Broadway Is My Beat : Detective Mysteries

0:03 The Adventures of Harry Nile. So where do you want this, lady?

0:13 Oh, right there against the wall. You see? Between the bookshelf and the ficus.

0:16 The what?

0:17 The potted plant.

0:19 Oh, right.

0:21 Morning, Murphy. Hey, what's going on? Where'd the TV set come from?

0:24 I bought it.

0:25 You did?

0:25 Mm-hmm.

0:26 This is where you want it, lady?

0:27 Oh, yes, yes, that'll be fine.

0:29 Okay, I'll hook her up.

0:30 Oh, wait a minute, wait a minute. You bought a television set?

0:33 Harry, it's 1955. Everybody has a television set.

0:38 Since when can you afford a television set?

0:40 Oh, yeah, I got a wonderful buy on it. It was a steal.

0:43 Great, but this is an office, not a tavern.

0:45 I know.

0:46 Okay, lady, it's all set.

0:48 Thank you for delivering it. And here's your money.

0:50 Right.

0:51 Okay, so long.

0:52 Bye. Harry.

0:54 Harry, you don't really mind having a TV set in the office, do you? I mean, I'll only watch it when I'm all caught up with my work. But you can watch it whenever you like.

1:03 You're too generous. Okay, let's have a look at it.

1:07 The man said it's only two years old. It's just like new.

1:10 It's a K-part with a 10-inch screen. Those babies are expensive. What'd you pay for it?

1:15 A hundred dollars.

1:16 A hundred dollars for a console television set?

1:18 Well, isn't that a bargain?

1:19 Where'd you buy it?

1:21 Oh, just a minute. I'll get it. Good morning, Harry Nile Investigations. May I tell him who's calling? Stan Borison? Just a minute, Mr.

1:32 Borison.

1:33 Harry, it's Stan Borison.

1:35 Borison. Where have I heard that name?

1:37 Well, he does a kiddies program on TV.

1:38 Oh, yeah?

1:40 Here, here, talk to him.

1:42 Yeah, this is Harry Nile.

1:44 Mr.

1:44 Nile? Yeah?

1:45 This is Stan Borison.

1:47 Good morning, Mr.

1:48 Borison.

1:48 What can I do for you?

1:49 Well, somebody stole Nomo.

1:52 Come again?

1:53 My dog.

1:54 Somebody stole her.

1:55 Your dog is No-Mo?

1:57 Right.

1:57 My dog is No-Mo.

1:59 Well, I sure am sorry to hear your dog is No-Mo.

2:03 No, you see, the name of the dog is No-Mo.

2:06 Oh, well, for a minute there, I thought you were from the South.

2:09 No, No-Mo is a play on slow-mo, which means slow motion. See, she's a sleepy old kind of breed. That's why I named her No-Mo.

2:17 She hardly moves.

2:19 No-Mo, as in no motion.

2:21 You see? Yeah, right.

2:23 Now, do you ever watch my show?

2:25 When's it on?

2:26 4.30 every day.

2:28 On Channel 5.

2:28 Nah, I'm afraid not. I don't have any kids.

2:31 Well, anyway, Nomo's part of the show. She's a big, sweet old basset hound. She just lies around in her basket through.

2:38 The whole show.

2:39 Sort of a basket hound.

2:40 Yeah, you ought to have a show of your own.

2:42 Yeah. Well, when did Nomo disappear?

2:46 Last night.

2:47 Nomo's disappeared?

2:48 Well, maybe she just wandered away.

2:49 No, unless she knows how to use a crowbar. The door to the porch was sprung. That's how they got in.

2:56 You call the Humane Society or the cops?

2:59 No.

2:59 See, I don't want it to get in the papers that Nomo's gone. That'll make a lot of little kids really sad. I just want to get her back.

3:09 Chasing down dog nappers is a little out of my line. But it's February, and the bills are rolling in, and I could use a commission right now. So I leave Murphy in charge of the TV set, and I head out Sand Point way, To the address that Morrison gives me.

3:24 See, this is how they broke in. Through the back porch. And there's Nomo's doggy bed.

3:29 She sleeps here on the porch? While we're out, yeah. They take anything else that you know of?

3:34 Well, we haven't found anything missing, just Nomo.

3:36 What time of night did this happen?

3:38 Well, I don't know exactly. Barbara and I were at a party in Ballard from 7 until about midnight.

3:43 Well, now, Mr.

3:43 Morrison, is there any chance... Stan, just call me Stan. Okay, Stan. Is there anybody who's got a grudge against you?

3:51 A grudge?

3:52 No, I don't know.

3:53 Nobody.

3:53 No enemies?

3:54 No enemies.

3:55 Gee, I don't think so.

3:57 Well, let's narrow it down a little bit. The person who stole Nomo had to know where you live. He could have known where you kept her.

4:04 My gosh, that's right. It could be someone who's been to our house. Then it's someone I know.

4:11 And he might have known you'd be gone between seven and midnight. Where was the party?

4:14 Well, at the Sons of Norway in Ballard. I played at their annual lutefisk festival.

4:19 Ah, you were entertaining there, then. Was it advertised very much? Oh, gosh, there were posters all over Ballard.

4:25 Ah.

4:26 Then anybody could have known when you'd be out of the house, but not everybody knows where you live.

4:33 And how would they know that we didn't have someone staying in the house while we were gone? You know, like a babysitter.

4:38 Well, if they know your phone number, they can call to see if anybody answers.

4:43 But why would anyone want to steal my dog?

4:45 Hey, the dog's a TV star. I'll bet you a case of friskies you'll be getting a ransom demand. It was almost noon by the time I left the Boreson house and headed back downtown. When I walked into the office, Murphy was sitting at her desk, but her eyes were glued to the TV set. Enjoying your new toy?

5:04 Oh, I'm sorry, Harry.

5:05 The TV set is so big it makes the office look even smaller than it is, you know?

5:10 You hate it, don't you?

5:11 No, I don't hate it. I just try not to fall in love with something I can't have.

5:14 But you've got it.

5:15 No, you've got it. Listen, how'd you find this thing for a hundred bucks anyway? What is it, hot?

5:21 No, I don't think so. It's a little warm, but that's.

5:23 By hot, I mean stolen, Murphy.

5:25 No!

5:26 Okay, where'd you buy it?

5:28 Well, there was this truck that broke down on Gaylor Street up near where I live, and the driver said he had to unload one of the sets. I guess the load was too heavy for the motor.

5:37 Wait a minute, let me get this straight. You bought this off the back of a truck?

5:41 Uh-huh, but there wouldn't be room for it in my room in the boarding house, so I told him to deliver it here to the office, and I'd pay him.

5:48 A guy who delivered it? He was the one who sold it to you?

5:50 Yes.

5:51 Murphy, this deal is as phony as a $ 9 bill. You could get arrested for receiving stolen goods.

5:56 But we don't know that it's stolen.

5:57 What other reason would someone have to sell a $ 500 or $ 600 television set for $ 100? Come on, describe the truck the guy was driving.

6:05 Well, it was big.

6:08 Wonderful.

6:10 And it was gray, sort of, or dark green. Sort of an olive green. Or a teal. Yeah, dark teal.

6:19 I don't suppose you noticed what make it was.

6:21 Make?

6:22 Yeah, a Ford or maybe a Chevy. Was it a Dodge, a GMC?

6:25 I don't know anything about trucks. It was big and dark colored and it had a big box on the back and that's all I know.

6:32 No sign on the truck?

6:33 No, I would have noticed.

6:35 I don't suppose you got a receipt?

6:36 No.

6:36 Of course not. Give me the phone.

6:38 What are you going to do?

6:39 I'm sorry, Murphy. I've got to do this.

6:41 You're going to report me.

6:44 I'm not going to report you. You haven't done anything wrong, but you wouldn't want to keep something that was stolen from its owner.

6:49 No, but what will the police do?

6:52 Well, if it was stolen, they'll keep it as evidence.

6:57 Operator.

6:58 Yeah, let me have the Seattle Police burglary detail.

7:01 One moment, please.

7:03 Well, it was lovely to have it for a few hours anyway.

7:08 Oh, Look, on a lot of stolen stuff, the rightful owner can't be found. And if they can't find the legal owner, it'll probably go up for auction and you can bid on it.

7:16 When?

7:17 When they auction off unclaimed property.

7:18 When do they do that?

7:19 I don't know.

7:20 Every year or so.

7:21 Oh, fine.

7:23 Burglary detail, Wickstrom.

7:24 Yeah, Officer Wickstrom. Listen, a friend of mine may have unknowingly, now innocently, bought a television set that could possibly have been stolen. She asked me to call you.

7:34 Yeah, sure I did.

7:36 When did this happen? Yesterday.

7:37 Name of the buyer?

7:38 Oh, listen, she had no idea it was stolen.

7:40 Name of the buyer?

7:42 I mean, she's never... She's as honest... She thought she was getting a real good deal, that's all.

7:46 Her name?

7:47 I told her she wouldn't get in any trouble as long as she reported.

7:50 It, and.

7:51 Then why isn't she reporting it instead of you? Because she's... All right, she's scared.

7:56 All right.

7:57 What's your name?

7:59 Well, I'm just phoning in for her. I mean, I'm not involved.

8:03 Sir, I need a name on this report. Otherwise, it goes in the trash.

8:07 Okay.

8:07 Niall.

8:08 Harry Nile. How do you spell that? N-I-L-E.

8:12 Look.

8:12 Number where you can be reached? Main 8088. Okay. And your address? 300 Occidental, room 201. And what make of television site is it? It's a big K-part. It's a console, about a 10-inch screen. Real beautiful cabinet. Mahogany, I think it is. Doors that fold over the screen. It's got a great big loudspeaker.

8:32 K-part, you say?

8:33 Yeah, K-part. All right, hold the wire. I'll check on that. He's going to check to see if a set like that's been reported stolen.

8:39 No, I wish I'd never seen the darn thing.

8:42 Look, Murph, you've got to learn something. If a deal sounds too good to be true, it usually is. When I was a cop in Chicago, I bought a brand-new Schick electric razor from a guy right out on the street. And he said he was down on his luck. It was still in its original box. He said his wife had given it to him for Christmas. He had to sell it to buy food. I gave him 15 bucks for it. And then when I got home... Was that a K-Part television you said?

9:01 Yeah.

9:02 Nope.

9:03 No report of a stolen K-Part television.

9:05 No?

9:06 No.

9:07 Oh, okay. Well, hey, thanks a lot, Officer Wickstrom. No report of a stolen Capehart television.

9:13 Does that mean I can keep it?

9:14 Till someone reports a stolen Capehart. So, Murphy turns on her TV set, watches an old movie, then a quiz show, then a cooking show, a husband and wife show, and finally Stan Borison in a funny wig. When his show comes on, guess what?

9:31 Look, Harry, look.

9:32 Nomo is back in her basket.

9:34 Huh?

9:34 Book.

9:36 He got his dog back. Well, good for him.

9:38 Oh, I'm so glad.

9:39 Yeah.

9:40 Well, you go ahead and make an invoice for one day's services and send it to him when you get tired of watching TV. But right after five o'clock, when his show goes off the air.

9:55 Harry Nile Investigations. Oh, is this Stan Morrison? We were just watching your show.

10:02 Yes, yes, he's right here.

10:03 It's Stan Morrison.

10:05 Hey, congratulations, Stan. I see you got Nomo back.

10:07 No, that wasn't Nomo. That was another basset hound that jokes just like her. Nomo has a stand-in?

10:13 Well, I borrowed her from the breeder. But listen, Harry.

10:17 What I called about is just before airtime, I got a call from someone up in Marysville.

10:22 Yeah.

10:23 He said he found Nomo.

10:25 Found her?

10:26 Out in front of his house. He said his kids watch the show every day and they're sure it's Nomo. And she's wearing her collar with her name on it.

10:35 So someone snatched her and drove her way up to Marysville and then turned her loose. Is that what the guy says?

10:40 Well, he says she's there in his house. He didn't say how she got there.

10:45 I don't know, Stan. Something sounds fishy to me. Did he mention a reward?

