Rogue’s Gallery and Mr. And Mrs. North

Summary

Case Closed! Episode Summary: "Rogue’s Gallery and Mr. And Mrs. North"

Release Date: February 12, 2025
Host/Author: RelicRadio.com
Description: Crime stories from the golden age. Old Time Radio is filled with cops, robbers, and private investigators...Let's reopen the cases and hear these great stories again!

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1. Rogue’s Gallery

Plot Overview
The first segment of this episode introduces us to Richard Rogue, a private investigator with a knack for getting embroiled in complex cases. As Rogue boards a train bound for Central City to serve as an expert witness in the high-profile Charlie Miller trial, he encounters Betty Callahan, a savvy newspaperwoman. Their reunion is marred by tension as they navigate past flirtations and underlying motives.

Key Events and Discussions
Shortly into their journey, a mysterious woman named Diane bursts into Rogue’s private compartment, claiming her life is in danger from a man named Gay. Rogue's protective instincts kick in, but the situation spirals when Diane is found dead, revealing that Diane was the wife of Charlie Miller, whom Rogue is set to testify against. This revelation complicates Rogue's involvement, leading to suspicions around Flip Stone, Miller's associate in a slot machine racket.

As Rogue digs deeper, his actions inadvertently lead to his arrest for larceny after pocketing part of the briefcase's funds meant for the trial. The narrative crescendos with Rogue uncovering Flip Stone as the murderer and securing his confession, albeit after a series of missteps and confrontations with the local sheriff.

Notable Quotes with Speaker Attribution

• Richard Rogue [02:18]: "Please. I'm going to Central City, baby, for the same reason you are. The Charlie Miller trial."
• Betty Callahan [04:06]: “Gay. What Bernhardt could have done with that line. You don't believe me?”
• Richard Rogue [21:43]: “Okay. Okay, I'll sign.”
• Sheriff Mills [23:50]: “And you, you're under arrest.”

Character Insights
Rogue is depicted as a resourceful yet somewhat bumbling detective whose romantic inclinations often cloud his judgment. Betty Callahan serves as the voice of reason and investigative prowess, complementing Rogue's more impulsive nature.

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2. Mr. And Mrs. North

Plot Overview
The second segment shifts focus to Pam and Jerry North, a married couple who double as amateur sleuths. Their peaceful life takes a dark turn when Judy Gregg, a budding writer, becomes entangled in a mystery surrounding her novel “Murder in a Flat.” Judy’s untimely death, initially ruled as a suicide, raises suspicions that lead the Norths into a deeper investigation.

Key Events and Discussions
Pam and Jerry North uncover inconsistencies in Judy's death, particularly when forensic reports indicate foul play involving chloroform and blunt force trauma. As they delve into Judy's manuscript and personal notes, they uncover connections to a narcotics ring operating within the Sapphire Club. Their quest brings them into contact with Lieutenant Rogers and Reverend Mitchell, both of whom have vested interests in keeping the truth about Judy's research under wraps.

The climax unfolds with Rogue’s involvement, where he confronts the real murderer, Jack Mitchell, who attempts to manipulate evidence and silence those who dare to uncover the truth. The Norths, alongside Rogue, navigate through deception and danger to bring justice to Judy Gregg, ultimately exposing the criminal activities linked to the Sapphire Club.

Notable Quotes with Speaker Attribution

• Pam (Betty Callahan) [26:45]: “You're the greatest. Stop it, Hip. You just think you're interested in me because I'm something new.”
• Richard Rogue [43:51]: “Get Lieutenant Wigan of Homicide forming.”
• Jack Mitchell [47:35]: “I killed you, kid.”
• Pam (Betty Callahan) [48:03]: “You think this man here, Rogers, killed Miss Greg, don't you?”

Character Insights
Pam and Jerry North are portrayed as the quintessential detective duo—Pam with her keen observational skills and Jerry with his meticulous investigative techniques. They complement Rogue’s unorthodox methods, collectively unraveling the intricate web of deceit surrounding Judy’s death.

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Conclusion

"Rogue’s Gallery and Mr. And Mrs. North" offers listeners a thrilling dive into classic crime-solving narratives, blending suspense, character development, and intricate plot twists. Through Richard Rogue’s tumultuous journey and the Norths’ methodical investigation, the episode pays homage to the golden age of radio drama, delivering engaging storytelling enriched with memorable dialogue and compelling mysteries.

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Notable References:

• Rogue’s Persistent Challenges: Rogue’s continual missteps, such as being arrested despite his intentions, highlight the often ironic twists in detective stories.

• The Role of Media: Betty Callahan’s involvement underscores the influential role of journalism in uncovering and resolving criminal activities.

• Classic Detective Tropes: The episode effectively utilizes archetypal characters and scenarios, staying true to the essence of old-time radio crime dramas.

Listeners unfamiliar with the episode will find this summary a comprehensive guide to the intricate plots and dynamic character interactions that define "Rogue’s Gallery and Mr. And Mrs. North."

Transcript

[Narrator]

With another hour of mystery and crime from the golden age of radio. This is Case Closed. This week we begin with Rogues Gallery and Murder in Drawing Room A. It's episode from October 11, 1945. After that it's Mr. And Mrs. North and Background for Murder. That story aired December 22, 1953.

[Richard Rogue]

Hello, creeps. This is a very tired T4Y on the mystery Playhouse. Tonight's story will be told by Dick Powell who plays Richard Rogue now. And another graphic adventure from Rogues Gallery. When I got on this rattler for my trip to Central City, I was not exactly a joy boy. I hate riding on trains. But a couple of hours later I'm a happy chappie. Because who do I run across in the lounge car is a little ambition of mine by the name of Betty Callahan. A newspaper woman who is cheating the movies. She's a pocket sized brunette with cornflower blue eyes and a complexion which wouldn't come off on the shoulder of blue gabardine suit. I rescued her from the wolves and Uncle Sam's clothing who were making life too interesting for her in the club car. And we retired to my compartment for a talk about old times.

[Betty Callahan]

Nice little place you have here, Richard.

[Richard Rogue]

A guy can get pretty lonesome in a place like this, you know.

[Betty Callahan]

Benny, get that gleam out of your eye. Richard, I'm perfectly comfortable right where I am.

[Richard Rogue]

Oh, all right, all right. I just thought maybe you'd like to sit here with me and look out of the window.

[Betty Callahan]

You're so thoughtful. You haven't even told me where you're going. Did things finally get too hot for you at home?

