Michael Shayne 450507 Big Voice Means A Big Body, Old Time Radio
Michael Shayne, Private Detective (1944-1948) was the inaugural iteration of the series, with Wally Maher lending his voice to the character of Michael Shayne. Broadcast on the West Coast Mutual network, this version stood out for its lighter tone in comparison to subsequent adaptations. Notably, Shayne’s investigative hub was located in Oakland, California, a departure from the more conventional Miami setting
The series delved into intriguing mysteries, and its protagonist, Michael Shayne, navigated the twists and turns of each case with wit and determination. While the later versions took on different tones and settings, this early incarnation set the stage for the enduring legacy of the Michael Shayne detective franchise.
Listen to our radio station Old Time Radio https://link.radioking.com/otradio
Listen to other Shows at My Classic Radio https://www.myclassicradio.net/
Entertainment Radio | Broadcasting Classic Radio Shows | Patreon (https://www.patreon.com/entertainment_radio)
Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
The series delved into intriguing mysteries, and its protagonist, Michael Shayne, navigated the twists and turns of each case with wit and determination. While the later versions took on different tones and settings, this early incarnation set the stage for the enduring legacy of the Michael Shayne detective franchise.
Listen to our radio station Old Time Radio https://link.radioking.com/otradio
Listen to other Shows at My Classic Radio https://www.myclassicradio.net/
Entertainment Radio | Broadcasting Classic Radio Shows | Patreon (https://www.patreon.com/entertainment_radio)
Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
Category
😹
FunTranscript
00:00The Adventures of Michael Cheyne, Private Detective.
00:11The people who make 76 gasoline and Triton Motor Oil, Union Oil Company present...
00:21The Adventures of Michael Cheyne, Private Detective, starring Wally Mayer and Kathy Lewis.
00:31The Adventures of Michael Cheyne, Private Detective, starring Wally Mayer and Kathy Lewis
00:39Excitement and danger are the salt and pepper in Mike Cheyne's recipe for life.
00:44But at this particular moment, Mike seems fresh out of spice and seasoning.
00:48Life is very dull for our detective friend.
00:51So dull, in fact, he almost yawns right in the very pretty face of his secretary, Phyllis Knight.
00:56Ten minutes to four. You've had that poetry book propped under your nose since lunch.
01:00Well, certainly. If I'm going to write poetry reviews, I've got to read them.
01:04Exactly. Three people have walked through that door today.
01:06One bill collector and two guys asking where they could...
01:08Mike.
01:09...where they could comb their hair.
01:11Three plus one equals four.
01:13You, sir, are Mr. Michael Cheyne, the private detective?
01:16If it's all right with you, ma'am.
01:18I am Madame Jolene Toulot.
01:20Uh, once again?
01:22Madame Jolene Toulot.
01:24But, of course, I shouldn't expect a detective to know and appreciate...
01:27Jolene Toulot, the opera star, of course. Won't you have a chair, please?
01:31The other one, Phyllis. Strong. Uh, more comfortable.
01:34Young man, I weigh 230 pounds.
01:37If this chair won't hold me, I'll let you know.
01:40I'm sorry. I didn't mean to...
01:41A big voice means a big body.
01:44Did you ever hear a voice from one of those little musical comedy rivets?
01:47No?
01:48No more voice than a sick grasshopper.
01:51Madame Toulot, you wish to see Mr. Cheyne about some problem, a case?
01:55Of course. What did I come here for?
01:57It's in my purse.
01:59Here, read this letter.
02:02Madame, this is your last morning.
02:05If the book is published, you will not be here to enjoy the pain it causes.
02:09Hmm, that's all. It's unsigned.
02:11This is the second one I have received in the past two weeks.
02:14What on earth does it mean, the book?
02:17My memoirs.
02:18Everybody knows I am writing them.
02:20A lot of famous people will lose sleep when they read what I, Madame Jolene Toulot, has told about them.
02:27But I want to live to enjoy it.
02:29You wish me to investigate who's sending you these notes?
02:32I do.
02:33I'm sorry, Madame. I'm not a press agent.
02:35Writers have tried this publicity stunt before.
02:37Why, you young cochon!
02:39Very well, I'll go to a good detective.
02:42I wish you luck, Madame.
02:43Madame.
02:50I like you, young man.
