Boston Blackie and Michael Shayne

Summary

Case Closed! – "Boston Blackie and Michael Shayne"

Date: April 15, 2026
Podcast: Case Closed! (RelicRadio.com)
Episode Theme:
A classic double feature from the golden age of radio detective stories: first, Boston Blackie tackles a baffling diamond theft and murder in "The Stolen Diamonds," and then Michael Shayne is lured to Mexico for a crooked casino mystery in "The Case of the Crooked Wheel." Both stories immerse listeners in iconic 1940s noir, with shadowy crimes and clever detectives navigating peril and deception.

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1. Boston Blackie: The Mystery of the Stolen Diamonds (00:10–25:48)

Main Theme

Boston Blackie is enlisted by an insurance agent to uncover how diamonds keep vanishing from a tightly controlled jewelry setting room—a puzzle made even deadlier when the agent is murdered.

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Key Discussion Points & Insights

Blackie is Recruited for an "Unsolvable" Case

• Setup: Emil Barnes, insurance agent, offers Blackie both a hefty reward and an irresistible mystery.
• Situation: At Winthrop Jewelry, three diamond setters work in a locked room; diamonds disappear daily despite exhaustive searches and no outside contact.
  • "Instead, I'll offer you a mystery. A mystery I'll guarantee you can't solve." — Barnes (01:57)

The Suspects & Circumstances

• Suspects: Hans Van Houten (veteran from Holland), his protégé John Glass, and newcomer Jim Aldrich each bring lunch, never leave work, and are always searched—including via fluoroscope.
• Constraints: No one enters or leaves, no obvious hiding places.

Blackie Goes Undercover

• Blackie enters the shop as "John Jones."
• Dynamics among the setters are tense; distrust and accusations abound.
  • "We get searched like a bunch of thieves every time we leave work. But the diamonds keep disappearing just the same." — Aldrich (06:25)

The Impossible Theft

• Blackie and sidekick Shorty inspect for possible hiding spots, including windows (but the 12th floor overlooks a river) and lunchboxes.
• Discovery of a kernel of corn leads to an "aha" clue about lunch habits.
  • "This kernel of corn for instance—why in the... Bird food. Mary, I got it." — Blackie (14:05)

Murder Complicates the Case

• Emil Barnes is found shot dead as he leaves Winthrop Jewelry (10:16).
  • "This fella's been shot... That's Barnes. Emil Barnes from the insurance company." — Winthrop & Blackie (10:25)
• Inspector Faraday suspects one of the three men and ties the murder to the thefts.

Eureka: The Pigeon Scheme

• Over a late-night snack, Blackie realizes the thief uses homing pigeons hidden in a lunchbox to fly out with diamonds undetected.
  • "The diamonds fly out the window... attached to homing pigeons." — Blackie (15:11)
• The theory: thief brings in a pigeon, ties diamond to its leg, releases it from the window when no one's watching.
• Faraday, unconvinced but desperate, searches lunchboxes next morning—finds only lunches. Blackie expects the thief has “gone cold” due to the scrutiny.

The Rooftop Stakeout & Resolution

• Blackie and Shorty stake out Van Houten’s roof pigeon coop, expecting to catch him.
• Instead, they catch John Glass in the act.
  • "Hey, Blackie, that wasn't Van Houten. That was John Glass!" — Shorty (23:41)
• Glass attempts a rooftop escape, falls to his death ("Step back, Shorty, or you might. Wow. That's the end of John Glass." — Blackie, 23:53).

The Reveal & Epilogue

• Glass used Van Houten’s pigeons (unknown to their owner) and custom capsules to smuggle diamonds.
• Glass also killed Barnes after overhearing hints the case was nearly solved.
  • "He got the idea when he became friendly with Van Houten... He used Van Houten's pigeons to fly the diamonds back here. And Van Houten didn't know a thing about it." — Blackie (24:48)
• Memorable banter closes out the case:
  • "How’d you get away with it? You don’t know anything about diamonds."
  • "Are you kidding? I don’t know anything about diamonds?" — Mary and Blackie (25:36)

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Notable Quotes & Moments

• [02:10] "Enemy to those who make him an enemy, friend to those who have no friend." — Narrator
• [14:14] "Bird food. Mary, I got it!" — Blackie’s realization
• [23:49] "Step back, Shorty, or you might. Wow. That’s the end of John Glass." — Blackie
• [25:11] "He found several [capsules] in the pigeon coat. And one with the diamond still in it." — Blackie

---

2. Michael Shayne: The Case of the Crooked Wheel (26:10–51:00)

Main Theme

Detective Michael Shayne is hired by a flamboyant casino owner in Mexico to uncover how someone is cheating his roulette wheels, but quickly finds himself entangled in violence and betrayal.

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Key Discussion Points & Insights

Shayne’s Unusual Client

• Ramon Paquito, casino owner with a penchant for “giving away money,” fears a scam is bankrupting him.
  • "I give away thousands of pesos, free gratis, for nothing. No obligations." — Paquito (28:22)
• Paquito fears he could “commit a murder” if the cheating continues.

Arrival & Trouble in Mexico

• Shayne’s first steps in Mexico get him roughed up by local goons, rescued by the enigmatic Gabby.
  • “You and I—a man head deep in nothing.” — Shayne, after being beaten and waking to Gabby (26:41, 31:52)
• Gabby warns Shayne to leave, hinting at lethal consequences.

Inside the Casino

• Shayne observes the Paquito Casino, meets Mark Hagen (the croupier), who defends the establishment’s honesty.
• Shayne witnesses a cheating con: planted accomplices use hidden chips under bills—one gets ejected, the other collects undeserved winnings.
  • “You were the little man in the dinner jacket. You threw down a hundred peso note with a blue chip underneath it. You get thrown out, dinner jacket collects 35 for one.” — Shayne deducing the scam (37:40)

Danger and Alliances

• Shayne is shot while following the cheater, cared for by Hagen (who proves to be an ex-surgeon).
• Suspects include Mark Hagen, Gabby, Hugo (the brute), and Drew (the dapper cheater).
  • “Taking bullets out of people… It’s an old hobby of mine.” — Hagen (40:19)
• Shayne tries to connect Hagen's old surgeon skills to possible roulette manipulation—suggesting Hagen could control the ball with great dexterity.

The Big Heist

• Gabby and Hagen make a bold final play at the roulette table, exploiting Hagen’s skills to stack enormous winnings for Gabby.
• Paquito, suspicious, stages a test—Gabby wins a string of improbable bets.
• Drew joins for a "last spin," staking all on Gabby's number.

Violent Climax

• As the wheel spins, Hagen and Drew draw weapons. In a blur, Hagen kills Drew, but is fatally shot himself (48:01).
• Gabby flees; Shayne chases her to her room, where Hugo confronts them, gun drawn.
• Gabby kills Hugo to save herself (and, incidentally, Shayne).

Resolution

• Shayne exposes Gabby: she was double-crossing everyone. She and Hagen had fixed the wheel, and she tried to cut in with Hugo and Drew as well.
  • “You thought you could double your profits by throwing in with Hugo and Drew. Maybe you were gonna double cross them, too. I don’t know.” — Shayne (50:04)
• Gabby tries to seduce Shayne into running off together, but he calls the police instead.

