (25:57):
You'll killed a poor ex card because he bungled a
scared job your black man them men are doing and
you shot him last night because I was gonna talk
to him.
Speaker 6 (26:02):
You're crazy.
Speaker 3 (26:03):
You killed Max, and you thought you killed texts.
Speaker 6 (26:05):
You said yourself, it's got to be a reason.
Speaker 3 (26:07):
You got one shop, money, love or anything else. I
hate you.
Speaker 2 (26:10):
Every newspaper in the world's gonna carry this story. Hilda Graham,
the movie star with all the long golden hair is
really his ball as a boiled egg.
Speaker 3 (26:18):
You shock.
Speaker 6 (26:20):
Don't you ever say anything like that. Don't ever say anything.
Speaker 2 (26:24):
Pick up that book and I'd like to have a
reason to break you up too. What are you gonna
do turning you over to the police.
Speaker 6 (26:30):
No, no, you can't. You mustn't think out about my hair.
Oh please please don't him now. Look Max was the
only one who knew.
Speaker 3 (26:41):
Don't let them.
Speaker 6 (26:42):
No, Rocky, please, Rocky please. I couldn't stand it. I
had to kill all those people to make sure that. Please, Rocky, please,
you know how nice I can be.
Speaker 2 (26:58):
Lady, you're a bum. Sam got over being mad when
I brought her in. We sat down and figured it out.
Max had been trying to get her to marry him,
but she didn't want to marry anybody, and she was
(27:18):
afraid if she didn't marry Max, he'd tell what he knew,
so she killed him. It was her hair, had famous
long golden hair, only it wasn't hers. She lost all
hers when she was sick. She couldn't stand the thought
of anybody going around knowing she wore a wig. A
couple of days later, I saw Text at the hospital.
(27:38):
He had some transfusions and a couple of other things.
He was coming out of it all right, you know.
I think he summed it all up when he said, you.
Speaker 7 (27:46):
Know, Rocky, I've been thinking still bad they didn't take
killdo greams picture without that wig boy that had sure
serve her right.
Speaker 1 (28:29):
It's CBS again at the same time next week, or
another story of adventure and intrigue when we take you
back to Cairo and the Cafe Tambourine run by Rocky Jordan.
Jack Moyles plays the title role, with Tonight's story by E.
Jack Newman, edited by Larry Roman and Gomer Cool. Rocky
Jordan is produced and directed by Cliff Howell with original
(28:52):
music by Richard Arrunt. Don't Forget Tomorrow Borrow night at six,
Irene Dunn and James Mason will take you into mysterious
Siam for that great story of intrigue in the court
of a young king. The fine motion picture Anna and
the King of Siam comes to CBS Radio Theater Tomorrow
(29:14):
night at six. Larry Thor speaking. This is CBS, the
Columbia Broadcasting System
I'm now for Rocky Jordan. Not far from the Musque
Sultan Hassan in Cairo stands the Cafe Tambourine, run by
(00:25):
Rocky Jordan. The Cafe Tambourine crowded with forgotten men alive
with a babble of many languages. For this is Cairo,
where modern adventurer infrigue unfold against a backdrop of antiquity.
Tonight's story the makeup man, he's.
Speaker 2 (00:59):
Sure, and by a guide book. If you ever come
to Carol, it'll come in pretty handy. I'll tell you
about the pyramids and the religion, and the people to
drink plenty of boiled water and move slow, and the
kind of clothes to wear so you'll be able to
handle a heat. But the guy I met yesterday must
have quit school earlier, or he didn't like guide books.
(01:19):
He was standing at my door in a cutaway coat
and pinstriped pants, derby hap cane gloves, elevated shoes, and
a fist full of.
Speaker 3 (01:27):
Egyptian pound notes.
Speaker 4 (01:28):
You are, mister Jordano, I mix Bloveney have come to
see you only.
Speaker 3 (01:32):
Pointed that's right, I'm Jordan. Aha, I come in sure?
Why not?
Speaker 4 (01:38):
Ah?
Speaker 3 (01:38):
You will do it?
Speaker 4 (01:40):
Do what mister mix Blveney blovedly Mix one six ft
t Moulhullan Drive, Hollywood, twenty eight on Imperial Studio, Perial
Social Security five two four.
Speaker 3 (01:50):
Eight Dash one ninety seventy eight. I am American like yourself.