02:52You talk back to me and don't apologize.
02:54Only in months spelt with an R.
02:56I admit I like publicity, Mr. Shane.
02:59I love to see my name in print, but not in the obituary.
03:02If you will take the case, I'll give you the names of the people that might have written these notes.
03:07Go ahead, Mike. We wouldn't want anything to really happen to Madame Jolot.
03:11Thank you, my dear.
03:12What is your name?
03:13Phyllis. Phyllis Knight.
03:14I remember hearing you sing Carmen when I was a little girl.
03:17You're older than I thought.
03:19You like opera?
03:20I love it, yes.
03:22I've got record albums at home of Aida and Carmen, Rigoletto, Cavalier Rusticana.
03:27Wait a minute.
03:28Didn't I see in the papers that you were singing that tonight?
03:31The Benefit Series.
03:33Yes. My fifth farewell appearance.
03:35Coming back to business, Madame. You were going to give me some names.
03:38The first one is Roderick Mackenzie of the Newport Mackenzies, an old suitor of mine.
03:43Would he threaten to kill you?
03:45He's come clear out to the coast just to keep his name out of my memoirs.
03:49He wants to buy his letters back from me.
03:52Oh?
03:53My dear Jolene, he says, I was wild, a wild and foolish boy, but that was long ago.
03:59There is my family, my circle.
04:02You're writing this down, aren't you?
04:04Yes.
04:05Then there's my ex-husband, Edwin Buck.
04:07He's got political ambitions which my book might sour.
04:11And Leonora Baril.
04:13Madame Baril.
04:15To think I have to sing tonight with that Hungarian woot owl.
04:19Oh, and one other.
04:21Savadal, our maestro.
04:23They're all in your memoirs?
04:25Any others?
04:26Yes.
04:27Savadal, our maestro.
04:29He hates the air I breathe because I won't let Helen marry him.
04:33Helen?
04:34My secretary, Helen Smith.
04:36Oh.
04:37The girl thinks she's in love with him.
04:39She's too young, too good for him.
04:41Oh, you might add the secretary to the list, honey.
04:43Helen?
04:44Impossible.
04:45She couldn't.
04:46She's...
04:47No.
04:48Never.
04:49Well, we've got four names here.
04:50Now, where do I find these people?
04:51Come to the opera tonight, the Figaro Theatre.
04:53I will have them all there for you.
04:55Figaro Theatre.
04:56Okay.
04:57It's a double bill.
04:58Pagliacci, then Cavalleria.
04:59I sing in the second half.
05:01Oh.
05:02Let us meet in my dressing room during the intermission.
05:05One thing more, madam.
05:06Do we have to listen to the opera itself?
05:08Of course.
05:09Someday you can tell your children you heard Madame Jolene Tourleau.
05:14You will never forget tonight.
05:17Uh-huh.
05:18That's what I'm afraid of.
05:20Mike, I wanted to hear the end of Pagliacci.
05:35Yes, so do I.
05:36It can't end quick enough.
05:37Oh, you're just being childish.
05:38You like music and singing.
05:40Yes, sure, darling, but when guys get up on the stage and insult each other, I want to
05:43enjoy it in English.
05:44Oh, Mike.
05:45Yes?
05:46Oh.
05:47Oh, we thought this was Madame Tourleau's dressing room.
05:48I'm sorry.
05:49It is.
05:50Madame is no come here yet.
05:51Oh, well, we were to meet her here in her dressing room.
05:52Can we come in and wait?
05:53I am awaiting to see her.
05:54Okay, we'll make it a threesome.
05:55Uh, the names are Miss Knight and Mike Shane.
05:56So?
05:57I am Savadelle.
05:58The maestro?
05:59But I thought you were conducting...
06:00Cavalleria only, madame.
06:01Cavalleria only, madame.
06:02Cavalleria only, madame.
06:03Cavalleria only, madame.
06:04Cavalleria only, madame.
06:05Cavalleria only, madame.
06:06Cavalleria only, madame.
06:07Cavalleria only, madame.
06:08Cavalleria only, madame.
06:16Cavalleria only, madame.
06:17Cavalleria only, madame.
06:18Cavalleria only, madame.
06:19Cavalleria only, madame.
06:20Cavalleria only, madame.
06:21Cavalleria only, madame.