10:48 No, but I'm going to pay.

10:50 Him something for being so honest.

10:51 What the heck?

10:52 Anyway, he's keeping her for us until we get the... And he just gave me his address.

10:57 So what are you going to do?

10:59 Well, Barb and I are going to run up there tonight and see if it's NOMO. He said he's going to be out until 9 o'clock, so we'll.

11:06 See him after that.

11:07 This guy gave you his name?

11:09 Yeah, I wrote it down.

11:11 Michael Baker.

11:12 What's his address?

11:14 It's... 23-277 Archer Road.

11:18 Okay, let me write that down. 23-277 Archer Road.

11:22 Yeah, what are you going to do?

11:23 Well, I'd like to take a run out there before it gets pitch dark and just have a look around.

11:27 You think that's necessary?

11:28 Stan, whoever took your dog had some plan in mind, and this guy Baker could be the guy who did it. We don't know what his plan is. Now, I don't want you and your wife to walk into a trap where they're using Nomo as bait.

11:40 Trap?

11:40 What kind of a trap?

11:41 Stan, you're a celebrity.

11:42 There are a few crazy people out there who prey on celebrities.

11:46 Gosh, I never thought of anything like that.

11:49 Okay, it's 5.15 now. I'm going to take a run up to Marysville and see if I can find this place. Then I'll give you a call at your house. But don't drive up there until you hear from me, okay? I've got a motto. Paranoia pays. It's my job. So on the way up 99, I'm thinking of all the scams this guy who calls himself Michael Baker could be cooking up. My map of Snohomish County shows Archer Road running north of Marysville out in a rural area where the houses are half a mile apart. I get lost three or four times, and it's already nearly dark when I finally spot a mailbox beside the road with 23277 painted on it and a dirt road running back to an old house. There's an old pickup truck with its glass bashed out, one door hanging open and its tires flat.

12:40 Other than that, no lights, no smoke from the chimney. The place looks like there's no one home. But I go on up to the house anyway and I knock. There's no answer. Then I notice the sound of dogs barking from somewhere out back. Seems to be coming from an old barn back in a clump of trees. Man, this guy must be a dog breeder. The old barn looks so decrepit, I'd hate to think he's raising dogs in there. But he's sure keeping them in there. They'd like to get out. Wild blackberry bushes are climbing all over the sides of the barn. And there's an old padlock on the barn door, so I'm not going to get in. But the doors don't quite meet, so I stick my eye up to the crack. I look inside, but there's no light in there. A bunch of dogs

13:27 locked up in a cold, dark barn. I wonder if no more is among them.

13:39 So you found the place?

13:40 Yeah, it's really out in the boonies. I'm using the phone in a little market three or four miles from the baker place.

13:45 Well, what do you think?

13:46 Well, no one's home, but out back of the house is a barn full of dogs.

13:49 Oh?

13:50 I don't know what's going on. Maybe it's just a dog fancier.

13:53 I don't know.

13:54 But I'd like to be with you when you come to fetch Nomo. Meanwhile, I'm going to be parked down the road from their driveway. Just before nine, a pickup with a canopy comes down the highway and turns onto the dirt road by the mailbox. Drives up by the house, doors slam, lights go on in the house. The Bakers are home. About 15 minutes later, a sedan cruises by, stops and turns in. That'd be the Borisons. I follow the dust cloud up to the house. That you, Harry?

14:27 Yeah.

14:28 Where's your wife?

14:29 Well, I dropped her off in Everett to visit some friends. I'll pick her up on the way back, with Nomo, I hope.

14:35 Yes, so do I.

14:43 Well, I'm a son of a gun. Stan Morrison. I'd know you anywhere, Stan. Come on in.

14:50 You're Mr.

14:50 Baker?

14:50 Sure am.

14:51 Call me Mike.

14:54 Well, this is a friend of mine, Harry Nile.

14:56 Pleased to meet you, Harry. You leave the wife at home, Stan?

14:59 No, she's visiting some friends of ours in Everett.

15:02 Oh, well, darn. Love to meet her in person. Stan, the kids think you're just about the best thing on the TV.

15:10 Well, I appreciate that, Mr.

15:11 Baker.

15:12 Mike, call me Mike.

15:14 Listen, do you have Nomo here in the house?

15:16 No, I've got her out back. I was just going to get her when you drove up.

15:19 Well, we can walk back with you, can't we, Stan?

15:21 Sure.

15:22 I'd rather you stayed here. It's awful dark out there. I won't be a minute. Just make yourselves at home. Be right back.

15:32 Okay, Stan, I'm going to follow him.

15:34 You are?

15:34 You stay here. I sneak out the door and I head back toward the barn. Up ahead, Baker has a flashlight. He gets to the barn and he unlocks the door.

15:47 All right, shut up, you rotten mongrels.

15:50 Your turn's coming.

15:52 Now, where's that bassist?

15:54 Oh, there you are. Oh, you're going to be an arm load.

15:59 You are.

16:01 Quit your struggling. You're going to be back home before you know it.

16:04 Give you a hand, Mr.

16:05 Baker? You didn't need to come out here.

16:08 You've got quite a barn full of dogs, haven't you?

16:11 Well, dogs is a man's best friend, like they say.

16:14 They all just happen to stray by your place, too, like Momo?

16:17 No, I've had most of them a long time.

16:19 And you keep them in a big wire cage in a barn?

16:22 I have to. Can't have them running all over the place. Come on, let me swing the door shut.

16:28 Okay, let me give you a hand with your padlock. You've got your arms full of bass around.

16:31 Much obliged.

16:42 Oh, no more.

16:43 There's my old girl.

16:45 Boy, you're sure glad to see me, and I'm glad to see you.

16:48 Sure is. Well, I guess all the little ones who watch your show won't ever need to know she run away.

16:53 She didn't run away, Mr. Baker. She was stolen.

16:56 No, you don't say.

16:58 Someone pried open the back door of our porch.

17:00 Well, can you beat that?

17:02 Have we met before?

17:04 Well, I've seen you entertaining plenty of places.

17:07 No.

17:08 Have you ever been to my house?

17:09 Your house?

17:10 Not me.

17:11 You ever have your swimming pool cleaned by Baker's Pool Service, Stan? Baker's Pool Service.

17:16 Yes.

17:17 Oh, there's an old pickup alongside the house that says Baker's Pool Service on the door.

17:21 Oh, I give that up long time ago.

17:24 Borisons were one of your customers, right?

17:26 Oh, it's been so long ago now, I couldn't remember.

17:29 But you remembered where they lived, I'll bet. Famous people like that? You mind if I use your phone, Mr.

17:33 Baker?

17:34 Oh, no.

17:34 Go right ahead. Yeah, thanks.

17:42 Operator.

17:43 Operator, get me Officer Wickstrom, Seattle Police Department burglary detail. It's an emergency.

17:48 One moment, please.

17:49 Now, wait a minute. Why are you calling the Seattle police?

17:52 Try to stop a burglary. Where? At the Borisons' house in Seattle. It's a complicated plot, Mr.

17:57 Baker.

17:57 You steal animals and will to do Seattle neighborhoods, and you get the owners to come way out here to claim their pets you just happened to find while your partner robs their houses.

18:05 Are you all right, mister? You're talking crazy.

18:08 That's why you wanted to know if Barbara Borisons was home. You expected her to come with Stan. This is Officer Wickstrom, Burglary Detail. Can I help you? Yeah, it's Harry Nile. Oh, yeah, I remember. There's a burglary in progress in the Sandpoint neighborhood, or there will be in a couple of minutes, and there'll be a big truck parked in the driveway, dark green.

18:26 Or gray.

18:27 Or maybe teal. Here, take the phone, Stan. Give them your address. And Baker's, and tell them to look in the barn.

18:45 You found NOMO in a bus scam.

18:47 Because when I got it home, I found out there was no motor in it. You get what you pay for.

18:50 Harry, do you think my TV set was stolen from someone?

18:55 I'd say don't get too attached to it, Murph. But you can buy another one at a TV store this time.

19:00 With what?

19:01 With the reward money you're going to get.

19:03 Harry, I.

19:03 You helped solve the NOMO NOMO matter.

19:07 The Adventures of Perry Nile are directed by Tat French and star Phil Harper, with Tat French as Murphy. In tonight's show were Bob and Pam Gunderson, Larry Albert, Wantland Sandal, and our special guest star, Stan Borison. Original music by Michael Lynch, themes by David Shire. Sound effects created by David Freed and Scott Anderson, mixing by Peggy Stokes. The program was written by yours truly, Jim French, and performed before a live audience at the Museum of History and Industry in Seattle.

19:43 Now, all aboard for another mysterious journey on The Midnight Train, starring Guy Martin.

19:50 In the role of Inspector X.

19:55 My real name?

19:57 The underworld knows me by many names. But at the headquarters of the National Bureau of Investigation, I'm known only as Inspector X. For to reveal my true identity would place... I'm back.

20:10 From dinner, Harry.

20:12 No, no, go ahead, Harry.

20:13 Keep it on.

20:15 I didn't know you liked radio mysteries.

20:17 I don't.

20:18 Well, then why were you.

20:19 I just wondered what Guy Martin sounds like. He's coming into the office tomorrow.

20:23 Guy Martin?

20:24 Who plays Inspector X three times a week on the Mutual Network? He's coming here?

20:29 Yeah, yeah.

20:30 I got a letter right here.

20:31 Well, that's the letter that was postmarked to Hollywood. I wondered what it was.

20:35 Well, the guy's coming up here. He wants to stop by the office, have a look at our files.

20:38 Why?

20:39 I guess he's looking for ideas for detective stories.

20:41 Oh, Harry.

20:42 Harry will be.

20:45 Famous!

20:47 Yeah, we don't get too many celebrities in the old roost on Occidental Street. Thought it'd be kind of a kick if one of my cases wound up on the radio. But I never thought that the radio detective would bring me a case. A case I call 10% of nothing. Murphy, my partner in crime, is busy busting dust bunnies when I walk into the office the next morning.

21:16 No, no, don't put your coat over the chair. Hang it up.

21:17 Huh?

21:18 What? Oh, okay.

21:19 And those parking tickets under your desk blotter?

21:20 Well, what about them?

21:21 Well, give them to me. I'll file them.

21:23 Dare I ask what's going on?

21:24 Carl Martin's coming today. Did you forget?

21:26 No, I didn't forget. Hey, where's all the stuff that was on my desk? I had a pile of papers right here on the corner.

21:31 They're in a file.

21:32 I don't want them in a file.

21:33 Look, it took me half an hour to sort through them.

21:35 Yeah, well, it's going to take me an hour to find them again.

21:38 I don't know how you ever find anything, Harry, the way you just pile up papers and notes and bills.

21:43 Okay, okay, okay, just hold it. Just hold it a minute. Are you doing all this because Guy Martin is coming?

21:50 I am doing this because we cannot live in a mess. Does my hair look all right?

21:56 I don't know. You've got a bandana tied around it.

21:58 Oh, good grief, I forgot. I did that when I started dusting it. Oh, what am I going to do with this stack of papers?

22:04 Come in. Harry Nile? Yeah, right. Guy Martin, Harry. And this is my agent, Phil Lowe. Hey, glad to know you.

22:12 Yeah, same here.

22:13 This is Murphy, my associate. How do you do?

22:16 So pleased to meet you, Mr.

22:17 Martin.

22:17 Hey, come on in. Close the door. You got my letter? Sure did.

22:21 Please sit down. Oh, let me take these papers off the chair.

22:23 So. Tell me here, how'd you find out about our humble little detective agency, Mr.

22:29 Martin?

22:29 Well, an acquaintance of mine down in Hollywood mentioned you. And so, who's that?

22:33 Oh, just someone you helped out. I'm sorry, I just can't remember the name.

22:38 You see, we're looking for original material for this show.

22:42 You ever listen to The Midnight Train?

22:44 Oh, I do. Three days a week.

22:46 You've got to be back on the air tomorrow night. How come you just didn't call up some private eye in Los Angeles? Well, we did, and we got quite a few interesting cases.

22:53 But you see, we thought it might be a good idea to get some out-of-town cases, too.

