Boston Blackie: Murder in the Music Room 11/15/1945

Summary

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Podcast Summary: Boston Blackie – "Murder in the Music Room" (11/15/1945)

Podcast: Choice Classic Radio Detectives | Old Time Radio
Episode: Boston Blackie: Murder in the Music Room
Date: April 11, 2026
Original Airdate: November 15, 1945

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Episode Overview

This episode of Boston Blackie, brought to life by the Choice Classic Radio team, delves into the cutthroat world of songwriters, publishers, and the hidden rivalries in the Golden Age of American music. The story begins with creative frustration over writing a new song and soon spirals into murder, with Boston Blackie stepping in to unravel the tangled relationships and motives at play. Themes of jealousy, financial desperation, and the lure of gambling set the stage for a classic whodunit, punctuated by sharp banter and memorable musical clues.

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Key Discussion Points & Plot Breakdown

1. Songwriting Tensions Erupt (00:49–02:00)

• Setup: The songwriting duo of Dick Alton (composer) and Bill Rutley (lyricist) are at each other's throats, failing to produce hit songs and blaming each other's lack of originality.
• Notable line:
  • "Well, that tune of yours sounds like 800 others. How do you expect me to get any kind of original idea for a lyric?" — Joe Hendricks (01:18)

2. Introducing Blackie and the Song Submission (02:13–04:44)

• Blackie's Entry: Blackie is asked by Mary Wesley to help get her cousin's song published. Blackie playfully critiques the song as terrible but agrees to bring it to publisher Joe Hendricks, mostly out of personal dislike for Hendricks.
• Light Humor:
  • "Mary, dear Mary. Everybody in this country at some time or other has an idea he can write a song. This happens to be the time that the thought struck your cousin." — Boston Blackie (02:19)

3. The Murder Discovered (06:26–07:02)

• Climax: A scream rings out; Dick Alton is discovered shot dead in the music room. Suspicion falls quickly on those present, particularly Bill Rutley and Mary Rutley.
• Detective's Twist:
  • "Inspector Faraday likes nothing better than a nice clean murder he might possibly pin on me." — Boston Blackie (06:57)

4. The Police Investigation Begins (07:25–08:11)

• Faraday’s Rigor: Inspector Faraday questions and books Mary Rutley for homicide, despite Blackie's protests of her innocence.
• Faraday to Blackie:
  • "Shut up, Blackie. I run things down here." — Inspector Faraday (07:47)

5. Motives and Money (09:44–10:20)

• Key revelations:
  • Bill Rutley mentions they have a $100,000 partnership insurance policy. He’s worried this gives him a motive.
  • Rumors surface that Dick Alton was involved with publisher Joe Hendricks' wife but were supposedly resolved months ago.

6. Building the Case: Bank Accounts & Matches as Clues (14:00–17:02)

• Financial Trails: Blackie and Faraday check bank accounts. The Rutleys’ joint account is being quickly drained, with checks all made out to 'cash'.
• Physical Clue:
  • Mrs. Rutley’s matchbook from the “Rio Club” makes Blackie suspicious—"The Rio’s quite a spot. Dance hall downstairs. If you know the right people, you get in." — Boston Blackie (16:38)

7. The Gambling Connection & The Name "Edward Stone" (17:18–19:30)

• Checks Endorsed: Checks from the Rutleys are being endorsed by ‘Edward Stone,’ tying the gambling club to Mrs. Rutley’s expenditures.
• Undercover Call: Blackie, posing as a banker, learns from Eddie Stone at the Rio Club that Dick Alton had recently been frequenting the club.

8. Trap and Solution: The Musical Clue (20:04–22:01)

• Gathering Suspects: Blackie has Hendricks, Bill and Mary Rutley gathered. He reveals the critical clue—a tune Dick Alton scrawled as he was dying.
• The Big Reveal:
  • Blackie plays the five notes left by Alton. They match the lyrics "’Cause it was Mary..." from the song "Mary." In a tense moment, Blackie accuses Mary Rutley.
• Dramatic Confession:
  • "Let me go! I had to do it, I tell you. I had to." — Mary Rutley (21:39)

9. Wrapping Up: Motive Explained & Final Banter (22:01–23:16)

• Motive: Mary Wesley explains Mrs. Rutley was being blackmailed by Alton over her gambling debts. She killed him to prevent exposure.
• Classic Quip:
  • "Right where you were. You said, 'I’ve got half a mind.' And you know something, Inspector? That’s the first time you’ve been right in years." — Boston Blackie (23:16)