---

Notable Quotes & Memorable Moments

• [28:14] "I give away thousands of pesos, free gratis, for nothing. No obligations." — Paquito, setting the tone
• [41:19] "An ex surgeon could get the same idea. A man who could do things with his hands. Intricate things. What other reason for the roulette wheel on that table over there? Practice." — Shayne’s theory
• [45:43] "On the next spin, the girl won again. Then she lost. Soon she began to double her bets and kept winning..." — narrator, building suspense
• [48:01] The double-cross and shootout at the roulette table—a classic radio drama climax
• [49:32] "Aren’t you going to thank me for saving your life?" — Gabby to Shayne, after shooting Hugo

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3. Timestamps for Key Segments

• 00:10 – Opening; "Case Closed Crime Stories from the golden age of radio."
• 01:57 – Barnes offers Blackie the "unsolvable" mystery.
• 10:13 – Barnes is found murdered.
• 14:05 – Blackie’s corn kernel clue and revelation.
• 15:11 – Blackie outlines the pigeon-smuggling theory.
• 23:41 – Rooftop confrontation: Glass caught; his fatal fall.
• 25:48 – Boston Blackie case wrap-up.
• 26:10 – Michael Shayne story begins.
• 28:22 – Paquito worries about his "habit" of losing money.
• 31:53 – Gabby warns Shayne to leave Mexico.
• 37:40 – Shayne explains the casino con.
• 41:19 – Shayne's roulette wheel theory.
• 45:43 – Gabby’s "lucky" winning streak.
• 48:01 – Shootout between Hagen and Drew.
• 49:32 – Gabby kills Hugo; Shayne sees through her scheme.
• 50:31 – Episode close.

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4. Tone & Original Language

Both dramas crackle with noir wit and hard-boiled banter, delivering puzzles laced with suspense, sly humor, and the kind of fast-paced, character-driven dialogue that defined mid-century radio mysteries.

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5. Episode Highlights & Lasting Appeal

• Ingenious solutions to "impossible" thefts—pigeons in Blackie; sleight-of-hand and rigged roulette in Shayne.
• Classic detective tropes—undercover work, mistrust, sudden violence, and the key clue hidden in plain sight.
• Memorable side characters: wisecracking sidekicks, tough-talking police inspectors, and femme fatales.
• Each story closes with a nod to classic detective humility—victory tinged with rueful humor and romantic misdirection.

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Perfect for:
Fans of vintage mystery, lovers of 1940s detective dialogue, and anyone wanting to hear how the masters of Old Time Radio spun two classic "locked room" puzzles into rich, atmospheric entertainment.

Transcript

[A]

This is Case Closed Crime Stories from the golden age of radio.

[B]

Sacky.

[C]

Blackie, come on, wake up. Come on, wake up, Blackie.

[B]

What's the matter, Shorty?

[C]

Nothing's the matter, Blackie. There's an insurance man here wants to see you.

[B]

Well, tell him I don't want any.

[C]

I told him that, but he says he don't want to sell you nothing. He wants to give you something.

[B]

Yes.

[D]

$10,000, Blackie.

[B]

Huh? Who are you?

[C]

He's the insurance guy, Blackie.

[B]

I'm sorry to disturb you so early

[D]

in the morning, Blackie, but I'm Emil Barnes, agent for the Rodley Insurance Company.

[B]

Well, that doesn't sound like any reason to wake me up.

[E]

And I'm going back to sleep.

[D]

Perhaps you'll open your eyes for $10,000.

[E]

For that, I wouldn't even open one eye.

[B]

No, no. Go away, little man. I'm sleepy.

[D]

I realize that, and I hate to be so persistent, but, Blackie, I want you to do something for me.

[B]

I want you to do something for me, too. Leave me alone. I won't offer you money again, Blackie.

[D]

Instead, I'll offer you a mystery. A mystery I'll guarantee you can't solve.

[F]

And now back to Dick Kalmer as Boston Blackie. Enemy to those who make him an enemy, friend to those who have no friend.

[E]

Barnes, you think there is a mystery I can't solve?

[D]

Well, solving this one calls for an expert, Blackie.

[B]

Is that so?

[E]

Oh, Shorty, should I be modest or

[B]

should I admit he came to the right man?

[C]

Just be yourself, boss, and solve it for him.

[B]

Thank you, Shorty. And now, Barnes, what's this mysterious mystery I can't solve? Well, it's this, Blackie.

[D]

My company carries the theft insurance for the Winthrop Jewelry Company. Now, almost every day for the last month, a diamond has been stolen from the workroom where the diamonds are sat

[B]

into rings, clips, brooches and so forth.

[D]

Now, there are three diamond setters in the shop, and we know one of

[B]

the three is guilty.

[E]

Which one?

[D]

Now, that we don't know, Blackie. Nor do we know how the diamonds are stolen. You see, all three of the men in the shop are searched when they leave.

[E]

They're searched at the end of the day, you mean?

[G]

Yes.

[B]

Oh, what about when they go out to lunch?

[D]

They don't go out to lunch. All three of them bring their lunches to work and eat in the shop. They never go out during working hours and no visitors are allowed to come in.

[C]

Hey, I know a way to stop the diamonds from disappearing. Fire all three diamond setters.

[D]

Well, I suggested that to Mr. Winthrop, the owner of the company. But he doesn't think that it's fair to the two men who are not taking diamonds.

[B]

Here's a point there. What do you want me to do?

[D]

Find out how the diamonds are being taken out of the shop. Now, understand, all three men are thoroughly searched. Not one of them has ever had a diamond on him. Yet almost every day a diamond is missing.

[B]

That's very intriguing.

[E]

Who are these three men?

[D]

Well, there's Hans Van Houten. He's an expert diamond setter from Holland. He's been with the Winthrop company for 20 years.

[B]

And then there's, let's see.

[D]

Oh, young John Glass. He's Van Houten's protege. And the newest member of the trio is Jim Aldrich, a young man from Georgia.

[E]

I see. Well, I'd say you have two mysteries, Mr. Barnes.

[F]

Yes?

[E]

Who is taking those diamonds and how

[B]

are they being smuggled out? Blackie, I've.

[D]

I've made plans for you to go to the shop later today as an

[B]

employee of the Winthrop Company.

[D]

Under another name, of course.

[B]

You'll be John Jones. You've made plans for me already?

[E]

Pretty sure I'd take this case, weren't you?

[B]

Hey?

[D]

Yes, I was. The method of stealing those diamonds has to be ingenious. It must interest a man like you.

[B]

Well, doesn't it? Not much.

[E]

Barnes, give me 30 seconds to get dressed and I'll be right with you.

[B]

Here is an order for three 2 carat diamonds to be set in a platinum ring. Jim, this job I will give to you.

[D]

Thanks, Van Houten. Soon as I'm through with this polishing machine. Think you ought to trust him with diamonds?

[H]

Van Houten?

[I]

Why not, John?

[D]

I know why he says not to trust me. Glass here thinks that I'm the guy who's stealing the diamonds.

[B]

John, you should not say such things.

[D]

Well, one of us has taken the diamonds out of here, and I know I'm not. And I don't think it's you, Mr. Van Houten.

[B]

So who's left?

[D]

I'm left. But either you or your pal Van Houten can be taking them.

[E]

Maybe both.

[D]

How much are you selling them for, huh?

[B]

Why, you dirty.

[D]

Take your hands off of me.

[E]

Sure, I'll take my hands off.

[D]

Boys, please, boys, no fighting.

[I]

It'll do no good to fight.

[B]

Fighting will not bring back the strength.

[I]

Stolen diamonds.

[B]

Fighting will not prove who is guilty of this terrible thing. They must not fight. I agree with you. Van houten. Good afternoon, Mr. Winthrop. Hello, Mr. Winthrop. Hello.

[A]

It's closing time, gentlemen. You'll go out to be searched as usual.

[I]

Yes, yes, but before you go, I'd

[A]

like you to meet a new employee, Mr. John Jones. He'll work in here with you.

[B]

Hello. Of course. Hello, Mr. Jones.

[A]

This is Van Houten.

[B]

How do you do, Mr. Jones?

[A]

He's in charge here. And this is his protege, John Glass. And this is Jim Ulrich.

[B]

How do you do, sir? Hi, Jim.

