A STREETCAR NAMED SCHULTZ and THE BAREFOOT BOY JEFF REGAN, PRIVATE INVESTIGATOR

Summary

1001 Radio Crime Solvers

Episode Summary: "A Streetcar Named Schultz" & "The Barefoot Boy"

Podcast: 1001 Radio Crime Solvers
Date: January 28, 2026
Featured Series: Jeff Regan, Investigator
Host: Jon Hagadorn

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Overview

In this episode, listeners are treated to two classic Jeff Regan, Investigator radio mysteries—"A Streetcar Named Schultz" and "The Barefoot Boy." The stories blend hard-boiled detective wit with colorful characters drawn from the golden age of radio crime dramas. In both tales, Jeff Regan (the Lion’s Eye), supported by his ever-comedic boss Anthony J. Lyon, untangles webs of intrigue in the worlds of wrestling and fine art, uncovering motives, suspects, and murderers with sharp banter and characteristic cynicism.

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Story 1: "A Streetcar Named Schultz"

Main Theme

A professional wrestling match ends in murder, and Regan is hired to clear the name of a flamboyant wrestler suspected of poisoning his opponent. As the plot thickens, Regan must sift through lies, rivalries, and brutal showmanship to expose the true killer.

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Key Discussion Points & Insights

The Case Begins

• Regan is hired by the Earl of Gardiner (real name Stanley Schultz, a former actor and streetcar conductor turned villain-wrestler) to clear his name after the Atomic Assassin (his opponent) dies from poison following a match.
  • “Last evening, Mr. Regan, I was engaged in a match with a chap who called himself the Atomic Assassin… Naturally, I won.” – Earl of Gardiner (01:47)
  • The police suspect the Earl due to the timing, but Regan is skeptical. (02:10-02:22)

Wrestling Underbelly

• Regan learns the wrestling world is built on feuds—real and staged.
  • Promoter Mike Turner reveals that the “Earl” is not nobility but a crowd-drawing persona (04:55-05:07).
  • "Enemies all over the place. Nobody likes him, but nobody." – Mike Turner about the Earl (05:50)

Near Miss and Introduction of Key Suspects

• At the gym, Regan narrowly avoids death when King Cobra (Harry Walsh, a rival wrestler) almost drops a barbell on him—possibly not an accident (06:03).
• Mike Turner plays down tensions, but the rivalry between the Earl and King Cobra is intense, with a match set for that evening (07:16–07:24).

Lady in Distress / Murder Escalation

• Jean Turner, the promoter’s estranged wife, fears another murder will happen in the ring. (08:13–09:53)

  • “If you don’t do something, there’s going to be another murder. I’m sure of it.” – Jean Turner to Regan (09:57)

• Shortly afterwards, Jean is gunned down in a phone booth, confirming the threat is real (11:04).

Police Involvement: Detective Candid

• Lt. Candid offers minimal help, his interests seemingly elsewhere. (12:26-13:15)
• The police are content to let the match go on, even hinting danger might “save the taxpayers a lot of expense.” (13:24-13:41)

The Big Match & Climax

• The Earl and King Cobra’s wrestling match turns bloody and real.
  • The house is sold out, tension is high, and the violence is no longer staged; both men are truly out for blood (20:24–22:03).
  • “That’s no show, Turner.” – Regan (21:55)
• Regan intervenes as King Cobra attempts to use a poison sack (prussic acid) during the match.
  • “Give me what’s in your hand, King!” – Regan (23:19)

Solution & Reveal

• It is revealed that promoter Mike Turner is the real killer, motivated by jealousy over his wife’s perceived relationship with the Earl.
  • “You killed the Atomic Assassin, Turner, by mistake. He and the Earl shared the same dressing room. You were after the Earl then, just like you were tonight.” – Regan (24:41)
  • Turner tried to use King Cobra as a weapon by manipulating him with lies about his own wife’s fidelity (25:13).

Case Wrap-Up

• King Cobra gets off lightly; Mike Turner faces serious charges.
• Lyon and Regan reflect humorously on the situation, hinting at the absurdity of jealous motives and showbiz (26:09–26:44).
  • “Suppose King Cobra found out you were with his wife after the things Mike Turner’s been telling him.” – Regan (26:33)

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Notable Quotes & Moments

• Earl of Gardiner on Villainy:
  "People hate me. My job, Mr. Regan. I’m a professional villain. I’m paid to have people hate me." (14:26)
• On the Nature of Wrestling:
  "They weren’t faking. The crowd sensed it. The referee sensed it. Even the cops..." – Regan (22:03)
• Cynical Office Banter:
  "Jealous husbands, Lyon. You never know." – Regan (26:24)

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Important Timestamps

• 01:47 – The Earl recounts the fateful match
• 05:07 – The “Earl” is revealed as an actor, not nobility
• 08:13 – Jean Turner seeks Regan’s help
• 11:04 – Jean is murdered
• 14:26 – The Earl on being a professional “heel”
• 21:55 – Regan identifies the stakes in the ring
• 23:19 – Regan prevents King Cobra from poisoning the Earl
• 24:41 – The truth about Mike Turner's motives is exposed

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Story 2: "The Barefoot Boy"

Main Theme

Regan is initially skeptical about finding a missing artist, Thaddeus Mink, whose paintings show a particular obsession with evil-looking cats. When the people connected to Mink start turning up dead, Regan traces the complex motives behind art, jealousy, and mistaken identity.

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Key Discussion Points & Insights

The Case

• Art gallery owner E.P. Duffield (Esther), hires Regan to find Mink, a mysterious cat painter she’s never met but whose works captivate her.
  • “He sent me a number of paintings by express, but I haven’t been able to locate him.” – E.P. Duffield (32:46)

Discovering the Painter’s Trail

• Regan observes that Mink signs his works with a painted cat’s paw.
• Mink’s only painting of a human features a woman with cat-like features—traced to model Margaret Ames, who is soon found dead by strangulation (35:33).

Murder & Motives

• Police are stumped; Regan suspects ties to Mink, perhaps jealousy or rivalry (36:06).
• Poisoned cats in Mountain Crest, a local mountain community, become a new clue (37:04).

Life in Mountain Crest

• Regan meets Bunny, a waitress, and Jimmy, a local odd jobs boy—both entangled with estranged, slick Art Jones.
• Bunny got a painting from Mink; Art is jealous, goes to Mink’s cabin in anger; later, Art is found dead—strangled and missing his shoes (43:01–44:05).

The Frozen Trail / Mistaken Identity

• Clue: Only one set of tracks enters/exits the murder scene; shoes missing.
• Mink is ruled out: Sheriff Lyle has had him in custody all night (46:09).

Reconstructing the Crime

• Regan deduces the killer wore Jones’ shoes to mask his own tracks.
• Only two people—Bunny and Jimmy—had motives but couldn’t physically have committed the murder.

The Real Murderer Revealed

• Regan tracks E.P. Duffield’s movements, discovers she sought out the model’s address just before her murder (53:13).
• Duffield, in an attempt to claim Mink’s art for herself, killed the model and accidentally killed Art Jones, mistaking him for Mink, as she’d never met Mink in person (54:11).
• After a brief gun confrontation, Regan subdues Duffield, using her own strength against her.

Case Closed

• The final scene is classic Jeff Regan: banter with Lyon over mistaken motives, loyalty, and the value of art (56:09–56:40).
• Mink, freed and gratitude-filled, gives them a gift, humorously speculated to be “one of his valuable paintings”—the payoff is left to the listener's imagination (56:23).

