Boston Blackie: Murder at the Movies 12/13/1945

Summary

Boston Blackie: Murder at the Movies (Aired 12/13/1945)

Podcast: Choice Classic Radio Detectives
Episode Date: May 9, 2026 (Podcast release)
Original Air Date: December 13, 1945
Summary Format: Rich, detailed, and structured, with timestamps, quotes, and attribution.

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Episode Overview

In this classic episode of Boston Blackie, the famed detective is brought in as a technical advisor for a safecracking scene on a movie set—only to become embroiled in a real-life murder mystery. A film’s leading lady, Gladys Ronson, is found dead inside a trunk during a scene, shot in a manner no one can explain. The drama unfolds with a complex web of suspects and motives, culminating in a classic Blackie deduction.

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Key Discussion Points & Episode Breakdown

1. Blackie’s Movie Studio Visit and the Safecracking Setup

• [00:00-02:12]
  • Blackie is approached by Mr. Smith of Herald Productions to consult on a safecracking scene for authenticity.
  • Banter with Mary Wesley about Blackie’s reluctance to take advice or give it:
    Mary: "Taking advice is a little out of Blackie's mind, too." (01:38)
  • Blackie agrees, humorously hoping to avoid Inspector Faraday at the studio.

2. Tragedy on Set: Gladys Ronson’s Mysterious Death

• [03:52-06:29]
  • On set, rehearsing a scene involving hiding in a trunk, lead actress Gladys Ronson fails to emerge when called. Upon opening the trunk, she’s found dead—shot without any apparent gun or bullet hole.
  • Classic film set hustle and confusion:
    Director Billings: “What did you do, fall asleep in there? ... She’s been shot. I know that. I also know she’s dead.” (06:06)

3. The Impossible Murder: No Gun, No Bullet Hole

• [06:29-07:06]
  • Blackie and Mary examine the trunk: no bullet hole, no murder weapon inside. Blackie makes light of Mary’s discomfort with his jackknife:
    Blackie: “A friend of mine sent it to me in hopes I'd cut my throat.” (06:44)

4. Inspector Faraday Enters, Banter Ensues, and Suspect List Grows

• [07:08-10:55]
  • Inspector Faraday arrives; banter with Blackie about intellect and wits:
    Faraday: "What size straight jacket do you wear?"
    Blackie: "I wear a 40.” (07:40)
  • 56 possible suspects—all present on set.
    Faraday: “You know how many people were on that set? I can count to 56, and that’s exactly how many people were on that set. Exactly how many people could have killed Gladys Ronson.” (09:52)

5. Behind-the-Scenes Motives & Secret Relationships

• [10:55-12:59]
  • Cut to Sally Green and Martin Doyle’s tense exchange—Sally knows Martin killed Gladys, possibly by mistake, thinking he was targeting Sally.
  • Sally to Doyle:
    **“You won't kill me, Doc, because I've put everything I know in writing and the police will find it. Very lively reading if I turn up dead.” (12:39)

6. Search for the Murder Weapon

• [13:41-16:44]
  • Blackie, Faraday, and others scour the prop room, testing prop guns for recent discharge.
  • Blackie deduces the murder weapon had a silencer and finds a recently fired gun.
    Blackie: “Smell the cordite. This is it.” (15:31)
  • Faraday insists on taking the gun for fingerprints, but Blackie doubts prints will be found.

7. Viewing the ‘Rushes’—Another Murder Occurs

• [16:44-19:53]
  • While viewing the film footage (rushes) from the murder scene, the body of John Gaines, the prop man, is discovered—stabbed with Blackie’s knife.
  • Blackie immediately connects Gaines’s death to knowledge about the murder gun:
    “The murder gun was taken from the property room. Maybe Gaines saw it being taken or being brought back. In either case, he was marked for murder.” (19:08)

8. Narrowing Down Suspects & The Critical Clue in the Script

• [19:53-21:02]
  • Blackie zeros in: instead of 56 suspects, now it’s those present for the film viewing: Barker, Winters, Billings, Mary, Martin Doyle, and Blackie.
  • Scrutinizing the script notes, Blackie realizes a key change: the “stand-in” was replaced by Gladys last minute.
    Blackie: “Maybe she was killed by accident… someone who didn’t know Ms. Ronson was getting in that trunk, fired at what he thought was Sally Green, her stand-in… Now, who didn’t know that change had been made?” (20:40)

9. Confronting Sally Green: The Motive & True Target

• [21:02-23:03]
  • Blackie visits Sally Green, reveals her husband Martin Doyle (the actor) was caught attempting to kill her. He believed he was shooting Sally, not Gladys.
  • Sally explains:
    Sally: “Martin wanted me out of the way so he could marry Gladys Ronson.” (22:35)
  • Sally’s written confession (“in case anything happened to me”) seals Doyle’s fate.

