THE PAPER BULLETS and DEATH & THE PURPLE COW BARRIE CRAIG, CONFIDENTIAL INVESTIGATOR

Summary

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Podcast Summary: THE PAPER BULLETS and DEATH & THE PURPLE COW

Podcast: 1001 Radio Crime Solvers
Host: Jon Hagadorn (presenting vintage radio dramas)
Feature: Two Barry Craig, Confidential Investigator stories – The Paper Bullets and Death & the Purple Cow
Original Air Date of Podcast Episode: April 8, 2026

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Episode Overview

This episode features back-to-back dramatizations of two classic radio detective stories starring William Gargan as Barry Craig, a hard-boiled yet wry confidential investigator operating in mid-century New York. Both mysteries—The Paper Bullets and Death & the Purple Cow—blend clever plotting, noir atmosphere, sharp banter, and memorable supporting characters. True to the era, the show mixes wisecracks, intrigue, romance, and sudden violence, all propelled by Craig’s sardonic narration and dogged sleuthing.

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Story 1: THE PAPER BULLETS

Main Theme

A high-stakes literary contest leads to the theft of a prize-winning manuscript, blackmail, murder, and a tangled web of identity and deception. Craig is hired to recover the missing book and ends up unraveling both a theft and a murder—with unexpected consequences for a woman who only wanted closure.

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Key Discussion Points & Plot Breakdown

1. The Detective’s Dilemma – Choosing a Case

• Craig debates between two assignments: help a woman find her long-missing husband, or recover a stolen $50,000 manuscript for a distressed publisher, Hilary Grayson.
• Opts for the better-paying, more prestigious publishing house case: “I’ve been a long time wanting to raise my cultural level.” (05:36)

2. The Contest and the Suspects

• Grayson explains the contest setup: First prize ($50,000) for The Cry of the Hyena by “eccentric” Eric Trent; second prize ($5,000) to Oscar Sacks.
• Concerns arise over Trent’s nationality—rules required the winner be American. Sacks hints Trent is a fraud: “His way of talking, it’s as English as the House of Parliament...Trent has a tattoo of the British flag.” (11:13)

3. Investigation & Intrigue

• Craig is knocked unconscious after questioning possible eavesdroppers in Grayson’s office.
• Meeting with Oscar Sacks reveals further suspicions about Trent and evidence of red ink on Sacks’ thumb—possibly linking him to the crime. (12:43)

4. Bohemian Suspects & The Author

• Craig visits Trent’s Village studio, meets Judy Joy (a comic, flirtatious side character), and Trent himself—an enigmatic globetrotter with tattoos and airs of mystery.
• Trent claims he took the risk of keeping only one copy, positioning himself as an unconcerned artist.

5. Ransom and Murder

• A hood named Mike Kelsey, via an intermediary, offers to return the manuscript for ransom at the Flying Horse Tavern. Craig recovers a supposedly original copy.
• Soon after, Oscar Sacks is found murdered before he can reveal his “discovery” about Trent to Craig. (18:12)

6. Solving the Mystery – Manuscript Swap

• On inspection, subtle differences reveal the returned manuscript is a substituted copy—cleaner, missing a burn mark, and—eventually discovered—missing the character “Coralane.”
• “Coralane’s disappeared from the substituted version...Cora Lane is a character...she’s out of version two.” (23:49)

7. Motive & Resolution

• Craig deduces Eric Trent stole his own manuscript to erase a character based on a real person—Cora Lane—and cover up theft of the true author’s (her missing husband’s) work. Trent is implicated in both larceny and, by deduction, Sacks’ murder.
• The search for the missing “Coralane” leads to Cora Lane, revealed as Mrs. Stanley Talbot—she sought Craig’s help in the alternative case. “As it turned out, you found her missing husband.” (28:02)

8. Emotional Finale

• Cora is awarded her late husband’s true legacy—the prize money from the novel he actually wrote. “You’ve been poor, but now you’re rich. There’s $50,000 coming to you.” (29:10)

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Notable Quotes & Memorable Moments

• Craig (on police relations): “The trick in continuing as a confidential investigator is to keep on good terms with the police. Comes time for your license renewal and a department sorehead can louse it up for you.” (02:15)
• Oscar Sacks: “I have reason to believe Eric Trent is an Englishman...a fake who should be disqualified.” (11:18)
• Judy Joy (malapropist neighbor): “I get simply dilapidated if I’m Miss Hearing Bummy.” (13:33)
• Craig (on the scam): “Eric Trent had stolen his own manuscript.” (21:41)
• Resolution: “It was early dawn before I found a discrepancy...Coralane’s disappeared from the substituted version...The book is an autobiographic work. A man’s true personal history disguised as fiction.” (23:54)
• Emotional closure: “You found her missing husband...That book of your husband’s...there’s $50,000 coming to you.” (29:09)

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Key Timestamps

• [02:11] – Case options and setup
• [05:36] – Meeting Grayson and learning about the contest
• [11:13] – Oscar Sacks’ suspicions
• [13:33] – Judy Joy character scene
• [14:22] – Interview with Eric Trent
• [18:12] – Murder of Oscar Sacks
• [23:49] – Discovery of the manuscript swap
• [28:02] – Cora Lane identified and emotional reveal
• [29:10] – Cora Lane given book rights and reward

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Story 2: DEATH & THE PURPLE COW

Main Theme

Craig is drawn into a murder tied to a mysterious “purple cow” statuette, which serves as a red herring masking jewel theft and double-cross among gangsters—and betrayal among family and fiancé.

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Key Discussion Points & Plot Breakdown

1. Noir Setting and Murder at a Diner

• Craig is caught at a late-night diner, where hitman John Largo waits to “discourage” a potential client of Craig’s.
• Sudden violence: Largo is shot dead before anyone else can be harmed. “Willie, no more blood. Yeah, his heart isn’t pumping it anymore.” (36:48)

2. The Mystery Client

• A nervous woman—Sally Marlin—arrives in Craig’s office, seeking his help for her brother Donald, who’s in trouble since coming back from St. Louis.
• Trouble centers on the “purple cow”—a small glass statuette.

3. A Trail of Threats

• Marlin’s home is under watch by hoods, all linked to nightclub owner Cochran, Sally’s fiancé. There are layers of suspicion and overlapping motives.
• The “cow” is appraised by experts; it’s worthless—but Marlin continues to be in danger.

4. Underworld Connections & Motives

• Largo and Marlin had both been in St. Louis, where a jewel theft went bad.
• The fence (a jeweler and criminal) in St. Louis, who gave Marlin the cow, was murdered for the missing jewels.