22:57 Yeah, you see, I'm a stickler for research.

23:00 Phil's much more than just my agent. He has great story ideas for the radio show. And he's no pushover at the bargaining table, either.

23:07 Hey, I do okay.

23:08 Well, that's why I switched agents when the break started coming my way.

23:11 Tell me, is it true that agents get 10% of everything the star earns?

23:14 Murphy.

23:15 No, no, no.

23:15 It's all right. It's perfectly true.

23:17 Now, Philip Lowe may be new, but he's earning every cent he gets.

23:20 Well, there are my files. One thing, though, if you use any stuff on the air, don't use any real names, huh?

23:26 Oh, don't worry.

23:27 We're strictly legal. Well, they work through the morning, looking at files, making notes. Around 11, they knock off.

23:36 Yeah, now we're going to go back to the motel with these files and type up the notes. And we'll have your files back tomorrow morning before we fly back home.

23:45 I think we've picked some real dandies here, Harry. Oh, now, by the way, if you do use any of my cases on the air... Do you get paid? Oh, you bet your life.

23:53 Hey, we do everything by the book, Harry.

23:55 Would we get our names on the program?

23:56 Absolutely. Yeah.

23:59 Tonight's case was adapted from a true crime solved by Detective Harry Nile of Seattle, Washington.

24:06 How do you like that?

24:09 Hey, I like it. And that's all Murphy can talk about for the rest of the day while she puts the files back in order. To celebrate, that night I take her to dinner at Vons, where she has pan-fried Olympia oysters and a hot fudge sundae, and I put down a 14-ounce steak and a plate of strawberries. After I drive her back to her place on Queen Anne, even though it's 9 o'clock, I decide to head back to the office, listen to the fights on the radio, and do a little paperwork. But as I open the door, the phone's ringing. Uh, Harry Nile Investigations.

24:42 Harry?

24:43 Harry Nile?

24:43 Yeah, it was this.

24:45 You might not remember me. We haven't talked in a long time.

24:48 Oh, what's the name?

24:49 Jane. Jane Martez. I used to work at Sandy's in Compton. Sandy's Bar.

24:55 No, you don't sound too good.

24:57 Well, see, I'm calling from the county hospital. Someone tried to kill me tonight.

25:03 Okay, let me get to my desk. I'll take some notes.

25:06 I'm sorry to bother you. I didn't know who else to turn to.

25:10 No, no, it's okay. Did the police investigate?

25:12 Oh, yes.

25:13 They were just here.

25:13 Oh, what the heck did she do with my notebook?

25:16 What?

25:16 Oh, no, it's here. Never mind. I found something to write on. Okay, so now you're Jane Martez.

25:23 With a Y.

25:25 Huh?

25:26 Jane with a Y. J-A-Y-N-E.

25:30 Oh, okay. Okay, now tell me what happened.

25:33 Well, about 7 o'clock, I was getting out of my car with an armload of groceries... When this guy comes up to me and asks me if I'm Jane Martez, I don't know him from a load of grapes, so I say, who wants to know?

25:46 And he shoots me.

25:47 He shot you? Where'd he get you?

25:50 The side of my head. It creased me. I guess I was lucky. He was aiming right at me.

25:56 This happened tonight?

25:57 Uh-huh. About 7 o'clock.

25:58 Okay, what happened then?

26:00 Well, I.

26:01 I must have fainted. I'm not too clear on what happened next. I woke up in an ambulance.

26:06 What'd the police do?

26:07 They asked me a lot of questions and went away. Harry, do you remember me from the.

26:13 Old days in L.A.? Well, I didn't exactly spend a lot of time in Compton.

26:17 But you used to come into the bar sometimes. I was a hostess there. You gave me your card, and I kept it.

26:25 I did?

26:26 But I quit working at Sandy's and moved to Bakersfield. Then after a couple years, I moved up here and got married. My name's Conklin now. Jane Conklin. You don't remember I sent you a wedding invitation?

26:39 A wedding invitation? Well, let's see. That was when?

26:45 Three years ago. I guess you couldn't make it to the wedding.

26:49 Yeah, I guess I couldn't. Well, listen, Jane, what is it I can do for you now?

26:53 Harry, I need to find out who tried to kill me.

26:56 What, do you think he was after money? Did he take your purse?

26:58 No.

26:59 And besides, who would rob a girl in a beat-up 41 Chevy parked in front of a beat-up flat in Rainier Valley?

27:05 Hmm.

27:06 Where's your husband?

27:06 Singapore. Last time I heard from him. He's in the Merchant Marine. Look, look, Harry, I gotta tell you, I'm one scared lady. Can you help me?

27:15 I'm coming right over to the hospital. It's past visiting hours, but they let me into Jane's room anyway. She got the tracks of a hard life on her face. Her straight hair has been dyed so many times it looks like straw, and her eyes are dotted with the remains of a mascara that's been sluiced away by tears. She's wearing a large bandage on the left side of her face.

27:39 What did he look like?

27:40 I don't know. He was fairly tall, I think. But I don't know what he looked like exactly. He was wearing a cap. You know, a baseball cap. I didn't have much time to see him. He had a crooked nose. I remember that.

27:54 Glasses.

27:55 No glasses.

27:56 And he asked you if you were Jane Martez.

27:58 Yes.

27:59 So he must have known you from before you got married.

28:02 That's right.

28:03 Why didn't I think of that?

28:04 Well, a person can get a little forgetful when they've been shot in the head. When did you get married?

28:09 June of 1951.

28:10 And when did you move up here?

28:12 April of that same year.

28:13 So this was probably someone you knew in Los Angeles. Who in L.A. would have a reason to shoot you?

28:19 No one.

28:20 I never did anything to hurt anyone. Except that one thing just before I left Sandy's. Only how was I supposed to know the guy would get killed?

28:29 You want to let me in on that?

28:31 Well, you were part of it.

28:32 I was? Yes.

28:33 It was while I was still at Sandy's. Remember? I tipped you off about where Red Wagner hung out.

28:38 Red Wagner?

28:39 The junkies called him the Red Wagon. He was a big-time dope deal.

28:43 Yeah, yeah, yeah. And the narcotics squad chased him down in Highland Park somewhere and he crashed and got killed, right?

28:48 Well, I got paid to tell you where to find him.

28:51 I didn't know you were paid to tell me. Who paid you?

28:53 The bartender at Sandy's.

28:54 Bald guy? Handlebar mustache?

28:56 Yes, that's the one.

28:57 Well, how did he know where to find Wagner?

28:58 I don't know.

29:00 He just said he was tired of all the drug dealing going on around there, so he gave me $ 200 to tell you where the police could find the red wagon. So I told you and asked you to tip off the cops.

29:09 Well, how'd this bartender know about me? I never talked to him, as far as I can remember.

29:13 Well, I guess I mentioned I knew a private eye.

29:16 And a couple of nights later, the narcs tried to nail him.

29:19 And they chased him and he got killed.

29:21 Right. That was six years ago, though.

29:23 Yeah.

29:24 You think someone's out to avenge him now?

29:26 I don't know.

29:28 Maybe they've been looking for me for six years.

29:34 Next morning, I told Murphy about the call from Jane and our talk at the hospital, just as the boys from the midnight train Show drop in again to return my files.

29:43 Hey, say, you got a bunch of great story ideas in your files, Harry.

29:48 There were some beauts, weren't there, Guy? I'll say so. I like the ones with the surprise endings. I like which ones? Ah, well, the suicide that wasn't a suicide?

29:57 Yeah, you know the one where you prove that the judge didn't jump off the bridge but got dumped out of an airplane by his landlady?

30:03 Ooh, that was kinky.

30:05 You like that one, huh?

30:07 And there was the one where you went to Chicago to trap that fake cop.

30:11 Well, I wouldn't call it a trap.

30:12 Ah, yeah, but cases where the police come out looking bad, well.

30:17 I can't use.

30:18 Stories like that. I mean, remember, Inspector X works on the side of the law.

30:22 Hey, so do I, but a lawbreaker's a lawbreaker, even when he's wearing a blue uniform. Yeah.

30:27 Well, Phil and I would like to look for a few more cases we could.

30:30 Use, and then, well, we'll be out of your hair.

30:31 Harry's working on a new one that just came up last night. Tell him about that woman who got shot, Harry.

30:36 This just happened last night? Well, I got a call around nine from a gal I used to know. Seems somebody shot her. Well, that's a matter for the police, not a private detective. Why would she call you? The lady doesn't seem to think the police can do much to protect her if the attacker should try again. Why would he try again? Well, if he'd intended to kill her and then found out she's alive, he might try to finish the job. Do you have any idea what his motive was? The lady thinks it might be revenge for something she did a long time ago.

31:02 What did she do?

31:03 She fingered a drug pusher for the police.

31:06 Oh, yeah?

31:06 Yeah, it was six years ago in L.A.

31:08 Well, maybe the guy only wanted to frighten her.

31:11 Did she know the pusher? She didn't know him. I guess her boss did. Her boss? Yeah, the bartender at a dive where she worked for a while.

31:18 What happened to the drug pusher?

31:20 He got killed when the police were chasing him.

31:22 Did you happen to get his name?

31:24 Who, the drug guy?

31:25 Yeah.

31:25 Wagner, Red Wagner. His customers called him the Red Wagon.

31:30 So this dame was the one who told the police where they could find him, huh?

31:33 No, no, actually she told me and I told the police. I was working down there at the time.

31:38 Oh, all right. I see how it was.

31:40 Yeah, it's interesting. And it gets more fascinating by the minute. Now, who was the bartender? I don't know. I'm going to try to find out.

31:46 How did you know this gal?

31:48 Oh, I used to drop into the bar now and then.

31:50 And she knew you were a private detective?

31:52 Yeah.

31:52 Well, now, I am interested. Now, how would you go about solving this case, Harry? Well, it depends.

31:58 On?

31:59 On how much I can find out about the bartender. See, I think he could be the key to the whole thing.

32:04 Hey, this is beginning to sound.

32:06 Good, guy.

32:07 Yeah.

32:07 I only wish we were going to be up here long enough to see how it plays out. But we have to get on the noon plane for L.A.

32:13 That's right.

32:14 I've got to get my boy back for the broadcast.

32:18 When Martin and his agent leave, Murphy starts combing through the case files. Well, what do you think?

32:24 I just want to make sure nothing's missing. And I have to put everything back where it belongs.

32:28 I mean about Guy Martin.

32:30 Well, he should be in the movies instead of radio.

32:33 Good-looking guy.

32:34 Yeah.

32:35 Well, I've got to check all these files, Harry.

32:38 Fine.

32:38 Go ahead.

32:38 Do that. I'm going to make a long-distance call.

32:45 Sandy's.

32:46 Sandy's Bar in Compton?

32:48 Yeah.

32:48 Who am I talking to?

32:49 Bill Sanders, the owner. What's your problem?

32:51 Oh, no problem. Just a little piece of information. Did you own the place six years ago?

32:55 Yeah.

32:55 Did you have a bartender who was bald, had a handlebar mustache?

32:58 You mean Fonzo?

32:59 Fonzo?

33:00 Yeah, he worked in the closing shift three, four nights a week. Why? Who is this?

33:05 Oh, my name's Harry Nile. I'm a private investigator. I'm in Seattle.

33:08 Oh, yeah.

33:09 Harry Nile.

33:10 Do I know you?

33:12 We never met, but I heard you used to come in on that.

33:14 Yeah, right?

33:14 Who told you that?

33:16 I think it was one of the hostesses.

33:17 You happen to know whatever became Alfonso?

33:20 Nah, I wouldn't know.

33:21 Got a better job somewhere. He moved on. Said he was an actor. That's all I remember.

33:25 You wouldn't know where he is now.

33:26 Haven't got a clue.

33:28 You know his full name?

33:30 Alfonso. Something like that. Everyone called him Alfonso. I think it was Greek or Turkish or something. Foreign guy. Talked with an accent. Fat chance he'd have in the movies with an accent like.

33:41 You have a broken nose?

33:42 Broken nose? No, I don't remember that.

33:45 Well, I just wondered.