You're a long way from home, Yankee, so down. I
do not have time, mister Jordan. I will not, however,
I demonstrate.
Speaker 4 (02:02):
You see this flower is wilted.
Speaker 3 (02:05):
I do not need it. This luggage check already lost.
Speaker 5 (02:09):
Also I do not need caine.
Speaker 3 (02:12):
Ah.
Speaker 4 (02:13):
I play some desk, a gift from my grandfather, very
nice fellow. I keep also gloves which I buy in Paris.
Now what I have left, mister Jordan?
Speaker 3 (02:23):
Two hundred pounds an Egyptian banknotes from bank I have
just come. Also this I do not need for you.
All for you, I don't have a knuckle. What I
win the jackpad? Ah? Now what I have? I answer myself?
Speaker 4 (02:37):
Bullet hole in doorby you see, eh is not finished?
Speaker 3 (02:42):
One two three? Those look like thirty eighth sludge? What
do you get them out of doorway? To some stage?
I dig them where I am shot last night as
I work? Who should match you?
Speaker 4 (02:55):
If I know who should I should back.
Speaker 3 (02:57):
I have no enemies.
Speaker 4 (02:58):
Everyone in picture come he is mad in love with
Max Bladney. I can buy new head, but cannot buy
new head. Mister Jordan, please you will stop my body
from dying.
Speaker 3 (03:10):
You're in the wrong place. The police departments eight plucks
down the street.
Speaker 4 (03:13):
I will explain in Imperial Motion Picture Studio, where master
of Makeup, Max Bloodny is imported to Cairo, Egypt with
the entire cast and company of Great Desert Epic time,
I rope tight to create beautiful faces from skinny scores
and fat necks. Is much newspaper free publicity sometimes for
agents to press Egyptian police thing because I work for
(03:36):
Motion Picture company is free trick for agents to press
into newspaper, but is not free.
Speaker 3 (03:42):
Mister Jordan, to you, I come to take no chance.
All right, you made a point in I am mister Jordan.
You will accompany me.
Speaker 2 (03:52):
No, I haven't seen a real movie set in a
long time. Joe, why not already better?
Speaker 6 (03:58):
I feel.
Speaker 2 (04:02):
I kind of liked the little guy, I guess I
believe his story sounded screwy enough to be the truth. Well,
we went down, got a cab out of the location set,
which was over in Giza near the Pyramids. I tried
to get a little more information out of him, but
it didn't come to much. He couldn't figure out why
somebody was shooting at him or who was doing it.
Speaker 5 (04:21):
It was about four.
Speaker 2 (04:21):
O'clock in the afternoon when we got to the place.
He had one corner of a portable sound stage that
he used for an apartment. We walked up on the
ramp together and he was pulling things out of his pockets,
looking for his keys. When things began to happen real fast.
Speaker 3 (04:35):
Get out. See what I tell you all the time,
someone shooting Get meg. I'd stay down again. My head
is full of hole.
Speaker 6 (04:44):
Shut up.
Speaker 3 (04:44):
You want to hit Yes, boy, he's frightening. Unless he's
carrying a machine gun. He's through for the day. That
was number six. Wait, why do you buy me?
Speaker 6 (04:53):
Month?
Speaker 3 (04:54):
I stay right way you are. I'm going after him.
Speaker 2 (04:57):
White gunsmoke was still hanging around a clump of date
palms over by knock light. That's where I was headed
when I made it. Nobody was there but one hundred
feet away. I saw a gray haired man, stocky builled
glasses running down the hill to the highway. I pounded
out after him, but I might as well have tried
to catch an elephant with a butterfly net. He was
quite an acrobat. He dived over a wooden road bracer
and skidded down the embankment. He landed feet first in
(05:18):
a jeep he had waiting on the road. By the
time I got to the place, he was a half
mile away. When I got back to the stage, there
was a black Nash convertible in the driveway and a
blonde girl in the doorway. She had her hands full
(05:39):
of Max noises. He had big tears in his eyes,
and she was looking for a handkerchief.
Speaker 6 (05:43):
Something like this happening to you?
Speaker 5 (05:45):
Max? Max?
Speaker 6 (05:46):
Why? Why anybody who want to do such a thing
as beyond me?
Speaker 5 (05:49):
Beyond me?