5. Climactic Confrontation at Club 44

• Craig confronts Cochran, Sally, and Marlin, unpacking everyone’s motives and connections to Largo and the cow.
• Tensions peak with threats, gunplay, and a blackout. Craig disables the antagonists, the police arrive, and blame begins shifting.

6. The True Solution

• Craig exposes that Marlin, not Cochran, killed Largo—hoping to implicate Cochran and hide the stolen jewels’ trail.
• The “purple cow” was a red herring—Marlin invented its importance to cover his own double-cross.
• “The antique store fence in St. Louis must have slipped the jewels to Marlin...So Marlin invented the purple cow as a red herring.” (57:01)

7. Aftermath

• Sally is devastated by her brother’s arrest; Craig and Lieutenant Rogers close the case with tired camaraderie and characteristic understatement.

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Notable Quotes & Memorable Moments

• Craig (on his profession): “In my business, a guy doesn’t have many friends. We know too much about people, the wrong kind of things, and maybe the wrong kind of people.” (31:48)
• Sally Marlin: “My brother Donald has been in trouble ever since he came back...He thought perhaps he might hire a good private detective...” (40:24, 40:53)
• Craig (about protection): “When it comes to protection, a private eye can’t come within a couple of light years of the cops.” (41:43)
• Craig (on the purple cow): “The one nobody’s ever seen?... This one is a little statue of a cow made out of purple glass.” (42:00)
• Cochran (on the murder): “What Mr. Craig has forgotten is that he’s the only one outside of ourselves who knows all these things.” (52:47)
• Craig (final summation): “Largo, back at the hamburger joint...said he wasn’t worried about being spotted before he could kill him. That meant my client didn’t know Largo...So Marlin invented the purple cow as a red herring.” (56:07–57:01)

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Key Timestamps

• [31:48] – Craig’s philosophy of friendship and morality
• [36:48] – Murder at Willie’s Diner
• [40:24] – Sally Marlin’s plea for help
• [41:03] – Craig interrogates Sally
• [42:00] – Introduction of the purple cow
• [47:50–50:28] – Club 44 confrontation
• [53:33–55:47] – Accusations and confessions
• [57:01] – Realization of the red herring and Marlin’s guilt
• [58:35] – Epilogue and emotional closure

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Tone and Style

• Hard-boiled, wisecracking narration: Craig’s voice is cynical, humorous, and world-weary, typical of post-war detective fiction.
• Clever dialogue: Supporting characters, especially Judy Joy and Sally Marlin, provide comic relief and human interest.
• Atmosphere: Urban nighttime settings, threats in diners and alleys, smoky clubs evoke a classic noir mood.

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Noteworthy Characters

• Barry Craig: The laconic, clever, and slightly jaded detective.
• Hilary Grayson: Flustered publisher in Paper Bullets.
• Oscar Sacks: Slighted, embittered writer, and murder victim.
• Eric Trent: Mysterious, possibly fraudulent author; the villain in Paper Bullets.
• Judy Joy: Colorful, malaprop-spouting neighbor.
• Cora Lane/Cora Talbot: The hidden heart of Paper Bullets; missing husband’s widow.
• Sally Marlin: Loyal sister drawn into a web of crime.
• Donald Marlin: The true criminal in Purple Cow.
• Cochran: Nightclub owner and Sally’s fiancé.
• Lt. Trav Rogers: Craig’s contact and occasional foil at the police.

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Memorable Moment

Craig’s realization (in both cases) that the object everyone is chasing is a red herring or “paper bullet,” and that the emotional cost—to Cora, to Sally Marlin—matters as much as the technical solution.

Craig (to Cora):
"You've been poor, but now you're rich. That book of your husband's—the Cry of the Hyena—there's $50,000 coming to you." (29:10)

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Conclusion & Listener Takeaways

The episode showcases both the fun and depth of classic radio mysteries: intricate puzzles, overlapping motives, and a strong sense of mood. Both stories highlight Barry Craig’s skill not only in solving cases but in untangling the human consequences that lie beneath every crime.

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Preview of Next Week:
The episode closes with teases for the next Barry Craig story, "Ghost of a Chance," promising more noir investigations with Craig’s trademark wit.

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Transcript

[Barry Craig]

Marketing is hard, but I'll tell you a little secret. It doesn't have to be. Let me point something out. You're listening to a podcast right now and it's great. You love the host. You seek it out and download it. You listen to it while driving, working out, cooking, even going to the bathroom. Podcasts are a pretty close companion. And this is a podcast ad. Did I get your attention? You can reach great listeners like yourself with podcast advertising from Libsyn Ads. Choose from hundreds of top podcasts offering host endorsements or or run a pre produced ad like this one across thousands of shows. To reach your target audience in their favorite podcasts with Libsyn Ads, go to Libsyn ads.com that's L I B S Y N ads.com today. Welcome to 1001 Radio Crime Solvers podcast. This is your host, John Hagedorn, and we want 1001 radio crime solvers to be your favorite place to go to enjoy a great mix of vintage detective shows from the golden age of radio. The scripts were great, the action was hot, and even the old commercials are enjoyable. And now Another episode of 1001 Radio Crime Solvers is ready to go. Enjoy.

[Narrator/Announcer]

William Gargan stars as Barry Craig, confidential investigator.

[Barry Craig]

The old saying, early to rise, folks can't possibly mean a thing to a corpse.

[Narrator/Announcer]

Your Pontiac dealer presents William Gargan in another transcribed drama of mystery and adventure with America's number one detective, Barry Craig. Confidential investigator.

[Barry Craig]