[D]

You're sure going to like it here, Mr. Jones. We get searched like a bunch of thieves every time we leave work. But the diamonds keep disappearing just the same.

[A]

Well, gentlemen, Mr. Barnes at the insurance company's in the outer room ready to search you. This won't go on much longer, though.

[B]

No? Why not?

[D]

You know who's taken the diamonds?

[A]

Mr. Barnes told me this morning that he's on the verge of naming the guilty one. Thinks the case is as good as solved.

[B]

He does?

[A]

Now, you'd better go in and be searched.

[E]

See you in the morning, fellas.

[B]

Right. So long. All right, Blackie, you're free to look around now.

[E]

Thanks, Mr. Winthrop, but I'd like to

[B]

look around my way, if you don't mind.

[D]

Not at all.

[E]

Will you send my assistant Shorty in right away?

[B]

Thanks.

[E]

And let me know as soon as Barnes has finished searching those three, will you?

[A]

I certainly will. It'll be some time, though. We make the search very thorough, Even use a fluoroscope.

[B]

Oh, Shorty, you may go in now. Oh, thanks, sir.

[C]

Hi, Blackie. Hey, this is some swell joint, huh?

[E]

As joints go, Shorty. Well, let's look around.

[C]

Okay, boss, but for what?

[B]

Oh, nothing much.

[E]

Merely a clue as to how one

[B]

of the three men who work in

[E]

this room manage to steal a diamond almost every day without being caught.

[C]

Maybe the thief swallows it.

[B]

No, short one, not that way.

[E]

The suspects are put under a fluoroscope. That would detect a diamond if they swallowed it.

[H]

Oh.

[C]

Well, where do we start looking, Blackie?

[B]

Right here. Let's see now, where are we?

[C]

Right here in the middle of a room.

[E]

And what do we see?

[C]

Well, I see a small safe, workbench and a door.

[B]

That's the washroom, according to the sign.

[C]

And I see two windows, Blackie. The windows. That's how the thief gets the diamonds out. He throws them out the window.

[E]

Maybe you should have stayed home, Shorty. You know where we are?

[C]

Sure. In this room.

[E]

You know where this room is? It's on the 12th floor. And this side of the building faces the river.

[B]

Oh, so. So I'm not so smart, huh?

[C]

Anything thrown out the window would drop into the river.

[B]

Now you're being a little bit smarter.

[C]

Hey, what's this on the little wall here?

[E]

Let's have a look.

[B]

Sherry?

[C]

Just coat hangers.

[E]

Oh, yes, a shelf.

[B]

This is where Van Hooten Glass and Aldrich put their lunch boxes.

[C]

Lunch boxes?

[E]

Yes, Shorty, they have their lunches right here. That proves the diamonds aren't taken out during the lunch hour.

[C]

Hey, Blackie, that means the only time they could carry out a diamond is after work. And that's now, huh?

[E]

And now they're being searched, but thoroughly. Just as they're always searched, but thoroughly.

[B]

Hey, what's this thing here?

[C]

Looks like a piece of corn, Blackie.

[B]

I can just get it out of its crack in the floor. There's corn.

[C]

Oh, I know how that got there. One of the three guys who worked here had corn on a cob for lunch. Which reminds me, Blackie, I'm hungry. How much longer are we going to stay here, huh?

[E]

Not much longer.

[B]

I've looked the place over from top

[E]

to bottom and haven't found anything. All we have to do now is

[B]

wait for a report. Barnes has finished searching Van Houten, Glass and Aldrich, and that should be very soon.

[C]

Gee, boss, how is that guy getting the diamonds out of here?

[B]

I don't know, Shorty.

[E]

This mystery is everything Barnes said it would be. The diamonds can't be thrown out the window.

[B]

They'd be lost in the river.

[C]

And they can't be carried out because all three guys are searched.

[E]

They can't be hidden in here because there's no place to hide them.

[C]

Uh huh.

[E]

Barnes himself figured that out a long time ago.

[B]

Oh, Blackie.

[E]

Oh, yes, Ms. Winthrop. Has Barnes finished searching those three?

[B]

Yes, he's already left.

[A]

You can probably catch him if you want him, though. We found nothing on the men.

[E]

The fluoroscope showed nothing on it.

[A]

Not a thing. Do you know how this has been done?

[B]

You've searched them and found nothing? Uh, you can search me.

[J]

What's the trouble here?

[I]

What's the trouble?

[K]

All right now step back, all of you.

[A]

Let me see here. Let me see. Ah, shot to death.

[E]

What's the matter here, Officer?

[A]

Uh, oh, stand back, mister. This fella's been shot.

[B]

That's Barnes.

[E]

Emil Barnes from the insurance company.

[A]

You know him, huh?

[E]

Only slightly, Officer. He was doing a little investigation for the Winthrop Jewelry Company.

[A]

Oh, you don't say. He left the Winthrop Company just now, huh?

[E]

Yes, and so did I. I was trying to catch up with him. But it looks like somebody caught up with him before.

[G]

Mr. Winthrop? I'm Faraday, Police Inspector. I'd like to talk to you about

[B]

the murder of Emil Barnes.

[A]

Of course, Inspector.

[B]

Hello, Faraday.

[G]

Blackie, what are you doing here?

[B]

Believe it or not, Faraday, I work here.

[A]

That's right, Inspector.

[G]

Work here. Blackie, you never did a liquor work in your life.

[E]

Well, I haven't done anything since I first met you.

[B]

I haven't had time.

[E]

I've been too busy solving your cases.

[G]

Come on, come on. Why are you here?

[A]

He's employed here, Inspector, as a diamond setter.

[G]

What?

[E]

It's all very simple, Faraday.

[B]

Even you should be able to understand it.

[E]

You're here to investigate the death of

[B]

Emil Barnes, aren't you? Yes.

[G]

And I suppose you know who killed him.

[E]

I do. One of three men.

[B]

Faraday, Van Hooten, Glass or Aldrich.

[E]

Because one of these three are stealing diamonds from the diamond setting room.

[G]

Stealing diamonds? What's that got to do with Barnes death?

[E]

Everything.

[B]

Barnes was trying to find out how the diamonds were being stolen. He couldn't do it, so he asked me to try.

[E]

I just started working.

[G]

I suppose you've solved the case already.

[B]

No, I haven't any idea how it's done.

[E]

The diamond setting room is on the 12th floor facing the river. And all three diamond setters are thoroughly searched before they leave the shop.

[A]

But the diamonds keep on disappearing, Inspector.

[B]

They do, huh?

[G]

And what about today?

[E]

Today, Faraday, I'll guarantee one thing. A diamond isn't missing.

[A]

Blackie, you just guaranteed Inspector Faraday a diamond would not be missing.

[B]

I don't see how one could be.

[A]

I don't either. But my inventory report shows that another diamond has been stolen today.

[F]

Now back to boston.

[B]

Blackie.

[F]

Blackie is involved in a mystery which even he feels that he cannot solve. Three men work in a diamond setting shop from which a diamond disappears almost every day. The three men are searched every time

[B]

they leave the shop.

[F]

But no diamond is ever found on. No visitors are allowed in the shop. And the only windows in the room which is on the 12th floor, face on a river. To add to Blackie's troubles, Emil Barnes, insurance agent investigating the thefts, is murdered, obviously by one of the three suspects. As we return to our story, Blackie and Murray Wesley are in a small cafe having a midnight snack.

[L]

Cheer up, Blackie. After you've had something to eat, you'll.

[B]

I don't deserve to eat. Mary, I'm sure this case isn't as tough as I'm making it, if I could just find a clue first.

[L]

Find something on this menu, then you can look for a clue.

[B]

Oh, all right.

[E]

What are you gonna have?

[M]

Well, I don't know.