Speaker 3 (05:50):
Also?
Speaker 4 (05:50):
Is this heel of the What enemy?
Speaker 7 (05:52):
Do I?
Speaker 6 (05:53):
Max Darling? I don't know, I'm sure, but please you
must think think?
Speaker 4 (05:56):
How can I think?
Speaker 6 (05:58):
Max?
Speaker 3 (05:58):
Max?
Speaker 6 (05:58):
How terrible? How? Oh how do you do? You're mister Jordan?
Did you kill him?
Speaker 3 (06:05):
No? No, he got away.
Speaker 4 (06:06):
Oh no, I am again to be shocked, he.
Speaker 6 (06:09):
Said, he got away.
Speaker 3 (06:10):
Yeah. Who are you?
Speaker 4 (06:11):
Oh beg my pardon, this is Hilda Graham. You have
seen her in the movie picture. Some actors they called
the shape or the face. Hilda Graham, we call the hair.
She is my wife.
Speaker 6 (06:24):
Almost I heard shots as I drove up and found
poor Max by the door.
Speaker 4 (06:28):
Oh, it's got to be an end to this business,
mister Jordan, has got to end quickly.
Speaker 3 (06:33):
Next time, maybe I will be in the.
Speaker 6 (06:35):
Head, mister Jordan, it certainly does have to stop, right.
Max Vladner is the finest makeup artist in the world.
Speaker 4 (06:41):
From Hungary to the United States citizen, and it'd.
Speaker 6 (06:45):
Be a great loss the Imperial Motion Picture Studios to
the entire motion picture business if anything ever happened to Max.
Speaker 3 (06:51):
See see I am valuable? Did I not tell you
I am great? Always? Yeah? Yes, sure, got a phone
strung in hair.
Speaker 5 (06:57):
In there in my private workshop and start. But I
hope to work and leave use it.
Speaker 3 (07:02):
Please miss up Jordan before I am.
Speaker 6 (07:04):
There, MAXI Darling's side. Not more You've done for me.
Speaker 2 (07:09):
Now I should be able to help you when I
feel so helpless, Sam, missus Jordan. Yes, Jordan, I'll give
you the details later. I'm calling from the motion picture location.
A little guy named Max Vladne isn't very popular. What
do you mean somebody just threw some slugs at him?
Speaker 5 (07:27):
Was anyone in Jordan?
Speaker 3 (07:28):
So far?
Speaker 5 (07:29):
No? Thank you for calling Jordan?
Speaker 3 (07:31):
What do you mean thank you for calling? Look? Sam,
this little one he made.
Speaker 5 (07:35):
I suppose you have been paid money to use your
influence with me so that police will be called in
and the newspapers will carry a story about in prega
murder with the Motion Picture Company.
Speaker 3 (07:45):
Look, I tell you that that is all. Listen, Sam
name mister Jordan's yeah, I want to drink.
Speaker 6 (08:04):
Okay, I have a brand of something much better than
that in my hotel room.
Speaker 3 (08:10):
I'll bet you have.
Speaker 6 (08:12):
Not. Patient trips are often very arduous and rustic, but
this time I have a lovely suite of rooms and shepherds.
Do you know where it is?
Speaker 3 (08:20):
Been around?
Speaker 6 (08:21):
And I'm all alone there?
Speaker 2 (08:23):
Don't you think you ought to be in there holding
hands with your boyfriend. He's had a hard day, Max,
He'll keep in your life. L burnout, mister Jordan.
Speaker 6 (08:34):
Who do you suppose is shooting at Max?
Speaker 3 (08:36):
You tell me, lady, I just met him.
Speaker 6 (08:37):
I thought you said you saw whoever it was? I did,
a lady, maybe perhaps someone from the Motion Picture Company.
Maybe you're sort of confused, aren't you. You don't really
know whether it's just a trick or.
Speaker 3 (08:51):
Not, do you. Oh, that isn't what I'm confused about.
Speaker 6 (08:57):
Oh well, I have to be on I said early
tomorrow morning. If there's anything I can do at t All,
I'd be only too happy to cooperate.
Speaker 2 (09:05):
Why don't you start by telling me who handles your
properties here? Thirty eight isn't very popular in this part
of the world. It's an American gun, one you might
be using in this movie. Any American gun is registered
with customs really, and I have some slugs that Max
game me. Oh, I can dig some more out of
the wall, and then why police ballistics will look into
it from there if they want to look into it.