Barry Craig speaking. The trick in continuing on as a confidential investigator is to keep on good terms with the police. Comes time for your license renewal and a department sawhead can louse it up for you. Play footsie with a corpse, conceal evidence, rack up as many black marks as you must, but be sure you've got a friend somewhere in the higher echelons. I say like a lieutenant willing to countersign your renewal application where it reads character references. Ah, the fool that I am. Craig, endorsing your application. Your signature goes down here, Trav. No blotting now. Right? Neat. Certifying you as a man of good character. However, will I atone for the perjury? The guilt get too much for you? I can refer you to a high bridge. Okay, I'm signed. You're free to harass and otherwise misuse and abuse me for 12 more months. I'm looking forward to it, chum. I'd start in right away if I had a case. Oh, don't tell me. The great man's idol. One meal away from pointing my badge. Unless you've got an Idea. I get the hint. Even if I could, why should I throw anything your way? Because you hate seeing me fall dead from hunger. So what case did you have in mind? Two cases. You even have a choice. Both of them prefer a confidential operative to official police methods. Official notoriety. I was asked to recommend someone. I'm all ears. Case 1. A Mrs. Cora Talbot wants help in finding her husband, Stanley Talbot. Talbot's been missing more than six years. What's her motive in looking for him now? A last ditch search. She's about lost hope that he'll ever return. She wants to petition to have him declared legally dead so she can remarry. Interesting. How big a fiend? $20 a day in expenses. Kind of anemic. It's all the lady can afford. Is it? No. What's my alternative? A publisher named Hilary Grayson. He ran a best first novel contest. $50,000 to the winner. And the prize winning manuscript was stolen very mysteriously. What's it worth to Grayson to get the manuscript back? A flat $2,000. So which of the two has you seething with a desire to see justice done? Well, I don't want to be mercenary. Ah, then you'll accept Mrs. Cora Talbot? I'll call and tell her. Call and tell publisher Grayson. It's not on account of the higher tab. The fact is, I've been a long time wanting to raise my cultural level. The publisher Grayson had more body than any one guy needed. Three sets of jowls and thick eyeglasses. Looking into his eyes was like watching fish in an aquarium bowl. Get that manuscript back. Mr. Craig. Spare no effort or expense. If the manuscript isn't recovered, I'll be the jackass of the publishing world. I. Hold on a minute, Grayson. You're forgetting I don't know what it's all about. I just got here. Yes, I. I suppose I should give you the facts. It would be helpful. The prize winning book manuscript, the Cry of the Hyena by Eric Trent, was stolen right out of my office. That's bad. Catastrophic. It was the only copy in existence. The author has no carbon duplicate. How come writers usually make copy? Usual writers usually do. But this is no usual writer. This is Eric Trent. Here's his photograph. I get what you mean by this one not being usual. Does he always wear chin whiskers? Yes. Trent's a brilliant eccentric. A man who's roamed every corner of the world. A wanderer who wrote one page here, another page there. Six years in the writing at more than a thousand pages and no carbon. First prize was $50,000? Yes. Were there other awards? One other $5,000. A second prize, one by Oscar Sacks for his novel Four Devils and a Midget. Oh, this is a photograph of Oscar Sacks. This one's clean shaven. Can I talk out of turn or are you the sensitive type? Ask me whatever you like. $55,000 in prize money. Isn't that a lot of cabbage for a. For a small publisher? Your offices haven't exactly got that mahogany and chromium look. The prize money doesn't really come from me. It doesn't? An independent motion picture company, Pyramid Pictures, they pay the prizes in exchange for world rights to film the book. Any more questions? Yes. How many offices are there in this suite? 6. Why do you ask that? I'm already in there pitching for you. That intercommunications box on your desk. Is every office equipped with one? Yes, of course, but I don't. The box is switched on. As you'll notice. It's been on through this whole talk we've just had. Who in the Grayson publishing house would be interested in long range eavesdropping? I don't know. Suppose I find out. But I didn't find out. The eavesdropper resented my curiosity with all his might and inkwell pitched at me.

[Narrator/Announcer]

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[Barry Craig]

My eyes opened on Grayson sprinkling water on me with a sponge. You're all right. Quit watering me. I'm not a petunia bed. But you were unconscious. I'm conscious now. And you're ruining my suit. It's ruined anyhow. The ink from the inkwell. Don't tell me red ink. Yet. My fee's gone up. Grayson up 2000 +49.75. The price of this suit. A while later, on the street outside the Grayson offices, a motorist tutored me over a long hair, driving a sky blue pink jalopy. I let him pick me up. You paging me, friend? Yes, I'd like to talk to you. What about? If you'll get in, we can go somewhere. I'll buy you a drink. Oh, Buttermilk. There's a Buttermilk bar over on 8th Avenue. In the Buttermilk bar. We had a chat for the books. I'm Oscar Sachs. I know that. I saw that photograph of you in the Grayson Publishing offices. Oh, well, there's some facts about the book contest I think you should know. Why? Why you. You've been engaged by Mr. Grayson to locate Trent's missing manuscript. What am I wearing, a sandwich sign? I obtained the information through sources I cannot disclose. Give me those facts. I won the second prize of $5,000, but I was cheated. Cheated out of the big money, is it? Yes. Explain, please. The contest rules clearly specified that the award was to be made only to an American author. And I have reason to believe Eric Trent is an Englishman. Or anyhow other than an American, to put it bluntly, a fake who should be disqualified. Disqualified? While you're moved up to first place and $50,000. Yes. Let's have your bill of particulars. Well, for one thing, Trent's way of talking, it's as English as the House of Parliament. Another thing, Trent was somewhere overseas on a tramp island in English possession when he sent the manuscript in. That summarizes it. Well, there's more. Trent has a tattoo on his right arm. I happen to get a good look at it. It's a tattoo of the British flag. Would an American wear the British flag on his arm? They tell me Benedict Arnold did. You really ought to grab yourself 50 GS. Well, why do you find that so odd, Craig? Just that I thought artists had no money sent. I have. And I'm not apologizing for it. Okay. I've got your point of view, Oscar. Oh, yes. One little thing remains. Hold out your hands. Hold out my what, Papa asks. Red ink smudges on your right thumb. You've been playing with Inkwells. Sonny Craig. I didn't mean to. Don't apologize. Fun's fun and I like to play myself. My interest runs to sugar bowls. No. Eric Trent's address, furnished me by Grayson, was a rickety studio walk up Seventh Heaven in Bohemia, Greenwich Village. The door opened on a blonde who eyed you as if she was already counting your money.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Hi.

[Barry Craig]

Hello. This is 6D, isn't it?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

That's what it says on the door.

[Barry Craig]

It's my astigmatism. Is Eric Trent in?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

No, but I am, baby.

[Barry Craig]

I'm not a gentleman caller.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

So whose tough luck would you call it? Come in. Trent said for you to wait if you simply had to.

[Barry Craig]

Trent expected me?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Yeah, that Mr. Grayson, the publisher, he phoned and said you might be over. You're Barry Craig, the detective, he said.

[Barry Craig]

A Barry Craig, confidential investigator.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

I'm Judy. Judy Joy. Well, come on in. I won't bite you.

[Barry Craig]

I was waiting for you to make that promise.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

I live right next door in 6E. I come in here to play the radio. Mine's out of order. Oh, that's Bummy Figelspan's orchestra you're hearing. Oh, it's on every day this hour. I get simply dilapidated if I'm Ms. Hearing Bummy.

[Barry Craig]

Come again? Did you say dilapidated?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Yeah, dilapidated. Like frazzled. You know, fractured. Or were you correcting me on the words?

[Barry Craig]

Oh, no, no.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Eric's always correcting me on the words. Imagine me keeping company with a real live author type.

[Barry Craig]

Sure, I can. I can even imagine 50,000 reasons.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Huh? What'd you say? Oh, there's Eric now. Eric?

[Barry Craig]

Ah, Judy.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

I'm the sofa's Barry Craig, the investigator. I've been keeping him here for you.