[Richard Rogue]

Please. I'm going to Central City, baby, for the same reason you are. The Charlie Miller trial.

[Betty Callahan]

Don't tell me you learned right.

[Richard Rogue]

Very funny. I'm an expert witness. And I've got a briefcase full of research here that's going to make the DA very happy. Come a little closer.

[Betty Callahan]

Oh, hold on. What do you think? Is Charlie going to get the works?

[Richard Rogue]

Oh, let's not talk about Charlie. Talk about me.

[Betty Callahan]

Don't you ever get tired of that subject?

[Richard Rogue]

No, it fascinates me. Come on. What are you sitting clear over there for? You like it here?

[Betty Callahan]

Why?

[Richard Rogue]

Did your mother ever tell you anything.

[Betty Callahan]

About fellows like you? Plenty.

[Richard Rogue]

Why don't you drop that front page character, Angel? We've known each other for a long time.

[Betty Callahan]

Stop pulling.

[Richard Rogue]

Well, I was just trying to.

[Betty Callahan]

Well, stop trying.

[Richard Rogue]

How can you be so mean to me? Ever since the first time I saw you, Betty, I've been stuck on you. No kidding.

[Betty Callahan]

Oh, Richard. Did anybody ever believe that line?

[Richard Rogue]

Once in a while. You know, something's going to happen to you in just a minute, baby.

[Betty Callahan]

Will I? Not yet.

[Richard Rogue]

Let's find out. Shh.

[Betty Callahan]

Quiet.

[Richard Rogue]

Oh, brother. What's the idea, lady? This is a private compartment.

[Betty Callahan]

Please. I'm sorry to intrude. Who is this girl, Richard?

[Richard Rogue]

I never saw her before. Who are you?

[Betty Callahan]

I had to come in here. My life is in danger. Well, off hand, lady. I don't think you improved your situation any breaking in here when you did.

[Richard Rogue]

Oh, why does everything have to happen to me? Why don't you buy a ticket, Latin type. And then you wouldn't have to play hide and seek with the conductor.

[Betty Callahan]

I had to come in here. I'm hiding. There's a man on this train who has designs on my life. Gay. What Bernhardt could have done with that line. You don't believe me?

[Richard Rogue]

That's right. Now scram.

[Betty Callahan]

Don't answer it, please. It's him.

[Richard Rogue]

The guy with the design. I want to take a gander, Jim.

[Betty Callahan]

Oh, no, no, no. I'll answer it myself.

[Richard Rogue]

I want to talk with you a minute, Diane.

[Betty Callahan]

It's impossible. Fritz has nothing more to say.

[Richard Rogue]

I think maybe you're better. I know where you're going, Diane, and I know what you've got. How do you want to come out here?

[Betty Callahan]

All right. I'll be with you in a minute.

[Richard Rogue]

I'll be waiting. Want me to take care of that punk for you?

[Betty Callahan]

You stay out of this. Richard, please. Will you keep this briefcase for me? Don't let anyone touch it, please. Well, next time, why don't you get a drawing room with a revolving door? Richard.

[Richard Rogue]

Oh, shut up. You know, I'm kind of worried about that girl. I'm going to feel pretty silly if she comes up dead. For the next two minutes, I worried about Diane and the man who had designs on her life. But I'm a romantic. So I spent the next 58 minutes trying to spellbind Betty into seeing things my way. But she wasn't looking. At the end of an hour, my chances were still about on the ratio of Little Rock Junior High against Notre Dame. So I gave.

[Betty Callahan]

Well, it's been an hour since our visitor checked out. What do you think, Richard?

[Richard Rogue]

The dame's either as goofy as a cub out feeler, or she's really in a jam.

[Betty Callahan]

You're pulling me. I'll put my ex on the first stanza. Let's take a look in that briefcase she left behind.

[Richard Rogue]

Hey, wait a minute, honey. That's My briefcase.

[Betty Callahan]

Oh, I'm sorry. Don't get huffy, Richard. Those two briefcases are practically identical.

[Richard Rogue]

Yeah, I guess they aren't that. Well, give me mine. I'm gonna put it up here on the rack. Hey, what is this? Pipe down, pretty boy.

[Betty Callahan]

Turn the lights back on, Richard.

[Richard Rogue]

Shut up, lady. All right, give me that briefcase. Pretty boy, get that flashlight out of my eyes. Keep your hands where they are.

[Betty Callahan]

Give me that flashlight.

[Richard Rogue]

Sorry, lady, but you asked for it. Now, pretty boy, give me that bag. Hey, what's the gimmick? What are you pulling that emergency cord for? I don't want to have to shoot you. Get your hands out of your coat. Solo, pretty boy. As he pulled the cord, I could see the gleam of a gun on this character's fist. And I didn't want any samples of his marksmanship. But I could hear Betty groaning on the floor at my feet. And all of a sudden, I felt that I had to get him before he jumped out of that window he'd knocked out with the butt of his pistol. I made a dive for him, expecting to stop a little lead. When I got where he'd been, he wasn't there. He was behind me. I knew that when I heard the flashlight whizzing through the air. It connected expertly right behind my ear. And there I went again into the land of Nod, which is practically my home away from home. Everything was very quiet for a while, and I slept peacefully. Come on, Rogie. Come on. Get up, Rogue. Get up. Snap out of it. Betty's been hurt. Betty, the man got away. You've gotta get up. Oh, I can't. Oh, my head. Get up. Get up. Wake up. Get up. What's that noise? It's at the door. Someone wants in. Ah, they'll go away. Snap out of a drogie. Let him in. Betty's been hurt. What happened? I can't remember. Remember the man. Remember the girl? He came back. Yeah, yeah. Oh, cut it out. Stop that pounding. Ooh, my head. You're in a jam, Rogan. Betty's been hurt. Wake up. Get up. I can't. I can't. What's that pounding, pounding, pounding. Cut it out. Cut it out. Stop it. Do you hear? Stop it. Stop it. Stop it. Open the door. Open the door. Okay, okay. Betty. Oh, Betty, you poor kid. Hello there. Hello. I'm coming, I'm coming. Just keep your shirt on. I demand an explanation of what's been going on in here. Come on. Come on. Help me bring this girl out of it. The window broken? Do you know what that does to the air conditioning in this car? A man got out of that window while the train was stopped. Who pulled the emergency car? This guy. He came in here waving a gun around, took a briefcase that some dame had left here, stopped the train and knocked our brains out. I just came through and he's gone. So let's face it, conductor, he must have jumped out the window. Yes, and what happened to the young lady who left the briefcase here in your compartment? I don't know. Who was she? I never saw her before. Are you okay, baby?