10. The Solution Revealed: The "How"

• [25:14-26:09]
  • Mary asks Blackie to explain the locked-room mystery: how was Gladys shot if the trunk hadn’t been penetrated?
  • Blackie reveals:
    Blackie: “I watched her get into the trunk first. She sat down in it, then started to pull the top down over her. She closed it slowly at first, then suddenly let it drop. Drop the rest of the way.” (25:41) Mary: “She was shot before the trunk was closed.” (25:52) Blackie: “That’s right. Doyle, with a pistol and a silencer, fired while she was letting down the top. She slumped as she was hit, and the top closed.” (25:56)
  • The murderer was caught thanks to his wife’s written statement—Doyle wanted to be rid of Sally for Gladys, but mistook his target.

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Notable Quotes & Memorable Moments

• On showbiz and reality:
  "The trouble with you motion picture people is that you see too many movies." – Blackie (00:05)

• Comic exchanges:
  "Billings doesn't make comedies." – Blackie predicts Faraday's failure on film (07:15)

• On investigating:
  "Any killer smart enough to commit this murder is certainly going to be smart enough to wipe off his fingerprints." – Blackie (15:36)

• The key deduction:
  "She was shot before the trunk was closed." – Mary (25:52)

• Blackie’s closing quip:
  “Doyle was making a movie in Technicolor, but he was caught by what his wife put down in black and white.” – Blackie (26:09)

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Timestamps for Key Segments

• 00:00-02:12 — Blackie invited to movie set
• 04:28-06:06 — Gladys murdered in the trunk
• 07:08-10:55 — Faraday enters, broad suspect pool
• 13:41-15:31 — Gun room investigation, gun with silencer found
• 16:44-17:55 — Viewing rushes, Gaines found dead
• 19:53-21:02 — Focus narrows to core suspects
• 21:02-23:03 — Blackie confronts Sally, learns covers behind motives
• 25:14-26:09 — Final deduction on “how” the murder was committed

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Episode Tone and Language

• The episode features sharp, witty banter between Blackie, Mary, and Faraday—a blend of suspense and lightheartedness typical of golden age detective radio.
• Quotes showcase era-typical sly humor and dry delivery, with a focus on logical deduction and quick repartee.

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Conclusion

Murder at the Movies is a quintessential Boston Blackie yarn, blending show business glamour with an impossible murder mystery. With a tightly-plotted script, clever clues, and signature character interactions, it’s a classic of the cozy detective genre—and a treat for old-time radio fans who appreciate both the puzzle and the fun.

Transcript

[A]

Welcome to Choice Classic Radio where we bring to you the greatest old time radio shows like us on Facebook, subscribe to us on YouTube, and thank you for [e-mail]. Blackie, all I want you to do is open a safe. Mr. Smith, the trouble with you motion picture people is that you see too many movies. I'm serious, Blackie.

[B]

Well, perhaps you'll tell us more about it, Mr. Smith.

[A]

Certainly, Ms. Westley. I don't really want Blackie to open the safe. Well, now, just what do you want me to do? Open the safe.

[B]

Here we go again.

[A]

Look, let me explain. As I told you, I'm supervisor for Herald Productions. We're making a big picture here and we have a safe cracking scene in it. We just want to make sure we don't have our man open a safe that can't be opened. And we want to make sure that when he does open it, he opens it properly. Well, that should be simple. But it's not so simple when you don't know anything about safes or how to open them. We'd like you to give us a little technical advice. I'm sorry, Mr. Smith, but giving advice is a little out of my line. Let me suggest it might be a good thing for you to do.

[B]

Taking advice is a little out of Blackie's mind, too.

[A]

I asked for that, didn't I, Mary? Look, Blackie, we'll pay you for your services. Isn't this all a little silly? Of course not. We do this all the time. When we make a picture involving airplanes, we get a pilot for technical advisor. When we do a sea story, a seaman advises us.