Speaker 3 (09:27):
Yeah, if they want to look into it.
Speaker 6 (09:31):
Well, mister Jordan, it's been very nice meeting you, and
I know that you're going to take very good care
of matth.
Speaker 3 (09:36):
You were going to tell me the name of the property.
Speaker 6 (09:38):
Man, Isn't that funny? I really don't know, mister Jordan.
I really don't know. But ugh, if there's anything else
I can do, yeah, I'll.
Speaker 3 (09:49):
Give you a ring.
Speaker 6 (09:51):
Do that, mister Jordan.
Speaker 2 (09:57):
I stood there and watched to walk through the front room.
She looked like a leopard after a good breakfast, and
she had a few nice spots too well. She panted
Max on the cheek and kissed him on the head
and slid under the wheel of a convertible. That famous
long golden hair was blowing behind her. By the time
she got out of the driveway, Max waved her goodbye.
Speaker 4 (10:16):
Be careful, my darling.
Speaker 5 (10:18):
Careful.
Speaker 4 (10:20):
Ah lovely she is, mister Jordan, Eh, maxy, she's just
fine for her too.
Speaker 3 (10:25):
I most keep myself alive, gonna marry her, But of course,
as soon as we finished this picture, she needs me. Yeah.
I'll bet.
Speaker 4 (10:34):
Mister Jordan you killed someone. What now happens we get
some reinforcements, aha, reinforce us.
Speaker 3 (10:42):
I like you, mister Jordan. You are good to me
already better I feel.
Speaker 2 (10:52):
I waited till Max went to bed, and I got
on the phone and called one of my boys from
the Tambourine, a big kid from Texas who was doubling
his extra bar tender until he made it it's fair
back to San Antonio.
Speaker 7 (11:02):
He showed up in twenty minutes, so many me, Rocky,
take it yet, I text come on in. Where's our
clay pigeon.
Speaker 3 (11:10):
Roosting in there? Uh? Bring it, m hum, one for you,
one for me. Who are we gonna shoot at?
Speaker 2 (11:17):
I don't know, but the police aren't interested in finding out.
I'm gonna have to find out.
Speaker 3 (11:21):
Uh this legal worried? Oh Sabaya doesn't like it? What
makes you interested? I don't know. Maybe I like the
little guy in there. Yeah, go on. Maybe he's in
a tough spot where somebody's trying to make it look
like he isn't a lot of maybes. Don't you like it?
Speaker 7 (11:41):
You run a cafe here, Rocky, You're getting pretty far
from the cash register.
Speaker 3 (11:45):
Oh, I can call somebody else, text what do I do?
Speaker 6 (11:49):
Wait?
Speaker 3 (11:49):
He'll I get back. Keep your eyes open? Anything else? Now?
Somebody's a real good shot or a real bad shot.
I don't know. I'm gonna find out.
Speaker 7 (11:57):
Sam Houston talked the same way, scared. I'll take your time, Rocky,
I'll be here.
Speaker 3 (12:04):
Eh already better. I feel that was easier than I figured.
Speaker 2 (12:14):
Aging Cairo or wired to the port authorities told me
the Motion Picture Company had brought in some small arms
as props. Three of them were thirty Eighth's The wire
told me the consignment had been handled by a man
named Pete Berger, head of the property department, and it
gave a second rate apartment address. There was a chief
parked in front mark property of Imperial Picture Studios. It
could have been the one I saw that afternoon, and
(12:36):
the girl who answered the door, and a voice that
sounded like an empty oil drum full of bullberrings.
Speaker 6 (12:41):
Will it be Buddy Brahms or Bevoper?
Speaker 5 (12:43):
Oh?
Speaker 3 (12:43):
Neither one, lady, Well, we ain't got either one for you.
How'd you get so nice?
Speaker 6 (12:48):
I finished finish in school.
Speaker 3 (12:50):
That guy at the piano, Pete Berger, who wants to
know my name is Jordan. I'm looking for him. Well,
that ain't him, and goodbon I'll ask him myself.
Speaker 6 (13:00):
Besides, his name's Bali Ritchie Valley.
Speaker 3 (13:02):
What do you want Pete Berger? He tell me he
lives here.