06:22Cavalleria only, madame.
06:23Cavalleria only, madame.
06:24Cavalleria only, madame.
06:25Cavalleria only, madame.
06:26Cavalleria only, madame.
06:27Cavalleria only, madame.
06:28Cavalleria only, madame.
06:29Cavalleria only, madame.
06:30Cavalleria only, madame.
06:31Cavalleria only, madame.
06:32Cavalleria only, madame.
06:33Cavalleria only, madame.
06:34Cavalleria only, madame.
06:35Cavalleria only, madame.
06:36Cavalleria only, madame.
06:37Cavalleria only, madame.
06:38A certain person has been here at the house trying to tear up my memoirs.
06:42What? Who?
06:43I'll tell you when I get to the theater.
06:45Come back to the dressing room after the performance.
06:48Au revoir.
06:49Goodbye.
06:50I want to talk to her.
06:51I'm sorry, maestro.
06:52She hung up.
06:53Oh, that woman.
06:54That big girl will not stand to this.
06:55I'll warn her.
06:56No, we're doing it.
06:57I'll do what?
06:58Hey, hey, just a second there.
06:59That, my dear, is what we artists call temperament fortissimo.
07:03Yeah, well, I've got a plainer name for it.
07:06Come on, darling, let's go back to our seats and join the other sufferers.
07:26Mike.
07:27Hmm?
07:28Hey, that man conducting the orchestra, he doesn't look like Sabadell.
07:31You're right.
07:32It's the same bald head who umpired the first opera.
07:34Yeah, but Sabadell said he would.
07:35I wonder what it means.
07:36Don't ask me, darling.
07:37The only thing I know about grand opera is the price of our tickets.
07:47Hey, that's awfully funny.
07:49Yeah.
07:50Well, this is the last part of the prelude, and right now the tenor is supposed to be singing offstage.
07:53The curtain's going up.
07:54There's nobody on the stage.
07:56Somebody's coming out from the wings now.
07:58It's Sabadell.
08:00Ladies and gentlemen.
08:01Ladies and gentlemen.
08:03Gentlemen, please.
08:05I am regret to announce there will be tonight no Cavalleria Rusticana.
08:12I have to announce there is a tragedy.
08:14Our soprano, Madame Terlo, is dead.
08:29We'll return to Mike and Phyllis in just a moment.
08:33The End
08:38Many motorists blame poor mileage, sluggish pickup, and inferior engine performance on wartime gasoline.
08:45Now, it's true that all civilian gasoline must be restricted in quantity and quality due to government regulations.
08:52But if you've been having trouble with a rough motor, or your gas coupons don't seem to go quite as far as they used to, ask yourself this question.
09:00How long has it been since my spark plugs were checked?
09:03You see, spark plugs have a lot to do with engine performance.
09:07If they're old or burned or dirty, they won't fire properly and they waste gasoline.
09:12In fact, engineering tests show that defective plugs can waste one tankful of gasoline out of ten.
09:20Now, there's no reason why anyone should put up with this condition when it's so easy to have your Union Oil Minuteman check your spark plugs.
09:28Union Oil spark plug inspection is scientifically performed.
09:32The condition of each plug is carefully measured on a special machine, and you can see the results for yourself.
09:39If your plugs are dirty, the Minuteman will clean and adjust them.
09:43The cost of this service is only a few cents per plug, and you'll soon save that in extra mileage.
09:49You'll find Union Oil Minuteman ready to serve you wherever you see the sign of the big orange and blue 76.
09:58The sudden death of Madame Turlough has been announced from the opera stage.
10:07It's a few minutes later. Mike and Phyllis are at the home of the dead singer.
10:11As they hurry through the entrance hall, Inspector Faraday is explaining.
10:14Well, for once, Mike, I beat you to the scene.
10:17The old lady started to phone the police, but never completed the call.
10:20One of our operators heard gunshots over the phone.
10:23So you hightailed it right over?
10:24Yeah, and when somebody at the opera phoned for her, I gave them the news.
10:28Well, this is the living room. The bodies, well, you can see for yourself.
10:33But, but, Inspector, there are two of them.
10:37Yeah, mm-hmm. As bloody as Grand Opera itself.
10:40Oh.
10:41And when she came to our office, I thought it was a publicity stunt.