[B]

Yes, I think I've noticed a credit line for the technical advisor at the beginning of pictures.

[A]

Mary, there's a credit line for everybody at the beginning of pictures. Oh, you know, we. Look, Blackie, all you have to do is come down to the studio while we're making the safe cracking scenes. How about it, Blackie?

[B]

Oh, Blackie, I've always wanted to see him make a movie. Please. Huh?

[A]

Oh, all right. Maybe a movie studio is the one place in the world I won't run into. Inspector Faraday. Cash. Beneficial Finance Company has the cash you want for any good reason. Just say the word, call up, tell us how much you want and when you want it. You're the boss. Yes, you're the boss at Beneficial. Right now you get ready cash at Beneficial. The instant way to clean up bills, buy the things you need, do the things you want for service. That's just a Little friendlier and faster. Come to Beneficial for ready cash. Cash. Just say the word. When you want cash for any good reason, just tell us how much you want and when you want it. You're the boss. You're the boss. Beneficial Finance Company. And now back to Dick Comer as Boston Blackie. Enemy to those who make him an enemy. Friend to those who have no friend. All right, let's have quiet now. Okay, Mr. Killian. Quiet, quiet, quiet. All right, we're going to make this a take. Can we have some quiet, please? It's a close up. The camera will dolly in this way. Get a full shot of the trunk, then pan to the left, pull back to film the entire room for the rest of the scene. Have you got it right, Mr. Billy? Gladys, you know what you're supposed to do?

[B]

Yes, of course. Jack here says that Johnson is coming into the hole. The camera picks me up as I see the trunk and get into it. I stay there until Johnson leaves.

[A]

All right, Jack, you all set? All set, Mr. Billings. All right then, let's go. Mr. Billings. Mr. Billings. Oh, Smith, look, I. I can't talk now. We're set to shoot a scene. Mr. Billings. I brought Boston Blackie. He's right here. Oh, hello, Blackie. Going to help us out on those safe cracking scenes? Look, stick here for a while, will you? Well, sure, go ahead with the scene. Don't mind me.

[B]

I'm here too, you know.

[A]

Don't mind her either. Oh, hey, Ms. Wesley. Mr. John Billings, our director. How do you know Ms. Billings? All set to roll, Ms. Billings. All right, take it Lace, everybody.

[B]

Who was that, Mr. Smith?

[A]

That's Bill Barker, the assistant director.

[B]

Oh, and the. And the people on the set.

[A]

The girl is Lattice Ronson. Our leading lady man is Jack Winters. Just a supporting role. The fellow Johnson you'll see in a minute. Plays the heavy light. Say, I think I'm going to like this. Smith, get some chairs for Blacky. Ms. Wesley, of course, I have to have quiet now for a few minutes. This is a take. Scene 122, take one. Action. Camera. Roll him.

[B]

What are we going to do if he finds me here?

[A]

I'll be able to answer that better in about 10 seconds. He's coming up the walk now.

[B]

Does he have his gun?

[A]

When doesn't he?

[B]

There's no back way. How do I get out of here?

[A]

I'll have my gun on him the minute he comes in the door.

[B]

Oh, no, no. I don't want any shooting. The trunk. I'll hide him there.

[A]

You'll have to do something, but hurry.

[B]

Tell him I've gone. Tell him I was never here. But just look at this trunk.

[A]

Hurry. Close the top. Quick. Oh, hello, Buck. Where is she? Well, if you'll hurry, you can catch her. She left for town about five minutes ago. Walking. Yeah. That's good. I don't think she ought to go to town by herself, do you? Not if she can go with you, Buck. Yeah. See you later. All right, honey, you can get out of the trunk now, honey. Get out of the trunk, Gladys. Cut. Cut. Excuse me a minute, Blackie. Oh, yes. What's the matter with you? Do you think we have film to waste? Get out of that trunk. Places again, everybody. We'll have to retake Gladys. What did you do, fall asleep in there? Now, come on now, will you?

[B]

Out.

[A]

Maybe she can't open it, Mr. Billings. Parker, open up for you, will you? Sure, Gladys. What's the idea, Mr. Billings? She's been shot. I know that. I also know she's dead. All right, bring the trunk in here and set it down on the floor.

[B]

What are you gonna do with it, Blankie?

[A]

Have a look at it, Mary, before Inspector Faraday gets here. Thanks, fellows. I'll open it myself.

[B]

Must be a bullet hole in it somewhere.