33:47 You say you're in Seattle.

33:48 Yeah, that's right.

33:50 I hear the fishing's good up there.

33:51 Yeah, depending on what kind of bait you use.

33:54 Oh, hi, Harry.

34:00 Oh, you brought me flowers. You shouldn't have.

34:03 Well, I missed your wedding, so I thought I'd... You can put them in.

34:05 This pitcher here beside the bed.

34:07 Okay, there you go. You feeling any better today?

34:11 They say I can go home tonight.

34:13 Oh, that's good news.

34:14 Is it?

34:15 What if he comes back?

34:16 I'll make sure he doesn't get to you.

34:19 Harry, you know I can't pay you.

34:22 Listen, tell me something. Did you know anyone named Fonzo down in L.A.

34:27 Where'd you hear that name?

34:28 Well, from the owner of Sandy's.

34:29 Mr.

34:30 Sanders?

34:30 You talked to him?

34:31 Uh-huh.

34:32 What'd he tell you about Fonzo?

34:34 Well, he told me he was the bald bartender with the handlebar mustache, so. That's the guy who paid you to tell me where Red Wagner was, right?

34:41 Yes.

34:41 Huh.

34:41 Did you know Wagner?

34:42 Me?

34:43 No.

34:44 Like I said, Fonzo paid me to get the word to you so you'd tell the cops where Red Wagon was.

34:49 Why didn't Fonzo tell the cops himself?

34:51 I don't know. I suppose because he didn't want to get involved. Or maybe his work permit ran out. He was a foreigner, you know.

34:58 Huh.

34:59 Why didn't you tell me all of this last night, Jane?

35:02 What's to tell?

35:03 Well, why do you think Fonzo paid you that much money to put the word out on Wagner?

35:07 Like I said, he was afraid of the cops. He didn't want to be deported.

35:11 Why didn't he complain about Wagner to the owner, Mr. Sanders?

35:16 Okay, it was like this. Fonzo bought his stuff from him.

35:21 What stuff?

35:22 Dope.

35:23 Fonzo was a junkie. He was scared to have anyone know it.

35:28 I don't get it. Why would Fonzo want his supplier arrested?

35:32 I haven't any idea.

35:33 Who else knew Fonzo was a junkie besides you?

35:35 I don't know.

35:36 Did he know that you knew?

35:37 That's what scares me.

35:39 Yes, he knew.

35:44 But what would the bartender have to fear from Jane Martez after all these years? Didn't make any sense. There's a better suspect with a better motive than fear.

35:54 Hate.

35:55 Someone in Red Wagner's family who won't rest until he gets revenge. I need to know about that family.

36:01 And to call who?

36:02 Tom Franklin, on the city desk at the L.A. Times. Tell him you're working with me. He'll get you everything there is to know about Red Wagner.

36:08 Okay.

36:08 And tell him we need it by tonight, will you?

36:10 Check.

36:12 And while Murphy's calling Los Angeles, I drive over to the county hospital and I bring Jane back to the office. At least I know she'll be safe with Murphy and me. We're all waiting for Franklin to call back. And at seven, I turn on the radio in my office.

36:26 Now, all aboard for another mysterious journey on the Midnight Train, starring Guy Martin in the role of Inspector X.

36:36 My real name?

36:38 Well, he made it back to Hollywood.

36:41 Hearing no investigations. Yes, Mr. Franklin, I'm still here. Yes, I have a pencil. Red Wagner was an alias? His real name was what? Say that again.

36:56 George Lowe?

36:58 Did he have a brother?

37:00 Philip Lowe.

37:02 And he's gone into business as an agent.

37:08 Well, here we are, safely to your door.

37:10 Thanks, Harry.

37:10 The LAPD will hold Philip Lowe until the Seattle cops escort him up here to stand charges. You got your husky?

37:17 Here.

37:18 Here, let me take it.

37:22 Wait a second, I'll get a light on.

37:23 Not quite yet, James. I like it in the dark like this.

37:27 Harry, Harry, very slowly, move over in front of that front window, and you put your hands behind your head so I can see your silhouette.

37:35 Well, come on, come on.

37:36 Don't take all night. You said slowly, Mr.

37:39 Martin.

37:40 You too, Jane. You move over beside Harry.

37:43 But we heard you on the radio just now.

37:46 By transcription, Jane. The midnight train isn't live. We record the shows weeks ahead.

37:51 Where's Philip Lowe?

37:53 Oh, oh.

37:53 Were you expecting Philip to be your executioner?

37:56 Oh, well, I hate to disappoint you, but you see, well, Philip committed suicide this evening.

38:01 What?

38:01 Oh, with my help.

38:02 He was still so despondent over his brother's death, which the two of you helped arrange for me six years ago, and he was so remorseful about killing the two of you here in this house tonight, the poor man jumped off the Aurora Avenue bridge. And guess what gave me that idea, Harry? The case of the jumping judge, or whatever you called it in your files.

38:22 How's that for irony? So it was you who shot her last night, huh? Aye, it was me.

38:26 I've made up to impersonate Philip in case she survived long enough to describe her attacker.

38:30 Well, why would you want to kill her? Would you care to explain, Jane, dear? I, uh, I wrote him a letter.

38:37 I said I needed money. I said I knew he'd been a down-and-out actor supporting his dope habit by tending bar, and now he could afford to help me after I'd helped him.

38:48 She was blackmailing me, Harry. Told me to send the money to General Delivery, Seattle.

38:53 Heh heh.

38:53 I got her street address from her wedding invitation in your files.

38:57 Yeah, I knew it had to be somewhere.

38:58 Now, didn't she tell you that she knew I was just playing a role as Fonzo, the bald bartender with the thick accent?

39:07 No, she didn't tell me.

39:12 I was too ashamed to tell you.

39:13 Yes, but you were sure I'd pay, weren't you, Jane? With my career in high gear at last. See, I'd lined up a much more discreet source of opium, and I didn't need Red Wagon any longer. Well, I've taken care of Philip, who had a fine motive to kill you for revenge. and now you and Harry are the last two living people who know about my indiscretion.

39:36 Which one of us are you going to shoot first? Oh, you'll go first, Harry. See, I assume you're armed, and she isn't. Well, there you're wrong. Just before we got out of my car, I gave her a gun for protection. You're lying. Care to bet your life on it? If you shoot me first, she's going to shoot you. And if you shoot her first, I'm going.

39:54 To shoot you.

39:56 You're lying. Half the story is true. Guess which half? Okay, get the lights, Jane. Okay, he's still alive.

40:05 He is?

40:06 Yeah.

40:07 And he might live long enough to be executed.

40:10 10% of Nothing was directed by Pat French. and featured Phil Harper, Pat French, Larry Albert, Peggy Jordan, John Amendola, and Terry Rose. Sound effects were created by David Freed and Scott Anderson, engineering by Peggy Stokes. The script was by yours truly, Jim French, from a story by Larry Albert.

40:30 Our music is composed and conducted by Michael Lynch, with theme music by David Shire. This program was recorded before a live audience in Seattle. The Adventures of Harry Nile.

40:53 I guess just about everybody has something in their past that they've locked up and put away. Maybe it's something they want to bury, something that's too painful to remember. Well, I'm no different. It's a part of my life that I packed up and locked away a long time ago. Something I thought I'd left back in Chicago. I don't think of it so much anymore, except... Sometimes when the winter wind makes a certain sound or I hear a certain song on the radio. I moved out to L.A.

41:21 and then up here to Seattle, and I never thought I'd have to unlock that part of my life again. And I probably wouldn't have, except for a phone call Murphy took for me one April morning in 1955. Morning, Murph.

41:34 Morning, Harry.

41:35 You're not watching the cartooning Weatherman. What's the matter, TV broken?

41:39 No, I guess I forgot to turn it on.

41:41 Well, the paper says it's going to be a nice day.

41:43 Yeah, well, that's nice.

41:45 Any calls this morning?

41:46 Yeah, there was.

41:47 From Chicago.

41:48 Here's the call slip.

41:49 Chicago? The Reverend Orville Chandler.

41:54 Yes, he said... He said he had some news about your wife.

41:59 My wife?

42:00 I told him he had the wrong person, that you weren't married, but he insisted I have you call him even.

42:05 Though it was a mistake. You're calling him?

42:09 Yeah.

42:10 Then you know him?

42:11 Yeah, I know him. distance for what city please uh chicago illinois lincoln 2 15 18.

42:21 One moment please what did he mean your wife oh murphy it's a long story well you you don't need to i i mean it's none of my business it's it's just well when he said he had news about your wife it kind of caught me by surprise i mean i've known you for all these years and i didn't know you were married.

42:38 Well i don't talk about it you never.

42:40 Talk about it at all you never said you.

42:42 Were married i'll tell you about it murphy look.

42:47 Murphy!

42:49 She's been dead for 15 years.

42:52 Hello?

42:53 Orville?

42:55 Yes, who's this?

42:56 Harry Nile.

42:57 Oh, thank you for calling me back, Harry. How you been?

42:59 Oh, not bad. How about yourself?

43:01 Well, getting old, going broke.

43:04 You still got the church?

43:05 Yeah, I still have the church. Some months will almost break even. Listen, Harry, I got some news the other day, and I think you have a right to know about it if you haven't heard.

43:14 What kind of news?

43:16 About the killing.

43:17 What about it?

43:18 Well, it might not have gone the way the police said it did.

43:20 What do you mean?

43:21 You ought to talk to your old partner.

43:23 Bill Anson? What about him?

43:25 Get him to tell you what he told me.

43:27 Okay, what'd he tell you?

43:28 Well, you know I can't tell you that.

43:30 Oh, that's right. You're a man of the cloth.

43:32 Well, I think Anson needs to tell you himself.

43:34 Well, where is he these days?

43:35 Cook County Hospital.

43:36 What's he doing there?

43:38 He's dying.

43:39 Dying?

43:40 I want you to see him and let him tell you.

43:42 Well, can't he talk on the phone?

43:44 He won't talk to you on the phone. You've got to make the move yourself.

43:47 Well, fly back to Chicago.

43:48 Don't you think Ruby would want you to do it? Well, think about it, Harry. But don't take too long.

43:56 Okay, Murphy. Cancel my appointments for a week and book me a round trip to Chicago on the next plane.

44:03 No, no, no.

44:03 Make it two round trips.

44:04 Two round trips to Chicago?

44:06 Harry, we can't... And after we get on the plane, I'll tell you all about Ruby.

44:22 And now, Harry Nile returns in a story called Always Leave Them Wanting More.

44:31 You comfortable, Murphy?

44:32 Yes, but why did you want me to fly to Chicago with you?

44:35 Because this way you can't walk out on me when I tell you my little story.

44:39 Well, I'll admit I was a little surprised. You never seemed like the marrying type to me.

44:43 You were a little surprised.

44:45 Well, I was a young cop. It was 16 years ago. I was new on the force then. Walking a beat on the near south side from 18th Street all the way down to 69th. They put rookies in that precinct to see if they could take it. So one night Anson and I, Bill Anson, he was my partner, we're walking past a little joint called Brandon's Lounge at 47th and Drexel when a fight breaks out inside. Yeah!

45:11 Come on, guys.

45:13 Anson unholsters his weapon, motions for me to follow, and he wades in. And as soon as we get in the door, he fires a shot over the bar.

45:22 All right, now listen up. The next time I pull this trigger, there's going to be one less of you boys to make trouble. I want everyone out of here. That's right, out.

45:31 Now, move.

45:32 Hey, wait a minute, officer. I'm just having a little fun. Got a little bit out of hand, maybe.

45:37 You're running a public nuisance here, boy.

45:40 My name is Brandon, and I'll take care of it. Never mind about the mirror you shot. I'll take care of that, too.

45:46 Yeah, looks like you got seven years' bad luck coming, boy.

45:49 Mr.

45:49 Brandon, you want us to do a set now or not?

45:52 No, I guess there won't be any more music tonight, Ruby. We're closing up.

45:55 Wait, wait, wait, wait a minute, wait a minute.

45:57 What do you do, sugar? You sing?

45:59 That's right, I sing.

46:00 Well, then let's hear.