[Barry Craig]

Thank you, Judy. Now if you'll leave us alone.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Sure. I got a slip to press anyhow. Nice meeting you, Mr. Craig.

[Barry Craig]

I was floored myself. Excuse me while I shut off the musical background. Now, Mr. Craig, the object of this visit. Your stolen brainchild. What else?

[Narrator/Announcer]

But what can I do about it?

[Barry Craig]

I submitted it in good order. I'm not responsible for its disappearance. How come only one copy? Why didn't you type up a carbon duplicate? I have no patience with purely clerical details. I'm an artist. But the full risk of losing the one copy. I'm a man who takes risks, Craig. In my years abroad, away from America, I've lived a life of risks. Skip the personal build up. Wherever I went, I traveled lightly, suit on my back, pipe tobacco and a pencil. It was enough of a nuisance carting one copy of A thousand pages around. How was I to know my confounded book would ever get to a publisher, much less win a prize? Okay, for that, what's your guess on the missing manuscripts? Grayson? What? Motive? A stunt. Grayson intends exploiting this whole affair for all the publicity he can wring out of it. It's an angle. The 50,000. Would you say you won it legitimately? Legitimately? I mean, what if you were to be disqualified as the first prize winner, say, on a technicality? What technicality? Not actually being of American origin, as the contest rules specify. But I am an American with a British accent. I spent years in the islands in Jamaica. In British Samaritan. I'm told you have a tattoo of the British flag on your right arm. So? Well, I sailed the seven seas, and like a sailor, I had myself decorated with tattoos. But the British flag on an American citizen. Ah. Wait until I open my shirt there. Are you looking at the tattoo on my chest, Mr. Craig? Yeah, the American eagle. What do you know? Expand your chest, genius. Expand by. I want to see old baldy flap his wings. The first break in the case developed over the phone. I was in my office soaking my feet. Barry Craig speaking. Craig, this is Grayson. What gives? It's about the stolen manuscript. Listen carefully. Shoot. A hoodlum named Mike Kelsey got in touch with me. He admitted to stealing the manuscript. Why did he? A mistake. He says. It was under the impression that it was valuable. A rare manuscript. Believe that. He wants to return it now, and no questions asked. How much loot is he after? $1,000. It's paying ransom, compounding a felony. I must have the manuscript back, Craig. I told him to negotiate the transfer through you. You're representing me in the matter. Where's the thousand? I'm sending the money over to you in cash, by messenger. You're to meet this Mike Kelsey in the tavern, the Flying Horse. Craig, be discreet. Sure. Sure, I'll be discreet. The cash came by messenger. Okay. And I got to negotiate in the Flying Horse Tavern. A mug with heavy artillery, bulging his coat, waiting at a table for me. You Mike kelsey? No, I'm McGuire. I'm here for Mike. Hey, you're negotiating for Grayson, so I'm here negotiating for Mike Kelsey. Now, let's negotiate without any monkey business, Craig. Why a gun under both armpits, buster? Shows I don't develop a stoop on one side. Oh, here's your manuscript right in the wrapping. Mike Kelsey found it in. Now, count me out a fast grand here. $1,000. Count it yourself. It seems okay. Don't be stupid enough to stop me from leaving. The publisher. Grayson was out. Would I please call later? A secretary told me I'd gone back to my office to cool my heels for a while when the phone rang. Barry Craig speaking. Craig, this is Oscar Sachs. Now watch your beef, Craig. I've discovered something I think you'll want to know. Something that will promote you into the 50 GS. Something that won't help Eric Trent any. Craig, the man's a fraud. They're playing a cracked record, Junior. Am I? Come hear me out and then tell me that. All right. I'll come hear you out as soon as I dry my feet and rustle up a change of socks. I didn't get to hear Sax out. To achieve that, I'd first have to perfect a way of communicating with the dead. I left Oscar Sachs as I found him sprawled backwards over a writer's desk, a knife standing vertically in his Adam's apple. I left him as is, so Lieutenant Trav Rogers wouldn't howl to heaven and the DA that I'd once more tampered with a corpse. Grayson drooled with joy supreme over the recovered manuscript. This is a load off my mind, Craig. A big load. But it sounds nothing. Who stole it and why? And why was Sacks murdered between the time he phoned me and the time I got to his flat? I'll show you the manuscript, Grayson. Then I've got a question. Here. Examine it and then tell me. Is this the same manuscript that was stolen? The same? Why, sure it is. The Cry of the Hyena by Eric Trent. Examine the manuscript. Not just the title page. Study a few sample pages. It's the same. You'll swear to that on a stack? No, no, I won't swear. You've detected something? Some changes? Yes, I. I think yes. For one thing, this copy is cleaner. The edges of the pages aren't so ragged from handling as you remember them to have been. Yes, even the title page looks altered. Now I remember a burn here in the upper right corner, near the author's name. A burn? Like from an accidental cigarette. I'm convinced this isn't the copy that was stolen. But what can it mean? I aim to find out. Grayson. Yes? Phone Eric Trent. Get him to come here to your office on some pretext. But why? So I can have the run of his studio without Trent being the wiser or being present. Eric Trent had all the accumulated junk of a guy with a passion for changing climates. Souvenirs from Bombay, the Dutch Indies, labyrinth souvenirs in brass, carved ivory, porcelain, and in the bottom bureau drawer, a manuscript. The Cry of the Hyena. With a cigarette burn on the title page. Eric Trent had stolen his own manuscript. I had the evidence in hand, but keeping it wasn't going to be so simple. A lady was against it. A lady healed with a gun twice the size of her dainty lotioned hand. Ms. Judy Joy.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Yes, Mr. Craig. Ms. Judy Joy.

[Barry Craig]

Through the convenient connecting door, I heard noises in here.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

And I made it just in time to catch a burglar. Drop that manuscript.

[Barry Craig]

You charmed me into it. Want a word of advice, beautiful? No. I thought you would bring off Eric Trent as fast as you can flick your glamorous eyebrows.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

You're crazy.

[Barry Craig]

Being true to Trent's an awful waste of war paint.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Now what are you trying to tell me?

[Barry Craig]

That Trent's value on the hoof has just been slashed by about $50,000?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

He won't get the money.

[Barry Craig]

Neither will you get the money. You're a liar, Dutch. Uncle. I'd hate to see you dragging your gorgeous chassis up the river. Sundays visiting ye Arthur in the big house.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Pour me a drink.

[Barry Craig]

Still making with the gun aimed at

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

your head while we wait for Eric? There's stuff's on that coffee table there. The soda bottle's right alongside it.

[Barry Craig]

Okay, I'll play bartender. Say when.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

When.

[Barry Craig]

How much soda?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Just a squirt. That's enough.