[A]

I couldn't find one when I gave the trunk a once over lightly out on the set.

[B]

Oh, Black, you. What an ugly jackknife. Where'd you get that?

[A]

A friend of mine sent it to me in hopes I'd cut my throat.

[B]

Why are you scraping the lining of the trunk?

[A]

See if any kind of a gadget was in here that could have fired a gun. No, nothing at all. No bullet hole either.

[B]

Well, put that knife away, will you? Makes me nervous.

[A]

I'll put it over here on the table. I may need it later. Don't let me forget it, though.

[B]

No, I won't.

[A]

Uh. Oh, look who's coming.

[B]

Aha. Inspector Faraday. And with Mr. Billings, too.

[A]

Faraday is probably asking Billings for a job in the as a cop, but he won't get it.

[B]

Why not?

[A]

Billings doesn't make comedies. Don't worry, Mr. Billings. Give me in a half an hour and I'll find out who killed Gladys Ronson. First you'll have to find out how she was killed. Inspector. Frankie, what are you doing here? Smiling, Faraday. But just for a few minutes. I'm going to be laughing at you. You two know each other? I'll say I know this guy, Mr. Billings. Like a book? Sure, but Faraday can't read. I'll Ask you once more, Blackie. What are you doing here? Blackie is technical advisor on a few scenes we're going to shoot as well. Well, take my advice, Mr. Billings, and get rid of him before you have more than murder around here. Is this the truck Gladys was in when she was shot? This is it, Fairy. I didn't ask you, Blackie. Is this it, Mr. Billings? Yes, it is. You'll be able to tell from the pictures your men took what position she was in at the time. I wish I'd been able to get here before they removed the body. Say, where's the bullet? Under the trunk. I've been eagerly waiting for you to ask that one, Faraday. The bullet didn't go through the trunk. All right, so it was fired inside the trunk. Try again, Faraday. In games like this, you always get three guesses. You have one to go. I'm not playing games. And if I hear any more from you, you're gonna be the one to go. I'd like to leave right now, but I don't want to miss the look on your face when you realize no bullet went through this trunk and no gun was fired from inside it. Oh, that's crazy. You must be out of your mind. If you had one to be out of, so would you be after you look over this trunk. What size straight jacket do you wear? I wear a 40. None of your wise cracks, Blackie. I'll find a bullet hole in that trunk, so help me, Paraday, there isn't one. I've been all over it. Well, I'll take that truck to the police lab and we'll give it a professional going over. May I come along, Inspector? No, absolutely not. That's all right with me. Goodbye, Inspector. Goodbye. Aren't you leaving? Sure, I'm leaving. Oh, don't just stand there. You're wasting my time. Come on, let's go. I don't get it. Just look at it, Blackie. We've got this trunk spread out all over the lab. We can't find a thing after the way your experts tore it apart. Faraday, I doubt now if you'll find all the pieces. You were on the set, Blackie. What happened? Well, they were shooting a scene in which Gladys Ronson had to hide in his trunk. She got in by herself, Jack. The only other person in the scene was 18 or 20ft away from her. She got in the trunk of cell, bent over and pulled the top down. Well, then Barker, the assistant director, opened the trunk. She was dead. Oh, that's impossible. I know Only it happened. How could it possibly happen? We found nothing inside the truck that could have fired a bullet. And no bullet from the outside was fired into it. Well, maybe if you find out who killed her, you'll also find out how she was killed. Or is that too difficult for you too? Oh, finding out who killed her is a cinch. Ha. Was obviously someone on the set. That's what makes it so simple. Look, I have a list of everyone who was there. Prop men, electricians, cameramen, actors, directors, sound men, script girls, everybody. You know how many people were on that set? I have a rough idea, but I don't think you can count up that high. Well, I can count to 56, and that's exactly how many people were on that set. Exactly how many people could have killed Gladys Ronson? 56. How different, Inspector, usually you don't have any suspects. Oh, never mind the wisecracks. If you're such a smart guy, you tell me who killed her. If you were a smart guy, Faraday, you'd know that when you don't know how a person was killed or who killed that person, you look for a motive as your clue. Oh, I suppose you know why she was killed. No, I don't, Inspector. But if we can first find out why she was killed, that may lead us to who killed her. And then maybe the killer will tell us how it was done.

[B]

My poor dear darling husband should feel miserable today, shouldn't he, Martin dear?