[B]

I. Mary, I. I told you about Van Houten Glass and Aldrich, didn't I?

[E]

Now, which one of those three might

[B]

be a thief and a killer?

[L]

I think better after I eat. Honey child.

[B]

Oh, I'm sorry.

[L]

Now, what are you going to have

[E]

you eat, Mary, I don't feel like it.

[B]

I have all the food I want, and it's all for thought. This kernel of corn, for instance. Why in the.

[L]

Darling, you can stare at that piece of corn if you want to, but you're gonna feed more than that to me. That is bird food, and I'm a growing girl.

[E]

Order the biggest steak in the house if you.

[B]

Bird food. Mary, I got it.

[M]

Got what?

[B]

The answer. I know how it's done.

[L]

How what was done?

[B]

Where's the telephone?

[L]

Well, it's just writing back up.

[E]

You come on. I'll tell you and Faraday at the same time.

[M]

Well, hey, wait for me.

[B]

Well, come on.

[L]

Honey. Honey, do you think it's smart to call Inspector Faraday in the middle of the night?

[B]

I'm smart at all hours, Mary.

[L]

Oh, aren't you modest?

[E]

No, just happy.

[L]

Okay.

[B]

Hello?

[G]

Hello, Friday?

[E]

This is Blackie.

[B]

Who?

[I]

Your old pal, Blackie.

[E]

Wake up, Faraday.

[G]

Flaggy, what's the idea of calling me

[E]

up in the middle of the night? Sorry, pal, but I can't solve your cases at your convenience.

[G]

What case have you solved now?

[E]

You think I know how those diamonds get out of the setting room at the Winthrop Company?

[B]

Oh, you do, huh?

[G]

I suppose they fly out the window.

[B]

They sure do.

[G]

Faraday, did you wake me up to tell me jokes?

[E]

No, Faraday, to tell you the case is solved.

[G]

The diamonds fly out the window?

[E]

Yes, Attached to homing pigeons.

[D]

Legs. Sure.

[G]

Huh.

[E]

The guy ties a diamond to the leg and the pigeon flies home. Because that's what it's trained to do.

[B]

Hey, you might have something there.

[E]

I think I've got the answer. Those guys aren't searched when they go into the shop, only when they go out.

[G]

I know that. How does the homing pigeon get into the shop?

[E]

Well, the thief brings him in in the lunchbox. And the lunchbox is empty when the guy leaves, because by that time, the pigeon and the diamond have also gone out the window.

[B]

Uh huh.

[E]

Look, Faraday, I want you to come up to the shop at Winthrop's tomorrow

[B]

morning early and search those lunch boxes. Okay.

[G]

But what if I don't find a pigeon?

[E]

Well, then I have a second plan in that case. But you'll find a pigeon, I'm sure. And when you do, the little birdie

[B]

will also tell you who killed Emil Bond. You are having trouble polishing the diamond, Mr. Jones. I may help you perhaps.

[E]

No, thanks, Van Houten.

[B]

I'm getting it.

[G]

Hey, Jones.

[B]

Yes, Mr. Glass? What was that Inspector Faraday doing here a little while ago? I don't know.

[D]

I know.

[B]

Do you, Aldrich?

[D]

I think he was looking through our coats and lunch boxes for a clue.

[I]

The Matt Aldrich got a guilty conscience.

[D]

Not a specialist.

[I]

Not much.

[B]

Boys, boys, we must not argue. It will not help anyone. If one of us is stealing the diamonds, the police will answer the phone. Some one. I'll get it.

[I]

Hello.

[B]

Mr. Jones, please.

[I]

Just a minute.

[G]

For you, Jones.

[B]

Thanks.

[G]

Here.

[B]

Now let us get to work.

[I]

Hello.

[G]

I see.

[B]

This is Faraday.

[E]

Oh, yes.

[G]

You wanted me to look in the lunch boxes, huh?

[D]

Yeah.

[G]

You said I'd find a pigeon in one of them.

[B]

Yes.

[G]

Well, what do you think I found in those lunch boxes?

[I]

What?

[G]

Lunch?

[E]

No.

[G]

Yeah, bird brain.

[I]

Look. Where are you?

[G]

In the next office.

[B]

Okay.

[E]

I want to try one more thing. What I told you to do last night.

[F]

Check.

[G]

Yes, I know what I ought to do. Forget you even exist. I guess I'll go through with the

[B]

rest of your plan.

[E]

When?

[G]

When? Now.

[B]

You go back to your work, Ben.

[G]

Just as if nothing happened. I'll come in and throw you out.

[E]

Swell, but make it look good.

[G]

Oh, don't worry. I'll be enjoying every minute of it.

[B]

Goodbye. Who was that, Jones?

[E]

Oh, one of the guys in the accounting office downstairs. He thinks that I. Blackie.

[G]

What are you doing here?

[B]

Blackie. Boston. Blackie. Well, I'll be. I don't know what you'll be, Glass, but I'll be going. I'll stay.

[G]

You will? Blankie, I told you last night to get out of this case. When you're all wrong, you're just getting in my way.

[B]

And I was just leaving too. So your name is.

[D]

Jones was spying on us, huh?

[B]

Also was. We do not like spies, Mr. Boston. Blackie.

[G]

Never mind that, Van Houten. I don't like guys who waste my time. And this guy's been wasting my time with a phony idea how those diamonds were being stolen. Now get out of here, Blackie. Get out and stay out.

[E]

Okay, Parde, you win.

[B]

I was wrong, huh?

[G]

You admit it?

[B]

You must be sick.

[E]

I am sick, Faraday. Sick of trying to help you out of jams. You get to the bottom of this your own way. I'm going someplace and get well.

[L]

Oh, Blackie, I'm glad you got back to your apartment before I did. I was afraid I'd have to wait out here in the hall.

[B]

I just had a look around Aldrich's house, Mary. No pigeons.

[E]

What did you find out about class?

[L]

He lives at 47 Eastern Street. No pigeons.

[B]

Not a sign of any.

[L]

Not even a feather.

[B]

Then everything depends on what Shorty finds at Van Houten's.

[L]

Well, let's hope he finds something.

[B]

He has to find pigeons. Mary, I'm sure I'm right.

[E]

Because if I'm not, there's no way in the world for those diamonds to

[B]

disappear out of that room. Van Houten has to have pigeons or the hobby.

[L]

Oh. What?

[B]

The hole.

[E]

Oh, this is the slickest jewel robbery

[B]

in the toughest case I've ever heard of. Uh.

[L]

Oh, I hope that's Shorty.

[B]

I hope so.

[I]

Hello.

[B]

Hey, Blackie, this is Shorty.

[E]

Yes, Shorty? What did you find out about Van Houten?

[B]

Well, he lives at 53 Eastern Street 53 Eastern street huh?

[E]

That's just a couple of doors away

[B]

from where Glass lives.

[E]

Yeah, yeah, but never mind that. What did you find out about Van Houten?

[B]

Nothing.

[M]

I couldn't get into his place.

[I]

Why not?

[B]

The joint. With what?

[E]

Well, did you see any pigeons in the neighborhood?

[M]

Sure, Blackie, but they was all over.

[B]

At the church, in the firehouse across the street.

[M]

Not around Van Houten's.

[E]

All right, Shorty, thanks. Where are you going to be? I may want to get in touch with you later.

[M]

I'll be at home, Blackie.

[D]

All right.

[E]

Goodbye.

[L]

So Van Houten had no pitching.

[B]

Shorty couldn't find out, Mary.

[E]

Which means that Van Houten is still a possible suspect.

[B]

In fact, he's our only one. We know Glass and Aldrich don't have pigeons.

[L]

Yeah, but, Blackie, you know, you may be wrong entirely. You said Inspector Faraday didn't find a pigeon in any one of the three lunch boxes this morning.