[Barry Craig]

Spot more, huh? Just enough to dampen your spirits.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

You're plaguing me.

[Barry Craig]

Had enough sheep? No. Good. Move out. We held an all night session. Me, Lieutenant, Trev Rogers and Grayson comparing the two manuscripts page for page. It was early dawn before I found a discrepancy between the two versions. You found something, Craig? Yes, Trev. Coralane's disappeared from the substituted version. Who's Coralane? Tell him, Grayson. Cora Lane is a character who appears

[Narrator/Announcer]

early in the novel.

[Barry Craig]

A woman the hero meets and falls in love with. She's in version one, she's out of version two. Now, why would the author go to all the trouble he did submitting a manuscript and then stealing it back just to write a character out of the book? Because the name Coralane means something. Something he didn't want found out. Means what? Coral Lane was a character, say, drawn from real life. She's a real name, a real person. Somewhere. Excuse me, Mr. Craig. They're saying that Trent only realized it when it was almost too late to make the change. One thing's pretty clear to me, Grayson. Eric Trent didn't write the book. Somebody else did. Who would you say did write the book, Craig? The hero of the story is my guess. Stanley Fields. Only that name is probably an invention. Or Eric Trent would have changed figures. The book is an autobiographic work. A man's true personal history disguised as fiction. The personal history of someone Trent stole the manuscript from. Someone now dead. Or Trent would never have dared to try for the big prize. Tramp. Yes. Arrest Eric Trent. Book him for the murder of Oscar Sachs. You're sure Sachs tumbled to some of the truth and Trent shut him up. Trent was also behind the Mike Kelsey red herring. That was a trick to throw dust in our eyes. Arrest Trent, Lieutenant. And when that little chore is over, check police files and directories for a Coral lane. Go to it, Trav. On this one, I'm making you a gift to the headlines,

[Narrator/Announcer]

Ladies and gentlemen. When a great reporter wants to get the inside story of a great new car, he gives it a thorough test run. That's exactly what John Daly did with the new Pontiac. Here he is to tell you some of the outstanding facts of the new 1952 Pontiac and its spectacular dual range performance. This is John Daly to tell you about a great advancement in automobile performance. The great new 1952 Pontiac with spectacular new dual range performance. A number of factors contribute to this sensational new kind of driving. Pontiac has combined a powerful high compression engine, new dual range hydromatic drive and high performance economy axle into an amazing powertrain that gives you tailor made performance at the touch of a finger. You can have tremendous acceleration and get up and go for any occasion with equal ease. You can choose a different type of performance. Quiet, economical cruising for the open road. Drive the new 1952 Pontiac with dual range performance on display at your Pontiac dealer now. It's spectacular new proof. The dollar for dollar you can't beat a Pontiac. The great new 1952 Pontiac with dual range performance is on display now at your nearest Pontiac dealer. See it, drive it as soon as you can. And now back to Barry Craig.

[Barry Craig]

It took two days for Trav to get back to me. When he did, he had a lady with him. A gray lady with haunted eyes. This is Cora Lane. Craig Coralane. Barry Craig.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Mr. Craig.

[Barry Craig]

How do you do? How did you find her, Trav? Police files. The name of Cora Lane appeared on an old record card. She reported her husband missing some years back.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Stanley? My husband. He left one morning, never returned. I was frightened. I imagined him injured. A traffic victim. I didn't know then that my husband had planned to just disappear. That he couldn't Live in my world that he had so much wanderlust.

[Barry Craig]

Her husband was the Stanley in the book. The author of it, as you theorize, Craig, your husband was a writer.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Yes, writer all through him. Foolish, wild, irresponsible and wonderful too. Is he dead?

[Barry Craig]

Tell her, child. Yes, he's dead.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Oh.

[Barry Craig]

According to Eric Trent's confession, your husband died of a tropical disease somewhere in the Pacific. Eric Trent was a drifter. Your late husband had taken up with an odd thing, Craig. What odd thing? I offered you one of two cases the other day. Why bring that up now? You took one, but you solved both. What? Cora Lane is the maiden name of Mrs. Stanley Talbot. Mrs. Cora Talbot. Not the $20 a day in expenses deal I passed up. Yes, as it turned out, you found her missing husband. A great lady, Trav. And all around loser. Her life hasn't been good. Her life needs fixing. Mrs. Talbot.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Yes, Mr. Cray?

[Barry Craig]

We're taking a ride, you and me. A ride cross town. You've been poor, but now you're rich. That book of your husband's the Cry of the hyena. There's $50,000 coming to you. And I'm going to stand over Grayson while he makes out that check. Good night, folks. See you next week.

[Narrator/Announcer]

You have been listening to William Gargan in another exciting transcribed mystery drama from the adventures of Barry Craig, confidential investigator. Tonight's story, the Paper Bullets, was written by John Robert. Next week it's the strange story of Death and the Purple Cow, about which Barry Craig has this to say.

[Barry Craig]

Next week I lose a client. Before I get him, a man dies in a hamburger joint and a purple cow turns out to be neither a cow nor purple. See you next week, folks.

[Narrator/Announcer]

Featured in the role of Judy was Barbara Weeks. Barry Craig, starring William Goggin, was under the direction of Hyman Brown. This is Don Pardo speaking. Now enjoy meredith wilson's music room on NBC. William Gargan stars as Barry Craig, confidential investigator.

[Barry Craig]

Murderers rarely have many friends. People can't keep up with them. You see, folks in the they set such a killing pace.

[Narrator/Announcer]

The National Broadcasting Company presents William Gargan in another transcribed drama of mystery and adventure with America's number one detective, Barry Craig, confidential investigator.

[Barry Craig]

