THE MAN ON THE HOOK and A THOUSAND VIOLINS

Summary

1001 Radio Crime Solvers:

"The Man on the Hook" and "A Thousand Violins"
Original Broadcasts from the Golden Age of Radio
Episode Date: December 13, 2025
Host: Jon Hagadorn

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Episode Overview

This episode of 1001 Radio Crime Solvers features two classic radio dramas from the Jeff Regan, Investigator series:

1. "The Man on the Hook" — a twisting tale of murder, mobsters, a missing man, and a not-so-innocent femme fatale.
2. "A Thousand Violins" — a story that weaves broken romance, forgery, murder, and a father's desperate choices into the world of music and crime.

Each story exemplifies the brisk, witty dialogue and labyrinthine plotlines of golden-age radio detective fiction, with hard-boiled sleuth Jeff Regan navigating duplicity and danger on Los Angeles’ dark streets.

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1. "The Man on the Hook"

[Start at 02:05]

Main Theme

A routine case of tracking down a missing used car salesman spirals into a deadly scramble between cops, gangsters, and a dangerous woman, all tangled by old lovers' lies and a brutal crime.

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Key Discussion Points & Insights

• Opening Gambit

  • Jeff Regan is hired by two clients to find George McDonald, a used car salesman wanted by cops and mobsters alike ([02:05]–[06:14]).
    • First, Naomi Slogan (mob boss Eddie Slogan's wife), gives Regan $500, claiming her motives are love:

    Naomi: "For me, Regan. I love the guy." ([04:25])

    • Shortly after, the boss Anthony Lyon notifies Regan another client (Happy Halligan, McDonald’s employer) has also paid $500 for the case ([05:33]–[06:14]).

• Entangled Motives

  • Naomi says she loves McDonald, but Regan doubts her sincerity:

    Regan: "Get another shammer, sister." ([04:30])

  • Halligan’s angle: he claims McDonald "cleaned out my till, $4700 bucks," but there are hints of deeper ties to the L.A. rackets ([11:34]).

• Mob Pressure

  • Eddie Slogan’s goons show up, warning Regan to drop the case, using both threats and bribes ([09:59]):

    "Leave town, Eddie Slogan says." ([09:59])

  • The stakes rise as Regan realizes every move is observed and potentially deadly.

• Piecing Together Clues

  • Evidence suggests someone is being framed for murder, with key artifacts—phone pad, cigar holder, lighter—stolen from the scene ([14:04], [24:16]).
    • Out-of-place items are central to uncovering the truth.

• Witness at the Gas Station

  • The gas station attendant describes seeing "McDonald" with a gun, but the details don't fit. Later, this man is murdered and his personal items stolen ([15:00], [24:16]).

• Revelation & Twist

  • Regan deduces the assailant wasn’t McDonald:
    • McDonald is left-handed, but the gas station witnessed a right-handed shooter ([20:08]).
    • The frame is complete with personal items stolen by the true killer.
  • Naomi Slogan, driven by kleptomania, is exposed as the murderer when Regan catches her with his own stolen tie clip ([27:08]):

    Regan: "Maybe a racket boss's wife can afford to be a kleptomaniac, but she shouldn't mix it with murder." ([27:24])

• Resolution

  • Naomi is arrested; McDonald is cleared and apprehended without further bloodshed.
  • Regan and Lyon reflect with dark humor on capricious fates and justice ([28:12]):

    Lyon: "And all those silly, useless odds and ends stolen by that woman, Mrs. Slogan, because she was a kleptomaniac. Imagine." ([28:02])

---

Notable Quotes & Moments:

• On being a detective in demand:

  Regan: "That made me a popular guy. Like a clay pigeon at a skeet shooters convention." ([02:39])

• On Naomi’s duplicity:

  Regan: "Whose side are you on?"
  Naomi: "My side." ([07:50])

• Final twist:

  Regan: "He didn’t. Didn’t the Slogans used to go up the canyon often?... She talked him into helping her frame McDonald." ([28:19])

---

Important Timestamps

• [02:05]: Case begins — Regan narrates his assignment
• [04:25]: Naomi presents her case (and bribe)
• [09:59]: Mob warning delivered
• [11:44]: Halligan admits McDonald stole his money
• [14:04]: Odd stolen items come to light
• [20:08]: Revelatory analysis of left/right-handedness
• [24:16]: The murder of the gas station attendant
• [27:08]: Naomi caught with Regan’s tie clip; exposed as the killer
• [28:02]: Regan and Lyon’s wrap-up

---

2. "A Thousand Violins"

[Start at 30:23]

Main Theme

A love-struck violinist’s plea to check on his ex-fiance pulls Regan into a tangle of broken hearts, murder, and a violin-forgery racket—with a father’s devotion propelling both crime and sacrifice.

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Key Discussion Points & Insights

• The Case Setup

  • Charles Rome hires Regan to quietly investigate why his fiancée Tina Lanier returned his ring ([32:34]).

    Rome: "There may be others, but you're to pay no attention to them. Just the girl." ([33:24])

  • Regan senses deeper trouble, not just a matter of romance.

• Violin Shop Intrigue

  • Regan visits Lanier's Violin Repair, meeting Tina's father, Antonio, and encountering a surly cello player (Joe Fenton) who threatens him with a knife ([34:40], [37:20]).

• Concert & Confessions

  • Regan finagles his way to sit next to Tina at the Philharmonic—she’s evasive and clearly scared ([39:03]–[41:13]).
  • After the concert, a man assaults Regan in an alley; Regan barely escapes, but later, the assailant is murdered—Tina is found at the scene and arrested ([42:26]–[45:29]).

• The Police Angle

  • Lieutenant Candid tells Regan the victim (Joe Fenton) was an ex-con and that Tina had been seeing him ([46:19]).

    Candid: "She killed a guy, Regan. We call it murder." ([47:11])

• The Deeper Plot: Forged Violins

  • Regan links Antonio Lanier to a violin-forgery scheme, forced by blackmail from his criminal "helpers," Fenton and Nick ([52:07]–[53:13]).

    Regan: "A guy who’d sell his soul to give the girl everything." ([52:23])

  • Tina, an innocent pawn, is set up to take the fall for murder.

• Climax

  • In a confrontation at the violin shop, Regan reveals he knows Nick’s and Fenton’s past in the San Quentin orchestra, and how Lanier was dragged into their racket ([54:34]).
  • Nick threatens to kill both Lanier and Regan. A shootout ensues, leading to Nick’s and Lanier’s demise ([55:14]–[55:29]).

• Aftermath

  • Tina is cleared; grateful, she and Rome visit Regan as he recovers.
  • Antonio Lanier, in sacrificing himself, finally sets his daughter free from the shadow of his mistakes ([56:18]).