[Betty Callahan]

Oh, sure. It takes a bump like that clear up my mind. Who was that fellow?

[Richard Rogue]

I don't know. I'm holding you responsible for the damage that's been done to this compartment. What's your name? The name's Richard Rogue. Now get out of here. I'll give you some more things to hold me responsible for. Personal things. I'm the conductor on this train. Okay, okay. We'll still be on your train when you pull into Central City. Goodbye. Now, now, everything's all right, folks. Just goodbye. To your seats, please. We're going to hit immediately. Please return to your seat.

[Betty Callahan]

I've heard you were dynamic when you got started with.

[Richard Rogue]

Yeah, look, that daffy dame that came charging in here wasn't kidding. That briefcase of hers is full of dynamite.

[Betty Callahan]

Why, she mean it's gone out the window?

[Richard Rogue]

Oh, no, it isn't. The window jumper took mine, remember? I had it in my hand, ready to put it up on the luggage rack when he came in. Give me hers. It's right over there behind you.

[Betty Callahan]

Oh, sure. Locked.

[Richard Rogue]

I want to know what's in it, don't you?

[Betty Callahan]

I love life. I just wish I'd never seen it.

[Richard Rogue]

Well, comb the hair over that lump on your head, baby. We're going to find and confer with a young lady who spark plugged this carnival of mayhem.

[Betty Callahan]

Okay, I'm in. I owe that roof something. Go talk to her.

[Richard Rogue]

My head had that familiar old feeling of having been washed in a washing machine. And I was feeling anything but cute as we wandered down the aisle asking porters if they'd seen a big brunette wearing a blue pinstripe suit and a hat with cherries on it. That was Diane, you know. Finally, in car 73, the Porter recognized the description and told us that the lady was in Drawing Room A. Naturally, the conductor came along about this time. His glares bounced off that haze of pain that surrounded me like ricocheting bullets. He went with us, under protest to Drawing Room A. No answer he isn't in. Why don't you look in the club car? I did knock again.

[Betty Callahan]

Why don't you try the door, Richard?

[Richard Rogue]

Okay, let's open. Conductor, mindfully. Go ahead and look around. What right have you to enter the stateroom of a strange woman?

[Betty Callahan]

He entered his.

[Richard Rogue]

You sue me if you want to, but I'm going in there and take a look around. Nobody home, I guess. Well, I hope you're satisfied. Tearing up the train, walking into other people's drawing room. Look, mister, I'm trying to help you. I've been all over this train. The same has to be someplace. All right, all right. She's not here. And I can't stand around all night. Look over there, under the berth.

[Betty Callahan]

I don't see anything.

[Richard Rogue]

You don't? What do you think that is? Red ink. Why, that's blood. Then I'll pull these blankets back.

[Betty Callahan]

Oh, I'm getting out of here.

[Richard Rogue]

Are you convinced now that something's happened to that girl? Yes, I suppose so. You must be in here someplace. Open the door to that wardrobe.

[Betty Callahan]

Oh, Richard.

[Richard Rogue]

Teddy. Betty. Here, help me move her up on the bus. No, leave her right where she is. The cops won't want her move.

[Betty Callahan]

Oh, that night.

[Richard Rogue]

She's dead. Yes, she was dead. And all we knew about her was that her name was Diane and that I had the briefcase which must contain the reason for her murder. A pleasant thought. I took one more look at the dead girl, shuddered and pulled Betty out of that room. I wondered what was going to happen next and who was going to be the main attraction. I must have been born under a police star. No matter what I start out to do, I end up in more trouble than a jitterbug at a square dance. Me, I start out to be an expert witness and I wind up in the sheriff's office in Central City trying to explain a murder. Betty was enjoying every minute of this comedy of terrors. Being a news hawk, she was jumping with enthusiasm and theories. The sheriff was jumping with importance. I was just jumping. I don't like murder unless there's a profit in it for me. Sit down, Rogue. You shouldn't be so nervous. Well, we should be getting a report of that murdered woman, shouldn't we, Sheriff? We're not going to get any place until we find out who she was. My men are working on it, Rogue. Now, just take it easy. We know our business here in Central City. Well, it's your business, isn't mine. So if you don't mind, I think I'll shove off. I'VE got a little business to take care of myself. Just a moment, I'll. We got a positive identification on that lady who was stabbed on the train, Sheriff. And who do you think she was? Well, who was she? Get to it, Hennessy. She was Diane Miller, wife of Charlie Miller, who's on trial for murdering Big Joel and Bertie. No kidding. You can go, Hennessy. Sheriff Mills. Yeah. All over the place, huh? Great work, Sergeant. Okay, I'll have a pick out on him in 10 minutes. Thanks. Well, what's the good news? Have anything to do with the case? Well, Rogue, the man who stabbed Mrs. Charlie Miller was Flip Stone, Miller's best friend and his first lieutenant in the slot machine racket. His fingerprints were all over the night. How do you like that? I don't like it. Doesn't make sense yet.

[Betty Callahan]

Richard, I'm going to go call this into my city desk. Will you meet me at the hotel and bring me up to date on what has happened?

[Richard Rogue]

Sure, I'll take care of it, baby. You run along. Keep your readers informed. We might as well go along with her, Rogue. We don't need your help to solve this case. We're perfectly capable of taking care of it ourselves. Well, swell. Lots of luck. I've heard all about you, Rogue. Just keep your hands in your pockets while you're in Central City. We don't like smart private detectives very well. Remember that. I was all set to try and help the guy until he said that. I don't approve of people going around sticking knives through other people. And I'm willing to throw in my nickel's worth to see that they're discouraged. Then this politician with muscles running up to the part in his hair gets tough with me. Oh, well, he probably had run across some wrong guys in his time. Anyway, Betty and I lamb back to the Hotel Splendide. We went up to my room because we wanted to talk. She called in her story to her paper and I sat in the window and talked the deal over with myself. She finished her phone call.

[Betty Callahan]

I really walked into a scoop this time. The city editor is having hallucinations. He even promised me a raise.

[Richard Rogue]

Throw the bolt on that door, will you?

[Betty Callahan]

Why?

[Richard Rogue]

Oh, don't be so conceited. I want to take a look in this briefcase. All the excitement is about.

[Betty Callahan]

Of course, you know you can get put away in the poky for a long time for withholding evidence.

[Richard Rogue]

You're the worrying type, aren't you?

[Betty Callahan]

Why do you suppose Flintstone rubbed out his boss's better half?