Barry Craig. Speaking in my business, a guy doesn't have many friends. We know too much about people, the wrong kind of things and maybe the wrong kind of people. Or are there any different kind I wouldn't know the answer to. But after time enough and jobs enough, about the only thing the investigator can be sure is clean is his license. If he keeps it under glass. The hours are lousy too. Hello, Willie. Evening, Mr. Craig. You want some coffee? In Willie's wagon? Lay off the cracks. It looks like coffee, it smells like coffee and it tastes like sulfuric acid. I'll have a cup, thanks. How about some nourishment? I'll have a couple of donuts instead. A couple? What do you think I am, a weightlifter? Just watch your teeth. Working on them? Hey, you on a job? No. Well, then, what's keeping you up this late? Your coffee, mostly. You didn't have any before you walked in here. I can dream, can't I? Besides, yeah, I felt like company. Private eye gets tired of his own thoughts pretty quick. Why don't you quit thinking? I did. Half a dozen years ago. I've been a happy man since business. What'll it be, Bud? Does it have to be anything? I. I seen one of those before. Back up against the wall, huh? Sure, I'll let Craig. The personal touch. Just sit there, work on your donuts and coffee. I eat just as well without a gun. That's to keep it quiet, not stimulate your appetite. Thanks for explaining. Why do I have to be quiet? I want it that way. Uh huh. This Keep Craig Quiet week? Yeah. I just passed the resolution. In a little while I'm going to get sleepy. Don't let it bother you. My point is, do I have to be quiet only in Willy's wagon or can I go Be quiet, Craig. Yeah? I tried for you at your office first. The elevator man told me you'd probably be here. Jake's a prophet. Anybody else comes calling for you, the elevator man will tell him the same thing. You make it sound like a procession. Visiting Craig at midnight. Business isn't that good. Not a procession. One customer. You could give him a name. Sure. And when he gets here, what happens? I discourage him about consulting you. You reason with him. I discourage him. Hey, bud, how about me sitting down? You got a seat back at the counter? No, but there's one in the kitchen. Also a telephone I ain't checked recently. Keep leaning against the wall. This customer of mine. Suppose he looks in here before he pushes the door open? So he'll spot you. That's all right. Hmm. Look, if I'm gonna stay awake, I'll need more coffee. You? Yeah. Mr. Craig wants some more coffee. Okay. There's your coffee, Mr. Craig. Thanks. Well, it's an awful slow client I'm supposed to have. You'll be alone. Maybe you frighten him off tonight. What happens tomorrow? People run out of tomorrow sometimes. Yeah, all right. That could be him. Stay put, boys. I could use a client. Not this one. It won't be any use at all. Too bad. Hey, Willie, what'd you put in this cup, huh? Tastes more like concentrated lye than coffee. Shut up. It's an insult. Not coffee. Here, you try. It was hot, wasn't it? I'll take the gun now. What the. Those shots came from the door. Yeah. Car took the corner on a couple of wheels. Couldn't spot the license. That guy's bleeding all over the floor. Yeah. He'll stop in a little while. Willie. No more blood. Yeah. Yeah, his heart isn't pumping it anymore. The coffee I'd spilled in his face caked before the cops got to Willie's. It made him look very untidy. The deceased's name was John Largo, Mr. Craig. Thanks for telling me, Lieutenant Rogers. It would appear he was an executive from St. Louis. You mean executioner. A little early for indulging in theory, Barry. Not theory. The guy announced his job. The announcement was perhaps ambiguous. Largo was versatile. The numbers, jewels, slot machine. Okay, Trav, I know about a police officer's keeping his mind open. Must be drafty, though. Barry. Yeah? According to your report, Largo intended to discourage a client of yours. That's right. Which client? A client who hadn't hired me yet, but who had indicated he might. Trav, all these questions will maybe look good on a report. But I've told you all I know. I'm not happy about it. Well, maybe if I'd gone to college like you, I'd know more the way it is now. You mustn't hold that college degree against me, Barry. I forgive you. Any psychiatrist will tell you it was my mother's fault. But I've got to bring something in for the captain. Isn't a fresh corpse enough? Trav, let me go. After a while, it had been a dull night. Willie's wagon was lousy with the press, and Trav had to concentrate on the department's public relations. I started for home, made a detour, and headed for the office on Madison Avenue. Jake would still be on duty, making sure nobody stole the building. Jake. Jake. Any cow wants to get milked, she can come to me. I ain't going out in the middle of the night. Jake. You're not on the farm anymore. What? Oh. Oh, too bad. You should have stayed up in Vermont. No, I got tired of it. Why? Too close to New Hampshire? I've been kind of expecting you. Yeah, I noticed Your Wide eyes. Jake, a little over an hour ago, a small, fair haired man was here asking for me. Yeah, I remember him. I told him you was out getting poisoned over at Willie's. Did he find you? He found me. What I'm more interested in is the second person who asked for me tonight. I don't blame you. Why? I said I don't blame you. Must be a Vermont accent. Never mind blaming. That second person was a client. I know that. A client of mine, from the looks of things, committed murder a half hour ago. Your office must be getting pretty crowded. My office? Jake, didn't you tell my client where I was? Client didn't ask. Preferred to wait in your office. In my. Oh, that's what you meant about it getting crowded. Yeah, but the murder didn't take place in my office. Not the one I'm talking about, anyway. That's nice. Makes less work for the cleaning women. But in that case, never mind. Take me upstairs. Yep. Going up? Where else would I be going? I don't know. Same as my instructions. Always ask the passenger which direction he's going. Jake, what kind of a man was he? Who's that? The one up in my office. Well, up in Vermont, we wouldn't call him a man. You wouldn't? What would you call him? A girl. This wasn't my night for appearing smart. I stared at Jake with my mouth open until we reached the third floor. By that time, I managed to get it shut. Jake went back downstairs. I went down the hall to my office and went in and discovered that we'd call her a girl in New York, too.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Mr. Craig?

[Barry Craig]

Yeah. Sorry I kept you waiting.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Oh, that's all right. After all, you didn't know I was waiting for you, did you?

[Barry Craig]

I guess I didn't.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Well, I was.

[Barry Craig]

You had an idea about hiring me.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Actually, it was my brother's idea.

[Barry Craig]

I see.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Oh, that is. I'm Sally Marlin. My brother is Donald Marlin.

[Barry Craig]

It figures.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

You. You're laughing at me? No, I wouldn't like you to, even. Even though I'm not doing this very well.

[Barry Craig]

Exactly. What are you doing?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Oh, explaining. Donald's in trouble.

[Barry Craig]

The world isn't doing too well either.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Are you trying to make me angry?

[Barry Craig]

Yeah.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Why?

[Barry Craig]

Maybe you'll get around to telling me why you're here.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

My brother Donald has been in trouble ever since he came back. He thought perhaps he might hire a good private detective who would help him. And for some reason that I can't understand, he decided to hire you. Thanks.

[Barry Craig]

Then why didn't he Come here.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

He. He was afraid to leave the house.

[Barry Craig]

He sent you instead?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Yes.

[Barry Craig]

What kind of trouble is he in?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

The kind of trouble where he might get murdered.

[Barry Craig]

Usually a man in that kind of trouble goes to the cops.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Donald can't.

[Barry Craig]

Why not?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Well, he. He doesn't want to get into the papers, things like that.

[Barry Craig]

He's shy. Good night, Miss Marlon.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

What?

[Barry Craig]

When it comes to protection, a private eye can't come within a couple of light years of the cops. Nobody afraid of being killed was ever that shy.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Well, I'm sorry. It's because of the purple cow.

[Barry Craig]

The one nobody's ever seen.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Oh, no, no. This one is a little statue of a cow made out of purple glass.