---

Notable Quotes & Moments

• Comic detective banter:

  Regan (to Lyon): "I told Sam I’d be back later for the haircut." ([32:07])

• On violin-faking & motivation:

  Lanier: “Such a talent cannot be wasted.”
  Regan: “Only Tina ditched a career and a nice guy like Charlie Rome for your mistake.” ([53:16]–[53:29])

• Detective’s dark humor:

  Regan: “I dreamed about a group of excited figures … They were violins.” ([45:29])

• Bittersweet ending:

  “He died trying to do something right for his daughter Tina. And maybe succeeded.” ([56:18])

---

Important Timestamps

• [32:34]: Rome hires Regan, describes engagement
• [34:40]: Regan visits violin shop, meets key players
• [37:20]: Threat from Joe Fenton (knife)
• [39:03]: Concert scene; Regan and Tina’s tense conversation
• [42:26]: Alley attack and murder; Tina implicated
• [46:19]: Police interrogate Regan about Tina
• [52:07]: Confrontation, confession, and revelation
• [55:29]: Shootout and resolution
• [56:18]: Epilogue and reflection

---

Episode Highlights & Memorable Moments

• Brisk, witty noir dialogue throughout, e.g.:

  Regan: "That made me a popular guy. Like a clay pigeon at a skeet shooters convention." ([02:39])

• Nuanced portrayal of “fallen” characters — both tales expose how desperation, loyalty, and love blend into secrets that destroy as much as they preserve.

• Recurring theme:
  The past refuses to stay buried. Both “McDonald” and “Lanier” are haunted by old mistakes, and both wind up depending on Regan’s dogged, cynical—but ultimately compassionate—persistence.

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Listening Guide: Segment Timestamps

| Segment | Story | Timestamp | |---------------------------|----------------------------|----------------------| | The Man on the Hook | Case begins | 02:05 | | | Mob threat | 09:59 | | | Key clue revelations | 14:04 / 20:08 | | | Confrontation with Naomi | 27:08 | | A Thousand Violins | Hiring and introduction | 32:34 | | | Ally attack / murder | 42:26 | | | Evidence & confession | 52:07 / 55:29 | | | Story resolution | 56:18 |

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Summary

This double-feature episode showcases all that’s great about golden-age radio mysteries:

• Tight plotting
• Memorable, hard-edged dialogue
• Clever use of clues and character psychology
• And a world where justice is never quite clean—but always tenacious.

For lovers of classic detective noir, this is essential listening.

Transcript

[A]

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[B]

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[C]

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[A]

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[C]

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[B]

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[A]

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[B]

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[C]

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[B]

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[D]

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[A]

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[C]

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[A]

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[E]

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[B]

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[C]

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[B]

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[C]

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[F]

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[C]

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[B]

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[A]

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[B]

My name's regan. I work for anthony j. Lyon, international detective bureau. They call me the lion's eye.

[G]

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 man on the hook.

[B]

What the newspapers said George McDonald was the way to get LA's racket boss Eddie slogan. Only George McDonald was around. He'd been hiding out all week. The cops wanted him, grand jury wanted him to testify. The Eddie Slogan mob wanted him. Eddie Slogan was what the grand jury wanted him to testify against. So I had to be the one that found him. That made me a popular guy. Like a clay pigeon at a skeet shooters convention. The thing got rolling at a bowling alley on Vine Street. My lucky day. Looked like I bowled a strike. I went back to the bench to mark the strike in my score pad. Only something was written on the score pad in lipstick. Regan. Coffee shop counter. Hurry and pin to the score pad with a bobby pin was a $100 bill.

[E]

Well, it be Mr. Coffee.

[B]

Yeah, that's okay. No cream.

[H]

Mind if I sit on the stool, Regan?

[B]

No, no, sit down.

[H]

Thanks. Mine's Joe, too, Sonny.

[E]

Two coffees.

[B]

All the cream and one you call coffee. Joe. You must have been in the Navy.

[H]

Sure. Duty, Regan. Open your hand under the counter. I'm gonna put four $100 bills in your hands.

[B]

With the one pin of the score pad, that makes 500. For which I do what?

[H]

Find George MacDonald.

[B]

Listen, lady, half the cops in town are looking for McDonald. Not to mention Eddie Slogan.

[H]

I'm Eddie Slogan's wife, lady.

[B]

I'm not a finger man.

[H]

It's not that I don't want MacDonald for Eddie.

[B]

What do you want him for?

[H]

For me, Regan. I love the guy.

[B]

Sure you do.

[H]

That's straight. I love him.

[B]

Get another shammer, sister.

[H]

Don't be so special.

[B]

I'll see you around, Regan.

[H]

500, Regan.

[E]

I see.

[B]

Yeah, that is an argument.

[H]

Yeah.

[E]

Hey, mister. Your name Regan?

[D]

Yeah.

[E]

Phone for you.

[B]

Okay, I'll be right there.

[H]

Regan, we can't talk here. Your car's parked out back in the alley.

[B]

You know a lot.

[H]

I've got eyes.

[B]

Baby blue.

[H]

We'll get around to that.

[B]

Yeah. Okay. See you in my car in five minutes.

[H]

Thanks, Regan.

[E]

Thanks. Hey, Misty, you gonna answer the phone or do I hang it up?

[B]

I got it.

[E]

This is a place of business.

[B]

Sure, sure, sure. Yeah.

[C]

Oh, hello, Jeffrey. Your landlady said you mentioned something about bowling this afternoon. My boy, I'm glad I've located you.

[B]

So you've located me?

[C]

Yes. Well, Jeffrey, a splendid client has come our way.

[B]

Wants to pay us 500 bucks.

[C]

Why? Why, yes, Jeffrey, that's right. Offers to pay our International Detective Bureau.

[B]

$500 to find a missing person. Lynn.

[C]

Yes, Jeffrey. Yes, that's right.

[B]

Guy name of George McDonald.

[C]

Jeffrey, you astound me.

[B]

Client has baby blue eyes.

[E]

Well.

[C]

Well, now, I can't say that I Noticed, Jeffrey.

[B]

And good legs. Nice, slim, good legs. Lion.

[C]

Jeffrey, what are you talking about?

[B]

You didn't notice the legs, fatso, you're getting old.

[C]

Mr. Halligan had his trousers on, Jeffrey. How could I see his legs?

[B]

Give me that again.

[C]

Give you one again. I don't think I understand you, Jeffrey.

[B]

You mean a guy came to the office to hire us to trace George McDonald?

[C]

Certainly, Jeffrey.

[E]

Mr.

[B]

Happy Halligan the used car and gave you 500 bucks?

[C]

That's right. You'd go see him right away. He's at his used car lot on Beverly Boulevard. He wants you to hurry, Jeffrey.

[B]

My boss, Anthony J. Lyon, didn't have anything more on Happy Halligan. So I hung up the phone and went out back to the alley where my car was parked. Now he had two clients and 1,000 bucks in the kitty. All I had to do was find George McDonald, the guy every cop in LA and the Eddie Slogan mob had been looking for for a week. It'd be easy. Mrs. Eddie slogan was waiting for me in my car, all right. But those big, blue, innocent baby eyes were out of place, like a couple of lambs in a den of tigers.

[H]

Cigarette?

[B]

Not my brand.

[H]

Mind if I do?

[B]

Light is on the dashboard.

[H]

Thanks.

[B]

So you want me to find George MacDonald, Mrs.

[H]

Slogan, my name's Naomi. Yeah, I want you to find it.

[B]

There's your light.

[H]

I've got it.

[B]

Maybe you know a guy named Happy Halligan.

[H]

I know him, Regan.

[E]

Sure.

[B]

What's halligan's angle?

[H]

George MacDonald's a used car salesman for Halligan. You must have read that in the papers.

[B]

Go on.

[H]

Halligan got in touch with your office today. He wants you to find George.

[B]

First names.

[H]

Now. I told you I was in love with a guy.

[B]

Why Does Halligan want MacDonald?

[H]

Halligan's got ideas too big for his two pants.