[Richard Rogue]

Maybe she asked idiotic Questions while he was trying to open a briefcase.

[Betty Callahan]

You know it's locked.

[Richard Rogue]

Yeah, I'm afraid I'm gonna have to ruin the lock with my knife.

[Betty Callahan]

Too bad that's breaking and entrying or something.

[Richard Rogue]

Illegal entry.

[Betty Callahan]

Oh, that'll add 20 years to your sentence.

[Richard Rogue]

I'll still be a young man. I. Get out.

[Betty Callahan]

Ha ha.

[Richard Rogue]

Oh, come on, come on. I'm not gonna be bra. Beaten by luck. Hey, Hundred dollar bills. Millions of them. Take a gander at that, Betty Money. Oh, you catch on quick. No wonder Flip Stone was so anxious to get his hot little pink fist on this leather. You count em, will you?

[Betty Callahan]

I'd love to.

[Richard Rogue]

There's some letters in here I want to be impolite about.

[Betty Callahan]

2, 3, 4, 5, 6, 7, 8, 9, 10, 1. Richard, there must be $50,000 here.

[Richard Rogue]

Baby, this is the works. These letters explain a lot of things.

[Betty Callahan]

I'm counting. Wait a minute. 81, 82, 83, 84. Don't bother me. I never saw this much money before.

[Richard Rogue]

No? Well, I know now why Flipstone put the kiss of death on the lovely Diane. He had to keep these letters and that money from being delivered. He didn't want Charlie Miller to beat that rap.

[Betty Callahan]

Five, six, seven. I'm through six thousands already, and I haven't even made a hole in the pile.

[Richard Rogue]

Oh, the guy who wrote these letters was a character. Give me the sheriff's office, please. Thank you.

[Betty Callahan]

8567. 8, 9, 9,000. Oh, I wonder what a nice yacht would cost me.

[Richard Rogue]

Chicken, if that door was yours, you'd be Mrs. Richard Rogue tonight.

[Betty Callahan]

Oh, would I? Six, seven, eight, nine.

[Richard Rogue]

Hello? Hello, Sheriff's office. Let me talk to Sheriff Mills. Richard Rogue calling.

[Betty Callahan]

Gracious. Seven, eight, nine, eleven. One, two, three, four, five.

[Richard Rogue]

Oh, hello, sheriff. This is Richard Rogue. Yeah, come down to 7:30 at Hotel Splendid, Radabayolia. Well, don't ask so many questions. I'm going to make you a big man. I want you to help me plan a surprise party. Right now. Hurry. Hey, that's a lot of letters you got there, Betty darling. Flipstone really grabbed a handful of disappointment when he bailed out with that. My satchel by mistake. There wasn't nearly that much money in mine.

[Betty Callahan]

Who could that be?

[Richard Rogue]

I don't know. Look, I'll get over behind the door. You open it, and we'll look our company over before we put this artillery away.

[Betty Callahan]

All right. I don't like guns.

[Richard Rogue]

They come in handy sometimes. Okay. Put them up. Letty, I'm coming in.

[Betty Callahan]

You can't come in here.

[Richard Rogue]

Shut up. Just keep backing up. I want that dough. You split bags on me.

[Betty Callahan]

I didn't. I didn't do it.

[Richard Rogue]

Where's Ro? Checked every hotel register in town looking for him. Where is he? I want to slap him around a little bit for.

[Betty Callahan]

Oh, Richard, why did you wait so long?

[Richard Rogue]

I administered that pistol anesthesia with masterful precision. Flip was going to have a long ride on the dream train. Betty and I took a sheet off the bed, tore it into strips and tied Flip up like traffic at Hollywood and Vine. Then we looked around for someplace to hide him. We finally picked out a spot that any old maid would have thought of. Immediately, we slipped him under one of the twin beds. Then we finished counting the money. $25,000. Oh, it looked beautiful there. But I had things to do. I called the sheriff. He hadn't left the jail yet, so I went down there to talk with him. And while I was there, I had a chat with Charlie Miller. A very satisfactory chat. Then the sheriff and I went back to the hotel. Betty made a phone call and we waited for company. The sheriff and I squeezed into a closet when the knock came at the door.

[Betty Callahan]

Who is it?

[Richard Rogue]

He just called and invited me down.

[Betty Callahan]

Okay, come in.

[Richard Rogue]

Thanks. Now, let's get this over with. Mrs. Miller, I want to get out of here.

[Betty Callahan]

Don't be in such a hurry. How do I know you're on the letter?

[Richard Rogue]

You have the money with you?

[Betty Callahan]

Yes. I'll give it to you after you sign this little document.

[Richard Rogue]

What is it?

[Betty Callahan]

I'll read it to you. I, Lewis Tobin, a member of the jury in the trial of Charles Miller for the murder of Big Joe Landatti, do hereby acknowledge the receipt of $25,000 from the hand of Mrs. Charles Miller, for which I agree to hold out against the conviction of Charles Miller and to find him not guilty. I also agree to use my best influence to make the other jurors agree to a not guilty verdict. And that's where you sign.

[Richard Rogue]

Oh, you know I can't sign a thing like that.

[Betty Callahan]

Now, Look, I've got 25 grand in Hudgens ready for you. You get it when you sign your name right there.

[Richard Rogue]

No.

[Betty Callahan]

If you keep your word and my husband gets a hung jury or an acquittal, this receipt will be torn up.

[Richard Rogue]

You don't.

[Betty Callahan]

I'll give it to the newspaper. Sign it.

[Richard Rogue]

Okay. Okay, I'll sign.

[Betty Callahan]

Here's a pen, Toby.

[Richard Rogue]

Okay. I'll just hang on to this until you give me the money.

[Betty Callahan]

Here you are. 250, $100. Bill? Yeah. You want to count him?

[Richard Rogue]

No, no, I just want to get out of here. That's fine. Hey, don't move, Tobin. The sheriff and I both have you covered. You double crossed me. I was just trying to put Tobin. I'll take him down, Sheriff. He's got $25,000 on him that you marked yourself. You haven't got a thing on me. I was just. Well, hi, Ms. Callahan. Could I have that confession?

[Betty Callahan]

Oh, sure. If you'll let me have it back for a photostat later.