Speaker 6 (13:04):
Richie and me ain't never heard of no Pete Berger,
And he don't live here. Ain't that right, Richie? See?
Richie says it's so.
Speaker 3 (13:11):
Is there that door leader rooms upstairs?
Speaker 5 (13:13):
Yeah?
Speaker 6 (13:13):
That door leads her rooms upstairs?
Speaker 3 (13:15):
Why if I take a look, I mind a lot
of things.
Speaker 6 (13:17):
I'm taking a look as one of them.
Speaker 3 (13:19):
And you're gonna be real put out because I'm taking
a look anyway.
Speaker 6 (13:21):
I'll let him go there, hozy.
Speaker 2 (13:28):
I was only halfway up when a man in a
sweatshirt backed over the top of the stairs. There were
three holes just about the center of his chest. He
turned and tried to say something. I saw what was
gonna happen, and hug the banister. She was kneeling beside him, holding.
Speaker 3 (13:47):
His head in her arms, rocking back and forth.
Speaker 2 (13:50):
Here you guessed it. It was the same gray haired
man I chased that afternoon. He didn't live five seconds.
Speaker 1 (14:09):
You are listening to The Makeup Man Tonight's Adventure with
Rocky Jordan Monday night at six. Irene Don and James
Mason will take you into mysterious Siam for a great
story of intrigue in the court of a young king.
At last, the fine motion picture Anna and the King
of Siam has come to CBS Radio Theater. Don't miss
(14:31):
it Tomorrow night at six over CBS Now we return
you to Cairo and Rocky Jordan for Tonight's adventure The
Makeup Man.
Speaker 2 (15:01):
How can you keep a straight face when a little
guy in a cutaway coat comes to you and complains
about the bullet holes in his derby and tells her
that because he's a makeup man with a motion picture company,
the police think it's a publicity gag. Well, the next
thing you know, somebody is throwing thirty eight slugs, and
even though nobody gets hurt, it stops being funny. And
if the head prompt man Pete Berger, who was throwing
(15:21):
the slugs, does a brodie down a flight of stairs,
all loaded up with bullet holes without speaking his piece,
then you start to make phone calls. His girlfriend's name
turned out to be Flossy.
Speaker 3 (15:33):
She had a good cry over him. When I call
Sam Sapaia, Sam.
Speaker 2 (15:36):
Showed up five minutes later. He gathered everybody together, asked
him on a lot of questions, and he began to
look tired, like he'd never been to bed ay.
Speaker 5 (15:45):
Eye sergeant, take them down and book them as material
witnesses this week. Please just a minute, Sweaty, I got
my rights. Oh you wedd he's white, dine right.
Speaker 6 (15:53):
Me and Pete Land married since nineteen thirty seven.
Speaker 5 (15:56):
My deepest sympothies, missus Burger.
Speaker 6 (15:57):
You don't know why anybody's put the clot on pear
old people. I know my rights that I want to
see the American count.
Speaker 5 (16:02):
One of my offices has already notified the American Consul
of tonight occurrence. In all probability, a representative of the
American Council Office will be awaiting you at headquarters. OK,
then we will discuss it later. Yes, sure, sure, and you, Jordan.
I get one story and I wish to hear it
this way. It seems that every time there is a
(16:24):
disturbance of note in Cairo, you are involved. Was my idea,
I might be forced to book you on technical ground.
Speaker 3 (16:31):
Oh stop it. You know I didn't have anything to
do with Burger taking a long nap.
Speaker 5 (16:34):
When a man from your hometown is shot in your
press my hometown? Didn't you know? Jordan Bergo was from
Saint Louis. Our sport office will tell you that much.
Speaker 3 (16:43):
I don't know anything about him.
Speaker 5 (16:45):
But you did have anymies in Saint Louis.
Speaker 3 (16:47):
What do you get next?
Speaker 5 (16:48):
Same, Jordans, I have known you for a long while.
Our fortunes and misfortunes have a way of running parallel.
Perhaps it is that we are born under the style
you're past. You have never disclosed I have never questioned.
Speaker 3 (17:05):
What about that passport office of yours?
Speaker 5 (17:08):
There is a great hurt.
Speaker 3 (17:10):
What else I do not know.
Speaker 2 (17:12):
Sam, You can deport me anytime you want to. You
can kick me out of Caro, even out of Egypt.