[B]

Oh, I have an answer to that one, Mary.

[E]

Van Houten, if he's our man, was playing it smart. While the heat was on, he decided

[B]

not to bring a pigeon with him.

[L]

But you think maybe he'll bring a pigeon tomorrow, huh?

[B]

He might.

[E]

I had Faraday throw me off the

[B]

case so he would figure that the heat was off.

[E]

At least that's what I wanted him to figure. I'll see you later, Mary.

[L]

Where are you going?

[E]

To see how I can get our Holland friend, Mr. Van Houten. In Dutch.

[C]

Hey, Blackie, it's miserable up here. Why didn't you tell me we was gonna stand up on a roof at this hour of the morning?

[B]

The janitor here told me yesterday that Van Houten kept pigeons. So we're here to watch his pigeon coat. And Shorty, anyone with any sense would know that it'd be on the roof.

[C]

I'd rather have no sense and not be here.

[B]

You've got something there, Sharkwin.

[C]

Hey, what time is it?

[B]

4:30.

[C]

Gee, still plenty dark. And those noises the pigeons are making, they're plenty scary.

[B]

They are to me too. Now stand behind that chimney and tell him when Van Houten will come up for his pigeon.

[C]

He lives downstairs, Blackie. How does he get up here on the roof?

[E]

Through that door by the skylight there.

[B]

Oh, well, I better get back here

[C]

behind the chimney with you, Blackie. You might be able to see me standing here.

[B]

I doubt it. Too dark.

[G]

Look out.

[C]

Don't push. Sorry, Blackie.

[B]

If you pushed a little harder, I'd be sorry and also dead. Look what's behind us.

[C]

Ain't there another building next to this one?

[B]

Yes, but It's a good 10 foot jump across through space to the next roof. And if you slip, it's a six story drop. Through space.

[C]

Don't talk about that, Blackie. Don't make me feel so good.

[B]

Sorry.

[C]

Say, what do we do in Van Houten shows?

[B]

Well, Whaley gets his pigeon and grab him.

[C]

Oh, hey, Blackie, I'm smaller than you. I can sneak up without him seeing me. Let me grab him, huh?

[B]

All right. Wait till he has the pigeon and then.

[C]

Hey, look, somebody on a roo. But where'd he come from?

[B]

Through that door there.

[C]

I didn't see him.

[B]

We were looking the other way. Talking about falling down between this building and the next. He's all by the pigeon.

[C]

Coat the pigeon.

[B]

What? Shh. Can you see what he's doing, Shorty?

[C]

Yeah, he's got his arm in that pigeon thing.

[I]

Coat.

[C]

The coat.

[B]

Yeah. Now what's he doing?

[C]

Well, nothing yet. Yeah, he's reaching in a cubby hole and grabbing a pigeon.

[I]

Good.

[C]

I grab him now, Black.

[B]

No, no. Until he comes out. He's coming out now. Where's the pigeon?

[C]

I don't see it. Guess it's in his lunchbox. Hey, he's heading for the door down into the building.

[B]

We'll grab him. Shorty, quick. Okay.

[G]

Grab

[M]

Wacky. There we are, buddy.

[I]

Let's call me.

[C]

Don't get away from me.

[I]

I do hate what.

[H]

Blackie, he's getting away.

[G]

Hey, I am.

[I]

Hold on, Shorty, I'm coming.

[B]

Hey, Shorty, that wasn't Van Hooten.

[E]

That was John Glass. Come on, let's get after.

[C]

Okay, but he ain't hiding for the door.

[E]

No, he's gonna jump to the roof of the next building.

[C]

Blacky didn't make it.

[B]

I know.

[E]

Step back, Shorty, or you, mate.

[B]

Wow. That's the end of John Glass. Oh, gosh.

[C]

Blankie. Six stories down. Hey, Blackie, please stay away from that edge. Do you want to go down here after him?

[B]

Yes, Shorty, I do. But I think I'll do it the long way. I'm going to walk down.

[L]

Blackie, how many pigeons are there in this park?

[B]

I don't know, Mary. Why?

[L]

Well, I want to know how many more pigeons you're going to feed. The you feed me?

[B]

Oh, you're not only hungry, but ungrateful, Mary.

[E]

Thanks to a pigeon, I solved the most baffling jewel robbery I've ever come across.

[L]

I take it all back. That John Glass certainly had a clever idea, didn't he?

[B]

A little too clever.

[E]

He got the idea when he became

[B]

friendly with Van Houten.

[E]

Saw how the homing pigeons came back

[B]

from wherever he released them. He used Van Houten's pigeons to fly

[E]

the diamonds back here. And Van Houten didn't know a thing about it.

[L]

Say, what did he use for the pigeons to carry the diamonds?

[E]

In a small round capsule. He found several of them in the pigeon coat. And one with the diamond still in it.

[L]

Well, that certainly proved what you already knew, didn't it?

[B]

Yes, did.

[E]

Too bad Winsworth made that remark in front of Glass.

[B]

About Barnes, the insurance man, having the case almost solved.

[E]

That's why Glass killed Barnes.

[L]

Not too bad. And Barnes was just referring to your being in on the case, wasn't he?

[B]

Yes. Shame,

[L]

hey? But there's one thing I would like to know.

[E]

What?

[L]

Well, you worked with those three diamond fetish for a whole day and a half. How'd you get away with it? You don't know anything about diamonds.

[B]

Are you kidding?

[E]

I don't know anything about diamonds.

[I]

A big gun in his hand. Turned over and over he leaned, his face close to mine, hissing softly between his teeth. It was a face that held all the evil in the world. The kind that gets up close when somebody's gonna die. Suddenly, everything shattered in front of me like a Bulb smashed against a rock. I got the last funny flash. Michael Shane. A guy head deep in nothing.

[N]

The new adventures of Michael Shane, Private Detective. Michael Shane, reckless redheaded Irishman, is back again in his old haunts in New Orleans. This is your director, Bill Russo, inviting you to listen to another transcribed episode which we call the Case of the Crooked Wheel,

[H]

Mr. Private Detective.

[I]

Thanks. I was beginning to wonder whether that one line in classified was worth the price.

[H]

I observe, Mr. Detective, a man who has journeyed to an estranged land. Observe a traveler who has come a thousand of miles to seek you out.

[I]

Honey, you must be tired. Have a chair, traveler. Tell me what's on your mind.

[H]

Oh, thank you, Mr. Detective.

[I]

The name is Shane. Michael Shane.

[H]

Of course. Mr. Detective Shane, observe before you a man with a despicable habit. A habit I cannot seem to break myself off.

[I]

Oh, why don't you try Doc Holloway down the hall? He's a psychologist. There you can lie down and talk about your troubles.

[H]

Please, please. Perhaps I should come to the point. No.

[I]

Here. Make things a little easier, perhaps.

[H]

Yes. Here. Observe it, if you please.

[I]

The Quito casino, Mexico City. 25 pesos. What's it supposed to tell me?

[H]

It is money at the Paquito Casino, which I, Ramon Paquito, am SOL and legitimate proprietor. It is worth 25 pesos, like it says. And I, Ramon Paquito, give it to you free gratis, for nothing. No obligations.

[C]

Yeah.

[I]

Thanks. Now, about this habit you've got. How bad is it?

[H]

I dare it. I Give away money, Mr. Detective Shane. Every week at the casino.

[I]

I give away thousands of pesos, free gratis, for nothing. No obligations.

[C]

Precisely.

[I]

How can you make a living like that?

[H]

Well, two days ago I asked myself the same question. There is no future in it, so I come to see you.

[I]

Well, if you want to unload your assets all at once, you've come to the right place.

[H]

Please, Mr. Kibe.