[A]

Should I, Sally?

[B]

Why, you killed your beautiful sweetheart. And it was all a very sad mistake.

[A]

You're making one now, dear.

[B]

You meant to kill me, didn't you,

[A]

Darling, you seem to know an awful lot.

[B]

I more than seem to. I do know. I know you killed her and I know why.

[A]

For a mere stand in, you're rather an accomplished actress.

[B]

Am I really?

[A]

Perform like this for Billings and maybe he'll see where the late Ms. Runson stand in can do the late Ms. Runson's roles.

[B]

With Gladys dead, maybe you'll consider me for your next leading lady. Or with Gladys dead, are you going to desert your millions of fans and retire from the screen?

[A]

Get out of here.

[B]

Now, is that the way to talk to a faithful wife?

[A]

What's that got to do with you?

[B]

There's a gun in my hand, darling.

[A]

What do you want?

[B]

Just to comfort you, my song. With a few kind words make them very few. I could go to the police with what I know.

[A]

You can't prove a thing. Maybe you can tell them you think I killed her and why. But they'll never be able to figure out how.

[B]

I said I could go to the police, but I'm not going to die instead. You're going to pay, and pay plenty.

[A]

I'll kill you first.

[B]

You mean you'll kill me second, Doc. But why bother to get me out of the way now? Gladys is dead.

[A]

Maybe she'll have company.

[B]

You won't kill me, Doc, because I've put everything I know in writing and the police will find it. Very lively reading if I turn up dead.

[A]

All Nationwide claim adjusters present are accounted for. Good men. You all know our record for settling Nationwide auto claims fast. More than half are settled within 24 hours after notice of loss. Two thirds within 72 hours. That's a speed record. Pretty tough to beat, Hoskins, front and center. Yes, sir. Yesterday you delivered a Nationwide auto claim check two minutes late.

[B]

Why, it was such a nice day,

[A]

I thought I'd walk. That's not the fast Nationwide way. Yes, sir. All right, man, at the signal, let's move out and top our record. You there, Hoskins. What are you lagging behind for? Well, what's the matter?

[B]

My track shoe cleats are stuck in the floor.

[A]

Nationwide Arnold Tourists. Your best five by far. Nationwide Auto Assurance. Always the best for you and your car. And now back to Boston. Blackie. Present during the shooting of a movie scene. Blackie and Mary Wesley witness a baffling murder. Gladys Ronson, movie star, is shot to death inside a trunk. Though no gun was in the trunk and no bullet passed through it. Police lab investigation finds no clue. And as we return to our story, Blackie, Mary Faraday and Mr. Billings, the director, are in the prop room searching for the murder gun. Well, Blackie, so far we've looked at about 400 guns and five of the same caliber that killed Gladys Ronson, Inspector. And that's all we'll find. Why? Because that's the last one in the place.

[B]

Well, can we tell if one of these guns fired the shot?

[A]

Yes, we can. All right. I'm sure none of these were used. The prop man wouldn't let a gun out without a signed requisition. People don't sign a requisition for murder. Ms. Billings, can't we find that prop man? I'd like to talk to him now. When we find him, I'll do the talking. What are you doing with those guns, Parody? I'll take them to headquarters to have them tested. Must you always take everything to headquarters? Let me have them. I'll tell you which one, if any Fired the shot.

[B]

What are you sniffing for, Black?

[A]

Possible clue. I have pot. This gun hasn't fired in months. Let's have another silencer on it. So do three of the others, wise guy. No, not this gun either. See one of the others with a silencer. The gun the killer must have had with the silencer. All right. Shot wasn't heard.

[B]

Here you are, Becky.

[A]

Thanks, Mary. Hmm. Smell the cordite. This is it. Give me that gun. Why? I want to test it for fingerprints. Don't be a dope all your life, Faraday. Any killer smart enough to commit this murder is certainly going to be smart enough to wipe off his fingerprints. I'll take it anyhow. All right. When do we see the rushes on the murder scene? Ms. Billings should be ready in a few minutes, Blackie. We'll be told. We'll all see it together. I'd like to see you too much, Billings. Trying to reach you all day. I'm sorry I was out. I wasn't in any of today's scenes. We're about to show the filming of the scene in Miss Gladys Still. Martin, I know you'd be interested in seeing. I certainly will. Oh, excuse me. Martin, this is Ms. Mary Wesley, Boston, Blackie, and Inspector Faraday. How do you. How do you do? Well, let's go see those rushes, huh? Maybe when I look at the screen, I'll see a killer behind it. All right, gentlemen. Ready to show the film? Anytime you're ready to see it. Turn out the lights, Billings, and let's go. Right away, Inspector. What's the matter, Paraday? Has the siphon of a free movie upset you? Oh, cry it, Blackie. You don't mind if I sit next to you, do you, Ms. Weston?