Speaker 5 (17:17):
All right, Jordan, it was a thought. The coincidence was extraordinary.
I will listen, all right.
Speaker 2 (17:23):
A little guy named Max Vladni came to me and
told me somebody's been shooting at him.
Speaker 3 (17:27):
He said the police wouldn't listen.
Speaker 5 (17:29):
Once before, when a motion picture company came to Cairo
on location, we were the victims of an over zealous
publicity man.
Speaker 2 (17:35):
And I might have had the same idea. I telephoned
you the same afternoon. Somebody really was shooting at.
Speaker 5 (17:40):
MAXI many men, expert with firearms, able to cleave a
button off his shirt in a long distance I employed
on the picture.
Speaker 2 (17:47):
Well, that occurred to me too, but I want to
make sure. So I got a line on the one
that was making the.
Speaker 5 (17:51):
Noise, and you came to have a talk with him.
Only now he is dead.
Speaker 3 (17:54):
Yeah, I had Sam on the floor in there.
Speaker 5 (17:56):
The police did not totally ignore Max of Vladney's requests.
We allow a company of Alians to arrive in our
city without proper credentials, and of course we know their backgrounds.
Pete Berger was an ex convict.
Speaker 3 (18:10):
Some people get caught and get away with it.
Speaker 5 (18:12):
Since his released from prison, he held many positions as
a stuntman, as an actor in finally as a property man.
Speaker 3 (18:18):
All right, what's this got to do with me?
Speaker 5 (18:20):
Perhaps, Jordan, you are unwillingly an accomplice in a murder.
Speaker 3 (18:24):
That's something to go on.
Speaker 5 (18:26):
Well, someone in the motion picture company knew of Burger's background,
and that's someone while blackmailing him, forcing him to pay
money to keep his position. Sounds like an old fairy
tales say one day Burger refused to pay and threaten
this someone.
Speaker 3 (18:40):
Also sounds a lot of backwards to me. Burger wound
up dead.
Speaker 5 (18:43):
Now my conjecture is no longer hypothetical. It becomes almost
a theorem. Someone must read himself of a threat. Positions
are reversed.
Speaker 3 (18:53):
You should making up a lot of questions.
Speaker 5 (18:55):
Oh no, Jordan answers. A complaint about being shot is unheated.
Lean would not be suspected. But if he somehow arranges
for an innocent witness to bed out his story and
then waits his opportunity to read himself of the threat.
Speaker 3 (19:09):
You've got a name.
Speaker 5 (19:10):
Where is your friend Max? VALPLI now out.
Speaker 3 (19:12):
At his place. One of my boy's textas keeping an
eye on.
Speaker 5 (19:14):
Him to check the possibility. Shall we make certain of
that shore?
Speaker 3 (19:19):
Why not? That is what I say, Geordan?
Speaker 6 (19:22):
Why not?
Speaker 2 (19:28):
Sam didn't say a word on the way out of
the place, but I know he was thinking that little
Max he'd shot Pete Berger.
Speaker 3 (19:33):
The way he'd put it made sense.
Speaker 2 (19:35):
While it was about four in the morning when we
got there, the sun was just starting to make the
sky look like.
Speaker 3 (19:40):
A load of mud. When we pull up in front,
one light was still burning in the window. The rest
of the lace was dark. Everything was quiet, all right,
Georgian I Jordian, Yeah, cordite fur rooms full of it.
Guns have been fired. Come on the bedroom way.
Speaker 2 (20:04):
Max Vlatdeny was lying face down, half on the floor
and half on the table, and he used for a workshop.
A bottle of spirit gum was spilled on the floor,
along with some false blonde hair and a cracked wig block.
He had one free arm around a white plaster cast
of a head. He looked like a little wax dummy.
Holding a doll, but the two blue holes in the
middle of his head weren't planned.
Speaker 3 (20:25):
I was mistaken, Georgia.
Speaker 5 (20:29):
Here you said there was someone from your cafe watching
him for you.
Speaker 3 (20:33):
Yeah, I got the what's that he's from?
Speaker 5 (20:35):
Over there by the bed.
Speaker 3 (20:37):
It was text. He was lying over by the foot
of the bed. There was a trickle coming out one
side of his mouth. Oh no, no, no, I don't
try to move me, Rocky.