[G]

Your.

[H]

Your humor is a stranger to me. I want you to save me from myself.

[I]

What do you want me to do?

[H]

Come to Mexico City with me. Find out why the Patito Casino is losing money. Simple, is it not?

[I]

That's gonna cost you a chunk of dough, Mr. Paquito. $20 a day. That's a hundred pesos plain fare and expensive.

[H]

Don't quibble about Bagatelle, Mr. Detective. Now, will you come?

[B]

Sure.

[I]

Just one thing, Mr. Paquito. You said you wanted me to save you from yourself. What did you mean, observe me?

[H]

Well, Mr. Detective Mache.

[K]

Yeah?

[H]

Do I appear as a person who could cut A man's heart out. No, I, Ramon Paquito, could do it with a smile on my lips. Yes, Mr. Detective Ashain. If what I suspect is true, I could. I would whistle a song sentimental while

[I]

I commit a murder.

[N]

In just a moment we'll return to the new adventures of Michael Shane and the Case of the Crooked Wheel.

[I]

The airplane trip across the Gulf gave Senor Ramon Sequito the time he needed to fill in the details. Somebody had a gimmick to beat his roulette wheels. Another couple of weeks of the process and Ramon would be wearing a serapi and huaraches instead of a double breasted pinstripe. All of which had made him angry enough to want to kill whoever was outsmarting him. We landed late the next afternoon. The senor registered me at the Hotel Blanco, gave me directions how to reach the casino later, and then took off. I decided to give the town a whirl before it was time to punch the clock. Shops on Avenue national were a sight to see, but I couldn't afford much looking. I settled for a Mexican style back scratcher, then wandered down a side street for local color. It was just when I hit the first block of wooden shacks that two things happened. Suddenly it wasn't daylight anymore. And suddenly I wasn't alone.

[K]

Picturesque, isn't it? The guy sleeps with a goat and

[I]

a flock of chickens.

[K]

They call it picturesque. I bet a big tourist like you gets a bang out there, huh?

[I]

Look, mister, your name's Shane? No, it's Poncho. Punch old Diablo.

[J]

Take him. He'll go quick.

[I]

The shadow that separated itself from a lot of other shadows wasn't quite as tall as the gorilla, but it was a yard wider. It lurched toward me and spun me around. Punches. Felt like I was trying to bang my way out of a rubber beach ball. And then the thing stopped playing and it hoisted me by the neck off my feet and started to squeeze. Bead of light exploded in front of my brain like a billion nickels.

[J]

And then.

[I]

Then somebody had sense enough to pull down the curtain. My first thought was that a lousy place to be dead in. Filthy room with a naked electric bulb dangling from the ceiling.

[L]

Back here, pretty man.

[I]

I tried to focus, but it was too tough getting through the pain. Something was playing tricks of my hair. I curved my eyes backward. And then I knew for sure I'd been killed. There was an angel leaning over me. In time, I'd be able to make out the wings.

[H]

Such a pry, man.

[M]

Open your eyes, chico. There. Feeling better?

[L]

You're a very lucky man.

[M]

In a few more seconds, your neck

[H]

would have been broken.

[L]

Then both of us would have been unhappy.

[H]

You and I. Yeah.

[I]

Who are you?

[M]

Call me anything you like, Chico. Whatever suits you.

[I]

It's a real dramatic touch, Angel.

[B]

But who are you? How did I get here?

[M]

I am Cappy. That's all you need to know.

[I]

No, I. I need to know a lot more. Like, how did you get me here? Like, how do you know who I am?

[M]

Simple, Chico. They carry you up here and went through your pocket. They would have killed you.

[H]

Except I have a better idea.

[I]

Like what?

[L]

Use that return ticket to New Orleans.

[M]

You can't get a meal in Mexico

[H]

City like you cannibal, sir.

[I]

Look, angel, let's stop playing patty cake. Who are those guys who jumped me then?

[L]

You see them?

[I]

No, no, it was too dark. All the registered was a guy who talked, lazy, and a shadow who must have been Charlie Atlas's prized pupil.

[H]

Well, then you are lucky.

[L]

You better forget this whole rotten business

[H]

and go home like a good boy.

[I]

Who said anything about being a good boy?

[L]

You hardly look in any condition to exert yourself.

[I]

Oh, come here.

[L]

I hate you.

[I]

Yeah? Now that we're practically soulmates, Gabby, start lying to me. Start from the beginning and make it a good story.

[L]

What are you talking about?

[I]

Who are you and what's this all about?

[H]

Go home.

[I]

Now, look, angel.

[M]

Go home, Mr. Shane.

[H]

Go home before they pick you out of the gutter and put you to bed on a slab with a tag around your toe.

[I]

And she wasn't kiss. It did something frightening to watch that angel face tighten into a lot of hard lines. I knew I couldn't get any answers out of her, so I hopped a cab to where I figured there might be some the Paquito Casino. Raymond Paquito's sole and legitimate proprietor. He saw me as I came through the door.

[M]

Ah, Mr. Detective.

[H]

Shame.

[M]

Hi.

[H]

But, seor, you look lousy.

[N]

Yeah, Yeah.

[I]

A couple of transplanted hoodlums felt like playing tag. I was it.

[H]

Aye, that is very sad. Well, in any case, you see, I have quite an establishment here, Mr. Detective. It would grieve me if I had to part with it.

[I]

Yeah.

[J]

Number 12 on the red.

[I]

The red face. Quite a layer. Mark Umamento.

[H]

Come here. Pablo will take your place. I want to talk with you.

[B]

Mark somebody special.

[H]

Mark Hagen, the best croupier in Mexico. Mark, this is Mr. Michael Shane, a friend of mine. Show him around, Mark. Show him everything.

[J]

Why, sure. I'm glad to know you, Mr. Shane.

[I]

You from the States, New Orleans.

[H]

I leave you gentlemen now there is

[J]

much I will see about fine town New Orleans. Sometimes I got a yen to go back there just to see how fine it really is.

[I]

Is this joint legitimate, Hagen?

[J]

Oh, it's as square as a box. 21. You hit 16, hold 17.

[H]

Die.

[J]

Spin them any way you like, Linda. House or against. And a couple of lead wheels.

[I]

They gap.

[H]

Did Paquito tell you to ask me those questions?

[I]

There's a nasty rumor going on around that roulette wheels can be rigged against the house.

[H]

Yeah.

[J]

I don't like you, Mr. Shane. I don't know who you are or what you've got on your mind, but I don't play like that. Akito is my friend.

[I]

Okay, Hagen. I'm sorry.

[E]

Sorry.

[I]

I made a mistake. I tried and I was wrong. No hard feelings.

[J]

Plenty of hard feelings, Mr. Shane. I think I like it better back at the table. You can look around by yourself.

[I]

So I did. As far as I could see, nobody was dealing second cards. The dice didn't shimmy after they hit the backboard and the roulette wheels were giving the house better than the even break. Then she walked in. Gabby angel face in an evening gown that wouldn't quit. All smooth and round and cotton candy blonde hair. She stood in the doorway and looked around the room. Then nodded slightly to a guy in a fawn colored dinner jacket and fitted him like a dream. I walked up to her, watched the frown grow at the corners of her mouth.

[H]

You get out of here.

[I]

Ten years ago, I had a vision about a woman who looked like you.

[H]

You don't know what you're doing.

[I]

There are a lot of women, Gabby. A lot of kinds of women. I don't know whether I like that or not.

[H]

You don't scare easily, do you, Mr. Shane?

[I]

Not very. Should I be scared?

[H]

Put your dad meet your last.

[B]

Yeah.

[I]

And I expect to take it back with me.

[H]

The graph raise, Mr. Shane. I make book on that and I'll

[I]

cor one right back at you, Angel.