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Notable Quotes & Moments

• Regan on Art and Motive:
  “Maybe she hadn’t planned to get strangled this morning.” (36:05)
• Lyon’s confusion over fine art:
  “You seem to have become quite an authority on art. But I’m more interested in art...Jones.” (55:09)
• On False Appearances:
  “The killer meant to kill Mink. Only he didn’t know what Mink looked like. Only one person fitted that: E.P. Duffield.” (56:09)

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Important Timestamps

• 32:18 – E.P. Duffield appears, laying out the painting mystery
• 35:33 – Regan discovers the murder of the model
• 37:04 – News of poisoned cats at Mountain Crest
• 44:05 – Art Jones is found dead, shoeless
• 46:09 – Sheriff Lyle confirms Mink’s alibi
• 53:13 – Regan confronts Duffield with evidence
• 54:11 – Duffield’s murder plot and motive exposed
• 56:09 – Case closed, with a humorous commentary on the cost of art

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Overall Tone & Style

The episode brims with witty hard-boiled banter, genre-savvy dialogue, and noir atmosphere. The lines blur between showmanship and real danger, as Regan navigates criminal worlds where jealousy, ego, and greed lead to tragedy.

• Regan’s sardonic, acerbic tone carries both stories.
• Lyon acts as both comic relief and foil to Regan’s streetwise skepticism.
• Notable moments include Regan’s run-ins with volatile wrestling types, comic office repartee, and the dark payoff where ambition and envy produce unexpected violence.

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Memorable Quotes (with Speaker Attribution & Timestamps)

• “You’re the wrestler. You take the falls.” – Regan to the Earl (03:27)
• “He’s a professional villain. I’m paid to have people hate me.” – Schultz/Earl (14:26)
• “If you don’t do something, there’s going to be another murder. I’m sure of it.” – Jean Turner (09:57)
• “Give me what’s in your hand, King!” – Regan (23:19)
• “Jealous husbands, Lyon. You never know.” – Regan (26:24)
• “Maybe she hadn’t planned to get strangled this morning.” – Regan (36:05)
• “The killer meant to kill Mink. Only he didn’t know what Mink looked like. Only one person fitted that: E.P. Duffield.” – Regan (56:09)

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In Short

This episode showcases why “1001 Radio Crime Solvers” keeps the golden age of audio mysteries alive: tough cases, tight plotting, sharp wit, and a cast of characters as vivid as their vintage world. Whether you’re a longtime fan of Jeff Regan or a first-time listener, this pair of cases delivers suspense, style, and a satisfying tangle of motives and misdirection.

Transcript

[A]

My name's regan. I work for anthony j. Lyon, detective bureau. They call me the lion's eye. Cbs brings you jeff regan investigators. Starring frank graham as regan. With frank nelson as anthony j. Lyon. So stand by for mystery and suspense and adventure in tonight's story, a streetcar named schultz. It was two out of three falls, one hour time limit. Me and a bunch of muscle bound wrestlers and a scared blonde. You didn't have to be an expert to know the difference between a broken toenail and a stranglehold. It began in the office of my boss, Anthony J. Lyon. He called me in to meet a new client. Young guy, handsome, muscular, about 27 or 8, dressed in a. I did a take. He was dressed in a black cutaway coat, striped trousers, gray vest and silk ascot. Without a program, you couldn't tell it from a wedding or a funeral.

[B]

Jeffrey. Jeffrey, Come in. I want you to meet our new client, the Earl of Garden.

[A]

Hi.

[C]

How to do?

[B]

Jeffrey, Our client, the Earl has quite a problem.

[A]

Oh, gelted at the church?

[B]

No, no, of course not. This is serious, Geoffrey, very serious. The Earl is a famous wrestler. Surely you've heard of him.

[A]

No. Television set.

[B]

Yes. Well, perhaps I'll let the Earl tell you his own story.

[C]

I think that would be advisable, gentlemen.

[A]

Okay by me. Start from the top.

[C]

Last evening, Mr. Regan, I was engaged in a match with a chap who called himself the Atomic Assassin. It was two out of three falls, one hour time limit. Naturally, I won.

[A]

Naturally.

[C]

Shortly after the completion of the match, the Atomic Assassin suffered a stomach disorder. I'm not certain of the technical name for it now.

[A]

We can skip that.

[C]

The Atomic Assassin is no longer with us.

[A]

He retired.

[C]

He's dead.

[A]

It was in the papers.

[C]

The police have discovered poison. In a post mortem completed only a few hours ago, they suspected me of murder.

[A]

That part wasn't in the papers.

[B]

We must help our client, Jeffrey. He's given us a retainer of $100. You understand, Jeffrey, our client is innocent.

[C]

Oh, sure.

[B]

Yes, go on.

[C]

Well, the police are annoying me with their insinuations. The State Athletic Commission is being downright rude. I will not put up with this any longer. Do I make myself clear?

[A]

We find out who killed the Atomic Assassin and you sidestep a murder app.

[C]

Precisely.

[A]

What do you know about the other guy, the assassinated Adam?

[C]

Nothing.

[A]

Well, that's no help.

[C]

Well, he's a crude fellow. Ill mannered, dubious family background.

[A]

Look, you want a murder solved or a family history?

[C]

Just a moment.

[A]

Of ill. Murder isn't show business. Give Me some facts and fast, okay.

[C]

Okay, I tell you, I don't know anything about it.

[A]

That's better. At least I don't have to cut the accent with a knife.

[C]

A hundred bucks is a lot of money to me reading. I want answers and I want them now. I don't like the smell of gas.

[A]

Well, that's normal.

[B]

Jeffrey, you are going to help the Earl?

[A]

Yeah, I'll help him. Just one thing, fatso.

[B]

Yes, Jeffrey?

[A]

He's the wrestler. He takes the falls. All I got out of the Earl was that he we trained at Mike Turner's gym downtown. Mike was also the guy who promoted the fatal match, so I headed there. Twenty minutes later, I'd pushed my way through jammed up L. A traffic and walked up two flights of stairs to Turner's gymnasium. It was packed with big muscles and cauliflower ears, the smell of liniment and the smell of sweat stained leather. Somewhere behind the massive biceps, a little man came toward me. He was mopping his brow, trying to shake off the heat of the clammy rooms.

[D]

Hi. Hiya. Want to work out?

[A]

Looking for Mike.

[D]

For why?

[A]

For reasons.

[D]

Whose reasons?

[A]

My reasons.

[D]

Okay, so I'm Mike.

[A]

Name's Regan, Lion, Detective Bureau.

[D]

Ah, the Lion's eye. Yeah, yeah, yeah.

[A]

You promoted the match last night. What match? The Earl of Gardner versus the Atomic Assassin.

[D]

Oh, oh, that match.

[A]

What can you give me on it?

[D]

What did I guess, trouble. Please, Reagan, let a guy live and forget, huh?

[A]

What about the assassin?

[D]

Truck driver. I picked him up. Named Jay Morley. No family, nothing, Just a guy.

[A]

Enemies?

[D]

No, no, no, Nobody knew him around here. He just started in the business a month ago. Came from Toledo, I think.

[A]

Let's try the Earl of Gardiner.

[D]

Schultz. Ah, that's different.

[A]

Meaning what?

[D]

Enemies. Enemies all over the place. Nobody likes him, but nobody.

[A]

His name's Schultz.

[D]

Yeah, Stanley Schultz. I gave him the title Earl of Gardiner. Good, huh? He kind of fit. He used to be an actor, then a streetcar conductor. He needed the dough, so I picked him up. He draws a crowd.

[A]

Two guys wrestle, one of them turns up dead. It's too simple. There's more somewhere.

[D]

Yeah, there's always more. Listen, maybe a workout will help you. I'll get you some trust some other time, okay? Take a look around, Reagan. The joint is yours. I got work to do. Big match coming up tonight.

[A]

The little man walked off, mopping his brow. I decided to take his advice. Look around. I watched a barrel chested guy in black tights grapple with a heavy bearded character in a turban. Both Practicing groans. Near the wall, a big guy, big even in that place, stood raising and lowering a 200 pound barbell. I walked over. His big arms flexed as the black weights went up and down, but his breathing was easy. There was something about the guy. You couldn't help notice his hair. It hung down his back almost to his trunks in two long braids. I turned my back to him. That was a mistake.

[D]

Hey, Reagan, look up.

[A]

I stepped aside in time. In time to miss the 200 pounds of solid iron that fell from the big guy's uplifted hands, fell and crashed six inches from my head.

[D]

Reagan. Reagan, you okay?

[A]

Sure. Sure, Turner. I feel great.

[D]

Kane, come here.

[C]

You want me, Turner?