[Richard Rogue]

Okay. It'll be yours. Exclusive. And now I'm going to take this man down and lock him up where he belongs. Yeah, that's a good idea. Very practical. Oh, here, Sheriff, you better take this money with you. I just spend everything I get my hands on. Oh, yes, yes, of course. Thank you, Rogue. You better card it later. No, Sheriff, you better count it now. I can't take the time now, Rogue. If there's any money missing, I'll be back. And there had better not be any money missing. I had news for the sheriff, but he was so impressed with his pinch that he couldn't see me. Oh, well, I. I knew he'd be back. You see, I'm a practical guy. I had palmed and pocketed $5,000 out of that wad of dough I took off Tobin. I showed it to Betty and she was horrified. But I knew what I was doing, so I just sat there and waited for the door to take a beating. And it did. Who is it? It's the sheriff. Let me in, Rogue. Why, Sheriff, you're all red in the face. It's your age. I knew you were a crook the first time I set eyes on you. Rogue, you probably studied psychology at bar college. That's what makes you so smart. There was only $20,000 in that briefcase when I counted the money at the jail. And I had four honest men as witnesses. Well, bless your heart. Where's that other $5,000, rogue? In my pocket, Sheriff. That's where it's going to stay. That's larceny. And you, you're under arrest. Now, isn't that silly? Look, Sheriff.

[Betty Callahan]

Oh, please, mister, tell him. Don't needle him anymore.

[Richard Rogue]

Well, Sheriff, you remember when I went in the cell to see Charlie Miller? What's that got to do with the missing funds? Well, he posted a five thousand dollar reward for the killer of his wife with you, didn't he? Yes, I suppose he did. You suppose? You know he did. Well, if you look under the bed there in the bedroom, you'll find Flip Stone, the guy who murdered Diane Miller. It was very simple. I just collected my reward in advance. That's all, my friend. The sheriff was a little upset for a while, but he calmed down when Betty brought in a photographer to take his picture for the papers. Isn't it funny what some people will do to get their pictures in the papers? I had to practically wrestle him to keep him out profiling me, the big ham. Well, I split the reward with Betty, of course. No, I didn't just exactly split it with her. I gave her 2,000 bucks, but she didn't want to take anything. Isn't that just like a woman, though? Or is it foreign? We're a little late, folks. This is T4Y. Good night, sleep tight. This is the Armed Forces Radio Service.

[Betty Callahan]

Jerry, Bill. Look up there on the window lamp, Bill.

[Richard Rogue]

It's Rogers. Rogers. Rogers. Look out.

[Betty Callahan]

Billy's falling.

[Richard Rogue]

Mr. And Mrs. North. Starring Barbara Britton and Richard Denning. Listen as Pam and Jerry solve the mystery. Background for murder. A nightclub in the middle of the afternoon isn't a very romantic background. And the man at the piano doesn't sound as if he's serenading his love. Still, the light in his eye as he looks at the fresh faced young girl seated next to him is unmistakable. And the background becomes unimportant as he woos her in his own special language and with an odd, rather frightening intensity. I got eyes for you, Judy.

[Betty Callahan]

You're the greatest. Stop it, Hip. You just think you're interested in me because I'm something new.

[Richard Rogue]

Interested? Judy, baby, I flipped the first time I saw you come into your place.

[Betty Callahan]

Fresh from the corn belt and really wide eyed at meeting the great Hip Rogers.

[Richard Rogue]

The great Hip Rogers is a no good hero.

[Betty Callahan]

Why Hip? You mustn't say things like that. I think you're a wonderful person.

[Richard Rogue]

That's because you're not sharp, Judy.

[Betty Callahan]

Maybe not, but I'm sharp enough to know a nice guy when I meet one.

[Richard Rogue]

Cyber Judy.

[Betty Callahan]

That's nice. I like that. What's the name of it?

[Richard Rogue]

No name yet, just something I play when I'm thinking about you. Call it Hip Rogers Blues or maybe Trouble in a Flat.

[Betty Callahan]

That's almost the title.

[Richard Rogue]

Title of what?

[Betty Callahan]

Nothing. It just sounded familiar. Where's your friend Mitchell? Haven't seen him around recently.

[Richard Rogue]

He's no friend of mine. I wish you'd stop making noises like a spot artist. Spot artist? A cop detective. I always ask him questions like what.

[Betty Callahan]

Does Mitchell do for a living?

[Richard Rogue]

Yeah, that's all you put it Down.

[Betty Callahan]

Translation, it's no good. Forget it. You see, I'm learning and learn this.

[Richard Rogue]

Don't go around asking questions about. Mitch, it's.

[Betty Callahan]

What's the matter?

[Richard Rogue]

I thought I heard the door open.

[Betty Callahan]

Well, you're frightened. What is it?

[Richard Rogue]

Here, take off, Judy. I'll see you later. Don't you dig me, honey? Cut out. Got work to do.

[Betty Callahan]

Sure, Hip. I'll go now.

[Richard Rogue]

Hello, Mitch. How long have you been here? Not long. But long enough? Depends on why you're asking. Maybe I don't like the way you walk in here. Like you own the place. Now here you own it, but I own you. And don't you ever forget it. How can I? Yeah, that's better. A few days ago you were crawling to me on your hands and knees. Begging me to keep you from falling apart. Begging me to give you. All right, what do you want? Some straight answers to some important questions. Lay it under. How do you know about this, Judy? Greg? Why? What do I have to know about it? I said I wanted some straight answers. You rented the apartment upstairs to her. You've got eyes for her. What do you know about her? She's not sharp, but she's George, right? I got eyes for her. That's nice. She's always poking that peanut nose of hers into things. I know. I heard her working on you when I came in. She's dangerous. Judy, you're flipping man. Am I? Let's find out. I don't think you. Mitch. Well, she's out now. We're going up and search her apartment. But we can't do that. Why not? You're the landlord. You got a pass key. Come on, Mitch. If you ask me. I'm not asking you, I'm telling you. Now get that key while you can still walk.

[Betty Callahan]

Right.

[Richard Rogue]

All right, Mitch. Yes, Ms. Pennington?

[Betty Callahan]

Your wife is here, Mr. North.

[Richard Rogue]

No, have her come right in, Ms. Pennington. Well, you're in a gay mood, darling.

[Betty Callahan]

Then why shouldn't I be? Look.

[Richard Rogue]

Hey, the plane ticket.

[Betty Callahan]

Oh, golly, it's Jerry. It's the nicest possible present you could give me. And you know what?

[Richard Rogue]

What?

[Betty Callahan]

Our reservations are for that new plane. American Airlines is flying non stop, coast to coast. We leave Idlewild at 1pm and we're in Los Angeles at 5. 55 in the evening. Isn't that wonderful?

[Richard Rogue]

Great.