Speaker 7 (20:45):
It's in along somewhere. I don't think I got any
blood despair. I've been laying here waiting for you, Rocky.
Happened about an hour ago. Nois in MAXI room. Next
thing I know, I'm taking get a slug myself.
Speaker 3 (21:02):
Call me a doc Wood, you're Rocky, call me a
dock quick well.
Speaker 2 (21:14):
Sam had a lot of phone calls before it was
all over. An ambulance came by to pick up Text
and take him to the hospital. Then Sam got his
crew in there to take pictures and look at Maxie.
He didn't say a word to me, just went around
snipping things and looking. I kept thinking of Maxie and texts,
and part of it began to get hot inside of me.
Speaker 5 (21:32):
Jordan, Yeah, Jordan, when do you think you're going.
Speaker 3 (21:34):
I got some things to do. You aren't doing them
fast enough for me, Jordan.
Speaker 5 (21:37):
You aren't contemplating get foolish gesture.
Speaker 3 (21:39):
Look, I've seen two dead men to night, and a
friend of mine all shot up.
Speaker 5 (21:42):
The police will find out who his response.
Speaker 3 (21:44):
They don't work fast enough for your guesses went very good, Sam,
I got some of my own. Wait, I haven't got time.
Speaker 5 (21:48):
This is a matter for the police to head.
Speaker 3 (21:50):
They could have stopped it if they listened to Maxie.
Speaker 5 (21:51):
I warn you, Jordan, I will not tolerate any interfering.
Speaker 2 (21:54):
Look, I like Maxie in Texas. My friend he's lying
in the hospital right now. We don't know whether he's
gonna live a die. And you're talking about interferru enough.
It doesn't happen enough, Sam, Have I I got business.
Speaker 3 (22:10):
I didn't know where to start or to start with
right then.
Speaker 2 (22:13):
It's like that sometimes a flag's up, the meter's ticking,
but you're getting nowhere. And it came to me that
Maxi's girlfriend, the hare didn't know about him yet, so
I went over to tell her. It was six o'clock
in the morning, but she was wearing a dress that
was meant only for nighttime.
Speaker 6 (22:29):
Where mister Jordan. When I saw you at Max's yesterday,
I didn't think you'd be by for that drink so soon.
But come in, Come in. I was just having some coffee.
I have to be on occasion early. I'm all dressed
for the scene, but I have to have a makeup job.
Speaker 3 (22:47):
You'll go right to me the way.
Speaker 6 (22:48):
Uh, you can be nice.
Speaker 3 (22:51):
I have some tough news for you.
Speaker 6 (22:53):
Max. Something's happened to Max.
Speaker 3 (22:56):
He's dead.
Speaker 6 (22:58):
Oh no, no, not Max, poor Maxy.
Speaker 3 (23:02):
Somebody shot him three hours before.
Speaker 6 (23:04):
Why would anybody want to kill Max?
Speaker 3 (23:05):
I want to know too.
Speaker 6 (23:07):
Max expected me to marry him, and he had so
many plans. Mister Jordan, What can I do to help?
Speaker 2 (23:13):
A smart cop named Sabaya is going to be knocking
on your door pretty soon. He'll want some answers.
Speaker 6 (23:17):
I want him first, Would you mind terror if we
sat down? I see Max was all I had and
I want to be near someone. Sure, sure, I know
I'm not doing this scene very well, mister Jordan. What
can I tell you?
Speaker 3 (23:34):
Max ever mentioned a man named Pete Berger.
Speaker 6 (23:38):
I never heard the name before.
Speaker 2 (23:39):
He was the head of your property department. He was
the one that shot at Max yesterday he killed Max.
Speaker 3 (23:44):
No, no, but Burger's dead too. I was there when
he got shot.
Speaker 6 (23:49):
Look, I'm not very good at this sort of thing.
Speaker 3 (23:50):
What are you trying to find a reason?
Speaker 2 (23:53):
People kill for money, or for love or just for
the plain crazy feeling of blasting a gun at somebody?
Speaker 6 (24:00):
Has been a lot for you. You liked Max, didn't you?
Speaker 3 (24:03):
He was a nice little guy. But I got more
than that. A friend of mine he was shot too.
Speaker 6 (24:08):
Another death.
Speaker 3 (24:09):
Oh he's still alive in the hospital. Oh so there's
a reason.