[D]

Yeah, King, I want you. What's the idea letting that barbell slip like that? You could have killed Regan.

[C]

Regan, go on, go on.

[D]

Tell him you're sorry.

[C]

Sorry?

[A]

Save the tears.

[C]

What'd you say?

[D]

He didn't understand you, Regan.

[A]

Yeah, but I understood him. And I don't like the joke now.

[D]

He's okay, Regan.

[C]

Okay?

[A]

Sure you're okay. You just happened to drop 200 pounds of cast iron when my back was turned. You're okay, Reagan.

[D]

It's no use in getting sore about it. King didn't mean it. Now go on. Go on, King. Get back to work.

[C]

Work?

[D]

Yeah, yeah, yeah, that's. He's just a big dumb stoop, Reagan. He didn't mean nothing.

[A]

What's his name?

[D]

Harry Walsh. He calls himself King Cobra. He fixes up those braids when he goes into the ring. They look like snakes. He draws a crowd.

[A]

Yeah, so would my funeral, Turner. Only the gate receipts wouldn't do me any good.

[D]

Well, now, it's no use being sore, Regan. The King's a little over anxious, that's all. Got a big match tonight. Who wins the Earl of Garden.

[A]

What?

[D]

I'll say that. That's right. You were asking about the Earl. Yeah. Him and the King are set for the feature. Go tonight. Should be the match of the year.

[A]

How do you get that?

[D]

Oh, didn't I tell you? They hate each other like poison. House is sold out. Should be nothing short of murder.

[A]

Thanks. Thanks a lot, Turner. Maybe that's an ide. I headed out the door. It made sense. I couldn't lose anything. Having a talk with the cops. King Cobra weighed it in at better than £300. And it made more sense. I wasn't going to continue the argument with him. It was late afternoon, half empty streets. I was heading toward my car when I picked up the footsteps. High heels, walking fast to keep up with me, I slowed. They slowed. I picked up the pace. So did the high heels. Somebody had to end it. Wanted something.

[E]

You're a detective, Mr. Regan, and I need your help.

[A]

Name?

[E]

Jean Turner. Mike Turner's wife. I. Well, I saw you talking to Mike back there in the gym.

[A]

So you followed me.

[E]

Oh, please, couldn't we talk somewhere?

[A]

Sure thing, lady. Come on. It was a combination bar and Cafe Bafos, the sign said. I opened the door, place empty. And the girl walked on in. She was maybe 5 4, blonde, young, good looking. Seemed straight on. Nylons on. Nice legs. She turned. Looked deep into my eyes. Turned away scared.

[E]

I've changed my mind. It. It really wasn't important.

[A]

Let me decide. Back booth.

[E]

All right.

[C]

Hiya, patrons.

[B]

Could I help you?

[A]

No, thanks. We'll take the back one.

[C]

The back booth. You won't like it. Yeah, no television. The only booth in the house where you can't see the television.

[A]

Patron, we'll suffer.

[C]

You don't like television? You're nuts. Everybody likes television. It's here to stay.

[A]

Sure, okay.

[C]

Only you're gonna miss time for Beanie.

[B]

Okay, okay.

[C]

Be a reactionary. It's your life.

[A]

What's on your mind, Mrs. Turner?

[E]

Gene, please, Mr. Regan.

[C]

Okay, Gene.

[E]

Well, it's about the wrestling match.

[A]

It's a good start.

[E]

Well, I'm terribly worried. Something horrible is going to happen.

[A]

It already did. The Atomic Assassin's dead. You remember?

[E]

Oh, oh, that match.

[A]

That's what your husband said. Makes sense. Will you.

[E]

But Mr. Regan, I'm talking about the match tonight. King Cobra is resting with the Earl of Gardiner.

[A]

King Cobra? What's that got to do with the murder of the guy last night?

[E]

I don't know. Maybe it has nothing to do with it, but over. Mr. Regan, if you don't do something, there's going to be another murder. I'm sure of it.

[C]

So you don't like television, huh? Maybe you'd like to hear what happened to me with television.

[E]

If you'll excuse me, Mr. Regan, I'll be right back.

[D]

Hmm.

[C]

What's wrong with her?

[A]

I didn't ask you.

[C]

Sure. She got tears in her eyes. Oh, well, where was I about television and me. And there's a story for you.

[A]

Make it short.

[C]

I used to be a wrestler. Baffle, the Blockbuster is what they called me. And I was great until along comes television and they cancel me after my voice match. You want to know why? I'm too pretty. Can you imagine that?

[A]

Rough me?

[C]

Oh, well, I'm philosophical. Look what happened to Thousands of silent movie actors when they brought in sound. Who am I to stand up in the way of progress?

[A]

You know, that's a very good question.

[C]

Yeah, and besides, even my name. Baffo, the blockbuster. It's all a day now. They got Jet Sam, Roger, the Rock.

[A]

Four shots from somewhere out back. Baffo and I headed that way in a hurry. Back alley empty. No traffic, nothing. Back inside, a storeroom, empty. Papo and I looked at each other.

[C]

What goes on here?

[A]

What else have we got? Back here?

[C]

Nothing.

[A]

What's behind the bar?

[C]

Storage space. Washroom. Telephone.

[A]

Where?

[C]

Phone booths right over the. Oh, you don't think.

[A]

Look, first I think. Wait here.

[C]

No, no, I hope not. Oh, no, no, no.

[B]

That's not true.

[A]

My place.

[C]

My place.

[A]

Y. Jean Turner. Four holes in her back. She was right, Baffo. There was going to be a murder. Hers. A wrestler who called himself the Atomic Assassin was dead after a match with another wrestler who called himself the Earl of Gardner. That's when the Earl hired my boss, the lion, and me to find out who done it. I met a promoter named Mike Turner and another wrestler named King Cobra. Finally, I met Turner's wife, Jean. Only our acquaintance didn't last long. She wound up in a phone booth with a lot of slugs in her back. It made sense. Lt. Candid of Homicide would have some comments.

[C]

Hello, Regan. Have a chair.

[A]

Thanks.

[C]

Which one's yours?

[A]

The Earl of Gardiner. Him you don't like.

[C]

My client made a pass at my telephone operator.

[A]

I saw her.

[D]

He.

[E]

Sure.

[C]

What's on your mind?

[A]

You got anything on the earl? I mean, real, maybe. That's no answer.

[C]

Gene Turner makes a lovely corpse, Regan.

[A]

What about the Atomic Assassin Cannon? Two murders fit somewhere.

[C]

Sure, maybe they do. Takes time, Regan. It's a shame a guy killed something as nice as that Turner dame. Phew, it's a shame.

[A]

Try once more. What about a wrestler named King Cobra?

[C]

Doesn't interest me.

[A]

What about the husband, Mike Turner?

[C]

Nope. Nope.

[A]

Okay. I'm sorry I asked.

[C]

Don't get sore, Regan. You know how these things are. It takes time.

[A]

Then you're gonna let the Earl wrestle tonight?

[D]

Why not?

[C]

Maybe he'll get himself killed. Save the taxpayers a lot of expense. Tell him for me, Regan, if King Cobra doesn't break his neck for him, maybe somebody else will.

[A]

I headed for my car outside. Candid was playing it close, all right, and gave me nothing. But I did have a wrestler who makes passes at a cop's telephone operator. My client, the Earl of Gardner, alias Schultz. About as popular As a case of measles, Chances were I'd find him at the arena checking in for the big match. I swung the car around in a hurry. I found him all right, stretched out on a table, getting a massage. He didn't seem happy to see me.

[C]

Mr. Regan, I presume.

[A]

Questions, pretty boy.

[C]

Something troubling you, Mr. Regan?

[A]

You out of ram oil? Go.

[C]

Go on.

[A]

Mr. Regan, what makes you so popular?

[C]

Me? It's ridiculous. People hate me.

[A]

Why?

[C]

My job, Mr. Regan. I'm a professional villain. I'm paid to have people hate me.

[A]

You're taking your work home with you.

[D]

Out of shite oil.

[C]

Okay, I. I'm listening, Mr. Regan.