46:01 You sing something.

46:02 Listen, Bill, we're due to clock in in five minutes. Ah, forget it.

46:05 There ain't no rules this time of night on the near south side. You know, I think I'd like a table right down in front there.

46:11 Come on, Harry, sit down.

46:13 Take a load off. Hey, boy, bring us two beers.

46:16 Make them cold. Yes, sir.

46:18 Two cold beers coming up.

46:20 Okay, go on, darling.

46:22 Just think of this as a command performance.

46:27 They turned a blue spotlight on the mic, and the girl stepped into a pool of light. She was tall and elegant, and all she needed to do was stand there, singing. It was a bonus.

46:38 I don't know why There's no sun up in the sky Stormy weather Since my man and I ain't together Keeps raining all the time Hey, she's all right, you know it? Life is bad Gloom and misery everywhere. Stormy weather. Just can't get my poor self together. Keeps raining all the time.

47:20 She was wearing a shimmering white cocktail dress. No jewelry except for a necklace of tiny pearls at her throat. And a big sparkler on her left hand.

47:29 He stays awake. Older rocking chair will get me. All I do is pray. The Lord above will.

47:38 Let me walk.

47:41 In the sun once more.

47:48 Everything I had is gone stormy weather just can't get my poor self together keeps raining all the time keeps raining all the.

48:18 Hey, darling, where'd you learn to sing like that?

48:27 In a church choir.

48:29 In a church choir, I'll bet. Come on, Bill, we better be getting back on the beat.

48:33 What's your hurry? I haven't finished my beer yet.

48:37 So we sat there while Anson drained his glass and the combo played another number, but Ruby didn't come back. Finally, Anson wipes his mouth with the back of his hand and stands to leave. I hand the club owner a dollar bill for the beer, but Anson grabs it out of his hand and gives it back to me as we walk back out onto the street. You look kind of rough in there.

48:57 Yeah, well, you got a lot to learn about Darktown, kid. Badge don't mean nothing down here if you don't back it up with some muscle.

49:04 Yeah, but you shot the guy's mirror.

49:06 And his customers busted up some of his furniture, too. It's the cost of doing business in Darktown.

49:12 You, uh.

49:13 You going to report firing your piece?

49:16 Oh, yeah, sure.

49:17 I'll tell them I shot a rat.

49:19 There's plenty of them down here, too.

49:23 So, a couple of days went by. That time, my days off were Sunday and Monday. That Sunday night, I drove back to 47th and Drexel around nine o'clock and walked into Brandon's lounge. I was the only white guy in the club. First, Brandon didn't recognize me. Oh, sure.

49:40 Didn't know you without your uniform on. Is there something wrong, officer?

49:45 No, no, no.

49:45 This isn't an official call. I just thought I'd drop by and, you know, listen to the music.

49:50 Well, see, we don't have music here on Sundays.

49:53 No music?

49:53 No, sir.

49:55 And the singer, the girl?

49:56 No, sir.

49:57 She's not here on Sundays either.

49:59 Okay.

50:00 Well, I... We have music Monday through Saturday. Sundays we just have drinking.

50:05 Well, maybe I'll stop in tomorrow night.

50:07 Yes, sir. We'll have music tomorrow night.

50:10 The girl, the singer. Yes, sir. What was her name again?

50:14 Ruby.

50:15 Yeah, Ruby. Where did you find her? She's great.

50:18 Thank you. We like her a lot.

50:21 So, Monday I washed out my white shirt and I got my suit pressed. That night I was back at Brandon's Lounge.

50:33 Thank you. Ladies and gentlemen, we're going to take a break now.

50:38 She stepped out of sight behind the curtain. I got to tell you, all the time she was singing, there were two feelings running through my head. One was, why am I so attracted to a woman I've never even met? And the other was, am I crazy? This is forbidden territory. And all of a sudden, I knew I just had to get out of there right then. Get these ideas out of my head or I was going to be in trouble.

51:00 Leaving so soon, officer?

51:01 Yeah, I guess it's time to go.

51:03 She'll be back on in 20 minutes.

51:04 Huh?

51:04 Who do you mean?

51:05 Didn't you come to hear Ruby? She generally just stands at the back door to get some air between sets.

51:10 Yeah, it does get pretty hot in here, doesn't it? Well, no, I'll be going. Good night, Mr. Brandon.

51:15 Good night, officer. You're welcome any time.

51:20 There's an alley behind the club. It's dark, but then a cigarette lighter flares. I turn and I walk down the alley toward a woman in a white dress.

51:31 Hi.

51:32 Hello. I, uh, I was just in the club there.

51:36 I know.

51:36 Oh, you noticed me.

51:37 Well, you do tend to stand out.

51:40 I guess that's right. I guess I do. I sure like your singing.

51:43 As well as when I'm doing a command performance for two of Chicago's finest.

51:47 The night we broke up the brawl.

51:48 Yeah.

51:49 It isn't every night that a couple of cops walk in and run the audience out the door.

51:53 Listen, my partner didn't mean anything by what he said.

51:55 I know what he meant. What brings you back down here?

51:59 I don't really know.

52:02 Are you really a cop?

52:03 Yeah.

52:04 You don't act much like one.

52:05 I don't.

52:06 Well, not exactly.

52:08 Well, I'm in my first year on the force.

52:10 Well, you'll catch on.

52:14 My name's Harry.

52:15 I'm Ruby Chandler.

52:16 Where did you learn to sing like that?

52:19 I've been singing since I was three years old. My mama led the choir in church, and I listened to a lot of records.

52:26 Listen, Mr.

52:26 Nile.

52:27 You didn't come down this alley to talk music, and I'm not going to change your luck tonight or any other night. So I think I best go back inside and get ready for another set.

52:36 And you can go get lucky somewhere else.

52:38 Hey, no. You've got me all wrong.

52:40 No, Mr.

52:41 Nile.

52:41 I haven't got you at all.

52:46 Tuesday afternoon, when I showed up for my shift, there was an official envelope in my locker. It was from Commander Sullivan. Sullivan was an assistant chief, a tough old Irish cop who did the chief's dirty work. What would he want with a rookie patrolman? Well, I'm wondering about it. Bill Anson claps me on the shoulder.

53:05 Hi, kid.

53:05 How you doing?

53:06 Hi, Bill.

53:06 What you got there?

53:09 Oh, from the office of the district commander, no less.

53:12 Yeah, I'm supposed to see him.

53:13 What about?

53:13 Doesn't say.

53:15 You haven't been on the force long enough to get into much trouble.

53:18 Well, I better get over there.

53:20 Oh, say, I hear I just missed you last night.

53:23 You did?

53:23 Where?

53:24 I caught the late show down at Brandon's joint. Brandon said you were in there earlier looking for that sweet.

53:29 Hot chocolate of his. What are you talking about?

53:31 The girls.

53:32 Sarah.

53:33 I wasn't looking for her.

53:34 Brandon could probably fix you up with her.

53:36 I liked her voice, that's all. Listen, I gotta go, Bill. Yeah, oh, another thing.

53:41 Come here.

53:42 Huh?

53:43 Brandon's gonna be good for a sawbuck every week now.

53:45 Huh?

53:47 I fixed it up with him last night. He pays ten bucks a week for starters.

53:51 I'll cut you in. What are you talking about?

53:53 I sold him an insurance policy. He pays us, we don't hassle his joint. I take five, Nelson gets three, you get two. Just thought I'd cut you in because you got the hots for his little tan canary.

54:06 Here, here's your cut. Wait a minute. This is payoff money?

54:10 It ain't from the tooth fairy.

54:11 And you cut Captain Nelson in on it?

54:13 Sure.

54:13 He gets an override on anything we turn up.

54:17 Listen, I'm going to be late. I'll see you later.

54:19 Hey, don't you want your money?

54:23 I can swallow Anson's racial attitudes. He was no different from most of us in that way. But shaking down a citizen? I was beginning not to like my partner very much. Well, I hurry over to Delaware Street. Commander Sullivan. He sits behind a big desk in a big office in the public safety building. I salute him, and he nods at a chair.

54:45 All right, shut the door.

54:46 Sit down.

54:47 Yes, sir.

54:48 All right, now, I have a copy of a court record here that says on the day before you were sworn in, you appeared before a judge and had your name changed from Naletti to Nile. Why did you do that? You're ashamed of having an Italian name.

55:02 No, sir. It was to protect my family. See, I figured maybe someday I might get assigned to investigating racketeers, and I didn't want my family to be in danger from anyone in the mob. You know how they retaliate. I didn't want them to know how to get to my folks. I see. So you want to fight crime. Yes, sir.

55:19 Wherever you may find it.

55:21 Yes, sir.

55:22 Even if you should find it among your brother officers. Pardon me?

55:26 You're a rookie.

55:27 But surely you know that some of your brother officers are on the take, shaking down the very people they're sworn to protect.

55:34 Yes, sir, I've heard that.

55:36 All right.

55:37 Well, the commissioner believes there's all kinds of vice in the department, and he wants it stopped. So we're selecting a few trustworthy officers to report on any corruption they know about within their units. Now, this would be in addition to your other duties. And I'm giving you the opportunity to volunteer for this service.

55:55 I see. Now, what I'm asking you to do is.

55:58 Inform on your brother officers if you see them involved in any criminal activity.

56:05 I understand, sir. Now, make no mistake.

56:08 If it should ever be known that you're an informer, you'll be feared and hated, not only by the rank and file, but by your superiors as well, and there could be retaliations.

56:18 Do you understand what I'm saying? I think so. So when can you give me your decision? Commander, my dad's a barber. He has a little one-chair shop. A good week, he might make $ 30, $ 40. He raised four kids, and every week of his life, he had to pay someone off, or some night his shop might burn down. The cops on his beat, they know about it, and they do nothing.

56:42 What if it were one of your buddies who was in on the shakedown? Could you turn him in? Could you live with that?

56:48 Could you live with being shunned and scorned and despised.

56:51 By your fellow officers?

56:53 Would you ever feel safe again going on a patrol with an armed man who feared and hated you?

56:57 Commander, when I took my oath, I swore to uphold the law against all lawbreakers. Is that a yes? You volunteering? Yes, sir. All right. All right, Officer Nile.

57:14 You are now a member of the Division of Internal Affairs of the Department of Public Safety, the City of Chicago, County of Cook, State of Illinois's.

57:22 Let them aboard, Officer Nile. And may God help you. In the next few weeks, there were big changes in my life. Anson and I were transferred to motor patrol. Now there were lots of other merchants paying him for protection. As for Ruby, I was there in the back of the club.

57:41 Become of it.

57:47 This love of.

58:01 I could swear she sang the last line of that song right to me. She stepped down from the little stage and made her way through the customers and walked right back to my table and slid into an empty chair.

58:11 Hi.

58:12 Hey, yourself. How you doing?

58:15 Good.

58:16 Hey, why don't you do encores? The customers always want you to sing, you know, more songs.

58:20 Oh.

58:21 Old showbiz motto.

58:22 Always leave them wanting more.

58:25 Say, I hear they got you driving around in a police car now instead of walking a beat.

58:29 That's right.

58:30 I heard something else, too. You and your partner are in business for yourself. Extortion, they call it.

58:36 I don't have anything to do with that.

58:37 Oh?

58:38 Then why are you here every week? Watching over your investment?

58:41 I'm not taking money from Brandon or anyone else. I'm trying to get Anson to quit taking.

58:45 So why do you come in here every Monday night? You don't stop back and say.

58:48 Hello to me.

58:48 I didn't think you wanted me to.

58:50 Well.

58:51 I didn't.

58:53 I thought you were just another white fellow who wanted some black notches in his belt.

58:56 No, I'm not like that, Ruby.

58:58 Then what brings you down here?

59:00 I'm not sure. I can't understand it myself. Why are you sitting at my table tonight?

59:06 You know, I don't understand that myself.

59:11 Listen, I have Sundays off. I'd sort of like to see you away from this place. What do you do on Sundays? Could we get together, maybe?

59:19 Sure.

59:20 Sundays you'll find me at the 19th Street Church of the Open Bible. My daddy's the preacher, and I sing in the choir.