[B]

Halligan and rackets? Mm.

[H]

Dime style.

[B]

And he wants to put on weight.

[I]

That's it.

[B]

So he'd like to get his hands on MacDonald and put the squeeze on your husband.

[H]

You're real quick, Regan.

[B]

Whose side are you on?

[H]

My side. I heard Halligan was hiring you to look for George.

[B]

You heard?

[H]

So Eddie heard. Eddie's got the kind of door around town that's got fast ears.

[B]

I believe it.

[H]

Well, Reagan, if you do find George McDonald, I want him first.

[B]

Here's your 500 salon.

[H]

What's the matter? People scared?

[B]

Listen, sister, I've got your number.

[I]

Have you?

[H]

Well, dial me, Regan, just to make sure.

[B]

Yeah, why not? Well, Regan, that's your busy signal.

[H]

You mean George?

[B]

You Said you loved him.

[H]

Regan, I'm not a one party line. Come and see me. Got a place of my own. Beverly Hills.

[B]

Where do you want MacDonald?

[H]

Because when they get him, Regan, whoever gets him, maybe he'll talk.

[B]

You mean he might talk about you and him?

[H]

Eddie wouldn't like that.

[B]

That adds. That's why you gotta get to McDonald first.

[E]

Regan.

[C]

I'll see you later.

[B]

Hey.

[E]

Hey.

[B]

Hold it.

[G]

Hey.

[B]

She slammed the door and started to run. There was a back entrance to the bowling alley and she ducked in and disappeared. Then I looked up into my rear vision mirror and I saw why Mrs. Eddie slogan had run. A black sedan had pulled into the alley. Five guys in it, hat brims down. I gunned out of the alley and turned left on Vine. The black sedan turned after me. There was plenty of traffic on vine, but I felt conspicuous. Like a giraffe in a flea circus below Melrose. I dodged into a side street to try to duck the black sedan. I shouldn't have done that. The black sedan crowded me over to the curb. And then a guy with a couple of cold, sawed off gray eyes got out and opened my car door.

[E]

Leave town, Eddie. Slogan says.

[B]

Cost him something for my time.

[E]

Sure.

[D]

Here.

[E]

You want something extra for expenses, come around anytime. We'll be open.

[B]

No use giving him his change. With those four other hoods in the.

[I]

Car.

[B]

What did I care? A thousand bucks could buy a lot of bandages. I drove on to Happy Halligan's used car lot on Beverly Boulevard. Only after a couple of blocks, the black sedan picked up my trail again. I slowed down in front of Happy Halligan's. The black sedan slowed down behind me. Then I got an idea. I drove right on into the lot. You Happy Halligan?

[E]

Sure, I'm Happy.

[B]

Okay.

[E]

No use you getting out of that piece of junk. No trade in value.

[B]

I'm Regan. International Detective Bureau.

[E]

Lion's Eye, huh?

[B]

That's it.

[E]

I gave your boss half a grand. Says you find George McDonald for me.

[B]

Yeah, 500's a big fee.

[E]

He was a good used car salesman. Sure he was. Yeah, they used to come in here. Customers beg us to sell them a car. Price, no consideration. What do we do? We slug them. We insult them. We give them a hot foot and they apologize for putting us to so much trouble. Yeah, them was the war years.

[B]

Now, what about MacDonald?

[E]

Even now, he could sell an Essex hot rod to whistle his mother.

[B]

What about McDonald?

[E]

Yeah, you're right. Regan ain't why I want him. He cleaned out my till. 4700 bucks.

[B]

That why you want him?

[E]

That's why I want him.

[B]

Eddie Slogan's wife said different.

[E]

Eddie Slogan? Seemed to have read that name in the papers.

[B]

Okay, Halligan, what can you give me on MacDonald?

[E]

Tall, gray temples, 43, athletic. Heard he was a southpaw pitcher in the Miners once. Oh, yeah. Served time for larceny.

[B]

Anything else?

[E]

Car over there is the one he.

[B]

Beat it in English.

[E]

Model demonstrator. We sell him by the picture, people.

[B]

McDonald must have ditched the car.

[E]

Cops picked it up. San Bernardino.

[B]

Okay. By the way, there a back way off your lot, Halligan?

[E]

Yeah, sure.

[B]

Well, how about letting me drive something in good condition? We went to the back of the lot, and Halligan gave me the keys to a job with white sidewalls. I drove out the rear exit. I crossed Beverly Boulevard. A couple of blocks up. When the black Sevan was still out in front of Halligan's, I headed for the press room downtown at police headquarters. I was looking for a little reporter, name of Gabby, who's usually got answers to what goes on around town and parts with him for cash.

[E]

All right, Riggin. Hello, Jack.

[B]

Gabby around? Yeah, over there. Oh, yeah, thanks.

[E]

Hey, Gabby. Oh, hi, Rig. Hi.

[B]

What's it, Information?

[H]

Eh, cash or credit?

[B]

Here's 20.

[E]

Hey. Hey. Thanks, Rick. Thanks. What do you need?

[B]

I want to know about George McDonald. Huh? What you guys are writing in the papers is plenty of nothing.

[E]

Well, cops won't let us print what we know. They're afraid we'll tip Slogan. Not that he don't know more than we know.

[B]

What do we know?

[E]

Slogan's mob got a place up past.

[B]

San Bernardino where McDonald's car was found?

[H]

Yeah, yeah, yeah.

[E]

Places up in the canyon. Well, Slogan and his little playmates took a business competitor up there about a week ago.

[B]

You know, Ree, they took him up, but they didn't bring him back.

[E]

The business competitor made the mistake of getting very depressed all of a sudden and shooting himself. Only it turns out there was a witness.

[B]

MacDonald.

[E]

MacDonald?

[B]

How did the cops get that?

[E]

Well, there's only one road up the canyon. Gas station. Guy at The Junction saw McDonald's. That all of it?

[B]

All I know, Rick McDonald and the rackets.

[E]

In and out, worked for Slogan, but that busted off about five or six months ago.

[B]

What about a guy named Halligan?

[E]

Happy, he's in the rackets.

[B]

So I drove back out to Happy Halligan's. I like to have my clients tell me the truth. It helps me get my work done. But Halligan wasn't around. Neither were the five slogan trigger men in the black sedan. So I took my own car, picked up the evening papers to see what they had on the hunt for McDonald. They didn't have much, but what they did have was peculiar. The cops had released the fact that some stuff was stolen from the Slogan Mob up in the canyon. But what was stolen didn't make sense. Phone number pad, gold cigar holder, table, cigarette lighter. About 9 o' clock at night, I pulled into a gas station in the hills up past San Bernardino.

[E]

Not many, sir.

[B]

Fill her up. Only. Wait a second.

[E]

Yes, sir?

[B]

I'm looking for George McDonald.

[E]

Yes, sir.

[B]

You saw him, huh? About a week ago. Well, there's 10 bucks in it for you.

[E]

I. Yeah, I did see him.

[B]

How'd you know it was McDonald?

[E]

I described him to the police after they found the dead man up in the canyon.

[B]

And you identified the car? The English right hand drive job. McDonald was driving. You'd remember that?

[E]

Yeah. Drove right in here into the station in a right hand drive car. He was very nervous and I guess maybe I acted funny because he pulled a gun on me, leaned out and stuck it up against me. But I had OSS training and.