[B]

Why, not at all, Mr. Doyle. This is the first time I've been to a movie with you when you weren't on screen.

[A]

Everybody ready? Just a minute. Is everybody here? I think so. Let's see. There's Blackie, Ms. Wesley, Martin Doyle, Jack Winters, who was in the scene with Ms. Bronson when she was killed. Barker here, the assistant director, and you, Billings. I guess we're all here. Turn out the lights, will you, Barker? Yes, sir. All right, operator, roll em.

[B]

What are we going to do if you find me here?

[A]

I'll be able to answer that better in about 10 seconds. He's coming up the walk now.

[B]

Does he have his gun?

[A]

When doesn't he?

[B]

There's no back way. How do I get out of here?

[A]

I'll have my gun. I mean the minute he comes in the Door.

[B]

No, no, I don't want any shooting. The trunk. I'll hide in there.

[A]

You have to do something, but hurry.

[B]

Tell him I've got. Tell him I was never here. But don't look at this trunk.

[A]

Hurry. Close the top. Quick. Where is she? If you hurry, you can catch her. She left for town about five minutes. Walking. I don't know. Parker, turn on those lights. What's the matter here?

[B]

Inspector Faraday. Look on the floor.

[A]

It's John Gaines, the prop man. You mean it's John Gaines body. Look, there's a knife in his back. You know something, Faraday? Sure, he's dead. But do you know something else? What? That knife in his back is mine. Here's the script of the movie we're making, Blackie. I don't understand why you want to look at it. A lot of things I don't understand, Billings. Well, you know why John Gaines was killed in the filming room, what he was doing there. I do know that much. The murder gun was taken from the property run. Maybe Gaines saw it being taken or being brought back. In either case, he was marked for murder. Blackie, he wasn't in the filming room when we started the picture. No, no. He must have come in during the filming to see Faraday. Or if that wasn't the reason he came in, his killer thought that was the reason. You know who his killer is? Gladys Ronson's killer. But knowing that still isn't any help. The only thing I do know so far is that instead of having 56 suspects as we had at first, now the suspects are narrowed down to the people in the filming room. That's Barker, Jack, Winters, you, Ms. Wesley, Martin, Doyle and myself. And Faraday. Where's Faraday now? Questioning Barker, Winters and Doyle. Blackie, who do you think killed Gaines? Tell me which one of those three killed Gladys and later picked up my knife and I'll answer that. Where in this scenario will I find this scene in which Gladys was killed? Let's see, on page 82. But I don't know what good looking at the shooting script will do. He I know the murder wasn't written into it, but you never know where your next clue is coming from. Oh, yeah. Here's what I'm looking for. Find anything? No, not yet. Say, here's something. The script is marked long shot. And you did the whole scene close up, didn't you? That's right, we did. Did that involve any major changes in your plans for shooting the scene? No, nothing serious. The camera setups were different. Of Course. And Instead of using Ms. Ronson stand in Sally Green, we had to use Ms. Ronson herself. Those are the only changes, huh? Yeah. That's all we say. Wait a minute. That gives me an idea. Something we don't have is a motive for Gladys Ronson's death. Maybe she was killed by accident. But why? I mean, someone who didn't know Ms. Ronson was getting in that trunk, fired at what he thought was Sally Green, her stand in, they'd be dressed alike. Now, who didn't know that change had been made? All of us knew. Blackie Barker, Jack Winters, Johnson, Gladys, Sally. All of us. Are you sure everybody knew? Everybody on the set? Everybody on the set. Thanks, Billings. That's all I want to know.

[B]

Come in.

[A]

Is this Sally Green's apartment? Yes. Are you Sally Green?

[B]

Yes, I am.

[A]

I'm Boston Blackie. May I sit down?

[B]

What for?

[A]

I talk better that way.

[B]

What do you want?

[A]

Maybe you'd better sit down too, Ms. Green. I have a little surprise for you.

[B]

Look, I don't know you.