10:44Mike Shane, you're a hero.
10:46Oh, Mike, you couldn't possibly know.
10:48I haven't had time to identify the other body. It's a woman of, I'd say, 25 or 26.
10:53It's probably Helen Smith, the secretary.
10:55Only we knew who was here with Madame Turlough when she telephoned you at the theater.
10:59Yeah, the somebody who had just tried to destroy her manuscript.
11:03So that's what it was, a manuscript.
11:05One of my boys found a pile of paper over there in the fireplace.
11:08A lot of it is burned up.
11:10Uh-huh.
11:11Looks like some old photographs and letters, too.
11:14Oh, maybe that's the coroner. Be right back, kids.
11:16Okay.
11:18Look at these, Mike. Here, these pages didn't burn.
11:22Chapter 5, My Husband.
11:24There never was a more dashing gallant figure of a man than Edwin Buck.
11:28Hmm, there's something screwy here.
11:30She's giving him a gold-plated Oscar, unless it's supposed to be sarcasm.
11:33Her desk looks as if she'd been working on a manuscript, Mike.
11:36A lot of typewriter paper and carbon sheets.
11:38Only used a couple of times.
11:39Oh, good, good. You know what to do with them.
11:41Mike, what are you staring at?
11:43Bloodstains on the carpet.
11:45They trail from the phone over here to the piano where she died.
11:49Oh.
11:50She must have clutched at the music rack as she fell.
11:53There's music all over the floor.
11:54Uh-huh.
11:55She's got a couple of sheets crumpled in her hand.
11:57Looks like they were torn out of something.
11:59I see.
12:00That's part of an opera score.
12:02An aria from Rigoletto.
12:04Cort-I-G-On-I-Val-Rot-Z.
12:08Mike.
12:09Cort-Gianni-Val-Rot-Z.
12:10It's a baritone aria.
12:12I thought she was a soprano.
12:13Oh.
12:14Ellen.
12:15Ellen, mama mia, Ellen.
12:16No, Sabadell, no. Don't touch her.
12:18I don't know who these men are, but they all insist they're special friends of Madame Turlough.
12:22What's your name, sir?
12:23Edmund Buck.
12:24I was once her husband.
12:26And you?
12:27Roderick McKenzie.
12:28I've known Jolene for, well, a long time.
12:31I was supposed to meet all three of you gentlemen this evening about certain threatening letters sent to Madame Turlough.
12:36So I understand.
12:37Have you got those letters, Mike?
12:38I have one, Inspector, here in my purse.
12:40Maestro Sabadell, when we were in the dressing room with you, you blew your top about Madame.
12:44You said you had warned her, and now you would do it.
12:47Do what, maestro?
12:48I was, I was a meaning for Ellen.
12:50Madame, she say, we cannot marry.
12:52I say, Madame Turlough have no right to stop us.
12:56Tonight, I'm a decide. No more talk. We do it.
12:59And where did you go when you slammed out?
13:01First, I go for a walk. Get over my temper.
13:04Then I phone Madame. She's very late. They say she's dead.
13:07Mr. Buck, you came here for some reason, but you're very quiet.
13:10Yes, I...
13:12It's so horrible.
13:14How long ago were you divorced from Madame Turlough?
13:16About 18 years.
13:18I understand you have political ambitions. Is that right?
13:20I hope to run for Congress.
13:22And what your ex-wife wrote about you might do your opponents more good than you.
13:26Why, no. From all Jolaine told me, she wrote rather well of me.
13:29From all she told us, that wasn't her idea.
13:32Can you tell us, Mr. Buck, where you were during the past hour?
13:35Why, certainly. At the opera to hear Jolaine.
13:37Mr. McKenzie, I believe you made a special trip here from New York to keep your name out of these memoirs.
13:42There's no crime in that.
13:43You tried to buy your letters back from Madame.
13:45I did. I have my family to think of, my social standing.
13:49Some of my letters were, well, full of youthful enthusiasm.
13:53I was afraid Jolaine would distort them.
13:55Mr. McKenzie, where were you during the past hour?
13:58I was at the opera.
13:59No, no. That is one a lie. He was here. I'm seeing him.
14:01All right, McKenzie. Drop the innocent act. What were you doing here?
14:05Well, if you must know, I came to talk to Jolaine's secretary.