[B]

And you pivoted and grabbed his wrist. Did you get the gun?

[D]

Yeah.

[E]

Police said that was positive identification. They traced the serial number to McDonald.

[B]

But he got away.

[I]

He.

[E]

He left his motor running.

[B]

Okay, I owe you 10 bucks. Fill up the tank and we'll see what the total comes to. I couldn't go up the canyon to the Slogan Mob place. Cops had the canyon blockaded. They had a road check halfway down. Back to San Bernardino too. Highway patrolman stopped me and flashed his light around the car. Then he went back. A couple of cars pulled up a little ways behind me. Everybody looking for George McDonald. I stuck a cigarette in my mouth and reached for the dashboard lighter. But all I got was the hole. I was out of matches, so I bent down and fell around the floor. That was when the car door jerked open and a guy shoved in on the front seat beside me.

[E]

All right, drive. This is a gun in your guts. Drive like the devil.

[B]

You're given the orders, McDonald. I had a thousand bucks worth of George McDonald in my car. 500 if I delivered him to Happy Halligan, the used car king that was trying to get fat in the rackets. And 500 if I delivered him to Naomi. Mrs. Eddie Slogan. Only Eddie Slogan, big boss of the LA rackets, was looking for Mac. And every cop in LA was looking for Mac and that thing. Mac's left hand kept Shoving into my side. Had some eager bullets in the it. We exchanged some polite conversation around Azusa, but we didn't get any place till we were pulling into la.

[E]

Hey, hey, slow down, will you? That's a cop car we just passed. You want us to get stopped?

[B]

You got the gun, Mac. That makes you the captain.

[E]

Okay, okay.

[I]

Pull over.

[E]

Listen, Regan, one yap out of you and you'll get it, see?

[B]

Sure, Mac. Maybe the cops won't know who you are.

[E]

They, they went past. They're after somebody else.

[B]

All right if I drive now, Captain?

[E]

Yeah, yeah, yeah, sure. Only take it easy.

[B]

Sure. Where we bound for, Mac?

[E]

I, I, I don't know.

[B]

They got nice rooms at the Biltmore.

[E]

Cut it out, Reagan.

[B]

Listen, McDonald, if the slogan guys get to you, you'll get it. Like a rat in a gutter.

[E]

Shut up.

[B]

And the funny part is you weren't the guy that was up there in the canyon and witnessed the killing.

[E]

How do you know that?

[B]

We'll get to how I know it. Listen, Mac, I'll give you a break. I'll hide you out.

[E]

Well, Regan, if you're trying to pull anything, I'll.

[B]

Yeah? Got a better offer.

[E]

Why doesn't he come? Why doesn't he come?

[B]

He's coming.

[E]

He's sure he'll be okay.

[I]

Here.

[B]

Better than my place. Slogan mob's on the ME Well, Jeffrey. Hi, Lion.

[C]

A late evening holiday week call. Come in, come in. Welcome.

[B]

Sure, thanks.

[C]

Hey, hey. Sit down, both of you. I was just sitting. Smoking a Christmas Corona and meditating on the peace and bounty of the holidays.

[B]

Lion, like to have you meet George MacDonald.

[C]

How do you do? As I was saying, I was meditating on the peace and bo.

[B]

Jeffrey. Jeffrey, I was going to stay here at your house with you for a couple of days. Lion.

[C]

Jeffrey, you can't, you, you couldn't. You, you wouldn't.

[B]

Yeti slogan mob and the cops are after him. He's gotta hide out.

[C]

Jeffrey, putting a thing like this on a sick old man.

[B]

There's a thousand bucks in it for international detectives.

[C]

A thousand bucks. Yes, yes, so there is. But, but why can't we turn him over to our clients? No offense to you, Mr. McDonald, but this is business.

[B]

There's another way. McDonald wasn't the guy who witnessed the slogan mob killing. I find the guy who did witness.

[C]

But I thought MacDonald was the witness.

[B]

Well, he wasn't. He's left handed.

[E]

What?

[B]

Jeffrey, McDonald's left handed. Happy Halligan said something about that. Said Mac used to be a southpaw. Pitcher once. And when Mac held me up in my car tonight, he kept the gun in his left hand.

[C]

That may all be very well, but.

[B]

The fellow the gas station guy identified as the witness to this slogan rub out was right handed.

[C]

How do you know that?

[B]

He drove into the gas station in the demonstrator car. McDonnell had been using an English right hand drive car. And he stuck his right hand with a gun in it out the car window. And the gas station guy grabbed his wrist and got the gun. It was MacDonald's car and MacDonald's gun. But it wasn't MacDonald.

[E]

Let's see.

[C]

Steering wheel on the right side, right hand window. Right hand out the wind.

[E]

Yes.

[C]

Yes, that's right.

[B]

Where were you that night, MacDonald?

[E]

I. I don't remember.

[B]

Look, you better give me all the help you can.

[E]

Well, I was pulling a job. Burglary. I got sent up for it once and I laid off.

[B]

Skip that part. You didn't take the right hand drive car on the job, is that right?

[E]

I did the job with another guy who used his car. I left the demonstrator in front of.

[B]

My place and then when he got home, the right hand car was gone.

[E]

The next morning, a guy I know that's with slogan gave me the tip. Slogan had just put out the word to get me.

[D]

So?

[B]

So I land your boss Halligan have duplicate keys for his demonstrators, McDonnell?

[D]

Sure.

[B]

Well, how did your gun get into it? Maybe you'd left it in the car.

[E]

I saw the serial number in the papers. It was an old one I lost six, eight months ago.

[B]

Or maybe it was stolen from you. That might fit.

[E]

What do you mean?

[B]

Jeffrey McDonald, your ex boss Slogan. He the kind to leave important stuff around? Maybe written on a phone pad?

[E]

I never worked for Eddie.

[B]

Slogan. I got a friend Gabby, knows what goes on around town. Says different. Okay, but.

[E]

But I busted with Eddie five months ago over Naomi.

[B]

How did you Mrs. Eddie's slogan. She told me she was in love with you.

[E]

Not for six months. She stuck with him.

[B]

Well, I'll see you fellas.

[C]

You're Jeffrey. You can't leave me here.

[B]

Take good care of him, Lion. And don't let the cops already slogan shoot up the place.

[C]

Jeffrey. Jeffrey.

[B]

I left the two happy pals side by side in front of the lion's molding Christmas tree. Maybe when I told the gas station kid up at the junction of the Canyon road, The guy on McDonald's car with McDonald's gun wasn't McDonald. He'd come up with something that'd lead me to the Guy who was. But it was too late to go up there till morning. So I went to my place on Taft to get some sleep.

[E]

Give him something extra for expenses. Eddie Slogan says he don't leave town like he's told.

[B]

It was one of Santa Slogan's little helpers, the one with the gray eyes. He'd been waiting and he came at me. Only this time he didn't have his four hits with him, so I didn't have to miss. I landed one before Gray Eyes got started. But when he got started, he was hard to stop. He had something white and fisted up and hard in the ends of his sleeves that kept exploding in my face like it had been imported from Oak Ridge. And then I kicked him in the stomach. He landed in the middle of the coffee table. Funny, when he came up, he had a hunk of the coffee table in his hand.

[G]

All right, Regan.

[B]

When I opened my eyes, Gray Eyes was gone. But somebody was coming toward me out of the kitchen. Or was I dreaming?