[Betty Callahan]

Honestly, darling, I'm so excited, I. Oh, Jerry, it's almost 4:30. Couldn't you leave now and we.

[Richard Rogue]

Oh, Pam, I can't possibly knock off now with Ray Gordon out of town. I have more work than I. Yes?

[Betty Callahan]

Excuse me, Mr. North.

[Richard Rogue]

What is it, Ms. Pennington?

[Betty Callahan]

There's a man outside, an elderly gentleman who.

[Richard Rogue]

Who what?

[Betty Callahan]

Well, he's. He's acting so. So strangely. Strangely?

[Richard Rogue]

What way, Ms. Pennington?

[Betty Callahan]

He absolutely refuses to leave until he sees you. Until you tell him what you've done with. With his daughter.

[Richard Rogue]

What?

[Betty Callahan]

His daughter? That's what he said.

[Richard Rogue]

Well, well, well, Pam, what does he mean? What have I done with his daughter?

[Betty Callahan]

I don't know.

[Richard Rogue]

I haven't done anything with anyone's daughter.

[Betty Callahan]

Are you sure, darling?

[Richard Rogue]

Pam, please. What's. What's the man's name, Ms. Pen?

[Betty Callahan]

Greg.

[Richard Rogue]

Greg. Greg.

[Betty Callahan]

Well, why, Darling.

[Richard Rogue]

No, Pam, stop it.

[Betty Callahan]

I can't. You look so wonderfully guilty. Now, listen, you can't come in here. I told you that.

[Richard Rogue]

That's all right, Miss Penny. You may go.

[Betty Callahan]

Yes, sir.

[Richard Rogue]

Mr. North. I'm Joseph Gregg. Judith. Papa. How do you do, Mr. Gregg? This is my wife. How do, ma'am? I. Maybe we better talk alone, Mr. North. I don't think so, Mr. Gregg. I have no secrets from my wife. Oh, is that so? Well, I put it to you straight. Where's my daughter Judy? You'll have to put it even straighter, Mr. Greg. To the best of my knowledge, I've never even heard of your daughter. That's your story. That's the truth. Now, what is all this? She disappeared. I can't find her. You gotta tell me where she is. You've got her. Now, calm down. I know you're upset, but what makes you think I know where to find her? Well, this. These letters I got from her. Read what it says. Read it right there. Don't worry about me, Daddy. Mr. North is the kindest, handsomest, most wonderful man in the world. And he's promised to take care of me until he publishes my book. Well, and that's only one of the times she mentions you. You want to read some more? No, thanks. It's. I just can't understand it. It doesn't make sense.

[Betty Callahan]

Have you been writing to her, Mr. Gray?

[Richard Rogue]

Yes, twice a week since she left home. But care of the North Publishing Company was the only address I had. And all my letters came back marked unknown at address. Something's happened to Judy. Must have. She wouldn't. Now, take it easy, Mr. Gray. There must be some explanation for this. Maybe Ray Gordon, my story editor, has met your daughter. He'll be back in town tomorrow, and I'll see what he has to say about it.

[Betty Callahan]

We'll help you all we can, Mr. Greg, have you been to the police?

[Richard Rogue]

No, I came here straight from the train. The Bureau of Missing Persons is a very efficient outfit. We could check with them.

[Betty Callahan]

And we have a friend named Bill Wigan who's on the force. With Bill behind it, we'll find your daughter in no time.

[Richard Rogue]

You. You're both mighty kind. I'm real sorry about all the fuss I stirred up. Don't forget it. Oh, I won't forget it, Mr. North. When I get back home, I'm going to tell all the folks that there's some mighty good people in New York.

[Betty Callahan]

New York's like any other town, Mr. Gregg, only it's bigger. There's some mighty bad people here, too.

[Richard Rogue]

Let's cut out of him, Mitch. We haven't found anything. And Judy could be coming back anytime now. Come on over here and give me a hand with this drawer. It's locked. You're not gonna break it open. Shut up and lean on this. Does it? Yeah. Down here, underneath this other thing? Yeah. Look at this. It's a book, a notebook. So what? Well, read it. Go ahead. Here. Right where I'm pointing. I don't dig this stuff. Why would she write all this down? For the police, you fool. She's got enough in here to put us both away. I told you, man, I won't buy it. That's just what you might have to do, Hip. You might have to buy all of it. You mean she's doing this for the loot? If that's what she's after, she can bleed us dry. She's got us pegged, Hip. There's stuff in here. Just a mess of words. Special talk she picked up here and there. Around the club, is it? You're a soft touch, I tell you. She probably doesn't even dig. Have this stuff herself. All right, let's go along with that for a minute. Let's say that the stuff in here doesn't make any sense to her. I'd better. You'd bet. What? Your skin. And mine, too. Even if she doesn't know what she's got, there's plenty around who wouldn't need a diagram to figure it out. I don't see what. Read it. I'm supplying the stuff. You've got to push it for me. The Sapphire Club is our number one store. It's all there in the book. Go ahead, read it. Gonna wait here when she comes in? I'm going to. Here she is. Now. Get over there by the door. Jack. Shut up and move. Come in, Miss Greg.

[Betty Callahan]

What are you Doing here? What do you want?

[Richard Rogue]

Look, Jack, stay out of this hip.

[Betty Callahan]

What is his hip. What does he want?

[Richard Rogue]

It's about this notebook.

[Betty Callahan]

Judy, that's mine. Give it to me.

[Richard Rogue]

You'll get it. All right. How much were you figuring out asking for this stuff?

[Betty Callahan]

What do you care? You're hurting my arm.

[Richard Rogue]

Let her talk, Mitch. Tell him, Doody. You gotta tell him.

[Betty Callahan]

That's notes for my novel.

[Richard Rogue]

Oh, that's a new one.

[Betty Callahan]

But the truth. I'm rewriting the book and I need it for background material.

[Richard Rogue]

Who's printing it for you? The police department?

[Betty Callahan]

I don't know what you're talking about. I'm hoping the North Publishing Company will take it.

[Richard Rogue]

Is that solid? Judy, you're not just jiving?

[Betty Callahan]

Why should I lie about it?

[Richard Rogue]

She's leveling with us, Mitch. Let her go. You must be out of your. Of mine. I'm telling you to let her go. Get it straight. You're not telling me anything. How long do you think you'd last without me? Take it easy. You need me like you need the air you breathe. Now step aside.

[Betty Callahan]

Hip. Stop him.

[Richard Rogue]

Judy. Judy, baby.

[Betty Callahan]

No.