14:09And?
14:10I was going to bribe her to steal my letters for me.
14:13But nobody answered the door. I never got in.
14:16You can't prove anything on me.
14:18Except that you're a poor liar, sir.
14:20That goes for all of you.
14:22Any one of you three could have sneaked up here from the opera and killed these women.
14:25Inspector.
14:26Yes, Mike.
14:27Madame has some of the musical score in her right hand.
14:30I want to borrow it for an hour or so.
14:32But, Mike, that's evidence.
14:33Nothing's going to happen to it, Inspector.
14:35And, honey, if you'll give me the keys to your apartment, please.
14:38What? I'll go with you.
14:39No, no, no. I want you here to sort of observe the proceedings.
14:42Mr. Shannon, please. I want to talk with you. It must be private.
14:46Inspector Faraday will be glad to hear anything you have to say, maestro.
14:48I'll be seeing your children.
14:50Oh, Angel.
14:51You dropped your handkerchief.
14:53Oh, thanks.
14:54All right, Mr. Sabineau.
14:56What was it you wanted to tell Mike?
14:58No, it's a like I say. It's a private.
15:01Okay, I suppose it's private why you came here earlier and saw Mackenzie.
15:04I'm all ready to tell.
15:06I come to see Helen and say to Madame that we get her married.
15:09But nobody's opened the front door. They're already dead.
15:11Inspector.
15:12Now what?
15:13This isn't my handkerchief.
15:14It's got the initials L.B.
15:16Of course.
15:17Leonor Beryl, the singer.
15:19Her name was on our list, too.
15:21Then she must have been here.
15:23Phew. We're knee-deep in suspects.
15:25Well, maybe this one is the fish we're really after.
15:27See you later, Inspector.
15:28Hey, Phil, where are you going?
15:30Where do you suppose?
15:31Right, Inspector.
15:42I... I hope you will excuse my appearance, but I'm...
15:46Well, I... I am sworn strong from this shock.
15:49Yes, yes, I understand, Miss Beryl.
15:51Sheenaile and I were... we were such good friends.
15:55She was like a mother to me.
15:57Yes, yes.
15:58Did you see her today?
15:59Today?
16:00Oh, no.
16:01No, I...
16:02Oh, my eyes.
16:04Mascara was...
16:05Oh, here. Here, use this.
16:08Oh, my eyes.
16:09Mascara was...
16:10Oh, here. Here, use this.
16:11Oh, thank you.
16:13You buy very expensive handkerchiefs, Miss Beryl.
16:16What?
16:17That handkerchief.
16:18It's yours.
16:19You dropped it in the living room.
16:21Jelaine Turlough's living room.
16:23Oh.
16:24You did see her today, didn't you?
16:26In fact, this evening.
16:27How did you know?
16:29I didn't.
16:30It was a shot in the dark.
16:32I see you use a typewriter.
16:35What... what are you doing?
16:37Just checking something.
16:39Will not be...
16:40Yep, it's the same.
16:42It is the same what?
16:43The letter E on your typewriter,
16:45exactly like the E in the note threatening the life of Jelaine Turlough.
16:49All right.
16:50I was trying to scare her.
16:52She had me in her memoirs.
16:53I am trying to get my husband back.
16:55But if Salvador reads the malicious way she twisted things...
16:58Salvador?
16:59He's your husband?
17:01Our divorce became final last month.
17:03But I am going to get him back.
17:05Oh.
17:06He was going to elope with Helen.
17:08So you got rid of the girl.
17:09Then you had to kill the other woman.
17:11I killed...
17:13Get out of here.
17:15Get out of here!
17:16Gladly, gladly.
17:17I think you've told me all we need to know.
17:18That's just the trouble with women.
17:19They tell it too much.
17:20Oh, Salvador.
17:21How did you get here?
17:22The inspector.
17:23He's determined to lose everybody but Mr. McKenzie.
17:25Now, I talk to you.
17:27No, you don't.
17:28You stay.
17:29Salvador, I want to talk.
17:30You let go of me.
17:33Stop her.
17:34Stop her.
17:35She's taking away...
17:36Sister, I am away.
17:49Like she was lying every minute of the time because everything that she said...
17:52Please, Angel.
17:53Please give it to me slow.