[H]

Rig you all right? I can't stay and help you. I can't. I can't breathe.

[B]

The next morning, I went into the kitchen to make myself orange juice and coffee. I had a head. Couldn't find the juice squeezer. So I got in my car and started for the gas station up past San Bernardino. I could get breakfast along the road. I picked up the morning papers at a corner and then I pulled over in the next block and stopped. It was a headline. The gas station guy had been murdered three hours ago. And all the papers reported something queer. The guy's military comb and brush set, his wristwatch and his toothbrush had been stolen by whoever it was that killed him. When I got back to my place on Taft, the phone was ringing. Yeah?

[C]

Jeffrey. Jeffrey, I'm glad to get you. What a night I've spent.

[B]

You spend a message unit to tell me that?

[C]

But, Jeffrey, there was someone lurking. Lurking around the house.

[B]

Eddie Slogan, social worker, maybe?

[C]

I think so, Jeffrey. And George MacDonald must have thought so.

[B]

Yeah.

[C]

Because Jeffrey, he became so nervous and worried that suddenly he. Well, he slipped out of the house and left.

[G]

Left?

[C]

Half an hour ago.

[B]

Why didn't you tell me?

[C]

I did, Jeffrey. I just did.

[B]

Yeah, you did. Well, fatso, I got business.

[E]

So.

[B]

I hung up the phone, stopped long enough to put on the new gold tie clip the lion gave me for Christmas and drove to Beverly Boulevard. I did some arithmetic on the way home. Pad plus cigar holder plus cigarette lighter stolen from the scene of the Slogan Mob killing. Plus wristwatch, toothbrush, brush, and comb sets stolen when the gas station guy was murdered, I stuck a cigarette in my mouth, absentmindedly reached down for my dashboard lighter. What I got was a hole. I added another item. Dashboard cigarette lighter stolen from Jeff Regan. A couple of blocks ahead on Beverly Boulevard was the Happy Halligan used car lot where I'd left my car the day before to ditch the black sedan full of Slogan mobsters. I mentally added one more item to my list and drove past Happy Halligan's car lot and out on to Beverly Hills.

[H]

Regan.

[E]

Come in.

[I]

Thanks.

[H]

I mix you a drink?

[B]

No, thanks.

[H]

Regan, last night you walked out on.

[B]

Me after your husband's helper sapped me.

[H]

Well, I came to see you. I wanted to talk.

[B]

Then the mug showed up and you had to hide.

[H]

I hid in the kitchen.

[B]

Yeah, but after he left, you beat it in case somebody came back.

[H]

Well, I had to with Eddie.

[B]

You want to talk now?

[H]

Sure. Sure.

[B]

Well, guess that gives you about the complete collection, lady.

[I]

What?

[B]

Toothbrush, phone pad, cigar holder, wristwatch, McDonald's gun.

[H]

I don't know what you're talking about.

[B]

My dashboard cigarette lighter when you were in my car out behind the bowling alley yesterday. My orange juice squeezer from my kitchen last night.

[C]

I didn't steal anything.

[B]

Then what's my new gold Christmas tie class doing in your hand right now, Regan? You stinking louse baby. Maybe a racket boss's wife can afford to be a kleptomaniac, but she shouldn't mix it with murder. That wrapped it up. Naomi was the same as signed her name to the gas station guy's murder. Once you figured out the key, I called the cops and they picked her up. It was a big morning for them. They'd already picked up George McDonald in North Hollywood. I dropped by the Lion's house to see if he'd survived. He'd had £10 scared off him, but there was plenty of them left.

[C]

And all those silly, useless odds and ends stolen by that woman, Mrs. Slogan, because she was at kleptomaniac. Imagine.

[B]

Yeah, imagine ever, Jeffrey.

[C]

Even with the fact that she had McDonald's car and gun. How could the gas station fellow have mistaken Mrs. Slogan for McDonald when she was a woman?

[B]

He didn't. Didn't the Slogans used to go up the canyon often? The gas station was at the road junction. The attendant was a young, good looking guy. Oh, you mean she, Naomi, stole McDonald's car to go up to see that gas station guy. She talked him into helping her frame McDonald. She probably never intended that the kid Lived long enough to give the frame away.

[C]

A very sweet girl, Jeffrey. No, but the case is over now. Oh, yeah. Have a cigar. Christmas Corona.

[B]

Oh, thanks.

[E]

Light.

[I]

Thanks. Hmm.

[C]

Seems to be out of fluid.

[B]

Well, I've got my lighter.

[C]

Oh, fine.

[B]

Right here in my. I had it.

[C]

It's not in your pocket, Jeffrey.

[B]

Yeah, but I had it this morning when I left to go to see Naomi.

[I]

Oh.

[G]

Jeff Regan, Investigator is written by William Frug and William Fifield. Produced by Sterling Tracy. Directed by Gordon T. Hughes. Stars Frank Graham as Regan. With Frank Nelson as Anthony J. Lyon. Original music is by Dick around.

[C]

And Doug. Here we have the Limu Emu in.

[B]

Its natural habitat, helping people customize their.

[C]

Car insurance and save hundreds with Liberty Mutual. Fascinating.

[B]

It's accompanied by his natural ally, Doug Limu. Is that guy with the binoculars watching us? Cut the camera. They see us.

[F]

Only pay for what you need@liberty mutual.com savings. Very underwritten by Liberty Mutual Insurance Company affiliates excludes Massachusetts.

[B]

My name's regan. I work for anthony j. Lyon, international detective bureau. They call me the lion's eye.

[G]

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 a thousand violins.

[B]

Almost. It began with a lovesick violinist whose mash notes all sounded off key. Then I met a long haired violin maker and his daughter, a girl with ambitions to play the harp. Only the prize guy was the one with a gun. He fixed it so I ended up playing second fiddle to a corpse. It was the kind of a day that when there's nothing left to do, you go get a haircut. So I settled down in Sam's barbershop up the street and waited for my number to come up. Instead, I got a cloud of three for a dime cigar smoke. Anthony J. Lyon. My boss popped in.

[C]

So there you are, Jeffrey. I've been looking all over for you.

[B]

Well, keep looking, fatso. I'm in the chair next your hair.

[E]

Good.

[C]

Oh, that can wait, Jeffrey. We've got a new client.

[B]

You want a detective or a sheepdog?

[C]

It's very funny, Jeffrey. I'll admit you could stand some trimming around the ears. But today I've agreed to help our client.

[B]

He gets a tremen.

[C]

Jeffrey, how can you say such a thing? We must get back to the office at once. Mr. Rome is waiting.

[B]

Mr. Rome?

[C]

Charles Rome. A young violinist, very talented.

[B]

Sure. That makes us brothers.

[C]

Brothers? What on earth are you talking about, Jeffrey?

[B]

Both long hairs. Come on, fatso. I told Sam I'd be back later for the haircut. The lion and I walked around the corner to our office. Mr. Charles Rome was waiting. All right. Tall, thin, blond guy with long skinny fingers that tapped along the edge of his chair. He was maybe 23. On the floor beside him was a black violin case. He looked nervous.

[C]

Well, well, Mr. Rome. I told you I'd locate him right away. Mr. Rome. My number one operative, Mr. Regan.

[E]

How do you do, Mr. Regan?

[C]

Hi, Jeffrey. Mr. Rome here will tell you his problem, and I'm sure you can help it.