[A]

What about you and King Cobra? He says he's going to kill you. Tonight.

[C]

Publicity.

[A]

Who's kidding who?

[E]

Max.

[C]

Max, you. You better leave.

[D]

Okay, I.

[C]

Listen, Regan, I like you. You're working for me. But King Cobra and I. Well, that's business. Gate receipts.

[A]

Have it your way. I think different.

[C]

Well, I'm gonna tell you something, Regan. Something maybe you ought to know about me.

[A]

You got the floor?

[C]

Oh, sure, sure. I'm a no good heel. Out there in front of a crowd, everybody hates me. I make more money that way. It's my living.

[A]

Ever try anything else?

[C]

Plenty of things. I wanted to be an actor once. Like a lot of young punks, I came to Hollywood. I didn't get anywhere, Regan. I took jobs where I could find them. I ended up as a streetcar conductor.

[A]

A streetcar named Schultz?

[C]

Sure, why not? My father was in show business. I know what it's like to miss meals. It isn't fun.

[A]

Go on.

[C]

Well, Mike Turner spotted me on that streetcar. Well, I got a good build and he liked me. Mike's a square shooter, Regan. He gave me the title and the promotion. I eat now every meal.

[A]

See what you mean?

[C]

That's it. End of story. I eat now.

[A]

Okay.

[C]

Shots.

[A]

Your business? I got business, too. To clear a murder wrap and keep you out of hot water.

[C]

Thanks, Reagan.

[A]

You know why anybody would kill the atomic assassin?

[C]

No. No, honestly, I don't. I never met him before the match last night. We shared the same dressing room. He drank some water. After the match, he was poisoned.

[A]

What about Gene Turner?

[C]

Well, I've seen her around here. Sweet girl. I like her. Regan used to walk her home nights. Mike was busy.

[A]

That's all you can give me?

[C]

That's all.

[A]

Okay, Earl, you wrestle and I'll watch. Be careful. I got a hunch, King Cobra and you haven't been reading the same publicity notices. It was beginning to make Sense now. The Earl of Gardner, professional villain. Russell's unknown name of atomic assassin. The assassin dies, the Earl lives. No motives. Only if you switched it around, gave the Earl a poison. You got motives all right. Motives by the dozens. Things could add. Now, I put in a phone call to my boss, Anthony J. Lyon.

[B]

Lyon, Detective Bureau. Anthony J.

[A]

Okay. It's me, Fatso. I got a job for you, Jeffrey.

[B]

What's a rush?

[A]

I need an answer and I need it within the next hour. There's a wrestler around town named King Cobra.

[B]

I know. And you want me to find out if he has a record. I'm ahead of you this time, Jeffrey.

[A]

Yeah, check the police on that already. Lion, I want to know if King Cobra's married. What? Find out where he lives. Run out there, meet the wife, if he has one.

[B]

Jeffrey, are you out of your mind?

[A]

It's important. Our client wrestles King Cobra tonight.

[B]

Yeah, so I read.

[C]

Oh.

[B]

Oh, so that's your scheme, is it? Send me out on some wild goose chase while you enjoy the wrestling matches? Probably put it on the expense account, too.

[A]

You guessed it, Fat zone.

[B]

Jeffrey, I'm sick and tired of having you pad your expense account. Not only do you include yourself, but tonight you'll probably take some lame brain numbskull along.

[A]

Lion, you're absolutely psychic.

[B]

Psychic? Spiky. This has got to stop. What bum are you dragging along this time?

[A]

You, fatso.

[B]

You see, I.

[C]

What?

[A]

Well, I figured you'd like to see the matches and that way we can both put it on the expense account.

[B]

Jeffrey, what a brilliant idea. Positively brilliant.

[A]

Yeah, Bring that information. I need. King Cobra's wife. It's business, Fatso.

[B]

Jeffrey, what on earth are you insinuating?

[A]

Never mind. Get busy. You may be the difference between just another wrestling match and murder. Things were moving now. It was after 8 o' clock by the time I finished dinner at the box office. Somebody handed me two ringside seats. Mike Turner had left for me free. When I got in, the place was mobbed. One of the prelims had just wound up. By 9 o', clock, there wasn't an empty seat in the house. Power of the press. Power of the imagination. Everybody there? Everybody expecting to see something special. You could tell it from the looks on their faces, the atmosphere, the tense excitement. Everybody waiting for the big match. The Earl of Gardiner versus King Cobra. Pretty soon the lion showed up, let in by music and a big cigar.

[B]

Jeffrey. I thought I'd never find you in this Mart.

[A]

Come on, Fatso. It won't be long.

[B]

Hey, ringside Seats. Hey, how much did this cost?

[A]

The company passes from Mike Turner.

[B]

Passes? Oh, delightful. Think of the money, we say, never mind that.

[A]

What about King Cobra? Married?

[B]

Oh, you should see it, Jeffrey. Cool green eyes, red hair, dimples, everything legs. Lovely, lovely.

[A]

That settles it.

[B]

Jeffrey. What on earth are you driving at? One moment. The entry of that handsome, noble gladiator, that magnificent specimen of humanity, that glorious champagne from over England at 14 stone 10, wearing white trunks with his family crest, His Highness, the Earl of Gardener. From the Wales of the timberland of the northwest, from the rugged earth of our great nation comes that giant, that modern day Paul Bunyan, that towering figure of humanity at £311, wearing black trunks. King Cobra. Jeffrey. Jeffrey, you still didn't tell me why you wanted to know about King Cobra's wife.

[A]

Later, fatso. We came to see a match, remember?

[D]

I. Regan, mind if I join you?

[A]

Oh, Lyon, Mike Turner. Mike, my boss, Anthony J. Lyon.

[B]

Howdy. Do you.

[D]

Oh, yeah. Gonna be a great fight, Regan.

[E]

Great fight.

[A]

But your wife couldn't make it.

[D]

What?

[A]

Oh, yeah.

[D]

See what you mean? Think it's funny that I'm here, huh? My wife murdered, maybe. Why lie about it, Regan? Jean and I didn't get along. We were split up. She didn't love me. Let's watch the match.

[A]

It was three falls, one hour time limit. The referee gave them their instructions. Brief, simple. Don't kill each other. But from the look on the face of King Cobra, he didn't hear good. They started the Earl, the King. They didn't have to be an expert to throw out the publicity theory. The aloof look was gone from the Earl. The crowd forgotten. Both of them tumbling, spinning, twisting, fighting. 10 minutes, first fall to the King. 20 minutes, second fall to the Earl. Both men growing weak, tired, cut, angry, fighting.

[B]

Jeffrey. Jeffrey. I don't like it. Something's wrong.

[A]

Real wrong.

[B]

Something should be done.

[C]

Turner.

[D]

Turner. Yeah, yeah, yeah. What do you want?

[A]

Are you gonna stop it? What?

[E]

What?

[D]

Stop the match? You're crazy.

[A]

They mean business.

[D]

Sure. Sure they do. They're good men. Great show they're putting on.

[A]

That's no show, Turner.

[C]

No show?

[D]

You kidding? They're the greatest fakers in the world.

[A]

They weren't faking. The crowd sensed it. The referee sensed it. Even the cops landing the aisles moved down a little closer to the ring. Everybody knowing what was happening. Nobody making a move. It was what the crowd came to see. Something special. 50 minutes gone, 10 to go. Two beaten men evenly matched. The Earl, lean, fast, clever. King Cobra, massive, powerful, slow. Nobody winning. Both of them losing the referee long since. Just another guy watching the lion on the edge of his seat. The crowd on his feet, screaming. Then it happened. Five minutes ago. Mike Turner got up. He hurried to the referee. They pried them apart. Turner talked to King Cobra and then to the Earl. 5 minutes left. Match even. One fall each and it looked like it was over. The crowd didn't like it. Neither did the wrestlers. And then Mike Turner signaled them to go back into the ring. And that's when I decided to move.

[B]

Jeffrey, come back here.

[E]

Jeffrey.

[A]

I got to the ring in a hurry. The police tried to stop me. The spectators tried to stop me. The referee tried to stop me. But I got there. I got there and grabbed King Cobra.