[Barry Craig]

How much is it worth?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Well, it's kind of an antique.

[Barry Craig]

And your brother has it but neglected to get legal title to it?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Something like that. That's why he can't go to the police.

[Barry Craig]

I'll have to see him.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Of course. We live at 39 Barchester.

[Barry Craig]

39 Barchester.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Donald gave me some money to. Well, I guess it's called a retainer. $200.

[Barry Craig]

We'll consider it a retainer.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

I guess it's too late tonight for you to see Donald. But the first thing in the morning, Mr. Cray.

[Barry Craig]

The first thing in the morning.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Then good night.

[Barry Craig]

Good night. Ms. Marlon.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Yes?

[Barry Craig]

You said your brother had been in trouble ever since he came back. Ever since he came back from where?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

What? St. Louis, Mr. Craig. St. Louis.

[Barry Craig]

The dead Mr. Largo had also been from St. Louis. I crossed to the door and opened it. Sally Marlin was waiting for the elevator. Jake would have his troubles waking up. The elevator would have its troubles climbing all the way up to the third floor. I used the back stairs. By the time Sally Marlin would make it to the lobby in the street, I ought to be ready for her in my car. Halfway down the block. I was. She used a cab. And we went right. It wasn't a long ride. Her cab slowed down and stopped. I stopped. She paid the cabby off and went inside. The cab scrammed. I started up. I drove past the first place she'd gone into and memorized the address. It was not 39 Barchester. 39 Barchester was way over on the west side of town. Maybe Sally Marlin had stopped off at the other address for a drink. You can get drinks at the Club 44. Not to mention a ringside at a roulette game, a hand at poker or a thug for hire. Maybe Sally Marlin had been thirsty. I didn't stop at 39. The man in the creased hat and a bulging overcoat was trying too much to look like the local scenery. I cut around the block and wondered there'd be an alley leading to the back of 39 Barchester. There was. There was a man there too, making like an ash can. I parked on the next block and took a walk. I was going to have trouble visiting my client. I decided to have trouble in the alley. More privacy than out front. Hey, bud. Got a match? Sure. Thanks. Forget it. How's life among the ashcans, huh? Kind of cold, isn't? Ain't warm. You'll be glad to get back to the club. No, I ain't kidding. Well, what are you waiting for? Cochran sent you? What do you think? Yeah, but he didn't say nothing about pulling me out of here. Hey, wait a minute. I seen you before. Is that supposed to be a big surprise? I seen you before. Your name's Craig Ward. Gets around. You're a dick. A private dick. Says confidential investigator on my door. You don't need a gun. Keep your hand away from nice guy night to night. You won't. He didn't. He fell down instead. I thought he might be uncomfortable lying on a gun, so I disposed of it for him. I wondered if he'd thank me for it. Who's there? Craig. Say it again, Craig. Want me to wake the neighbors? Listen, I open the door slow. I want your hands in front of you and clean when I do. Okay? Otherwise I start shooting. Hold it. Yeah? Come in. Thanks. I have to be careful. Sure. Sit down. Thanks. Man with a purple cow. Can't be too careful. What's a purple cow supposed to be? Something you find in St. Louis, the way I heard it. Just making sure Sally got to you. She got to me. She's a good kid. Uh huh. Marlon. Yeah. I could stand a little more information. For example, how did you get the purple cow in the first place? Friend of mine handed it to me. He ran an antique shop in St. Louis. Just gave it to you? Sure thing isn't worth more than a couple of bucks. And that's when all your trouble started. That's when it started. You could have yelled for the cop. Sure I could have. But look, first of all, there were no witnesses around when I got that cow. Second, I didn't know what importance it had. Not until after I left St. Louis. Why didn't you get in touch with the man who'd given you the cow? I tried to and found out somebody had pumped him full of lead. This friend of yours had a record? Yeah. That was another reason I wanted to stay clear of the police. He'd been a fence. What kind of stolen goods did he concentrate on? Jewels, mostly. Is that the cow up on the mantelpiece? That's the cow, all right. I know what you're wondering, but no dice. It's made out of grass. I had it appraised. Maybe it's hollow. It's hollow. Nothing in it either. You know a man named Largo? Largo? Small, fair haired man, comes from St. Louis. No, I don't. Why? Oh, nothing important. You figuring on going out tonight?

[Narrator/Announcer]

No.

[Barry Craig]

That's good. You'd have company if you did. What kind of company? Couple of hoods, front and rear of the house. Hoods? That's the kind of thing I mean. Why are they after me? On account of a hunk of worthless glass? I don't know yet. Maybe I'll go ask some questions. Oh, these hoods. Marlon? Yeah. Work for a man named Cochran. Name mean anything to you? Sure. That's the man my sister's going to marry. I used the front door. The mug in the alley might be resentful. I had no time to soothe him. I had a headache. I wanted to go home and kill a couple of beers and sleep. Marlin was safe for the night. So was the cow. No reason why I shouldn't go home. Maybe that's why I didn't go home. Good evening, sir. Welcome to Club 44. Oh, I'm not a customer. Cochran. Huh? Mr. Cochrane. All right, let's be formal. Mr. Cochran. Mr. Cochran's not in, sir. Okay, take me to where he is. And then harder. Listen, you Now I'm too tired. Stop crowding. You're all alone. Compared to what I could do to Tough Big. You could be cut down. Let Cochran try it.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Come on.

[Barry Craig]

Okay. Take your hands off me. Just a sample. Let's go. Mr. Cochran isn't gonna like this. Maybe I won't like Mr. Cochran. The gentleman will see you, Mr. Cochran. Gee, thanks,

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Mr. Craig.

[Barry Craig]

Craig. Hello, Ms. Marlon. Hello, Cochran. I couldn't start, not in a club. Mr. Cochrane. Don't be silly, sir. Mr. Craig is always welcome. Run along, huh? Yes.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

What are you doing here, Mr. Craig?

[Barry Craig]

I confused it with 39 Barchester. Maybe the same way you did. Nice to meet you, Mr. Craig. Uh huh. Of course, I'm curious about why Sally Marlon hired me for her brother. She was worried about him. So she left my office and promptly headed here. She didn't want to worry alone. Exactly what I was thinking. So I went on to 39 Barchester. Oh. The man watching the alley may have a little trouble with solid food for a while. I see. Marlon and I had a nice visit. And you know about Sally and myself. Sure. I also know you put those men on marlin to protect him. Then why did he want me?

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

I didn't know that Mr. Cochran would be able to help my brother.