[H]

5 will get you 10 ask the manana redhead. Only for you tomorrow. Won't happen.

[I]

I watched her sway the path through the ankle Dee brought to the blackjack table. She bought some chips and busied herself with the game. I took a stand at the roulette wheel next to the fawn colored jacket and watched.

[K]

Just watch.

[I]

There's something to see. Men and women, expensively dressed with that same look of fascination you see around a cockpit in back of a barn.

[J]

Cinco Negro, number five on the black. Oh, I'M sorry, senor. You placed your money after the ball had settled. The house cannot accept your bet.

[K]

What are you talking about? I had that 100 peso bill done before you started to spread.

[J]

I'm sorry, senor, but that is not so.

[K]

Hey, what kind of a two bed ch is this anyway? Sure, I had my money down. These people will tell you.

[J]

The house insists you take back your money. Senor, there is no question about the honesty of this.

[H]

Look.

[K]

Now pay me, brother, before I take his dive apart. You first.

[H]

There is trouble, Mark. Yes.

[J]

This gentleman, he placed a bet after

[K]

the wheel had started. He's talking through his hat. Mister, give me my door.

[H]

400 pesos, senor. The bill you lay down on the table. Now, if you please get out.

[I]

And he did too. Quickly, the big guy folded the bill carefully, winked, grinned and got out. In another second, I knew the reason why. Fawn colored jacket was shoveling in a stack of chips from the number 5 square. All according to house rules. Except he hadn't bet any chips on the number in the first place. I ducked out of the casino just in time to see the big guy disappear around the corner. I raced down the work, but he was not in sight. Then, like it says in the correspondence school lessons, I knelt down to look for footprints in the soft grass.

[K]

You're looking for me, Shane?

[I]

Should I be?

[K]

Shane, as a detective, you're a phoner. You couldn't detect foul play if you came across a corpse in the trunk.

[I]

But good enough to figure out that picture you pulled back there in the casino.

[K]

Give me a reading, Shane. What did I do?

[I]

You weren't a little man in the dinner jacket. You threw down a hundred peso note with a blue chip underneath it. You get thrown out, dinner jacket collects 35 for one.

[K]

You're a pigeon, boy. You followed me. Just like it was figured you would.

[I]

Can't you talk without that gun in your hand?

[K]

Uh, it's good for shooting pigeons, right?

[D]

Now you.

[I]

Now wait a minute.

[K]

No more minutes, Shane. You got no more time. By Chalipas say a prayer or just close your eyes and take it. It's all yours, boy. Now hold on to it.

[I]

Big gun in his hand, turned over and over. He leaned his face close to mine, hissing softly between his teeth. It was a face that held all the evil in the world. The kind that gets up close when somebody's gonna die. Suddenly, everything shattered in front of me like a bulb smashed against a rock. I got the last funny flash. Michael Shane. A guy head deep in. Nothing.

[N]

In Just a moment. We'll return to the new adventures of Michael Shane and the Case of the Crooked Wheel.

[I]

There are some guys in this world crazy enough to leave their happy home just for the opportunity of getting choked by a gorilla. And getting shot by a man who has fun watching people fold up under the impact of a slug. Guys like me. All for 20 bucks a day in expenses. And it started out as a simple noggin job trying to ferret out who was beating Senor Ramon Paquito's roulette wheels at his casino in Mexico City. Only somebody was having a personal fiesta, having me bounced around. As a result, I was catching the habit of waking up in strange rooms after each current beating. This time I fought my way through the numbness in my right shoulder long enough to squint out of what was around me. There were several things. Daylight, four walls, a roulette wheel and a round table. And a guy I'd seen once before who I figured didn't ever want to see me again. Mark Hagan, Senor Paquito's number one croupier.

[J]

Take it easy, Shane. You better not try to move for a while.

[I]

Hey. Didn't know you cared, Hagen.

[J]

I brought you to my room. Seemed like the only decent thing to do.

[I]

How'd you find me?

[J]

I followed you. I was afraid I was a little too late. I apologize for that.

[I]

What made you come after me?

[J]

That gag they pulled with a palm chip is the oldest dodge in roulette. I had an idea you were a right guy after you went after that big fellow. Had an idea I could gain some help.

[I]

See those guys before? The big one and skinny lad he worked with?

[J]

They've been around. The fellow you followed is called Hugo. The other one's named Drew. I didn't know they knew each other.

[I]

I should have been more careful. That guy Hugo has a sense of humor that could kill you.

[J]

Don't worry about it anymore. I removed the bullet.

[B]

Yeah.

[I]

You removed the bullet.

[J]

It's an old hobby of mine. Taking bullets out of people I made a living out of 15 years ago. I was a specialist until the law got interested.

[I]

You were a doc?

[J]

Class of 28. Midwestern class of 35. Dannemora. License revoked for malpractice. Profile of Mark Hagen Bum.

[I]

So you drifted down here and went to work for Paquito.

[J]

Well, it's a living shame. Being a croupier has its points. Nobody asks questions.

[I]

It gives you a chance to use your hands, doesn't it?

[H]

Yes.

[J]

What made you ask that?

[I]

I Rolled that wheel on the table. Did you get enough practice at the casino?

[J]

Sometimes, my friend, it's an indiscretion to inquire into motives.

[I]

Look, I'll. I'll tell you something, Hagen. It could be a wild, wild dream. But I'll tell you about it anyhow. Yeah, about you, maybe. About a croupier clever enough to spin a wheel in such a way that the ball drops in any slot he wants.

[J]

Oh, you're out of your mind, Shay.

[I]

Maybe. But I don't think so. It's been done before. I can't give the place and date, but it's been done. As I remember it. The coupe was a frustrated violinist. He had no talent for the violin. But he could make that wheel whistle

[B]

Dixie, just like you.

[H]

Go on.

[I]

Yeah, an ex surgeon could get the same idea. A man who could do things with his hands. Intricate things. What other reason for the roulette wheel on that table over there? Practice.

[J]

What are you going to do about it?

[I]

I could tell Paquito that's what he hired me for.

[J]

If you did that, I'd kill you.

[B]

Yeah, maybe you would. A day.

[J]

That's a promise, Shane.

[H]

Okay, Hagen.

[I]

Oh, say no more, Hagen.

[J]

Come on in, Gabby. Close the door.

[M]

Congratulations, Mr. Shane.

[J]

Oh, you two know each other?

[B]

Sure.

[I]

Yesterday your lady love was making book. I'd be washed up on the beach.

[M]

I see you almost made it already. What?

[H]

Stop. You say, what is this?

[I]

Hagen, I'm gonna do you a favor. I'm giving you some advice.

[M]

What makes you think Mark needs your advice?

[I]

Get rid of her, Hagan. She's no good for you. She's no good for anybody.

[M]

Don't listen to him, Mark.

[H]

Uh, go ahead.

[B]

Sure.

[I]

See if you can follow me. I come to Mexico City and immediately get beat up by two thugs. I wake up in Gabby's room. She claims that if it wasn't for her, they would have killed me.

[M]

He's lying. I met him at the casino.

[I]

Understand, Hagen, I'm a stranger here. The only reason anyone would want me out of the way is cause I could have been hired to queer his act. Okay, so far.

[J]

Yes, it makes sense.

[I]

So it follows that Gabby had made some sort of play with these thugs.

[H]

Maybe something you don't know about Mark.

[M]

Everything he says is a lie.

[J]

You're being very impolite, my dear.

[I]

The way it looks from here, Hagen, is that little Gabby has you framed

[B]

for a fall guy.

[I]

From here. That's the only way I see it.

[M]

You rot from Shamas. You.

[J]

You sit down. You Sit down and shut up.

[M]

I'm getting out of here. I don't want any part of you. Hagen, you. You're.