[C]

What?

[B]

What you doing?

[A]

Give me that.

[B]

I'll kill you for this.

[A]

Give me what's in your hand, King.

[B]

I kill you.

[A]

The police.

[C]

All right, then. All right, grab him.

[B]

Let.

[C]

Let go. I'll take the evidence, Regan.

[A]

Sure. Here. Candid.

[C]

Okay, Regan, clear out of here before you get yourself killed. The Police will handle.

[A]

20 policemen. Lt. Camden, King Cobra and Jeff Regan left the ring alive. The cops led the interference. We made our way to the dressing room.

[C]

All right, King, let's have it. I do nothing.

[A]

Nothing yet. Only a couple of minutes and nothing.

[D]

Hey, what's the idea of stopping the match, Lieutenant? I want Regan arrested. He's got no right to stop.

[A]

To stop a murder tenor.

[C]

Quiet, both of you. Regan was out of bounds, Turner. We can take care of that later. But I want an explanation as to where your wrestler got a small sack of prussic acid.

[D]

Prosecut.

[A]

Poison Turner. Chances are the same kind that killed the atomic assassin. King Cobra palmed it.

[D]

I don't know nothing about it. See, if Cobra tried to pull a.

[A]

Stunt like that, I hope he didn't pull anything. Turner, you gave him that poison sack when you went to his corner to talk to him. Yeah. That's why you interrupted the fight.

[D]

That's nuts.

[C]

That's right. Mike gave me sack. Okay, Turner, talk.

[D]

Look, look, you got nothing on me. You can't prove anything.

[A]

You killed the atomic assassin, Turner by mistake. He and Earl shared the same dressing room. You were after the Earl then, just like you were tonight.

[D]

You got nothing. Nothing, do you hear? Just a bunch of lies.

[A]

The Earl was a nice looking guy, Turner. Women liked him. He used to be friendly with your wife, Jean. You drew some wrong conclusion about that.

[D]

That's a lie. She and him were.

[A]

Finish it, Turner. You killed Jean to keep her from telling. What a jealous maniac you Were. That would have been the real tip off. You used the same stunt with King Cobra. Told him his wife was playing around with the Earl. Got him sore. Worked him up to a real anger. Almost got him to kill for you.

[C]

That's right, Mike Turner. Tell me that. He says my wife.

[D]

Pink.

[E]

Shut up.

[C]

Never mind, Turner. The police never let you out of their sight for a minute after your wife was shot. No, we got all we need on you, Regan. Just brought things to a boil.

[A]

Oh, thanks. Candid. Thanks a lot. That's how it was. Mike Turner, jealous husband knocked off two people trying to satisfy a rage. The atomic assassin by mistake. His wife on purpose. The Earl of Gardiner was close to being number three. King Cobra got off with a light charge, but Turner was scheduled for the works. When I got to the office the next morning, my boss, Anthony J. Lyon, was reading the morning paper. He looked puzzled.

[B]

Hey, Jeffrey.

[A]

Brushing up on the race results, Fatso?

[B]

No, Jeffrey. I was reading about the Turner case. You know, I simply can't understand it. Mike Turner seemed like such a nice fellow, giving us those passes to the.

[A]

Match and all to throw off suspicion, Fatso. And to have us right next to him in case anything went wrong.

[B]

Well, I must confess, it was clever of you, Jeffrey, to check up on King Cobra's wife. Imagine Turner using the jealous husband routine to inflame King Cobra to attempt murder.

[A]

Jealous husband's lyin. You never know. Now, take you, for instance. You went out to see King Cobra's wife.

[B]

Yeah, but Jeffrey, that was business you sent me.

[A]

Yeah, but suppose King Cobra didn't look at it that way. Suppose he found out you were with his wife after the things Mike Turner's been telling him.

[B]

Well, Jeffrey, no, you don't think it.

[A]

Just a thought, Fatso.

[B]

Yeah, but, Jeffrey, it was business. Simply business. You sent me out there to see the woman.

[A]

Yes, and you said she was lovely. Cool green eyes, legs. Things like that get around, Lion. Who knows, maybe King Cobra's looking for you right now. Jeffrey, you.

[B]

You've got to get me out of this. You've got to explain. It was.

[A]

Phone's ringing.

[B]

Yes, so it is.

[A]

But don't you think you ought to answer it, Fatso? Never can tell. It might be business.

[B]

Yes. Yes, of course. Lion. Detective Bureau. Anthony J.

[E]

What?

[D]

Who?

[B]

No, no, he's not in. No, this is his assistant, Mr. Smith. Anthony J. Smith. That is John Smith. No, no, he's gone for the day. He may be gone all week. Yes, yes, I'll tell him when he comes in.

[A]

Who was it? Fazo.

[B]

Wrong number, Jeffrey.

[A]

Oh, really? Sounded like a woman's voice to me, fatso. Anybody I know?

[B]

Jeffrey? It was Mrs. King Cobra. She called to invite me out to dinner.

[A]

Like I said, fatso, never can tell. Jeff Regan, Investigator is written by William Frug and William Fifield, produced and directed by Sterling Tracy and stars Frank Graham as Regan. With Frank Nelson as Anthony J. Lyon. Original music is by Dick Around. Jeff Regan, Investigator, is heard each week at this same time. Bob Stevenson speaking and inviting you to be with us again. More suspense and mystery and adventure with Jeff Regan, investigator. My name's regan. I work for anthony j. Lyon, detective bureau. They call me the lion's eye. Jeff Regan, investigator. Starring Frank Graham as Regan. With Frank Nelson as Anthony J. Lyon. So stand by for mystery and suspense and adventure in tonight's story of the barefoot boy with shoes Gone. There were three women in it. Three guys and seven cats. It figured for an easy trace job. All I had to do was find a missing guy named Thaddeus Mink, a painter. Only before it was over, a couple of people turned up dead. And what made me think maybe I was training a killer with a screw loose was what happened to those seven cats. The thing teed off for me when a letter came to the Lion Detective Bureau in the morning mail. My boss, the lion, opened it. You could see the dollar signs in his eyes.

[B]

Jeffrey. Well, well, look here.

[A]

That rich uncle of yours finally kick off?

[B]

What do you mean?

[A]

You look so happy.

[B]

No, it's not that, Jeffrey. Listen to this. The Ezra Park Duffield Art Galleries, Pasadena. From the sanctum of E.P. duffield.

[A]

Already? I don't like it.

[B]

Oh, now, now, now, now, Jeffrey. Mr. Duffield encloses his personal check for $50.

[A]

For which we do what?

[B]

Yes. Well, now, let me see. No, we find a missing person, Jeffrey. A man by the name of Mink. Thaddeus Mink, a painter. Mr. Duffield says we'll be doing an inestimable service to the world of art.

[A]

Duffield say why he doesn't go to the cops?

[B]

Well, he does mention that he has personal reasons for maintaining secrecy.

[A]

They all say.

[B]

What do you mean by that?

[A]

Listen, lion, the LA police look for missing persons. Free guy doesn't want the free service. He's got a reason. Maybe he wants a finger man. Maybe it's a stakeout.

[B]

Jeffrey, do you think that if I thought.

[A]

Sure I do.

[B]

You don't mean that.

[A]

I mean it only. Count me out. I don't risk my private op license for 50 bucks. See you.

[B]

Now, wait a minute. Mr. Duffield says in his letter he's coming here to the office himself this morning.

[A]

Well, you see him, fatso? I got a short thirst, Jeffrey. I'll be in Dugan's place on Hill street if anything good turns up.

[B]

You mean you won't take the case?

[A]

You take it.

[B]

All right, Jeffrey, I will.

[A]

Well, that ought to be Duffield now. I'll let him in. And me out.

[E]

How do you do? Are you Mr. Lyon?

[A]

I'm Regan. That's Lyon behind the desk.

[E]

I see. I'm Ep Duffield.

[A]

Yeah, come in.

[E]

Thank you. Mr. Regan.

[B]

Mr. Field. Come in, come in.

[E]

Shall I sit here, Mr. Lyon?