17:54I can't get it all at once.
17:56Well, listen.
17:57All right.
17:58Faraday has turned everybody loose except McKenzie.
18:00He's holding the wrong man.
18:02Could be, but Inspector Faraday must have his reasons.
18:04But the handkerchief.
18:05Leonor Burrill admitted she was with Madame Tullo tonight and she was married to Savadel.
18:10So you said.
18:11But doesn't all this mean anything to you?
18:13Savadel tried to keep me in that apartment.
18:16Mm-hmm.
18:17Men try that occasionally.
18:18Oh.
18:19By the way, did you check Madame's carbon paper?
18:21I did not.
18:22I found more important things to do.
18:24Phyllis, I told you...
18:25Mike, stop fiddling with that phonograph and listen to me.
18:28Leonor Burrill sent those threatening letters.
18:30She wanted Savadel back, but he was going to elope with Helen.
18:33Don't you think Leonor would be mad enough to kill her and Jelaine Tullo?
18:36If you think that, why were you so scared of Savadel?
18:39Because...
18:40Because they're in it together.
18:42Mm-hmm.
18:43Oh, by the way, honey, have you got some extra phonograph needles?
18:46This one's getting scratchy.
18:47Oh, Mike.
18:48What's the matter?
18:49Something wrong?
18:50Yes, you.
18:51I beat my brains out trying to help you on this case.
18:53You just stand there gawking at sheet music and phonograph records.
18:56Excuse, please.
18:57Put the doorbell.
18:58That's the apartment phone, stupid.
19:00Down by the mailboxes.
19:01Oh, I'll get it.
19:02It's probably Inspector Faraday.
19:05Hello?
19:06Please.
19:07Mr. Phyllis and I...
19:08Well, who is it and what do you want?
19:10Senor Savadel.
19:11I must see her at once.
19:12Look, Mr. Look, this is Mike Shannon.
19:14If you come around here to Pastor Phyllis, I'll put you...
19:16No, no.
19:17Please.
19:18I want to talk to both of you.
19:19It's a secret.
19:20I have an idea.
19:21Who?
19:22Hello?
19:23Hello?
19:24Hello?
19:25Mr. Shannon.
19:26Yeah?
19:27The aria.
19:28The aria.
19:30Savadel.
19:31Savadel, what's wrong?
19:32Savadel!
19:45In just a moment, we'll return to Michael Shannon and his adventures.
19:50A few minutes ago, we mentioned some of the reasons why clean spark plugs are important
19:57to the efficient performance of an automobile engine.
20:00Now, while you're having your spark plugs checked,
20:03it's a good idea to ask the minuteman to look at your ignition cables too.
20:07These cables are the small, fine wires which deliver electricity to the spark plugs.
20:12If any of them are broken or frayed or the insulation damaged,
20:17even brand new plugs won't help your driving.
20:20You see, old or damaged ignition cables leak electricity,
20:25so that by the time the charge gets to the spark plug,
20:28there isn't enough juice left for the rich spark needed for instant firing.
20:32So to get full power out of old engines,
20:35ask the Union Oil minuteman to check both spark plugs and ignition cables.
20:41Then you'll be sure of more power and better mileage.
20:45Just drive in wherever you see the sign of the big orange and blue 76
20:50and ask for Union Oil ignition service.
20:59For the second time tonight, a phone call has been ended suddenly by a revolver shot.
21:04It is minutes later.
21:05Mike and Phyllis are standing on the sidewalk outside Phil's apartment house.
21:09Two men in white are lifting a limp body onto an ambulance stretcher.
21:13Mike, do you think he'll live?
21:15Well, the doctor says he will if they get him to the hospital quick enough.
21:18Even so, we won't be able to question him for days, and that may be too late.
21:21Not a soul in this crowd saw who did it.
21:23Somebody decided Sabadell shouldn't talk to us.
21:25Yeah.
21:26Oh, if I had only listened to him when he tried to tell me something at Madame Turlough's.
21:29Or you at Leonor Burrill's.
21:31Well, if we just knew what he wanted to tell us.
21:33I think I have a sneaking hunch on you.
21:35You have?
21:36Yeah.
21:37Well, come on, bright eyes.
21:38We're going to phone Inspector Faraday and send out the invitations.
21:40Invitations?