[B]

Okay, Rome. Start at the top.

[E]

Yes, sir. Well, you see, Mr. Regan, it's about Tina. Tina Lanier.

[F]

My.

[E]

My fiance. She returned my ring.

[B]

That's your problem. Well, there.

[E]

There's more. When Tina did that, she. She wouldn't tell me why. But I'm sure she still loves me, Mr. Regan. I'm sure.

[B]

Another guy.

[E]

Oh, no, no, nothing like that. She loves me, I tell you.

[B]

Okay, take it easy.

[I]

There's.

[E]

There's one thing I asked, Mr. Regan. Follow Tina. Talk to her. Find out. But that's all.

[C]

What, Jeffrey? Mr. Rome has already discussed this with me.

[E]

He.

[C]

He's especially anxious that we limit the case to the girl and no one else.

[E]

You must promise, Mr. Regan. There may be others, but you're to pay no attention to them.

[B]

Just the girl. What are you selling, Rome?

[C]

Jeffrey.

[B]

Listen, Lion. I'm tired of buying half baked stories from any client with a fee. There's more than I wanted.

[E]

Well, I can't tell you any more than that, Mr. Regan. It's Tina.

[I]

I'm worried.

[C]

That's the truth, Jeffrey.

[I]

Our client.

[B]

Okay, okay, our client. Only one of these days we're going to know what we're getting into first. All right, Paganini. Where do I find the girl? The tall, skinny guy wrote out an address on the back of a sheet of music paper. It turned out to be a small shop. Cracked white plaster. Tiny black sign over the door. Out on Sunset Boulevard. Lanier's Music Appreciation shop and Violin Repair Service. I parked the car and went in. It was old. Violins all over the place. Strings, bows, rosin, busted bridges, pieces of wood, jars of varnish. Amidst the debris sat a little man behind the battered counter. He was sad eyed, curly haired and 60. His fingers were carefully fitting two pieces of wood together. He didn't look up when I came in. There was a bell on the counter.

[I]

Oh, customer, please. Forgive me, but that's why I have the bell. I don't hear so good in summertime. I'm too deep in my work.

[B]

You're Mr. Lanier?

[I]

Yes, Antonio Lanier. It was Laconata. But you see, the name Lanier, it's much more American.

[B]

Is your daughter in?

[I]

Tina? Well, Tina, she's.

[E]

Hey, Tony, leave this for Nick, huh?

[I]

Nick? Oh, yes, yes, Nick. Yes, I leave for him.

[E]

Tell him it's a good fiddle and I want it fixed right.

[B]

You got that?

[I]

Sure, sure, I got that. It will be fixed.

[D]

Okay.

[B]

You were going to tell me about Tina, senor.

[I]

I don't know why it is you wish to. To see her. If it's not too important, I suggest some other time.

[B]

Reason?

[I]

Well, it's something private. Also, Signor Tina Sortin. She's not returned from her harp lesson.

[B]

Harp?

[I]

Yes. She's studying with the great Robert Olenger. He's very fine. Oh, Tina.

[H]

I'm going to my room, father.

[I]

Tina, come here. I must talk with you.

[A]

It's no use, father.

[C]

I'm not going to talk talk about it anymore.

[B]

Now leave me alone. Nice girl, Tina.

[I]

Senora, please. You mustn't judge Tina too quick. She's a sweet girl, a kind girl. It's just that. Well, she's not herself lately.

[B]

How long does she usually stay in there?

[I]

Who can tell?

[B]

But tonight.

[I]

Tonight she will be out. Tonight is the concert. And this she does not miss. The Philharmonic. The final music.

[B]

What's the girl running from?

[I]

Please, senor, I'm tired. Very tired. Perhaps we talk some other time. Please, you must go.

[B]

The little man hurried out of the room and disappeared behind the same door his daughter Tina had slammed a couple of minutes before. Only when he glanced back at me, there was a different look in his eyes, far away, like he was looking right through me. Outside, the sun was setting behind a neon sign. Only I didn't get to admire the view. A taxi pulled up and a slim, distinguished looking guy, gray at the temple, stepped out. He was wearing white tie and tails. And like everybody else, he carried a violin case. He walked right past me without batting an eye and went into the shop. The taxi drove off and I headed for my car. But when I got there, I had a customer waiting. Only the thing he had in his hand was no violin. It was a knife.

[E]

You know me?

[B]

You're the guy I left the fiddle for Nick to fix.

[E]

That's right, maestro. I'm the guy.

[B]

Get to the point.

[E]

You're playing the wrong tune.

[B]

You can talk plainer than that.

[E]

Sure, but I'm a musician. I prefer to put my message in my own idiom, if you get what I mean.

[B]

You play the knife?

[E]

Oh, no. The shiv is just protection. I play the cello myself. And I'm telling you to join another orchestra. Tina Lanier doesn't want you hanging around in the composition Maestro.

[B]

The guy with a knife waved a quick downbeat in my direction and disappeared. I headed for home and a shower and some concert type clothes. An old double breasted suit and a shirt my laundry claimed was white. I just finished a quick shave when I heard somebody playing Boy Drummer on my door. I opened it.

[I]

Oh.

[E]

May I come in, Mr. Regan?

[B]

Why not? You've got a musician's union card. Charles Rome. Double breasted suit and white shirt, but no violin case. Sat down. He had something on his mind, but from the look on his face, it didn't add that he was anxious to go into it. I washed the shaving soap off my face and dressed while he said. That's when I got an idea. You dressed to go out?

[E]

Why, yes.

[B]

Concert?

[E]

Yes. Mr. Regan, how did you know?

[B]

You and Tina used to go to concerts together.

[E]

We used to.

[B]

You're going tonight, hoping to see her.

[E]

That's true, but. Mr. Regan, I came to see you about Tina. To talk to you.

[B]

No, later. Have you got a season ticket to the concert?

[E]

Yes.

[B]

Next to Tina. You bought them together?

[E]

Well, it was before we.

[B]

Okay, I. I got news for you, Rome. It's going to be a big evening. Only you aren't going to be there.

[E]

But, Mr. Regan, it's my chance to see Tina, to talk.

[B]

Yeah, there'll be talk all right, but you won't be in it. Give me that ticket, Paganini. I got a date with the lady who plays the harp. It was a big night at the Philharmonic. Crowds in mink and earrings, starch shirts and top hats. And the rest of us in the balcony. I found the Sea Charles Room at Barton. Settled down to wait for Tina Lemire. Ten minutes later she showed up. She sat down next to me without looking right or left. And things began to happen. Tall, slim guy, gray at the temples, full dress, came out on the stage. He took a bow and the audience calmed down. And I recognized him. The guy had seen going into Antonio Lemire's violin shop. I took a quick look at the program, but I didn't need it to know the guy with the baton was Robert Erlinger, Tina's harp teacher. Tina Lanier sat there with her eyes closed and listened to the music. But I had a job to do. I nudged her arm and she turned with a start. Her eyes blinked and then she recognized me.

[H]

What do you want talk, sweetheart? Leave me alone.

[B]

Why did you ditch him?

[H]

Who are you talking about?

[B]

Charles Rome. Your fiance.

[H]

I won't answer that.

[B]

It might be smart.

[H]

I know what's smart. Go away.

[C]

Quiet, please.

[B]

Rome's got a right to an explanation.

[H]

He got his ring back. Who are you, anyway?