[Richard Rogue]

Stop me.

[Betty Callahan]

Gary, the phone.

[Richard Rogue]

What's that?

[Betty Callahan]

The phone's ringing. Answer the phone.

[Richard Rogue]

Oh, no. Pitch dark. Where's that light?

[Betty Callahan]

There.

[Richard Rogue]

Hello, Jerry, this is Bill. Oh, holy smoke. Bill, it's 5:00 in the morning. I know and I'm sorry, but it's about Judith, Greg. The girl you phoned me about yesterday. You found her? Yeah, we found her. Fast work, Bill. That's very good. Not so good, Jerry. She's dead. What? Suicide. According to the preliminary report, she'd been living in a small apartment directly above the Sapphire Club on 52nd Street. That's where they found her. Well, how did she. How did it happen? The gas jets were wide open. She was lying on the kitchen floor. Must have been lying there for some time. Oh, that's terrible. Yeah, but the toughest part is still to come, and I'll leave it for you and Pam, if I may. Well, what is it, Bill? I'd like you to break the news to the girl's father and then bring him over to the apartment. I'll meet you there. All right? All right. Soon as possible. Check.

[Betty Callahan]

What is it, Jerry?

[Richard Rogue]

What's the matter, Mr. Greg? Oh, that poor guy. Is. Is this the place? Yes. Your daughter's apartment was upstairs. Mr. Gregg, if you don't mind, we'll go in through the nightclub. Anything you say, Lieutenant Rogers. Huh? Oh, back again. Lieutenant Rogers, this is Mr. Gregg. Judy Gregg's. Father. Hello. Mr. Roger. Hi. Rogers owns the building Judy rented from him. He discovered your daughter. Your daughter's body. That's right. And this is Mr. And Mrs. North. North? Your name is North? That's right. You publish books? Yes. And Judy was. Was what, Rogers? Nothing, nothing. Forget the piano for a minute. Rogers. Rogers. Oh, kid. Hey, you started to say something about Ms. Greg. Judy. She told me she was working at a book. You didn't tell me this before. You didn't ask me. Well, let me ask you this. Have you any idea why she might have committed suicide? Well, Chick alone in the big city, no friends, maybe no loot. Could be, he says. That's case. I'm gonna put it down. I'm not sure I understand you, Mr. Rogers. But if you really believe that my daughter was the type who could have taken her own life, then you just didn't know Judy. I knew her, Mr. Greg. That chick was. She was the greatest. Mr. Rogers, my daughter was murdered. Now, now, take it easy, Mr. Gregg. Rogers. I'd like to have your pass key. We're going upstairs. Right here. Thanks. All right, let's. How's it going, Hip? Why didn't you open up and tell him the whole story while you were at it? Maybe I should have. Now lemme alone. Don't you ever even think that way, Hip. You were there. And if I go, you go too. I tried to stop you and I couldn't. We're in this mess because you don't know how to keep your mouth shut. You just sit tighter in the clear. If you don't, you're not going to like what happens to you. And that's a promise. I'd know my Judy lived here even if. If I hadn't been told. She's made it kind of a little home, Judy is. She was good at that sort of thing.

[Betty Callahan]

Just take it easy, Mr. Gregg. We won't be here too long.

[Richard Rogue]

Oh, don't you fret about me, Mrs. North. I'm all right now. Go see what Bill's doing.

[Betty Callahan]

All right, Jerry.

[Richard Rogue]

Find anything, Bill? No, not yet. Oh, see if there's anything in that hat box, will you, Jerry? Okay. No, nothing but a couple of silly looking hats. Are you looking for anything in particular, Bill? Yeah. What? Oh, it's just a hunch. I'll tell you if I find it. Incidentally, I've ordered a full investigation and a complete medical report as soon as possible. That ought to satisfy Mr. Gregg. Maybe yes, maybe no. Let's see what's in here. Lingerie Blouses, stockings and. And what? This. What? A hypodermic. And a small quantity of white powder. Dope. Dope. Oh, brother. Look, Jerry, let's don't let Mr. Gregg see this. I understand, but is this what you were looking for? Let's say it was a possibility. Come on. All right, Mr. Gregg. We're leaving now. I'm. I'm gonna stay here a while longer, if you don't mind, Lieutenant. I. I don't think it's the wisest thing for you to do, Mr. Gregg.

[Betty Callahan]

Why don't you come home with me? You can have some coffee and relax and even take a little nap.

[Richard Rogue]

Oh, thank you, Mrs. North. You're very kind. I feel close to Judy here, and I'd really prefer to stay alone for a little while. I really think it'd be better for you if we took you back to our apartment. I guess I know what you're all thinking, but I wish you'd put it out of your mind. My daughter was murdered. And I intend to live long enough to see the murderer pay for that terrible thing that he did. Until then, I. I'm not gonna do anything f. Yes, Ms. Pennington?

[Betty Callahan]

Mr. Gordon just came in, Mr. North.

[Richard Rogue]

Oh, good. Ask him to come into my office right away, please.

[Betty Callahan]

Yes, sir.

[Richard Rogue]

Well, maybe we'll find out a little more about Judy Gregg.

[Betty Callahan]

You don't mind if I stay to you, Jerry?

[Richard Rogue]

Of course not. But I think you'd be better off at home getting some rest.

[Betty Callahan]

Oh, I'm all right.

[Richard Rogue]

Hiya, Jerry. Hello, Ray. Come on in. Hello, Ray. Hello, Pam. Have a good trip? So. So. I have all the figures in my briefcase. Later, Ray. There's another thing that comes first. Did you know a girl named Judith Gregg? Judith Greg? Oh, yeah, yeah, of course. She submitted a manuscript entitled Murder in a Flat. I remember her very well. How is it that I never met her? Oh, you're busy. At the time, her book didn't strike me as having sufficient possibilities to interest you with her first attempt. And it was. Well, I thought it was rather amateurish. What was it all about? It's a murder mystery. Plot revolved around a narcotics ring that was operating among what they call bop musicians and fans of bop music, if you're familiar with the word. You haven't lost me yet. Go on. That's about it. She was a persistent kid. I made some comment about her obvious lack of familiarity with the background she'd use. She called me only last week. You know what she said? She said she was gathering material that would turn her Book into a sensational expose and make me eat a large portion of humble pie. You forgive me if I don't seem overly amused. What's the matter? Is there Something wrong? Plenty. Ms. Pennington.

[Betty Callahan]

Yes, sir.

[Richard Rogue]

Get Lieutenant Wigan of Homicide forming.