Speaker 6 (24:12):
Well the police.
Speaker 2 (24:13):
Look, I want to find out who I see. What
kind of worked as a makeup man do with a
plaster cast?
Speaker 6 (24:21):
I don't know. I suppose he studies the contour of
the face and familiarizes himself with his subject. That way,
he'd have one of you, I suppose, so he'd have
one of every principle in the cast.
Speaker 3 (24:37):
That's a nice face. Yeah, I've seen it in pictures.
Speaker 6 (24:42):
My my press agents. Thick my hair as my fortune?
Speaker 3 (24:46):
Yeah, long golden hair.
Speaker 6 (24:52):
Does it feel soft and warm the way you hoped
it would feel? H You've been wanting to help me
like this, to see me like this, haven't you? I
and my lips.
Speaker 3 (25:10):
How do you like them?
Speaker 6 (25:11):
Rocky. I never loved Max. I was indebted to him. See,
I was terribly ill several years ago, and he helped me.
Speaker 3 (25:27):
I can see why he felt the way he did
about you.
Speaker 6 (25:35):
I like the way you did that.
Speaker 3 (25:39):
No, Max was working on something for you. Really, he
had a plaster cast of your head in his arms
when I found him. There was no hair on it,
and it looked funny.
Speaker 6 (25:50):
Don't say that. Don't ever say a thing like that.
Speaker 3 (25:52):
But figures, what are you talking to? Murder lady, and
lots of it?
Speaker 6 (25:56):
Jet Off.
Speaker 2 (25:57):
You'll killed a poor ex card because he bungled a
scared job your black man them men are doing and
you shot him last night because I was gonna talk
to him.
Speaker 6 (26:02):
You're crazy.
Speaker 3 (26:03):
You killed Max, and you thought you killed texts.
Speaker 6 (26:05):
You said yourself, it's got to be a reason.
Speaker 3 (26:07):
You got one shop, money, love or anything else. I
hate you.
Speaker 2 (26:10):
Every newspaper in the world's gonna carry this story. Hilda Graham,
the movie star with all the long golden hair is
really his ball as a boiled egg.
Speaker 3 (26:18):
You shock.
Speaker 6 (26:20):
Don't you ever say anything like that. Don't ever say anything.
Speaker 2 (26:24):
Pick up that book and I'd like to have a
reason to break you up too. What are you gonna
do turning you over to the police.
Speaker 6 (26:30):
No, no, you can't. You mustn't think out about my hair.
Oh please please don't him now. Look Max was the
only one who knew.
Speaker 3 (26:41):
Don't let them.
Speaker 6 (26:42):
No, Rocky, please, Rocky please. I couldn't stand it. I
had to kill all those people to make sure that. Please, Rocky, please,
you know how nice I can be.
Speaker 2 (26:58):
Lady, you're a bum. Sam got over being mad when
I brought her in. We sat down and figured it out.
Max had been trying to get her to marry him,
but she didn't want to marry anybody, and she was
(27:18):
afraid if she didn't marry Max, he'd tell what he knew,
so she killed him. It was her hair, had famous
long golden hair, only it wasn't hers. She lost all
hers when she was sick. She couldn't stand the thought
of anybody going around knowing she wore a wig. A
couple of days later, I saw Text at the hospital.
(27:38):
He had some transfusions and a couple of other things.
He was coming out of it all right, you know.
I think he summed it all up when he said, you.
Speaker 7 (27:46):
Know, Rocky, I've been thinking still bad they didn't take
killdo greams picture without that wig boy that had sure
serve her right.
Speaker 1 (28:29):
It's CBS again at the same time next week, or
another story of adventure and intrigue when we take you
back to Cairo and the Cafe Tambourine run by Rocky Jordan.
Jack Moyles plays the title role, with Tonight's story by E.
Jack Newman, edited by Larry Roman and Gomer Cool. Rocky
Jordan is produced and directed by Cliff Howell with original
(28:52):
music by Richard Arrunt. Don't Forget Tomorrow Borrow night at six,
Irene Dunn and James Mason will take you into mysterious
Siam for that great story of intrigue in the court
of a young king. The fine motion picture Anna and
the King of Siam comes to CBS Radio Theater Tomorrow
(29:14):
night at six. Larry Thor speaking. This is CBS, the
Columbia Broadcasting System
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