[A]

Do you know anything about guns, Ms. Green?

[B]

A little.

[A]

See this gun?

[B]

Yes.

[A]

It has five bullets in it. The missing one killed Glattus Ronson. The remaining five were meant for you.

[B]

How do you know?

[A]

I just took it away from Martin Doyle. And the police have just taken him away.

[B]

What?

[A]

We suspected him of Gladys Ronson's murder, Ms. Greene. We were trailing him and grabbed him just as he was entering this building.

[B]

So he was going to do it? He must be out of his mind. It wouldn't have done him any good.

[A]

Why not?

[B]

Because everything I know about him is written down. If he killed me, the police would have known he'd killed Gladys Ronson. And why?

[A]

Yes, why did he kill Gladys?

[B]

Because he thought he was shooting at me.

[A]

And why did he want to kill you?

[B]

That's all in the note I prepared for the police, just in case.

[A]

Well, maybe I don't look it, but I can read. Let's see that note.

[B]

I don't have it with me. I gave it to Martha Dale, a

[A]

girl in the wardrobe room.

[B]

You can get it from her.

[A]

Well, can you tell me now? Just, well, say roughly what's on the note.

[B]

Sure. Martin wanted me out of the way so he could marry Gladys Runson.

[A]

Oh, then you're his wife?

[B]

Yes, I'm his wife. And I wouldn't let him go. The whole story is written down. It was to be used only in case he killed me. But he tried to kill me. And that's just the same thing. What are they going to do with him?

[A]

Well, first of all, Ms. Green, they're going to arrest him.

[B]

Arrest him? I thought you said the police have him now.

[A]

No, Ms. Green, I'm afraid that that was a little white lie. But when the police see what you've written in your note, they'll have Mr. Doyle and what I mean, they'll have him. All right, let's have some quiet now. Quiet, quiet, quiet. All right, everyone, this is a take. Ready, Jack? Ready, Mr. Billings? Ready, Doyle. All set. All right, Barker, let's make this good. Life is filling. Places, everybody. Places is the take. Hello, Billings. Oh, hello, Blackie. Well, will you hold it? We're just about ready to shoot a scene. Scene 160, take one. Light. Action. Camera. Roll them. I've got to hand it to you, pal. Don't hand it to me, Harry. Hand it to law and order. To the decency of human beings who will not allow men to destroy for selfishness and greed. But it takes men like you to preserve the things we live by, Harry. I shall always fight for law. For the right of a man or woman to live life in his own way, by his own choosing. It's too bad there's no punishment worse than death for one who takes the life of another. Very corny speech, Doyle. But maybe we can give you what you want. Hey, wake up, John. You've ruined the whole scene. Sorry, Billings. I just couldn't listen to this guy Doyle any longer. Blankie, what are you trying to do, get into pictures? This is a picture you can get into, too, Faraday. And here's the birdie you can watch. What birdie? Doyle here. He's the one you want for the murder of Gladys Ronson. And John Gaines doesn't know what he's talking about. But your wife knew what she was writing about. My what? I'll spell it for you, Doyle. W, I, F, E. And that spells the N for Y, O, U.

[B]

Well, Blackie, for once you didn't have to explain anything to Inspector Faraday, did you?

[A]

No, Mary. Even in third grade, they teach you to read. When Faraday saw that note Sally Green had written, he knew Martin Doyle was his man.

[B]

Yeah, but I wish you'd explain something to me, though.

[A]

I know what you mean. It was the one thing that I did have to explain to Faraday. How Gladys was killed without a gun being concealed inside the trunk or a bullet being fired through it.

[B]

Could you explain it?

[A]

The minute I saw the rushes on the murder scene, I knew how it was done. Mary.

[B]

Oh, darling, darling. All right. How?

[A]

I watched her get into the trunk first. She sat down in it, then started to pull the top down over her. She closed it slowly at first, then suddenly let it drop. Drop the rest of the way.

[B]

Oh. Oh, I see what happened. She was shot before the trunk was closed.

[A]

That's right. Doyle with some distinct from the scene. Armed with a pistol with a silencer.

[B]

As Gladys started to close the trunk, he saw his chance fired while she was letting down the top of the trunk. She slumped as she was hit and the top closed.

[A]

Proving Doyle was the killer wasn't so simple until I got the note written by his wife. Doyle was making a movie in Technicolor, but he was caught by what his wife put down in black and white.