[B]

Jeff Regan.

[H]

I don't know you, Mr. Regan. Leave me alone.

[B]

Quiet. Police. Okay, sister, it's your life. Only Rome isn't gonna like it that way. Maybe you'll want to know about the man with a knife at your place.

[G]

What?

[B]

Yeah, the little guy who carries a shiv. Long, sharp. Charlie Rome might be interested. You saw him, he saw me. I don't like knives waved under my throat. If you won't be quiet, I'll call the manager.

[H]

Mr. Regan, please tell Charles. Tell him I'm sorry. That's all. That's all there is.

[B]

You sure?

[H]

Yes, I'm sure.

[B]

Go away. So my talk with Tina Lanier got me nowhere. Except the fact that somebody was putting the screws on somebody else. And it didn't add up to a broken engagement. What it did add up to was a lot of violins. I thought about that as I headed for the little red sign that said Exit. I made my way past a couple of frowning ushers to the alley outside. When I got there, it was dark and empty. Me and a couple of bottles and torn ticket stubs. I walked out toward the street and then stopped. Somewhere in that alley was somebody else. Maybe behind the fire escape. Maybe behind a big poster. And then I was sure. Okay, Maestro. Get your hands off.

[E]

I told you, Maestro.

[B]

Get knife again.

[E]

Yeah. The shiv, Maestro. Sharp steel in this blade. There's enough to make you look like a bag of confetti.

[B]

What's Tina Lanier to you?

[E]

It's not your business, Maestro. I told you to stay away from. I told you it was off key. Now I'm gonna show you just what.

[C]

A knife can do.

[B]

The mug folded into a heap on the alley. He could trade in the knife anytime. He wouldn't need it where he was going. I headed out of the alley toward where the shots came from. There was a cab driver at the curb waiting for the concert crowd. And I grabbed him when he saw nobody and said nothing. The guy who put the slugs in the cello player was gone. I headed back to my car and hopped in. Now I had to have answers and happen fast. Jeff Regan was too close to a killing not to have a lot of it rub off. It was going to be me and a murderer or the police. It started when a lovesick violinist hired the lion and me to find out why his fiance, Tina Lanier, gave him the go by. But it ended with me and a corpse in an alley beside the Philharmonic Auditorium. The corpse was a mug who wanted me to stay away from Tina. I'd first met him at a violin repair shop out on Sunset. And that's where I was heading now. To Lanier's music appreciation shop and violin repair service. Owned and operated by Tina Lanier's father. It was close to 9 o' clock when I got out of my car, went inside and rang the bell on the counter. A medium sized, sharp looking character with a pencil lined mustache came out from the back room.

[E]

Yes, sir.

[B]

Lanier in?

[E]

I'm sorry, sir, the shop is closed.

[B]

Okay, but tell Anir I want to talk to him.

[E]

I'm afraid you misunderstood me. I said the shop was closed for the evening.

[B]

Look, Mac, this is business and I don't mean fiddles. I go tell him what I said.

[E]

Very well, if you insist. Oh, by the way, my name is Nick, not Mac.

[B]

A suave gentleman named Nick went back through the door. A couple of minutes later, Antonio Lanier shuffled out to meet me. He was wearing an overcoat and even in the dim light of the shop you could make out tears in his eyes.

[I]

You wish to see me, senor?

[B]

Yeah.

[I]

I wonder perhaps if you could wait until tomorrow.

[B]

That's pretty important, Mr. Lenire.

[I]

Yes, I suppose it is. You see, I have to go out. It's important too.

[B]

Maybe I better tell you something. There's been a murder.

[I]

Murder?

[B]

Yeah, a little guy. I saw him in your shop today. He left a violin for Nick.

[I]

Yes, yes, I know.

[B]

You know about him?

[I]

I know he was killed 30 minutes ago, senor. The police telephone to tell me, you mean. That's correct, senor. The man with the violin is dead. And my daughter. My daughter Tina has been arrested for murder.

[B]

Antonio Lanier walked out of the little shop and I watched his bent shoulders as he shuffled off down the street. Then I realized what had happened. Tina Lemire had followed me when I left the concert. That meant she'd gotten to the alley just after the shots were fired. She could add the rest easy. A couple of ushers, maybe hearing the shots, had run out and found her. That was enough of the police to take her in for questioning. There wasn't much I could do until morning, so I headed home for some sleep. I dreamed about a group of excited figures all talking to each other. Only when I looked closer they weren't people. They were violins. The next morning, I drove down to the police station. Lieutenant Candid. Homicide Squad was at his desk.

[D]

Now, what's bothering you, Regan?

[B]

The Lanier girl.

[D]

Well, I can understand why.

[B]

Cut it out.

[D]

I've seen some lookers in that cell, Regan. Remember the Pendleton dame a couple of years ago? Some woman chopped up her husband with an axe.

[B]

What about Tina Lanier?

[D]

Remember the Carlton woman? Back in 39, there was a dame, Red hair, green eyes, legs. What was it she used? A letter opener.

[B]

Ice pick.

[D]

Oh, yeah, ice pick. I hated to see her go, Regan.

[B]

Gas chamber.

[D]

Not guilty. She's married again. Millionaire.

[B]

Which brings us to Tina Lanier.

[D]

Yeah, not bad. Not bad at all. Maybe not the fire that Carlton woman had, but not bad.

[B]

Get to the point, Candid. What have you got on her?

[D]

She killed a guy, Regan. We call it murder.

[B]

There's more.

[D]

Sure, there's more. There's always more.

[B]

Like?

[D]

Like she was found standing over the guy. Guy's name Joe Fenton. Petty crook, knife artist. San Quentin. Boy, Regan did a year in 1945.

[B]

That's no motive.

[D]

You know something else? While Fenton was in prison, he played cello with the San Quentin Orchestra. Cute.

[B]

I'm still listening.

[D]

Okay, how about this? Tina Lanier has been dating Joe Fenton for two months. The boyfriend.

[B]

What?

[D]

That's right. Got witnesses for that? What's Tina Lanier to you, Regan?

[B]

She was engaged to a guy named Charles Rome. Client.

[D]

You betting on him?

[B]

I'm not betting on anybody. I think you got the wrong customer.

[D]

Oh, it's a drab job, Regan. Dames like Tina brighten up the place. You understand?

[B]

Sure, I understand. See you around.

[D]

Yeah, see you around.

[B]

That gave me a lead. Joe Fenton, Tina Lanier. I headed for the office of my boss, Anthony J. Lyon. Only when I got there, I got another surprise. Sitting across the desk from him was Antonio Lanier. Violin case under his arm, circles under his eyes.

[C]

Jeffrey. Jeffrey, I've been looking for you. Mr. Lanier wants to talk to you.

[B]

That makes us even, Jeffrey.

[C]

What on earth are you talking about? Mr. Lanier has retained us to clear his daughter, Tina. Mr. Lanier is a client, Jeffrey. A client?

[B]

Is that right, Lanier?

[I]

Yes. Mr. Egan? Yes, that's correct.

[B]

Well, then maybe you'd like to talk now. But, Mr. Reagan, there's questions, Mr. Lanier, like. Like about Tina.

[I]

Tina someday gonna be a fine artist. She will be recognized as a true.

[B]

Yes. She stays away from guys like Joe Fenton.

[I]

Yes. Yes.