59:27 Welcome, Mr.

59:28 Niles.

59:30 Ruby told me you might be visiting. We don't get many white folks here.

59:33 Well, I liked your sermon, Reverend.

59:35 Thank you.

59:36 And I like the choir.

59:37 Yes.

59:38 Ruby's been singing in our choir from the time she had to stand on a milk box to see over the rail. I'm very proud of her.

59:45 Well, you should be. She's really talented.

59:47 Her mother was a fine singer and musician. That's where she gets it.

59:51 Well, I thought if Ruby wasn't busy after church, we might take a ride together.

59:55 Well, we didn't talk about a ride.

59:57 We could take in a movie.

59:59 Well, I'd like to, Harry, but.

1:00:00 We observe.

1:00:01 The Sabbath in a different way than many, Mr. Nile. It's the Lord's Day. We don't want to go to movies or listen to radio or take rides on the Sabbath.

1:00:10 Oh.

1:00:11 I have a few things I have to attend to in my study, church work. So if you'll excuse me, Mr. Nile, it was good of you to attend our service. I hope you come back. Oh.

1:00:21 Sure. Yeah, right.

1:00:23 I'll just be leaving then.

1:00:24 I'll walk you to your car, Harry.

1:00:29 I don't get it. You can sing six nights in a saloon and you can't go out on Sunday afternoon?

1:00:34 I would just ask that you respect our way.

1:00:36 No, hey, I respect him. I just don't understand him. When can I see you? After one in the morning?

1:00:43 What is it you want with me, Harry? I.

1:00:47 Well, I don't know. I want to see you.

1:00:50 How so?

1:00:52 How so?

1:00:53 What do you mean?

1:00:54 Well, you're not talking boy-girl, are you?

1:00:57 Well, see, that's what I don't know, Ruby. I've never thought about having feelings for anyone who's.

1:01:04 For a colored woman? Is that what you're trying to say?

1:01:06 Well, yeah.

1:01:08 And I've never had feelings for a white man.

1:01:10 But it can happen.

1:01:12 You talk this over with anyone this way you feel? Anyone in your family, for instance?

1:01:17 No, hey, I'm free, white, and 20... I didn't mean to make it sound that way.

1:01:22 No, but you see, that's what we're up against.

1:01:26 We're not just up against our families and our friends.

1:01:29 We're up against history.

1:01:31 Do you want to see me again, Ruby?

1:01:33 Yes.

1:01:35 Yes, I do.

1:01:36 I really do. Then who has to give you permission?

1:01:39 It's not like permission. I'm free, too.

1:01:42 Ruby!

1:01:44 I'm coming, Daddy.

1:01:45 Okay, tomorrow night I'll see you at the lounge.

1:01:48 You better talk to some of your folks, Harry.

1:01:50 I don't need to. I know what they'll say.

1:01:52 Harry, we're getting in over our heads. You know that, don't you?

1:02:00 Are you out of your mind? You just don't get it, do you, Harry? In this life, you go along to get along. You gotta live the way your own crowd lives or you're in the tank. Suppose I don't care what other people think.

1:02:10 All right, you don't care.

1:02:12 You want to get the reputation of being a guy who can't get a white chick? It's not like you were dating an Italian or Puerto Rican. I mean, they look almost like us.

1:02:19 Until they get old. I'm Italian. You didn't know that, I guess.

1:02:22 Yeah, see, that proves my point. You look American. I'll tell you something. I even had me a Jewish girlfriend once. Nobody could tell.

1:02:30 Ruby's a good singer. She's probably a nice kid.

1:02:33 But she's the wrong color.

1:02:35 I'm just trying to keep you out of trouble, pal.

1:02:40 Hey, Harry.

1:02:41 Hey.

1:02:42 It's great to see you.

1:02:43 Thanks for coming in.

1:02:44 Hey, Goomba. This is my big brother, Harry.

1:02:47 How are you guys doing?

1:02:50 What's on your mind?

1:02:51 And where's your uniform? Oh, I got the night off, Joey. I thought maybe we could go out, you know, have a drink together.

1:02:56 Sensational.

1:02:57 I get off at 11.

1:02:58 Where are we going?

1:02:59 Well, sort of a jive joint. It's nothing fancy. The music's great.

1:03:03 It's a riff.

1:03:04 Do I got to change? No, I don't think so. Take off the apron, wear a coat, you're going to.

1:03:07 Look just fine.

1:03:08 Then it's not one of those uptown places?

1:03:10 No, no, no.

1:03:11 It's on the near south side.

1:03:13 What, you mean dark town?

1:03:15 That's the colored district.

1:03:16 Yeah, I know, Joey.

1:03:17 We're going down there?

1:03:18 It's my beat. I'm around there every night. Oh, what a crummy duty. Well, I didn't think that you'd feel that way, Joey. Maybe you wouldn't have such a good time there after all. Well, what's wrong with going to a white club? Because a friend of mine sings at a black club.

1:03:34 Yeah?

1:03:35 Well, I like the music. Has he made any records? Her name is Ruby. It's a woman. Yeah, I'd like you to get to know her.

1:03:46 Well, uh, sure.

1:03:50 Sure, Harry.

1:03:51 Pick me up at 11. It was a bad idea. Well, Joey was only 25 at the time. I think he was scared. And when Ruby came out to say hello, I thought he wasn't even going to shake her hand. Oh, we were all embarrassed. Joey and I left early and then he must have called the family because the next morning I got a call from my father who never used the phone because his English wasn't great.

1:04:16 Harry, is this the talk?

1:04:18 What Joey tells me?

1:04:19 I don't know.

1:04:20 What did he tell you, Pop?

1:04:22 How could you do this to our family?

1:04:24 I haven't done anything to our family.

1:04:25 You're going to marry with a Negro.

1:04:27 We haven't decided about marriage.

1:04:30 Why you do this, Harry? You've always been a good boy. You want to kill your mama?

1:04:35 You want to kill your papa?

1:04:37 You want to shame your family?

1:04:40 I hung up on him. On my old man. Was I the crazy one? Everyone I talked to was against us. Why couldn't I just forget about the way I felt? Before my shift started, I drove down to the 19th Street Church of the Open Bible. Ruby was in the kitchen of the big old house where the Chandlers lived next to the church.

1:05:00 Harry!

1:05:01 Yeah, your dad said I could talk to you.

1:05:03 Oh, let me dry my hands. Is anything wrong, baby?

1:05:06 Yeah, plenty's wrong. Do you want me to stop seeing you?

1:05:09 No. Why?

1:05:11 What's happened?

1:05:11 Well, everyone I talk to says we're wrong, you and me. You saw how my kid brother acted last night. I haven't talked to a single white person who says anything good about my going with you.

1:05:21 Oh, what did you expect, sweetheart?

1:05:23 I don't know. I never went through this before.

1:05:26 Well, it works both ways, you know.

1:05:28 I'm hearing from kinfolk all over town warning me to stay with my own kind.

1:05:32 Excuse me, children. Your voices were a bit noticeable.

1:05:36 I'm sorry, Reverend.

1:05:38 I'm a plain-spoken man, Mr. Nile, and I have a burden I need to get off my heart. Will you allow me?

1:05:44 Sure.

1:05:45 What are your intentions concerning my daughter?

1:05:47 Oh, Daddy!

1:05:48 My intentions? Well, I want to see her as much as I can.

1:05:51 Well, you're free to see her.

1:05:53 No, I don't want to just be in the audience down at the club. I want to be in her life, the way she's in my life.

1:05:59 That's a pretty thing to say, but what exactly does that mean? Are you thinking of marriage for my daughter, Mr.

1:06:04 Nye?

1:06:04 Daddy, we've never said a word to each other about getting married. It's been hard enough to even get to know one another.

1:06:10 Listen, all I know is I've never felt this way about anyone before.

1:06:15 Ruby?

1:06:17 Neither have I.

1:06:17 Well, all well and good. How are you going to feel when you go out in public together, a white man and a black woman? How are you going to feel when your friends stop seeing you and strangers say cruel things about you just loud enough so you can hear? Which world will you live in when both worlds reject you?

1:06:34 Listen, I know there's a lot of racism out there, but if what we feel for each other is strong enough, nothing is going to matter.

1:06:41 Daddy, you preach about how we're all children of God, a loving God. Don't you think God is happy that two of his children found each other and fell in love?

1:06:50 Yes. God loves you. But it won't be God who strikes you down.

1:07:07 It was a month later. Reverend Chandler refused to marry us and we had to find a justice of the peace. My kid brother Joey agreed to be best man and Brandon, Ruby's boss, gave the bride away. I rented a little flat just a few blocks from Brandon's lounge so it'd be handy for Ruby. Then I got summoned to Commander Sullivan's office.

1:07:26 Officer Nile, I'm relieving you of your duties with internal affairs.

1:07:30 Why, sir?

1:07:31 Because you're losing your effectiveness.

1:07:34 I depended on your being well-liked, making friends in the precincts, getting to know the other men on the force personally, getting to know what they're doing.

1:07:43 But that's gone now. Why did you do it, son? Do what, sir?

1:07:48 Marry a negress.

1:07:49 Pardon me, Commander, but I don't see where that's anybody's business but mine. Oh, you don't, huh?

1:07:55 Well, if you're going to be of any use to us to internal affairs, you have to be in close touch with your whole precinct to know what's going on.

1:08:03 And you, you haven't got a friend left. Do you know that? I guess I haven't noticed.

1:08:08 No, no, no.

1:08:08 You've been too busy concentrating on your honeymoon, I guess. but honeymoons end and you have to come back down to earth and face reality just what were you trying to prove nile how liberal you are how open-minded.

1:08:23 You are i wasn't trying to prove anything sir.

1:08:25 You know you know sometimes i think that the people who shout the loudest for human rights and social reforms are the ones who are most concerned about their own feelings but they don't want anyone else to suspect oh man i wish you'd come to me before you did.

1:08:39 This Well, I'm having you transferred to another precinct.

1:08:43 Which one? The port.

1:08:44 When?

1:08:45 Immediately.

1:08:46 You'll be working nine to six. A nice daytime shift for a change. Sir, that means I won't be able to spend hardly any time with my wife. She doesn't get home till three in the morning. She'll be asleep when I leave. That's unfortunate, isn't it?

1:08:59 That'll be.

1:09:00 all, patrolman.

1:09:01 You're excused.

1:09:06 Well, that was when I first started thinking about turning in my shield and going private. I didn't know where to turn. At my new assignment, I was just a little cog in a big machine full of strangers. I Ruby and I hardly got to see each other. Sundays she still spent down at her father's church. Seemed like if I wanted to see her, I had to go to Brandon's Lounge. And one night, that's where I ran into my old partner, Bill Anson.

1:09:33 Had an interesting experience the other night, Harry. Internal Affairs came down and interviewed Brandon. Seems someone told them Brandon had been paying protection. Of course, Brandon played dumb.

1:09:44 I.A.

1:09:44 Went away empty-handed. But I wonder where they got the idea.

1:09:48 Must be somebody tipped him.

1:09:50 Yeah, that's what I think, too. Well, Brandon isn't buying insurance anymore. I sure hope he doesn't have a loss. By the way, how's married life?

1:10:02 Married life? Ruby made casseroles and left me love notes. I washed the dishes and left her love notes. But Sunday nights, after she spent a full day at her dad's church... That was the only time we ever spent together.

1:10:18 You want the rest of the champagne?

1:10:20 Nah, you take it. You haven't hardly had any at all. Who?

1:10:24 Well, I feel guilty.

1:10:25 Why? Because your dad doesn't approve of drinking?

1:10:28 Oh, we never even had a drop in the house all the time I was growing up.

1:10:31 Yeah, but Mr. Brandon gave us this bottle as a wedding present. He'd want us to share it. I know.

1:10:37 And I feel guilty for not drinking it.

1:10:40 Guilt, guilt, guilt. I felt guilty for agreeing to tell on my fellow cops, and then I felt guilty for letting Sullivan down when he took me off Internal Affairs.

1:10:51 Harry.

1:10:52 Hmm?