21:41Invitations?
21:42Mm-hmm.
21:43To a midnight reunion at Madame Turlough's.
21:45The guest list will be very select and slightly dangerous.
22:03Good evening, Inspector.
22:04Hello, Inspector.
22:05Did you round up everybody?
22:06I did. They're in the living room.
22:07Come on in.
22:08Okay.
22:10That package under your arm, Mike.
22:11What is it?
22:12Ah-ha-ha.
22:13Patience, me lad.
22:14Patience.
22:15Everything in due time.
22:16Mike, you tell me on the phone that McKenzie was innocent and to release him.
22:18Well, I haven't.
22:19You mean you've got proof on him?
22:20McKenzie came clear across the continent just to stop Madame Turlough from publishing that book.
22:25He admits he was going to bribe her secretary to steal the stuff for him.
22:29And Sabadell placed him here at the house at or about the time of the killing.
22:33That's enough for me.
22:34Now, there's just one hitch, Inspector.
22:35What?
22:36How about the killer trying to remove Sabadell, too, at the very time you had McKenzie at headquarters?
22:41Say, that's right.
22:42Yeah.
22:43Unless Sabadell's ex-wife did it in a fit of anger.
22:47Oh, Miss Burrill, this is Mr. Shane.
22:49So, I understand I have you to thank for dragging me out at this unearthly hour.
22:54Yes, Miss Burrill.
22:55Mr. Buck, how are you?
22:56As well as can be expected.
22:57Phyllis, will you look up those carbon papers now?
22:59Yeah, yeah, right away.
23:00I believe Inspector Faraday has told you of the shooting of Maestro Sabadell,
23:04so the first thing we want to know from both of you is where were you during the past hour?
23:08Well, I was at home, reading the newspaper story about tonight.
23:12Oh, an incomplete story, I'm afraid.
23:13And you, Miss Burrill?
23:14Also at home.
23:16When Miss Knight left you and Sabadell, or should I say escaped from you, what happened?
23:20Nothing.
23:21You and Sabadell had a fight.
23:22He accused you of killing Helen so he couldn't marry her.
23:25I told him I didn't, and it's the truth.
23:27All right, all right, all right.
23:28Now, honey, how about the carbons?
23:29All checked.
23:30Madame Terlot was still working on the chapter, my husband.
23:33And?
23:34We were right the first time.
23:35She's anything but flattering to Mr. Buck.
23:37Rubbish.
23:38She was very kind to me.
23:39Well, here's the carbon sheets.
23:40We found them on Madame's desk, and they were used only twice.
23:42I just held them up in front of my vanity mirror and read what she'd typed, and it was not flattering.
23:47How was I to know that?
23:48I thought it was all favorable to me.
23:50Well, that's a minor issue now, anyway.
23:52The real key is Helen Smith, the secretary.
23:54How do you mean, Mike?
23:55Madame Terlot was against a marriage between Helen and Sabadell.
23:58She told us it would never happen.
24:00Now, doesn't that strike any of you as a little strange?
24:03Employers usually don't have such control over the lives of their secretaries.
24:07Okay, Mike, but get to the point.
24:09Ah, that is the point, Inspector.
24:11And now you wanted to know what I have in this package.
24:13Yeah, yeah.
24:14First, the music score we found in Madame Terlot's hand.
24:18A baritone aria from Rigoletto.
24:20The Cortigiani Vilrazi.
24:21Pronunciation by courtesy of Miss Phyllis Knight.
24:24Thank you, darling.
24:25And next we have Phil's record album of the same opera.
24:28Angel, will you warm up the Madame's phonograph for me?
24:31If you ask me, this is all very cheap and dramatic.
24:34Operatic is the word, Miss Borell.
24:36You see, when Madame Terlot was shot,
24:38she made a dying effort to tell us who killed her and Helen, especially Helen.
24:42She tore a very special aria from the score of Rigoletto
24:45in a desperate gamble somebody would understand it.
24:48Mr. Shane, I don't believe you are the man to give us a course in opera appreciation.
24:53Well, we shall see, Miss Borell.
24:54Photograph's ready, Mike.
24:55Okay, darling.
24:56Now, do you people know the plot of Rigoletto and what this aria means?
24:59Well, of course.
25:00I have sung Rigoletto.