[B]

Yes. Well, run along, Geoffrey. I'm taking this case, remember? You're waiting in Dugan's place on Hill street until something good turns out.

[A]

Yeah, that's right.

[C]

See you.

[A]

I went to Dugan's or sat looking into it. What I kept seeing was E.P. duffield. Red hair, gray, green eyes, tall, about five' eleven, but not too much of her. Just enough. Any place you look, I looked up and I still seeing E.P. duffield. That's because she was there.

[E]

Mind if I Sit down, Mr. Regan?

[A]

Bar's public.

[E]

Thanks.

[C]

What'll a lady have?

[E]

Nothing. Thank you.

[A]

Lyon didn't take a case?

[E]

Well, he said you were the operative.

[A]

So.

[E]

Mr. Regan, I have an art gallery.

[A]

Ezra Park. Duffield Galleries, Pasadena.

[E]

He was my father. I'm Esther Patricia Duffield.

[A]

You wrote a letter, said you wanted somebody to find a missing person. Painter named Thaddeus Mink.

[E]

That's right.

[A]

He didn't go to the cops. Why? Cops trace missing persons free.

[E]

Well, but you see, Mr. Regan, I couldn't. They wouldn't help me.

[A]

Give me more.

[E]

I've never seen Thaddeus Mink. I don't know what he looks like.

[A]

Keep on.

[E]

It's true, you see, He's a painter. He sent me a number of paintings by express, but I haven't been able to locate him. I've tried, but. Mr. Regan, if you'd come to the gallery and see his pictures, I think you'd understand. Will you come?

[A]

You put up a 50 buck retainer, lady. You want me to look at pictures for 50 bucks? I look.

[E]

In here. Jeff.

[A]

With you, lady.

[E]

The Mink paintings are here in my office. There they are. Cats. Yes, cats. And look how he paints them. How evil he makes them.

[A]

I see what you mean.

[E]

Cat phobia. Jeff, sometimes an artist becomes great through passionate love. And sometimes through passionate hate.

[A]

And Mink hates cats. That it? It's made him A great painter. Is that why you want me to find him?

[E]

I have just these few canvases. I want more. They'll be worth thousands of dollars.

[A]

You paint those circus pictures, too?

[E]

No, No.

[A]

I did you.

[E]

A few years ago, I traveled with the circus, but my paintings aren't much good.

[A]

Mink ever paint anything except cats?

[E]

One picture.

[A]

It here.

[E]

I have all his pictures.

[A]

But you've never seen him.

[E]

I told you, we sent them express. I tried to trace him, but I couldn't find him. All I have are the paintings. These are the cats and the one other. All signed the same way. Not with his name, but with the print of a cat's paw painted in one corner.

[A]

Where's the other one?

[E]

Over here. I keep it draped. It frightens me. Look.

[A]

A woman.

[E]

You see, Jeff? He's painted her back as she stands at the mirror, fixing her hair. The back of an ordinary woman. But in the mirror, her face, the eyes are of a cat. And the way her fingers curl and hook into her hair like cat's claws.

[C]

Yeah.

[A]

Well, maybe she's something we can go on.

[C]

What do you mean?

[A]

Well, maybe somebody else has painted it, too. Maybe she's registered as a model. We find her, maybe we get a line on Mink. Might work. I found her photo in an agency. Mrs. Margaret Ames. Lived in Hollywood. I drove out there. Only when I got there, I rang the doorbell. I got a big surprise. Sergeant Bowles of the Hollywood Division, LA Police. Opened the door.

[C]

Regan. What do you want?

[A]

Came to see Mrs. Margaret Ames.

[C]

Yeah, it figured, see a client of yours. You do a lousy job, Regan. A lousy job. There'll be a law against you private guys. Always getting people killed. She got strangled, Regan. It killed her.

[A]

Mind if I look?

[C]

Come on.

[A]

Thanks.

[C]

Like I say, the deceased a client of yours?

[A]

Nope.

[C]

You know her?

[A]

Nope.

[C]

A lot of good you're gonna give us. There she is. Sort of surprised look on her face.

[A]

Maybe she hadn't planned to get strangled this morning.

[C]

Could be. Neighbor lady phoned us up. She come in to borrow coffee. That's what she found. Scared the hairpiece off of her.

[A]

She said Mrs. Ames live alone?

[C]

Divorced. Lives alone. We got nothing, Regan. Nothing.

[B]

And so the police haven't aligned at all on who might have killed Margaret Ames.

[C]

Jeffrey.

[A]

No, no. Here, let me check the late edition. No.

[C]

Yes. Yes. Yeah.

[D]

Here.

[B]

You're my boy. You think they may have turned up something by now, huh?

[A]

Well, Sergeant, Bulls wouldn't have phoned me if they had.

[B]

No. No, I suppose not. Jeffrey. Here's an Interesting item in the second section of the paper. It says that in a place called Mountain Crest on the mountains near Los Angeles, somebody's been putting out poison meat. But here's the strange thing. The pieces of meat have been tied up in trees.

[A]

Huh?

[B]

Yes, and several cats have been poisoned.

[A]

Hey, wait a second. Poison meat up in trees? That could be it.

[B]

It could be what, Jeffrey?

[A]

Maybe the poisoner ties the meat in trees so dogs won't get it. Only cats. Why Lion?

[B]

Well, I don't know, Jeffrey.

[A]

Maybe because he hates cats.

[B]

Jeffrey, you mean that. That cat painter, Mr. Mink.

[A]

It's worth a try. Mountain Crest, you said? Yes, we'll keep in touch with the Margaret Ames murder. Lion. I'm going to Mountain Crest. It was only a couple of hour drive, but I got started late and it was dark when I got there. Cold up there, Snow above the 4,000 foot level. Mountain Crest was half a dozen houses, abandoned lumber mill and Mountain Crest Haven, a rundown auto court with a gas pump and cafe. I pulled in and stopped at the gas pump.

[B]

All right, all right, I'm coming.

[C]

Sorry to keep you waiting, but we didn't expect no customer up here mean night like this.

[A]

You run this place?

[C]

Oh, gosh, no. I work here. I'm Jimmy. Everybody around here knows me. That is, everybody there is around here. Some gas, mister?

[A]

What? It'll hold.

[C]

Hey, you ought to go inside and warm up, have a cup of coffee while I fill her up.

[A]

Yeah, it's a good idea. Bunny will serve you. Bunny?

[C]

As you come up here a couple of weeks ago. She's the waitress.

[A]

Ah, your girlfriend, huh?

[B]

No.

[C]

No, she ain't.

[A]

I went inside. Maybe I saw why Jimmy's face clouded up when I asked him if Bunny was his girlfriend. Bunny was behind the counter. Ordinary, pretty kid, corn yellow hair, about maybe 19. But on a counter stool, talking to her was a slick looking guy, 25, thin face, pinstripe suit. I walked over slow.

[E]

What are you hot for? You got no right to, buddy.

[C]

Oh, I put in.

[B]

I put in.

[E]

Listen, you can't talk to me like that, Art Jones.

[C]

Oh, no?

[B]

You think you smart?

[E]

You want something?

[A]

Oh, I could use coffee, Bunny.

[E]

How do you know my name?

[A]

Jimmy told me.

[C]

I'll see you later, Bunny.

[A]

Bill collector.

[E]

Him? That's Art Jones. He's in one of the cabins.

[A]

You like the cold weather?

[E]

He doesn't know what he likes. Cream or black? Mr. Black.

[A]

He didn't look like your type, Bunny.

[E]

He takes me places. Dancing out of Anaheim?

[C]

Sure.

[E]

Here's your coffee. Anything Else?

[A]

No, not now. Why don't you go with Jimmy?

[E]

He hasn't got a car. Yeah, but the next time I will. I don't know where art gets off. Just because Mr. Mink gave me a. Mink? Yes, he gave me a painting. He's a painter. But that's no reason for art to get sore. Why, Mr. Mink is old. He must be 35.

[A]

Yeah.

[C]

Oh.

[A]

He live around here? Mink?

[E]

In a cabin up on Lyme Peak. Far from him, A couple of miles.