1:10:53 Do you ever worry about the cops you reported on?

1:10:57 Worry about them how?

1:10:58 Well, what they might do to you if they found out.

1:11:02 They're not going to find out. Hey, Sullivan wouldn't throw me to the wolves.

1:11:07 But what if someone found out? What if Bill Anson found out?

1:11:11 Well, what's he going to do? He knows he's a crook. Crooks get caught.

1:11:15 But not by their own partners.

1:11:18 Listen, darling, I walked into Internal Affairs with my eyes open, and I left with my eyes open.

1:11:24 But you know why they turned you out.

1:11:26 Oh, forget that.

1:11:27 It wasn't because you weren't doing your job. It was because you married me.

1:11:32 So that's how the world thinks? Fine. We knew that going in. Let's face it, we can't change the world. We can't change Chicago. We can't change the police. We can't change anything. Can't even change our own families.

1:11:45 Honey, if we can survive what our folks and our friends are dishing out, who cares what the rest.

1:11:51 Of the world thinks, right?

1:11:53 Yeah. Harry?

1:11:56 Hmm?

1:11:57 Are you having second thoughts?

1:12:02 About what? About Mary and you?

1:12:04 No.

1:12:04 No, never.

1:12:05 Not once. What about you?

1:12:09 Me?

1:12:11 Yeah, you can't deny you're getting the cold shoulder at church.

1:12:13 I am not.

1:12:14 They have seen it, the looks we get.

1:12:17 Well, there's a few, maybe.

1:12:19 Yeah.

1:12:20 Well, I don't blame them. They're thinking this girl has lost her mind. She not only marries a white man, but a policeman to boot.

1:12:29 Well, your dad said there'd be changes. It's more than my old man said. Listen, sweetheart, it comes down to this. If we want a marriage, we're just going to have to build it together. Five months, one week, and two days, to be precise. I woke up just before 2 a.m. Someone was pounding at the door. Don't you have your key, honey?

1:12:53 I'm coming.

1:12:54 Harry?

1:12:55 Bill? What are you doing here?

1:12:56 I got the car outside.

1:12:57 You better put some clothes on.

1:12:58 What happened?

1:12:59 Well, there's been some trouble down at Brandon's.

1:13:00 What do you mean?

1:13:01 Well, there was a brawl, some shooting.

1:13:03 Is Ruby okay? Bill, is Ruby okay?

1:13:06 Bill!

1:13:06 They took her to the hospital. She took a stray bullet. We got the guy, but you need to go be with her at the hospital. She died before I could get there.

1:13:22 Oh, Harry.

1:13:24 I'm so sorry. Brandon was shot, too. He died about a week later. Five guys went to prison. Two of them are doing life. A little while after, Sullivan put me back into internal affairs, but when I blew the whistle on Captain Art Hansen, I tied a can to my tail, and I gave up my shield. A while after that, I went into the private detective business, and you know the rest. I moved out to L.A., and then up to Seattle. I thought I got Chicago out of my system, but here we are again.

1:13:58 Cook County Hospital.

1:14:00 It's enormous.

1:14:01 Well, Harry, you put on a pound or two in 15 years.

1:14:05 Yeah.

1:14:05 But it looks good on you. You must be taking good care of him, Miss Nile.

1:14:09 Oh, I'm not, Miss.

1:14:11 Murphy is my associate in the agency, Orville. I never got married again.

1:14:16 Oh, I see.

1:14:17 Listen, how's the church going?

1:14:18 Yeah, we're managing. Mostly old folks now. Yeah? Now, this is Mr. Anson's room. Before we go in, he looks a lot different from when you saw him last.

1:14:28 How did you, uh... Get together with him.

1:14:31 Well, I heard nothing from him in all the years since the trial. Then a few days ago, he sent word that he wanted to see me. It was right after that that I called around and found out where you were. I knew he needed to talk to you in person.

1:14:44 Why don't I wait out here in the hall?

1:14:47 We'll both wait out here. Go ahead on in, Harry.

1:14:51 Okay. Bill?

1:14:58 Who is it?

1:14:59 It's Harry Nile.

1:15:01 Oh, my gosh.

1:15:04 You did come back. Sure. I've been back in town for a long time.

1:15:08 How are you doing out on the coast?

1:15:12 Good.

1:15:12 I'm doing okay. How are you doing?

1:15:16 Never better.

1:15:19 Listen, Harry, the doctors say I've about run out of time. I wanted to clear some things up. I told Orville Chandler, and he said I ought to tell you, too.

1:15:30 Okay.

1:15:31 You know that brawl at Brandon's lounge the night that.

1:15:34 Ruby got killed? Yeah.

1:15:36 Well, I got the call. I had a new young partner. Just a rookie like you were. I told him to stay in the car and radio for more backup.

1:15:47 I went in. The fight was going pretty good.

1:15:50 So there was my chance, you see. There was Brandon.

1:15:56 As long as he could testify against me, I was in danger. And there was Ruby, your wife. I shot them both. I pinned it on two of the black guys.

1:16:11 You shot Ruby? You shot Ruby?

1:16:14 I knew you were the snitch for Eternal Affairs. I wanted to hurt you. So I shot the one person you loved. I sent two innocent guys up the river.

1:16:28 I wanted you to know, Harry, Okay?

1:16:33 Okay.

1:16:35 That's all you're going to say?

1:16:37 Yeah.

1:16:39 Goodbye, Bill.

1:16:45 Did he tell you?

1:16:47 Yeah, he told me.

1:16:49 Man spent his life hating.

1:16:52 For a live audience in Seattle. The Adventures of Harry Lyon It was trying to be spring in Seattle. The sun was doing a few guest chats behind fast-moving clouds, and then the rain would spatter down and be winter again for a while. It was the 15th of March, 1955, income tax day. I just sent Uncle Sam most of my money, minus the nickel I was going to use to buy the morning paper, which I was reading in my office when the phone rang.

1:17:46 Harry Nile Investigations. And who shall I say is calling, please? Yes, just a moment. Harry, Mrs. Fred Holgar is on the phone.

1:17:57 Who? Mrs.

1:17:58 Fred Holgar. She says she needs a detective.

1:18:01 It's not so loud, Murphy.

1:18:02 She can't hear me. I'm covering the phone. Of course, if we had an intercom, I wouldn't need to shout at you, Harry.

1:18:10 You want an intercom? I'll be lucky if I can pay this month's phone bill. What does Mrs. Hogar want me to do? I don't know. Whatever it is, I'll take it. Good morning, Mrs. Hogar. This is Harry Nile.

1:18:22 I saw your ad in the phone book.

1:18:23 Are you a detective?

1:18:24 Yeah.

1:18:25 How can I help you?

1:18:26 Well, oh... This is very embarrassing.

1:18:29 No, not at all. That's what I'm here for.

1:18:31 Well, um, it's about my husband.

1:18:33 Yeah, I knew it.

1:18:34 What?

1:18:35 Uh, what about your husband, Miss Hogar?

1:18:38 Oh, gee whiz. I don't know how to say it.

1:18:41 Well, maybe I can help. You're wondering why he comes home late at night, and you're worried that he's seeing another woman. Something like that.

1:18:47 No!

1:18:48 Freddy isn't like that. He's... a wonderful husband. I trust him completely.

1:18:52 Well, glad to hear it. So, just what is the problem?

1:18:55 Well, lately he's been coming home with a lot of money.

1:18:59 I mean.

1:18:59 He's only a tool salesman, but he's bringing home an awful lot of cash. And I know it's perfectly legal and all, but the sheriff came and asked him a bunch of questions, and.

1:19:09 Poor Freddy, he's paid his debt to society, and he's just trying to get along. Can you help?

1:19:14 You say he paid his debt to society?

1:19:16 Oh, it was when he was just a kid. It's nothing.

1:19:19 Really.

1:19:19 Okay, I'm going to need your full name.

1:19:24 Mrs.

1:19:24 Cleo Hogar. H-O-G-A-R.

1:19:28 Cleo.

1:19:29 Hogar. And your address, Mrs.

1:19:31 Hogar?

1:19:31 Route 2, Vashon Island.

1:19:33 Oh, you live over on Vashon?

1:19:34 Mm-hmm.

1:19:34 Okay, well, Mrs. Hogar, my rates are $ 50 a day plus expenses and a $ 100 bonus when I get results.

1:19:41 $ 100?

1:19:42 When I get results.

1:19:43 What does that mean?

1:19:44 Well, when I find out what you want to know about Freddy.

1:19:47 Well, all right. How long do you think it'll take?

1:19:51 Well, I have no way of knowing at this point.

1:19:53 Oh.

1:19:54 Now, I'm going to need you to come over here and sign a contract.

1:19:57 Into Seattle?

1:19:58 Yeah, right. My offices are in Pioneer Square.

1:20:01 Oh, can't you just send it to me? I've got a four-month-old baby to take care of.

1:20:08 In the years I've been here in Seattle, I'd never made it over to Vashon Island. But I take the 15-minute ferry ride from West Seattle and follow the direction she gave. And just before noon, I pull up in the yard of a modest bungalow right about in the middle of the island. A new 55 Buick convertible is grinning its chrome teeth at me in the driveway. And a slight young woman And a long, old-fashioned dress shows me into a tidy little parlor.

1:20:32 I was just going to have lunch. Do you want some?

1:20:35 No, ma'am.

1:20:35 You go ahead. I had a late breakfast.

1:20:37 Well, I'm not really very hungry myself. The baby had colic all night. I think she caught it from me.

1:20:43 I'm kind of nervous.

1:20:44 Well, where's your husband right now?

1:20:46 Freddie? He's in Seattle.

1:20:48 He's a tool jobber for Bramley Tools. He sells socket wrenches and.

1:20:51 Stuff like that. He has a big territory. Olive King, Snohomish, Skagit, and the Island Counties.

1:20:57 I memorized that all by heart.

1:20:59 That's quite a territory.

1:21:01 He's only had the job about six months, but he's doing really, really well.

1:21:05 Not well enough to be bringing home so much money, huh?

1:21:08 That's right.

1:21:08 How much are we talking about?

1:21:10 Well, last week, it was around $ 1, 200.

1:21:14 Before that, it was $ 3, 000. Oh, man.

1:21:16 What's his usual paycheck?

1:21:18 Oh, about $ 100 a week.

1:21:20 Huh.

1:21:20 Well, maybe the tool business is better than you think.

1:21:24 I wish.

1:21:26 Well.

1:21:27 What'd he say when he showed you the money?

1:21:29 Well, he didn't exactly show it to me.

1:21:32 So how'd you find out about it?

1:21:34 He put it in a steel box he made in shop.

1:21:37 In shop?

1:21:38 Shop class in high school. We both went to Vashon High. Freddy took metal shop. He was really good.

1:21:44 He built a hot rod and everything.

1:21:46 So he stashes the money in his steel box. Does he know you know about it?

1:21:52 No.

1:21:53 He doesn't know I saw him.

1:21:54 Okay, where's the box now?

1:21:56 Out in the garage. It's locked. It has a big old padlock on it.

1:21:59 And you never asked him where the money came from?

1:22:02 No.

1:22:03 But he went and bought a new car with some of it. A brand new car.

1:22:07 That cream-colored Roadmaster? I saw it back.

1:22:10 Yes. And he paid cash for it.

1:22:12 And I asked him, I said, Freddy, we don't have that kind of money. Did you buy it on time? And he just patted me on the head and said, never you mind.

1:22:20 It's all paid for.

1:22:21 Miss Hogar, you mentioned something about your husband having a criminal record.

1:22:25 Oh, that was back when he was only a kid out of school.

1:22:28 He was 19.

1:22:28 What was he convicted of?

1:22:31 Oh, he stole a car. It was nothing.

1:22:34 He just wanted to go joyriding. Half the boys I knew borrowed cars to go joyriding.

1:22:38 Okay, and now you said the sheriff's been talking to him?

1:22:41 Yes.

1:22:42 See, there's been some burglaries on the island.

1:22:44 Well, why would he think Freddy was involved?

1:22:46 Oh, oh, he doesn't. Not anymore.