[Barry Craig]

You did say help. We've had a lovely conversation. I think it's over now. I think it isn't. You must have a reason. I was hired to do something about the trouble Marlon's in. And you're doing it here? Let's say I'm trying to. I hardly appreciate your sweaty efforts, but you're the one who's sweating. Know a man named Largo Cochrane? Yes, I. Never mind. He's dead. Surprise. Wonderful thing, a radio. Uh huh. Largo made a nice hall in St. Louis. Jewels. He turned them over to a fence who ran an antique store. How interesting. It gets better as we go along the fence. Then turned around and handed marlon a purple cow. Marlon left town. Largo left town right after him. To wind up dead on the floor of a hamburger joint. What a distressing place to die. I don't think Largo was bothered about the decor. He killed the antique boy when he found out his jewels were gone. He was therefore after Marlon, presumably. Presumably. In that case, I was in the hamburger joint when lago was killed. If you will eat such dreadful stuff. You knew Largo. You know all about marlon and the purple cow. Through Sally here. You have a couple of boys sitting on Marlin's tail, Mr. Cochran. How much of a chance do you think you'd have in front of a jury? Well, you agree with me. Not much of a chance.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Phil. Sat. Coming.

[Barry Craig]

Shut up. What Mr. Craig has forgotten is that he's the only one outside of ourselves who knows all these things. So I have no intention of being brought before a Jew raised. There's a pretty well known road paved with intentions, Cochran. I'm not traveling as yet, Craig. But I rather think you are. Keep your hands still, Sally. See if he has a gun, Bill. I don't. See if he has a gun.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

All right. He. He had a gun, Bill.

[Barry Craig]

Throw it here. All right, Sally.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Yes.

[Barry Craig]

Run along home, Phil.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

I won't let you.

[Barry Craig]

Don't be a fool. You can put me in the chair, Charlie. I told you I can't let you. You're in my way, you idiot. Craig, killing the lights won't help you. You've no guns. Craig, be still. I can't hear my arm. Don't twist arms for fun. Grab it. Grab it. All right, thanks. The light, Sally. The thing to do in the dark is keep quiet, Cochrane. Then nobody knows where you are. I'll know better next time. Sure, if there is a next time. Speak up, Cochran. I'll feed you the answers if it's your boys. Oh. Who's there? Lieutenant Rogers, Homicide. What do you know? Come in, Trav. Lieutenant Rogers. And hello, Marlon. Hello, Donald. I decided to yell for help to the cops. About time too. After you left me, Craig, I began to worry about those men watching the house. Keeping me tied up, waiting. Waiting. Take it easy. I'm all right. I worried about you too. I knew you were coming here. Thanks. And about Sally. I didn't want her to commit herself. This is ridiculous. What is, Cochran? The insinuation that I. That I killed Largo. That why Craig was holding a gun on you.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

He.

[Barry Craig]

He thought he was mistaken, Barry. He might have killed me, Tram. A very solid vote of confidence. One thing bothers me, a modest man. That's because I never went. Barry. Barry. Barry. Okay, I'll save it. The thing that bothers me is how did Largo find out Marlon was going to hire me? Seems like a fair question. Would anyone here like to answer it? Maybe we can throw a couple of possibilities out. Marlon wouldn't have told Largo for a lot of reasons. Among them the fact that Largo was gunning for him. Marlin, therefore didn't would.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Sally, I never even knew this. This Largo.

[Barry Craig]

Reasonable reply. You're accepting it, Barry? Uh huh. That leaves us now. Wait. Perhaps. Perhaps I did tell Largo something about it. You found out through Sally. That's true.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Oh, Bill.

[Barry Craig]

I'm sorry, darling. But you see, I've known Lago for a long time. When Lago told me he was after your brother, I thought perhaps I might discourage him. It's an explanation. You like it, Barry? Not much. Cochrane told Lago because he hoped Lago would kill Marlon.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Oh, no.

[Barry Craig]

Only reason that means anything. Then Cochran might inherit the purple cow. But the purple cow is worthless. That can wait till later. Sally, you told your brother that you'd mentioned the business of hiring me to Cochrane.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Well, I guess so.

[Barry Craig]

I. I demand a lawyer. You'll get one. And a jury. You know something, Tram? Something like what? Cochran was right when he said it was ridiculous. When he said what was ridiculous? That he killed Largo. Oh, because he didn't. Well, this is a fine time to tell me who did the Person who understood my last question to Sally. The person who's making a beeline for the desk. A gun on it. You mean. You mean it was your brother, Mr. Donald Marlin. Mr. Marlin was very silent after that. It didn't take long to book him. Cochran didn't bother going along for the ride. But Sally did. That's that. Sorry, Ms. Marlon.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

I've always known Dahmer wasn't.

[Barry Craig]

Wasn't very Barry. Before the DA Embarrasses me, suppose you tell me why I've locked him up. Sure. He was the only possibility. Who didn't know Largo? I refuse to stand here and feed you questions. Use the narrative form. Won't take a minute. Largo, back at the hamburger joint, when he was waiting for my client to show up, Said he wasn't worried about being spotted before he could kill him. That meant my client didn't know Largo. It was Marlin's idea all along to kill Largo and implicate Cochran for the killing. But for a purple cow, you've got Marlin's keys. One of them must be for a safe deposit box the boys are already checking. Nice work, Trav. Once you pointed a finger at Marlon, I realized that he was the only source for the purple cow fantasy. Actually, the antique store fence in St. Louis must have slipped the jewels to Marlin in an effort to defraud Largo. So Marlin invented the purple cow as a red herring. We're getting our colors mixed, but. But that had to be the idea. Yes. Good night, Mr. Craig. Good night, Ms. Marlin. I can't think of a last line.

[Various Female Characters (e.g., Judy Joy, Sally Marlin)]

Well, I can't either, but. Oh, you've been sweet, Mr. Craig. You never suspected me. Does there have to be a last line?

[Barry Craig]

No. Good night, folks. See you next week.

[Narrator/Announcer]

You have been listening to William Gargan in another exciting transcribed mystery drama from the adventures of Barry Craig, confidential investigator. Tonight's story, death and the Purple Cow, was written by Lou Vitis. Next week, it's a strange story titled Ghost of a Chance, about which Barry Craig has this to say.

[Barry Craig]

In next week's story, a man comes back from the dead to haunt a wife who's been dead almost as long as he has in an insurance scheme that almost but not quite, cancels out yours truly. See you next week, folks.

[Narrator/Announcer]

Featured in the role of Sally was Arlene Blackburn. Barry Craig, starring William Gargan, was under the direction of Hyman Brown. This is Don Paros speaking. Now enjoy Meredith Wilson's music room on NBC.

[Barry Craig]

That wraps it up for tonight's show at 1001 Radio Grime Solvers. We really enjoy good reviews, so when you have a chance, say something nice about a selection of shows or maybe suggest some to us. Thanks for joining us. See you next time. Sam. Sa.