25:01I'm afraid I have only a hazy idea.
25:04All right.
25:05This is the setup.
25:09A gang of the Duke's courtiers have just kidnapped a girl.
25:16Now this guy Rigoletto is cursing them.
25:21Now he's begging them to give her up and they won't.
25:27Now he tells them the secret.
25:28The girl is his own daughter.
25:31Well, does that mean anything to you, Miss Borell?
25:34Not a thing.
25:35You, Mr. Buck?
25:36I can't say that it does.
25:38Okay, then I'll put on the other record.
25:42Now, this is the end of the opera, the payoff.
25:48Miss Borell, as an opera star, tell us what's happening on the stage right now.
25:52Well, Rigoletto had planned to kill his enemy, the Duke.
25:55Right.
25:56He has the body in a sack and then he makes a discovery.
25:58Now listen carefully, Mr. Buck.
25:59Rigoletto opens the sack and sees a girl's body.
26:01He cries,
26:02Speak, oh, speak to me, my darling daughter.
26:04Oh, awful fate.
26:06By my hand she hath fallen.
26:08What?
26:09What?
26:10My...
26:11My child.
26:12Helen was my child.
26:15Helen was Elaine's daughter?
26:17Then Buck is her father?
26:19I...
26:20I didn't know.
26:22I didn't know.
26:23Yes, her father.
26:26And her murderer.
26:41Ah, there you are, maestro.
26:43Very well.
26:44Well, are you feeling better?
26:45Ah, Mr. Shand, to you, bigger congratulations.
26:48Your work, bravo.
26:49She's the most brilliant.
26:50Well, thank you, maestro.
26:52I thought I was pretty good myself.
26:53Good?
26:54Well, Buck could hardly add anything to his confession.
26:56He hadn't seen his daughter Helen since she was six years old.
26:59Buck says he just wanted to scare her madam out of publishing her book.
27:02Helen tried to grab the gun.
27:04It went off.
27:05Then he had to shoot again.
27:06Mr. Salvador, you had something you wanted to tell me privately.
27:09Can you talk now?
27:10Yes.
27:11Yes, I can.
27:12Tonight, I see aria from Rigoletto in a madam's hand.
27:14Mm-hmm.
27:15The idea is to come to me.
27:16Maybe Helen is not often the way she should think.
27:19Maybe she is the daughter of madam and Mr. Buck.
27:22The same idea Mr. Shand have.
27:24But I must tell in private.
27:26Well, why under the sun would Jolene Tello keep such a secret from her husband and her own daughter?
27:31We in opera are stranger people.
27:34Mm.
27:35Madam Tello live and breathe opera.
27:37She is a very dramatic.
27:39She can enjoy secret just like a storybook.
27:42Speaking of opera's angel, I notice you've got another record album at your apartment.
27:46Maybe if I studied it, I might get the answer to another problem.
27:49Mike, not another crime.
27:51Well, a different sort.
27:52It's The Marriage of Figaro.
27:54Catch on, Miss Nick?
27:55Then, Mr. Shand, you must translate better than your Rigoletto.
28:00But just a minute ago, you were complimenting me about...
28:02See? Only you're thinking.
28:04But the aria, no.
28:06I have never heard such a bad translation.
28:08Oh, Mike.
28:09Dear, I was so proud of your learning and your culture.
28:12Well, what about you?
28:13You didn't correct me.
28:14You're supposed to be the highbrow in this partnership.
28:16Oh, I am?
28:17Opera, music, books, poetry, reviews.
28:20Climb down off that pedestal, you fake.
28:22Why, Michael Shand, I...
28:24Bill, there's only one book a man wants a woman to review.
28:27I know, I know.
28:28A cookbook.
28:29Right.
28:44Tune in again next week at 8.30 for another adventure
28:57with Michael Shand, Private Detective,
28:59starring Wally Mayer and Kathy Lewis,
29:01with Joe Forte as Inspector Faraday.
29:04Tonight's story was written by Richard DeGraff
29:07and based on the character created by Brett Halliday.
29:10Music was composed and directed by Bernard Katz.
29:13This is John Lang saying goodnight
29:15for the people who make 76 gasoline
29:18and Triton Motor Oil, Union Oil Company.
29:24This is the Mutual Don Lee Broadcasting System.
29:43.