1:22:48 I mean, Freddy proved he was at work driving his truck around Seattle when those houses got broken into.

1:22:53 Mm-hmm. But did the sheriff know about all the cash Freddy put in the box?

1:22:59 Oh, he doesn't know anything about that.

1:23:01 No, I bet he doesn't. So my assignment is to find out where Freddy's coming up with all that money.

1:23:07 Yes, but don't let Freddy know you're spying on him. He'd never forgive me.

1:23:14 So I outline a plan to her, and she signs the contract. The plan is, the next morning I'll be waiting for the Vashon Ferry to dock at the Fauntleroy Ferry Terminal in West Seattle, and I'll follow Freddy's big white van. I'll spend the day watching every move he makes. A routine tail job. I never would have taken it if it hadn't been so tapped out by the taxman.

1:23:36 But it turned out not to be so routine after all. So, at 7.30 the next morning, the Kennewick slides into the slip at the Fauntleroy Ferry Dock, the Seattle side of a run. And among the commuters coming off the boat is a big white GMC box van with Bramley tools painted in big red letters. I fall in behind it two cars back. He heads for Highway 99 South, and when he pulls into a lot at a repair garage, I park about a half a block back, and through my field glasses, I get my first look at Freddy Hogarth.

1:24:09 He's fairly tall, six feet maybe, goes 225 pounds, plenty of curly black hair and a trim mustache. He walks into the garage, and ten minutes later, he comes right back out. Must not have made a sale. He drives onto a gas station, makes his pitch, gets back in the cab, and heads for another auto repair place. It's like that all morning long. He visits gas stations, car dealers, independent garages, and truck shops. Out of ten stops, he makes one sale. Then he knocks off for lunch. Freddy's not exactly making a fortune today. But I stick with it.

1:24:42 After a totally uneventful day breathing his exhaust fumes, I follow Freddy onto the 7 p.m. ferry back to Vashon Island. All I've got to show for 12 hours of boredom is a cramp in my neck and a list of 24 stops that he's made. Freddy still doesn't know he's being followed when he drives his six-ton toolbox off the ferry.

1:25:01 But he doesn't go straight home. Instead of getting on the Vashon Island Highway to go south, he turns west and goes a mile or so, and then he pulls up a narrow driveway that leads to an old farmhouse. It's raining, and it's dark now, and I douse my lights and wait on the road, but I can't see anything.

1:25:17 In a minute, though, his truck emerges, and I drive away before he can spot me. He gets back on the main road, and finally he drives home. That evening, at the island's main shopping district, I stop in front of the sheriff's substation. There's a county police car at the curb. Inside the office, filling out some papers, is a King County deputy sheriff. Help you with something? Yeah, I'm looking for the officer investigating some recent burglaries here on the island. That'd be me. I'm a private investigator from Seattle. Harry Nile. Here's my card.

1:25:52 Okay.

1:25:53 And you'd be? Deputy Breen. Hey, nice to meet you. Listen, what can you tell me about the burglaries? It depends on what you want to know. Well, could I take a look at that map of the island you've got on the back wall there? Yeah, sure. Come around behind the counter. Yeah, now let's see. Now, here's the ferry landing, right?

1:26:10 And this road, what is that? Oh, you mean Southwest 108?

1:26:15 Yeah.

1:26:16 What's up there, toward that point of land up there? Just a few houses.

1:26:19 Why?

1:26:20 Well, a guy I was tailing drove in there tonight. I lost him for a couple of minutes. I just wondered what was there. Thousands. Can you point out where the burglaries took place? They were down island, Fern Cove and down at Burton. Okay, what was stolen? Can you tell me that? You want to tell me what your interest is in this? Well, I've been hired by someone who's worried about the burglaries, that's all. Who would that be? Well, I can't name my client. Then I don't see how I can help you. Look, if I knew the kind of stuff that's been stolen, maybe I could help you.

1:26:51 You explain that to me, Mr.

1:26:53 Nile?

1:26:55 Okay.

1:26:58 One more question. Was there a burglary today?

1:27:01 Well, yes.

1:27:02 Yes, there was.

1:27:02 Where?

1:27:03 Down in Burton. During the daytime?

1:27:06 Yes.

1:27:07 Look, Mr.

1:27:07 Nile, I respect your rules about protecting the name of your client, but if you're withholding information on a felony... That's a felony itself.

1:27:15 No, no, no. Look, I want to work with you on this. If I tell you who hired me, can I trust you to just keep it to yourself? Sure. See, my client is just concerned about her husband. You're talking about Cleo Hogar, right? That's right. How'd you know that? This is a small island, Mr.

1:27:32 Nile.

1:27:34 So Cleo hired you to do what? Okay, she hired me to see where Freddy goes and what he does all day. Well, I spent 12 hours shadowing him today, and he did nothing but call on his customers in Seattle. So if there was another burglar on Vashon today, he's got a cast-iron alibi. And about 24 witnesses. 25, including me.

1:27:53 Look, I know it isn't Freddy, but the M.O.s match his technique. The way he gains entrance, the way he goes through the house, what he steals.

1:28:00 Whoa, whoa, whoa, wait a minute. I knew he stole a car when he was younger, but Cleo didn't say anything about breaking and entering.

1:28:07 He had four years at Monroe for B & E, grand larceny, and carrying an unlicensed weapon. That was after he spent a year at Shelton for grand theft.

1:28:15 Otto was a minor.

1:28:17 Freddie graduated from school and spent the next five years in jail. You want to see his rap sheet?

1:28:22 I wonder if Cleo knew he'd done time for burglary. She and Freddie were high school sweethearts. She knew everything he did. Okay, so Cleo didn't want me to know everything about Freddy's past. I can understand a wife protecting her husband, but I can't work with someone who isn't playing straight with me. So, the next morning at 9 o'clock, I'm back on the island knocking on her door.

1:28:46 Mr.

1:28:46 Nile!

1:28:46 Can I come in?

1:28:47 Well, sure.

1:28:48 How come you're not following Freddy?

1:28:51 Did he bring home any more cash last night?

1:28:53 Why?

1:28:54 Now, just answer the question.

1:28:55 Well, I think he might have. I know he went out to the garage before he came in the house.

1:29:00 He didn't tell me he'd done time for burglary.

1:29:03 That was before.

1:29:04 He's different now. He's got a wife and a family and a good job.

1:29:07 Okay, well, then where's he getting all this money?

1:29:09 I don't know. That's why I'm paying you.

1:29:11 You've got to be straight with me, Cleo. You've got to tell me everything you know about Freddy or I can't work with you.

1:29:16 I did tell you.

1:29:17 Leaving out the four years at the State Reformatory for burglary in possession of a weapon.

1:29:21 All right, all right. He made some mistakes, but he changed.

1:29:24 Yeah, then where's the money coming from?

1:29:26 What do you want me to tell you? Oh, now Debbie's awake.

1:29:31 Oh, I'm sorry.

1:29:32 Wait a minute. I have to get her calmed down again.

1:29:34 I'll be back in a minute.

1:29:36 I really am sorry. I look around the living room. She keeps it neat as a pin. Not much in the way of furniture, just a sofa, a couple of chairs, a table with a cluster of framed photos on it, pictures of the baby, a graduation picture, and a wedding picture. I pick up the wedding picture, and I look at it closely. It's taken in front of a church, and there's Cleo in her bridal gown, but who's that standing beside her?

1:30:03 That's our wedding picture.

1:30:05 This is your first marriage?

1:30:08 Yes.

1:30:09 And the groom is Freddy?

1:30:10 Of course it's Freddy.

1:30:11 When was this taken?

1:30:12 Two years ago. Two years ago this June.

1:30:15 Why?

1:30:16 And this is how Freddy looks today.

1:30:18 What is the matter with you?

1:30:20 Yes, he looks the same today as he did two years ago. Oh, well, he might have put on a pound or two.

1:30:26 Okay, what does he weigh?

1:30:27 I don't know, 165, 170. How tall is he? He's 5'10.

1:30:33 Mr.

1:30:34 Nile, what's going on?

1:30:35 Can I take this with me?

1:30:36 Take it with you?

1:30:37 Really, I'll take good care of it. I leave Cleo looking bewildered, but there's no time to explain. Also, I'm not really sure if I could explain it at this point. All I know is the guy I followed all day yesterday wasn't Freddy Hoggar. I dive back into my car and I race for the ferry landing. Then I pick up a tail myself. Good morning. It's Deputy Breen, isn't it?

1:31:05 We talked last night. Yes, we did. You're in a big hurry this morning. Oh, I'm sorry. I'm trying to catch the ferry.

1:31:12 It'll be another one along in a half hour. Let me see your operator's license, please.

1:31:16 Yeah, sure. Here you go. Listen, I just found out something pretty interesting about Freddy Hogar. What's that? The guy I was following all day yesterday wasn't Freddy. Come again? I just saw a picture of him.

1:31:32 Oh, here.

1:31:32 This is it. I borrowed it from Cleo.

1:31:35 Yeah, yeah.

1:31:36 I was at their wedding.

1:31:37 You were?

1:31:38 Sure. We were all in high school together. You were?

1:31:41 Yeah.

1:31:42 Now, you say it wasn't Freddy driving the tool truck? No, it was a much bigger guy. Heavy set. Six feet tall.

1:31:49 Which means Freddy's alibi just evaporated.

1:31:56 Now I've got a new problem. Do I tell Breen about the cash that Freddy's been tucking away in his little steel box? If I do, it's a total breach of confidence with Cleo, my client. But if I don't tell Breen what I know, I'm breaking the law by withholding potential evidence. Breen's not only holding my driver's license, he could be holding my P.I. license, too.

1:32:16 So you still want to go back to Seattle and try and find whoever's driving Freddy's truck?

1:32:20 No need.

1:32:20 We can catch him tonight when he drives off the ferry. Remember last night I told you I'd followed someone to a house on 108th? That was Freddy's truck I followed. It turned off the road for a few minutes, and then it came back out of that driveway. And Freddy was driving. Yeah. That's got to be where they make the switch. You think you could find that house for me? Yeah, I think I could, but... Listen, if Freddy's the burglar and he stays on the island while his partner impersonates him in Seattle, he could be hitting another house as we speak. How big a force do you have here on the island?

1:32:51 I'm it.

1:32:52 Yeah, I was afraid of that. Okay, look, are you open to a plan? What do you got in mind? I outline what I'm thinking, and the deputy agrees. So I forget about taking the ferry, and instead I drive back to Cleo Hogar's house. Thank you.

1:34:10 Thank you.

1:34:49 Thank you.

1:35:36 Thank you.

1:36:07 Thank you.

1:36:50 Thank you.

1:37:24 Thank you.

1:38:11 Thank you.

1:38:42 Thank you.

1:39:22 Thank you.

1:40:00 Thank you. Thank you. Thank you.

1:43:12 Thank you.

1:44:20 Thank you. Thank you.

1:46:27 Husband having a criminal record.

1:46:29 Oh, that was back when he was only a kid out of school. He was 19.

1:46:33 What was he convicted of?

1:46:35 Oh, he stole a car. It was nothing. He just wanted to go joyriding. Half the boys I knew borrowed cars to go joyriding.

1:46:42 Okay, and now you said the sheriff's been talking to him?

1:46:45 Yes.

1:46:46 See, there's been some burglaries on the island.

1:46:48 Well, why would he think Freddy was involved?

1:46:51 Oh, oh, he doesn't.

1:46:51 Not anymore.

1:46:52 I mean, Freddy proved he was at work driving his truck around Seattle when those houses got broken into.

1:46:57 Mm-hmm. But did the sheriff know about all the cash Freddy put in the box?

1:47:03 Oh, he doesn't know anything about that.

1:47:05 No, I bet he doesn't. So my assignment is to find out where Freddy's coming up with all that money.

1:47:11 Yes, but don't let Freddy know you're spying on him. He'd never forgive me.

1:47:18 So I outline a plan to her, and she signs the contract. The plan is, the next morning, I'll be waiting for the Vashon Ferry to dock at the Fauntleroy Ferry Terminal in West Seattle, and I'll follow Freddy's big white van. I'll spend the day watching every movie he makes.