[A]

You live alone?

[E]

Mm. He's. He's sort of funny. I think he's scared of people. But I guess he likes me. You know him, mister?

[A]

By reputation.

[E]

He's a very sweet man.

[A]

What? I hear he gave you a painting of a cat, huh?

[E]

Yes, he did.

[A]

Cat's paw painted in the corner.

[E]

Yes, it was a picture of a dead cat.

[A]

A dead cat? Read in the paper some cats got poison around here lately. Around Mountain Crest.

[E]

Seven of them.

[A]

A courtier Mink might have done it.

[E]

Oh, no. He loves cats. He loves them.

[A]

Now, what I heard, I heard he hates them. I phoned the lion and told him what I had. He had something for me. Cops had traced the strangled woman mink had painted. Mrs. Margaret Aim's maiden name was Margaret Mink. She had a brother someplace. Cops said his name was Thaddeus. Next call I made was to Pasadena.

[E]

Hello? EP Duffel speaking.

[A]

Hello, Esther? Jeff Regan.

[E]

Oh, hello, Jeff.

[A]

Located your painter, baby. Thaddeus Mink.

[E]

You have?

[A]

Yeah, in a cabin up here in the mountains. I'm near there now. Where are you? Place called Mountain Crest. Minx cabin's up a couple of miles from here. Well, that.

[E]

That's fine. Jeff. Jeff. I want to see him first myself. He's very queer and temperamental.

[A]

I'm sorry, baby. I've got to go up there first thing in the morning. Minx may be mixed up in a murder. I rented one of the cabins at Mountain Crest Haven. Got in bed and read some Edgar Allan Poe to quiet my nerves. About 6 the next morning, the wind dropped. Wind had brushed everything white, still smooth. I started from Mink's cabin on lyme Peak about 8. Bunny went with me.

[E]

There it is.

[A]

Smoke through the pines.

[E]

That's from his cabin. We're almost there.

[A]

Hey, hold it.

[E]

What, Jack?

[A]

Footprints in the snow coming from that way.

[E]

From the highway. There's a shortcut that way to the road where it goes over the summit.

[A]

Man's footprints. Must have been made this morning since the wind dropped, or they'd have been Covered over. Oh, come on. Wait a minute.

[E]

What is it?

[A]

Over there. Same footprints going back toward the highway. Running steps are longer and the snow is kicked between them.

[E]

Yes.

[A]

Come on. Maybe something's happened. We ran for the cabin. It stood in the pines in front of a shelf of rock. The footprints led to the door. Then running away from the door again and toward the highway. There weren't any other tracks. The cabin door stuck, but was unlocked.

[E]

It always sticks there. Mr. Mink. Mr. Mink.

[A]

Come on. It wasn't Mink. It was a thin faced, slick flicker in a pinstripe suit. And it is stocking feet. Art Jones strangled. 5 foot 11 of beautiful red headed Dame EP Duffield. Duffield Art Galleries, Pasadena. Hired me to find a missing cat painter, name of Mink. First track I got led to his sister. But that was a dead end. Somebody'd strangled her. Then I went up in the mountains. Somebody had poisoned seven cats at a place called Mountain Crest. Maybe Mink. Yeah, Mink lived up there. Only when I got to his cabin, there was a corpse on the floor. Art Jones, Bunny's pal. In the pinstripe suit, strangled. No shoes on. I searched the cabin. Not a shoe in the joint. Half an hour later, Bunny and I got back down to Mountain Crest Haven. The combination gas station, auto court where she worked as a waitress. This is better.

[D]

Mm.

[E]

I'd better get you some hot coffee. You're not used to the coffee after.

[A]

I phoned the sheriff. Where's the nearest place? I got one.

[E]

Meridian Township.

[A]

Yeah, I'll be back for the coffee.

[E]

Jeff.

[A]

Yeah.

[E]

Jeff, Mr. Mink couldn't have killed Art.

[A]

Funny. Art Jones went up to Mink's cabin this morning. You and Art were calling about Mink last night. Art was jealous.

[E]

Art was crazy to think that Mr. Mink maybe.

[A]

But he went up there. We saw his footprints going in through the snow. The ones that came back out were made by the same shoes. I checked that. But Art Jones didn't make them.

[E]

No, No, I know.

[A]

The killer took Jones shoes after he strangled him and wore them when he left. So he wouldn't make tracks with his own shoes.

[E]

Mr. Mink didn't do that.

[A]

Well, there weren't any other tracks. Bunny. One pair of footsteps in, one pair of footsteps out. Jones in to see Mink. Tell him to lay off seeing you, probably. Who? Out.

[E]

I'll get you some hot coffee.

[A]

Sorry, kid. So that was it. Case just about wrapped up. Mink must have strangled Jones. Jones was strangled, just like Mink's sister. If there weren't any other tracks in the snow. It didn't make sense anybody else had been there. I phoned the sheriff at Meridian Township. Took five or six minutes to get him on the phone. His name was Lyle. Sheriff Jasper Lyle.

[C]

What can I do for you?

[A]

My name's Regan, private investigator from Los Angeles. Yeah, you better put out a description on Thaddeus Mink, Sheriff. I can give details short about 35 years. That's out already, huh?

[C]

Out already.

[A]

Mink wanted for questioning, homicide, la connection.

[C]

Of his sister, Margaret McCames.

[A]

Oh, yeah, that's right. On the wires at 4 yesterday.

[C]

Don't think he did it, though. Don't seem the kind sitting right here.

[A]

Beside me in the office. Give me that again. You got Mink there in your office?

[C]

Yeah.

[A]

We ain't got cells, Bob. Ain't big time, you know, like you folks down there. Yeah, yeah, yeah. Sheriff, tell me one thing. When did you pick Mink up?

[C]

Yesterday?

[A]

He'd picked mink up four hours after the wanted was sent out. By LA. 8 o' clock last night, Mink was in the Meridian General Store buying cat food. Yeah. And he told the sheriff a sad story. He loved cats. Loved them. Had four. But they'd come down with something. Suffered. Mingot had to put him out of their misery. When he found out they'd passed the disease around Mountain Crest, he put poison up in the trees to save the cats of the town the misery his cats had suffered. He'd bought a new cat, though. That's why he's buying cat food. So that made everything fine. Case all wrapped up. Yeah, like a hot rod around a telephone pole. Sugar?

[E]

Jeff? Jeff? Oh.

[A]

Oh, yeah, thanks.

[E]

Here.

[A]

Thanks.

[E]

Anyway. I'm glad it wasn't Mr. Mink.

[C]

Yeah.

[A]

Mink didn't strangle Jones. Couldn't have. Sheriff had him.

[E]

Well, I'm glad.

[A]

Jones went up to the cabin to see Mink. Saw her about Mink giving you the painting. That part still holds. Made tracks in the snow. Didn't walk back out. Got strangled. But his shoes walked out. Somebody in him, you think?

[D]

Money.

[A]

Not Mink, not Jones. Somebody with a motive to kill Jones. You didn't like him.

[E]

I did.

[C]

You?

[E]

Art Jones.

[A]

I went with him. Because he took your places. Only maybe you didn't feel good about it. He wasn't your type, I guess he wasn't. He wasn't. Then he began to crowd your Mink business. For instance, you figured he didn't have any right to put into your life.

[E]

Well, that's true.

[A]

But what about Jimmy?

[E]

Jimmy?

[A]

Yeah. The kid that works around here. More your style. You seem like a nice kid.

[E]

He is.

[A]

Only our Jones got it between you.

[E]

What are you thinking?

[A]

I'll tell you what I'm thinking. I'm thinking somebody must have been in Mink's cabin when Jones got there this morning. Somebody that had gone in before the wind dropped, so the tracks covered over. Somebody that would have killed Jones. And you think sleep in one of the cottages here at the outer court?

[E]

Yes.

[A]

Sleepwalk, maybe.

[E]

Jeff, I don't like you, baby.

[A]

The sheriff will be getting up to Mink cabin in the next 10 minutes. On my say so. Half an hour later, this joint here is gonna be jumping. Only not with customers, with cops. Deputies asking questions. Now, let's get ahead of him, huh?