[J]

You're staying, dear. I can't afford to let you out of my sight. Mr. Shane might be having a wild dream, as he said, but I can't take the chance. Now, sit down.

[I]

I left the happy couple and walked out into the midday Mexican sunshine. Things were beginning to add up. The guy who nearly broke my neck and the man with the gun with the same. That was Hugo. I heard the name before I passed out the first time. And it was an even bet that the lazy talker and the dapper gent named Drew were identical. But for a one armed detective without a license to carry a gun in Mexico, there wasn't much I could do about either one of them. Well, it was time to go back and resign my job. Couldn't put the finger on Hagan anyhow. So I caught a cab to the Paquito Casino. Walked into the senor's private office.

[H]

Each time I see you, Mr. Detective, you look worse. Perhaps this climate doesn't agree with you.

[I]

As a matter of fact, Senor Paquito, the time has come to bid a reluctant farewell to the land of Montezuma.

[H]

Mr. Detective, observe before you a person who is deeply puzzled.

[I]

Yeah?

[H]

A few minutes ago, I received a call by telephone from Mark Hagen. He is leaving my employ.

[B]

Yeah?

[I]

When?

[H]

Tonight. Tonight he will be here for the last time at the Paquito Casino.

[C]

I don't understand.

[H]

Why? You tell me why, Mr. Detective.

[I]

Your guess is as good as mine. Maybe the climate doesn't agree with him either. I.

[H]

This I doubt. Mr. Detective, you have observed Senor Hagen. What is your impression as to his integrity?

[I]

Like I said, your guess is as good as mine. It isn't up to me to guess. Anyhow, you can mail me what you owe me to New Orleans. I'm quitting, senor.

[H]

Yes, but why?

[I]

Every time somebody tries to knock me off, they come a little bit closer. Now, hasta whatever it is to me.

[H]

Oh, wait, wait. Look. Just this evening, remain here at the casino. This I asked you as a favor personal to Ramon Paquito. I even say please.

[I]

Listen, please. Well, I don't know, senora. I don't know what good I can be to you.

[H]

Perhaps no good at all.

[C]

You just stay here.

[J]

Observe.

[H]

That is all I ask you to do for this. Double wages, double expenses. Very well. Triple Sunday night, triple play.

[C]

Agreed?

[I]

Agreed, Senor. I will observe. In another hour, the joint began to fill up and A few minutes after that, Gabby walked into the room, still looking like an angel, the way some women who are devils do. She strolled over to the roulette table where Hagen was raking him in. Put a stack on the red. It wasn't a sign of recognition between Hagen and the girl yet.

[J]

Day rojo. Seven pays red. Phase number seven on the red. Place your best for the next spin. No bets can be made after the wheel starts.

[I]

On the next spin, the girl won again. Then she lost. Soon she began to double her bets and kept winning more times than she didn't. When she started to play individual numbers, she made the law of averages look like something that hadn't passed Congress yet. Just before she bet number four, I watched Hagan fold his thumb under his palm. And rub the side of his face with the rest of his hand.

[J]

Cuatro negro. Four page black. Page number four on the flash.

[M]

The young lady seems to be lucky this evening.

[H]

I've been observing you.

[M]

Why not this evening, Senor Paquito?

[H]

I am always lucky at your table. Yes, I have observed that, too.

[I]

Smart.

[H]

Smart. Stop the wheel. I wish to see just how lucky this young lady is.

[M]

Ladies and gentlemen, you will pick up

[H]

your bets if you care to play there. At the other tables, please. This wheel shall be used exclusive to test the young lady's luck.

[M]

But, senor, it is your intention to

[H]

break the bank, is it not? So? Spin the wheel. Mark.

[I]

It was simple enough to figure out. The two of them, Hagen and Gabby, were making their one final grab at a whole lot of money. Whatever his friendship for Paquito might have been, Hagan was forgetting all about it. For the girl and the doe, they had a foolproof gimmick to do it. In another hour, there were roughly 100,000 pesos stacked in front of the girl.

[H]

If the young lady doesn't mind, there's a gentleman who wishes to join her.

[I]

It was a dapper lad in a dinner jacket. The guy named Drew. Gabby stiffened when she saw him.

[M]

I don't know. This is my last spin.

[K]

That's too bad, ma'.

[I]

Am.

[K]

I had the idea I could ride along on your streak.

[J]

I'd be very disappointed, ma'.

[M]

Am, But I thought. Senor Paquita.

[H]

It's quite all right, young lady.

[J]

The gentleman informs me he wishes to

[H]

make his wager in the identical sum and number as you do.

[K]

It's just like a senor says, man. One spin, any amount. I guess I can take a chance.

[H]

You'd do it all right. Very well. All of it. I bet the whole amount on number one.

[I]

Good.

[K]

That's fine, ma'.

[L]

Am.

[K]

Number one it is. Hundred thousand pesos riding right along with you.

[J]

Spin a wheel, mister.

[I]

It was a sight to see. The girl a knuckle clamp between her teeth. The guitar with a tight little smile. Drew staring, that's all. Just staring down at the table. The only one who moved was Hagen. His right hand slid across his chest to the inside of his coat.

[J]

Press Bravo number three.

[B]

Page.

[I]

Why you double crossed. The flash from Drew's gun lit on a flying steel blade. Hagen spun across the room, hammered back by the bullets that tore through his chest. Drew stopped shooting and tried to speak, his words stuck on the knife blade in his throat. They almost fell into each other's arms. I turned just fast enough to see the girl disappear through the side entrance, and I went after her. Outside, there was nothing. I hailed a cab and gave him directions to the only place I knew where to look. Gabby's room. I took the wooden stairs three at a time, down the hall to the door marked number six.

[M]

That's just the way it happened.

[B]

Oh, come in.

[I]

Come in, boy.

[K]

Looks like we're the only ones left.

[H]

Yeah.

[I]

Everything you ever part of dies, doesn't it, Hugo?

[K]

Too true, boy. It looks like I'm batting.1000 today.

[M]

Who go? No. Who can put that gun away. No more killing or go Mama. No.

[N]

In a moment, we'll be back with a thrilling climax to tonight's Michael Shane adventure.

[I]

I watched the smoke curl up from the snout of Gabby's revolver, mixed with her yellow hair, and then flown up to the ceiling. She stared at Hugo's crumpled body, let the gun drop from her limp fingers. I picked it up. Then she stared at me.

[M]

Aren't you going to thank me for saving your life?

[I]

Sure. Thanks. She killed Hugo to save your own beautiful skin.

[H]

You're all mixed up already.

[I]

You killed him because you knew he'd never believe your story about what happened at the casino. He didn't have enough time. Hugo enjoyed killing too much himself, especially people he thought crossed him.

[M]

What are you talking about?

[I]

You had a good pitch with Hagen. You could put that ball in any number or color you bet on. But that wasn't enough for you.

[H]

Doesn't matter now, ladies.

[I]

You thought you could double your profits by throwing in with Hugo and Drew. Yeah. Maybe you're gonna double cross them, too. I don't know.

[L]

There's still plenty enough for both of us.

[I]

Take your choice, angel.

[B]

The police or Paquito figure away together.

[H]

You and I, tonight.

[M]

There's a plane out of here in half hour.

[L]

We can make it.

[H]

We're good for each other, right?

[B]

Again.

[M]

Listen.

[L]

Listen to me.

[H]

I feel plenty Yours and mine.

[M]

Listen to me.

[I]

Hello, Operator?

[L]

Listen to me.

[I]

Give me the.

[N]

This is your director, Bill Russo, again. Our story is based on characters created by Brett Halliday. The New Adventures of Michael Shane is a Don W. Sharp production, transcribed in Hollywood and distributed exclusively by the Broadcasters Guild.

[B]

Ra.