[B]

Okay, Lanier, one more question. Who's Nick? What Nick, your helper. The guy Joe Fenton left the violin for.

[I]

Well, Nick. Nick is just, as you say, my help. I. I hired him several years ago.

[C]

Jeffrey, why are you questioning our client this way?

[B]

Because we've got to get facts before we get a total. We were hired to find out why Tina dissed Charles Rome. And now she's got herself booked for a murder she probably didn't commit. And her father expects us to clear her. We can't go into this thing wearing a blindfold.

[C]

But, Jeffrey, aren't we going to help Mr. Lanier?

[B]

Yeah. Yeah, I'll drop him by his shop. Maybe if he gets his hands on a violin, he'll relax. Lanier sat in the front seat as we drove out Sunset. He didn't say anything. His tired little shoulders were hunched forward as he stared out of the window, watching the traffic in front of his shop. He thanked me again and went inside. I started to drive away and then stopped. A cab had pulled up behind me and a tall, thin guy with greying hair stepped out under his arm. A violin case. Robert Erlinger, the guy I wanted to have words with. Dr. Erlinger, I presume. I beg your pardon? You got a minute? I don't know you. I know you. What is it you want? It has something to do with the murder. Your pupil, Tina Lanier, is on the hook. Yes, as a matter of fact, I was on my way to see Mr. Lanier to express my sympathy and to offer my services in any way. Okay. You want to help? A couple of questions. You play the fiddle, Mr. Regan? I play every instrument in the orchestra. Well, then why carry a violin?

[E]

I was taking it to Mr. Lanier for repairs.

[I]

Oh.

[B]

You mind if I look? I don't see what possible interest my.

[C]

Violin would hold for you.

[B]

Well, just let me decide. Very well. I must ask you not to handle. Was beginning to make sense. A lot of separate strings, like on a violin. Only when you tune them, make the notes fit each other and draw a Bose across it, you get music. I headed for the downtown library and found a binding of all the issues of the San Quentin News, the prison paper for the year 1945, the year Joe Fenton had dropped in. I spent two hours covering every page. And then I had it. The last note, call it the lost chord, but it sang like a canary. I checked for my gun and drove out toward Hollywood. It took me 30 minutes in the nighttime traffic, and then I was there.

[I]

Yes?

[B]

So who is Regan?

[I]

Who? Oh, it's you, senor.

[B]

I'd like to have words with You, Lanier?

[I]

Well, senor, I'm very busy. I'm doing a Russian job.

[B]

So am I. So that's about Tina.

[I]

Oh, then of course we will talk, senor. Even about Tina. I'm always willing to talk.

[B]

And that'll save us a lot of trouble in there.

[I]

Yes, yes. Please sit down. Here.

[B]

Thanks. Got a little story for you, Lanier. Short story, but covers a lot of territory.

[I]

Yes, I'm listening, senor.

[B]

It starts with a guy and his daughter. Violin maker who put a lot of faith in his girl with talent. A guy who'd sell his soul to give the girl everything.

[I]

Yes, that's true.

[B]

This guy sold his talent for making violins. Sold it for a dough so he could give his girl heart blessing.

[H]

Maybe.

[B]

Seems this guy made a mistake once. Wants prison for it.

[I]

Mistakes. We all make a mistake.

[B]

Sure. Only the guy I'm talking about made another one. While in prison. He met a couple of musicians in the prison band. They had ideas. Use the guy's talent for making violins. Phony masterpieces. Take regular fiddles and doctor em up so they look like real dough.

[I]

You.

[B]

You knew.

[I]

I know.

[B]

You sold yourself back up the river, Lanier. For Tina.

[I]

Yeah. Yes, it's true, Monsignore. Such a talent. Such a talent cannot be wasted.

[B]

Only Tina ditched a career in a nice guy like Charlie Rome for doe your mistake.

[I]

But she was not in her right to mine. She didn't know what she was doing.

[B]

But you did. You killed Joe Fenton. And your daughter's set to take the raft.

[I]

No. No.

[B]

I will not let her.

[I]

Senor Riga. When you came in, I was thinking. Thinking all alone with my violins beside me. I had decided Tina will suffer no longer for my mistakes. I'm going to the police. I'm gonna tell them everything. I'm gonna.

[B]

Lanier.

[E]

I'm not going to tell the police anything. Lanier.

[B]

Medium sized guy, pencil lined mustache, gun in his hand. The guy I'd met the night before in Lanier's shop.

[E]

Nick, Stay where you are.

[G]

Riggan.

[B]

Ah, you're the other half of the team. You and Joe Fenton. Saw your picture about a half hour ago.

[E]

That right?

[B]

Library back copy of the San Quentin News picture of the prison orchestra. You and Fentolin Lanier.

[E]

That wasn't that nice. Real nice. My picture in the paper.

[B]

That's too bad. Erlinger didn't see it before he let Tina talk him into bringing his violin here for repairs. Yes, I saw Erlinger's fiddle. A guarus worth about 50,000. You used it to model from to have Lanier make the phonies.

[E]

Erlinger's a dumb cluck. He never knew the difference. Besides, he got his original Guarnerius back.

[B]

Sure, he's dumb that way. So was Lanier. Quiet, easy going little man. Probably would have lived to a ripe old honest age. You mugs hadn't dropped him.

[E]

We just told Lanier what kind of a chance a man with a record had. We convinced him, Regan, he was better off using his brain for something lucrative.

[B]

You mean you blackmailed him?

[E]

You can call it that. He took persuading. But he's finished now.

[B]

You just killed a guy. You're the one who's finished.

[C]

Not yet. Bad timing of my race.

[B]

Now we're even. Hello, operator? Police. The nearest violin shop, Sunset. Yeah, bring an ambulance. It took a week to patch up the hole in my arm. But Antonio Lanier wasn't that lucky. He died trying to do something right for his daughter Tina. And maybe succeeded. Tina Lanier and Charles Rome dropped in to see me a couple of days later. The scared look was out of her eyes. And even with the tears, there was something soft and warm. By the time I was in shape again, I needed a haircut so bad, even the dog catcher wasn't interested. And I figured my barber, Sam, could take the full afternoon for the job. Hey, what's the matter with you, Jeff? I never seen such a head of hair on a St. Bernard. Ah, busy, Sam. What do you mean, busy? Fellow with a soft job like you guys got no reason not to have.

[C]

His hair cut every two weeks, maybe 10 days average. Every hair you are. I've been looking all over for you.

[B]

Hiya, fatso.

[C]

Jeffrey, what's the idea of not showing.

[E]

Up at the office?

[C]

Just because you got a little bandage on your arm doesn't mean you can.

[G]

Take a week off.

[B]

You gave me the week off.

[C]

I did not. Oh, yeah, so I did. He caught me in a weak moment.

[B]

Oh, well, that makes us even. Beat it, fatso. I'm getting a haircut.

[C]

Yeah, so I see. Needed it, too. Well, when you're finished, Jeffrey, I want you to report to the office at once. We've got a client.

[B]

Client?

[I]

Yes.

[C]

Big oil man from Texas. Lots of money. Seems as though he met some man on the street one day and they had words about some oil stuff.

[B]

Turn the chair around. Well, think it's better, Sam? You got time for a shampoo, Jeff? Nothing but time, Sam. Give me the works.

[G]

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 the same time over cbs. Bob Stevenson speaking and inviting you to be with us again for more suspense and mystery.

[F]

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[C]

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