[E]

Well, I didn't kill Art, if that's what you want to know.

[A]

I know you didn't.

[E]

What?

[A]

Well, then you couldn't have. You couldn't have done the job, Strangled him. Strangling is not a girl sized job.

[E]

Well, then why did you ask me all those questions?

[A]

To get answers, baby. About you and Art Jones and Jimmy.

[E]

Jimmy?

[A]

Yeah. Only two people had a motive to kill Jones. You and Jimmy. Look on her face said she was scared, but that might be it. Jimmy liked her. Didn't like Jones. I started to look for Jimmy. What he was doing when I found him didn't help. He was stealing my car. Hey. Hey. Get out of that car. Jimmy.

[B]

Jimmy, get out of that car.

[C]

You won't get away.

[A]

Come here, Ellie. Come out. All right, this'll hold you.

[B]

What are you trying to do? Come here.

[C]

Go.

[A]

I got an arm lock on him. All of a sudden he quit. Fear it'd work two ways on him. Made him fight. Made him quit. You better talk, Jimmy, like fast, huh? Wait till I shut off the motor or go inside out of the cold. And then I want answers. What I saw on the seat of my car when I reached in to shut off the motor, stopped me a pair of shoes. Art Jones shoes. Still wet from being in the snow. I took Jimmy into the cafe, sat him on a stool. Bunny came in.

[E]

Jimmy. Jimmy, what did you do?

[C]

I didn't do anything.

[A]

You tried to steal my car. You stole the keys out of my cottage. You'd have gotten away if the motor hadn't been cold.

[E]

Jimmy. Jimmy.

[A]

Why'd you want to steal my car?

[C]

Because I, I had to get away.

[A]

Because you killed our Jones.

[C]

No, I, I, I didn't kill him. I, I.

[A]

Go on, kid, get it out.

[C]

I, I had to get away. I Had to.

[E]

Jeff, please keep out of it.

[A]

Bunny. You think a lot of Bunny, Jimmy?

[C]

Well, I. Yes, I do.

[A]

You didn't like Jones?

[C]

No, I didn't.

[A]

Where'd you get his shoes?

[C]

I found them.

[A]

Yeah.

[C]

In the snow by the highway.

[A]

Look, the sheriff will want a better story than that. You'd better practice up on me.

[C]

Well, I. I got up early.

[A]

You sleep here someplace.

[C]

I've got a room in the kitchen.

[A]

Go on.

[C]

I went up the highway a ways. I was trying to think. Well, because of Art Jones and Bunny. I didn't think I had any chance with her, I guess. But then I saw the shoes in the snow by the highway. I brought them back.

[A]

Anybody see you coming or going?

[C]

Why, yes.

[A]

Yes, yes.

[C]

They were scraping the road. There's where I found the shoes.

[A]

I checked Jimmy's story and it was okay. He had a snowplow crew of witnesses, so that made it great. Two people had a motive to murder Jones, Jimmy and Bunny. Bunny couldn't strangle Jones, and Jimmy didn't. Well, if nobody with a motive to murder Jones had murdered him, then it had to be this way. Somebody without a motive to murder him had. I walked back up to the cabin where Jones was strangled. Sheriff Lyle and his deputies had been and gone. They'd made tracks in the snow. But then I saw some tracks they hadn't made. They were the paw marks of Thaddeus Mink's new cat. I asked myself where I had seen cat's paw marks before. That gave me the answer. I went back down to Mountain Crest Haven and made a phone call. I got the right answer. That left me just one place to go. It took a while to get there.

[C]

Yes?

[E]

This is a surprise painting. Oh, Just touching up the still life.

[A]

Been better. Lady, if you just stayed.

[C]

E.P.

[A]

Duffield, art dealer.

[E]

You mean because I paint so badly?

[A]

It's part of it. You're more the outdoor type. Tall, strong.

[E]

I suppose that's so.

[A]

Those circus paintings over there you painted, you showed me yesterday.

[E]

Yes.

[A]

You were in the circus? Strong enough for that.

[E]

Jeff, just what are you trying to get at?

[A]

Not trying. I've got. I phoned the model agency from Mountain Crest a little while ago. Model agency? Where? I got the track on Margaret Ames Mink. Mink? Sister that got strangled. You'd gotten her address a couple of hours before she was murdered.

[E]

That doesn't mean anything.

[A]

You wanted to be a great painter. Yeah, but, honey, you didn't have the stuff. What happens? Thaddeus Mink sends you his paintings. He is a great Painter?

[E]

Go on, Jeff.

[A]

Sure. Mink didn't sign his name to his paintings. Painted on a cat's paw print instead. So Mink was a shy guy. He found out nobody knew him. Nobody knew he'd painted the great paintings of his. You had. Except his sister. She'd posed for one.

[E]

You killed her and Jeff, and that.

[A]

Left Mink him dead. You'd be the genius that painted the pictures.

[E]

Yes. Well, he is dead, Jeff. And I am.

[A]

You went up to Mink's cabin after I talked to you on the phone last night. Nobody home. But you waited. Guy came in early this morning. You strangled him. Wore his shoes to walk out.

[E]

I said, mink's dead.

[A]

Mink's not dead. You've never seen Mink. And you strangled the wrong guy. A guy named Jones.

[E]

Jones, not Smith. Jeff, I'm not a fool. You're lying to save your skin.

[A]

My skin?

[E]

Your skin. Hasn't it occurred to you that there's somebody else who knows who painted the cat pictures?

[A]

Hey, you mean Regan?

[E]

That was in it from the first. Jeff.

[C]

Jeff.

[E]

Bursting in like this into my office. Perhaps trying to make love to me. You shouldn't have done it. Not when I happen to be armed.

[A]

Put that gun down.

[E]

Oh, no, Jack.

[A]

There, now, stay still.

[C]

Go.

[A]

Esther. You should stick to strangling. It's more accurate. Next day, I gave the lion a little lecture on art.

[B]

Very well. Very well. Very well, Jeffrey. You seem to have become quite an authority on art. But I'm afraid I'm a little more interested in art. Jones.

[A]

Oh, great.

[B]

You went back up to Mountain Crest, I suppose?

[A]

Yep.

[B]

That nice young boy, Jimmy. How are he? And that girl, Bunny. Say, Jeffrey, why did he try to steal your car and run away?

[A]

Well, only he and Bunny had a motive to kill Jones. Jimmy found the shoes, then overheard my call to Sheriff Lyle. He knew he hadn't killed Joan.

[B]

So you mean he suspected?

[A]

Well, he was scared. All he could think was to get those shoes far away. He knew there was strong evidence E.P. duffield had tossed them out of her car. But he didn't know that.

[B]

He thought that Bunny. Oh, I can't believe that.

[A]

He was in love. That mixes you up.

[C]

Yes.

[B]

Yes, it does.

[A]

Only Bunny hadn't done it. Jimmy hadn't either. If the two people who had reason to kill Jones hadn't killed him, it added that Jones was killed by mistake. Yes, I see that in Mink's cabin. So it made sense. The killer meant to kill Mink. Only he didn't know what Mink looked like only one person fitted that Ep Duffield.

[B]

Why, that's brilliant, my boy. Brilliant. But what about Thaddeus?

[A]

Me? Mink? Oh, Sheriff Lyle released him. And when he found out how much dough his paintings are going to bring him, he turned philanthropist.

[B]

He did now.

[A]

Gave us a present.

[C]

In what?

[A]

Right outside the door.

[B]

Oh, Jeffrey. Maybe one of his valuable paintings worth thousands of dollars.

[A]

Yeah. Yeah, it could be. Could be worth that much. Big enough box. You open it?

[B]

Yes.

[E]

Yes.

[B]

Oh, Jeffrey. Jeffrey, do you think it. Oh, Jeffrey.

[A]

Jeff Regan Investigator is written by William Frug and William Fifield, produced and directed by Sterling Tracy and stars Frank Graham as Regan with Frank Nelson as Anthony J. Lyon. Original music by Dick Around. Jeff Regan, Investigator will be back next week at the same time.

[B]

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