[Betty Callahan]

Yes, sir.

[Richard Rogue]

Homicide. What is it, Jerry? What's the matter? Judith Gregg is dead. Dead? Suicide. Good Lord.

[Betty Callahan]

Golly, Jerry, it looks like Ms. Greg was doing some pretty dangerous research for that book of hers.

[Richard Rogue]

That's putting it mildly. It also begins to look like Judy's father. Yes?

[Betty Callahan]

I have Lieutenant Wigan for you.

[Richard Rogue]

Right. Hello, Bill. Look, I think I've picked up some information about Judy Gregg that you should have. My story editor, Ray Gordon just told me that. What's that? When? Yes, Yes, I understand. We'll be waiting for you downstairs in front of my building.

[Betty Callahan]

What is it, Joey? What's happened?

[Richard Rogue]

Bill just got a complete report from the medical examiner. Judy Gregg was slugged and given a stiff dose of chloroform. She didn't commit suicide. She was murdered. Who is it? Me, Mr. Z. Oh, just a minute. You. You here alone? Yes. I thought so. Look, I. I'd like to like to talk to you. Oh, sit down. No, thanks. I too jumpy to sit still. Is something the matter, Mr. Rogers? The matter? No, nothing the matter. What is it you wanted to talk to me about? Nothing special. I. I was downstairs in the car below and I was thinking about Judy. I can't get her out of my mind. I know. I. I was just sitting here kind of remembering things about her. Still hard for me to realize that she's. That I won't stop it. What? Don't talk like that. Don't talk with me. What's the matter, Mr. Rogers? Nothing. Just got the jumps with that. So, what are you afraid of? I. Too many things. Look, I'm no good, Mr. Rogers. I'm rotten clear down to the core. But you gotta listen to me. Judy was. Well, she was the most. I told you that. Better cops are messing around. They may come up with something about her that looks pretty bad. What? Never mind. Never mind. Just listen to me. Could be a lot of jive and don't you believe it. Judy was a good queen, kid. She never did a thing to be ashamed. I know that. You don't know anything. You don't know what the cops might say about Judy. But don't you believe. What are you trying to tell me, Mr. Roger? Nothing. Except nothing, Mr. Rogers. What? Do you believe that Judy killed herself? Well, no, I know she didn't. Then she was Murdered. And you know who killed her. I'll take it from here. Mitchell. Mitchell, how did you. The back. Who are you? Sit down. Who are you? The name's Mitchell. Jack Mitchell. Are you the man? Yeah. I killed you, kid. You. Then your friend here helped me make it look like us. That's a lie. I didn't help him. I tried to stop him. What do you think you're doing? I'm going to call the police. That's a lie. Operator. Jack. Skip it. Operator. Jack. Jack. You killed him. No. And I'm not going to. You are. Me? Yeah. The old man's going to take a suicide dive out that window. Hip, you're the guy who's going to start him on his way. You heard me. He's going out this window. Drag him over here. No. Bring him over here. I'm not gonna do it. Why, you little. I'm through with you, Mitchell. I'm through. I mean it. How many times have I heard that before? This time I mean it. Sure, sure, you mean it every time. But every time you come crawling back to me because you can't live without me. Like I told you this morning, I'm the air you breathe. I'm the blood in your veins. And pretty soon you'll be screaming for me to help you. No. Pick up the old men and carry them over to the window. I'm not carrying. Going to do it? No. And you can't make me do it. We'll see. Not even with that gun. I'm going to call an ambulance. Get him to a hospital. Stay right where you are, Hip. Get out of my way.

[Betty Callahan]

I want.

[Richard Rogue]

You heard me. Hip are. You heard me? Get out of the way. Look at you, crazy fool. If you take one more step, I'll blow a hole right through you. I said get out of my way. Roger's place is in the next block, Jerry. Right. Look, when we get there, I want you and Pam to go upstairs and get Mr. Greg while I find Rogers and ask some questions. Okay?

[Betty Callahan]

What's your theory about that hypodermic needle and dope you found in Judy Greg's room?

[Richard Rogue]

I think the stuff was planted there. But the medical report shows that Judy Greg wasn't a drug addict. Here we are. Okay, let's go.

[Betty Callahan]

You think this man here, Rogers, killed Miss Greg, don't you?

[Richard Rogue]

Bill, I think that Rogers knows a lot that he hasn't told me. That's why I. Hey. What? Where'd that come from?

[Betty Callahan]

Gary.

[Richard Rogue]

Bill, look.

[Betty Callahan]

Look down the window ledge.

[Richard Rogue]

Rogers fighting with someone. Rogers Rogers.

[Betty Callahan]

Golly, Jerry, I'm glad that man Rogers is going to be all right.

[Richard Rogue]

Especially since Mr. Greg says he saved his life. But Rogers was lucky he wasn't killed along with Jack Mitchell. Happy in heaven? Well, not quite. But you're 15,000ft closer to it than you were an hour ago.

[Betty Callahan]

Yes. Isn't it a beautiful big plane?

[Richard Rogue]

Yeah. I was reading the other day that they'll have jet airliners that that'll fly from New York to Los Angeles in three hours.

[Betty Callahan]

Three hours?

[Richard Rogue]

Three hours. And because of the time difference, you'll arrive on the west coast at the same time you left the east. You leave at 7 in the morning and arrive at 7. One breakfast in New York and another breakfast in Los Angeles.

[Betty Callahan]

Well, let me tell you something, Jerry North. I'm never going to fly in one of those planes.

[Richard Rogue]

Why not?

[Betty Callahan]

One breakfast in New York and another in Los Angeles. Why, I. I wouldn't think of traveling that fast.

[Richard Rogue]

Oh, but darling, those planes will be just as large and comfortable and safe as the one we're on now.

[Betty Callahan]

Of course it will be.

[Richard Rogue]

What's worrying you?

[Betty Callahan]

Oh, for heaven's sake, Jerry. I couldn't possibly eat two breakfasts.

[Richard Rogue]

The adventures of Mr. And Mrs. North are brought to you through the facilities of the United States Armed Forces Radio Service.

[Narrator]

That's Case Closed for this week. You can find more From Rogues Gallery, Mr. And Mrs. North, this podcast and all of the other relic radio shows@ Relicradio.com. our shoutcast stream is there as well with even more old time radio and our donate button. If you'd like to help support this and all of that, visit donate. Relicradio.com or click on one of the links on the website. Can't do it without your help. Thanks to those who have helped. Thanks for joining me this week. Be back again next Wednesday with another hour of Case Closed.