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Notable Quotes

• On the state of songwriting:
  • “We both seem to be written out.” — Joe Hendricks (01:30)
• On bad songs:
  • “Take this song back, Blackie. Put it on the floor. Let it crawl out of here by itself.” — Joe Hendricks (04:32)
• Blackie’s irony:
  • “That's one of the reasons I'm taking it to Joe Hendrix right now.” — Boston Blackie (03:30)
• On Inspector Faraday:
  • “You couldn't make me carry an asbestos umbrella if it was raining fire.” — Inspector Faraday (10:58)
• On using music as evidence:
  • “Dick was working on that music when his killer walked in... and feverishly wrote down five notes…” — Boston Blackie (20:48)
  • “Cause it was Mary. Dick Alton named his murderer just before he was shot. Mary Rutley.” — Boston Blackie (21:27)
• After the confession:
  • “What don’t you understand, Faraday? As if that were news.” — Boston Blackie (22:01)

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Important Timestamps

| Timestamp | Segment | |-----------|------------------------------------------| | 00:49 | Songwriting argument sets the stage | | 03:03 | Blackie sings the cousin’s awful song | | 06:27 | Scream and murder discovery | | 07:25 | Police grill Mrs. Rutley | | 10:07 | Insurance and gossip as motives revealed | | 14:06 | Bank accounts and check clues | | 16:28 | Rio Club matchbook found | | 17:18 | Identifying ‘Edward Stone’ at Rio Club | | 20:04 | All suspects gathered for reveal | | 21:27 | Blackie reveals musical clue and killer | | 22:33 | Stairwell alibi explained | | 23:16 | Final joke and case closed |

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Episode Tone and Style

True to the era, the dialogue is witty, fast-paced, and laced with wisecracking humor, particularly between Blackie and Inspector Faraday. The story delivers suspense, misdirection, and a music-themed reveal, culminating in a climactic confrontation and confession. The interplay between music, personal failings, and criminal desperation is tightly woven throughout the plot, making for an engaging radio drama with classic detective flair.

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Transcript

[Boston Blackie]

Welcome to Choice Classic Radio, where we

[Inspector Faraday]

bring to you the greatest old time radio shows, like us on Facebook, subscribe

[Boston Blackie]

to us on YouTube, and thank you for [e-mail].

[Joe Hendricks]

Well, Bill, what about it? Got an idea for the lyric yet? Play that melody once more. Dick, I think I've got them. It's about time. Okay, okay, hold it. How's this? Love won't call again I won't fall again Till I meet another you. Hey, that's not bad.

[Boston Blackie]

It never was bad.

[Joe Hendricks]

Well, that tune of yours sounds like 800 others.

[Boston Blackie]

How do you expect me to get

[Joe Hendricks]

any kind of original idea for a lyric? Give me something to work with. Look, Bill, we've been fighting like this for months and we haven't written a hit tune in months. We've got to do something. You want to break up the team? I don't want to, but we both

[Inspector Faraday]

seem to be written out.

[Joe Hendricks]

Those last songs. We. Well, if Joe Hendrick wasn't our friend

[Inspector Faraday]

as well as our music publisher, he'd have thrown him out in the alley. You put together an awful lot of

[Joe Hendricks]

bad lyrics for that, Drew.

[Boston Blackie]

So it's my fault the lyrics were

[Joe Hendricks]

bad because I couldn't save those tired tunes of yours? It's my fault that'll punch you right in the nose. That would be a plain answer to our problem. But at least give me some satisfaction. Dick, I'm warning you.

[Boston Blackie]

I don't like violence.

[Joe Hendricks]

But I'm getting to a point where I'm going to forget how much I hate violence and remember only how much I dislike you.

[Inspector Faraday]

And now meet Dick Colmer as Boston Blackie. Enemy to those who make him an enemy. Friend to those who have no friends.

[Boston Blackie]

Of course I know Joe Hendricks, Mary, But I won't know him long if I ask him to publish the song of your cousin.

[Mary Rutley]

Oh, well, maybe it isn't so bad, Blackie.

[Boston Blackie]

Mary, dear Mary. Everybody in this country at some time or other has an idea he can write a song. This happens to be the time that the thought struck your cousin. It should have been a trolley car.

[Mary Rutley]

Oh, Blackie.

[Boston Blackie]

Oh, okay. He just made a bargain. You laugh at my Joe. I'll take your cousin's song to Joe. Henry, let me have it. We have to see how it goes so I know what I'm selling.

[Joe Hendricks]

Here.

[Mary Rutley]

Here's a copy. And, darling, when you play it, use the other nine fingers, huh?

[Boston Blackie]

I'll do better than that. I've got a pretty bad baritone voice I've been holding back for years. Well, let's see how this epic goes. Good, huh? Let me croon beneath the moon

[Joe Hendricks]

in

[Boston Blackie]

the merry month of June While all the while you smile as you listen to my tune. My mother used to say I should never have taken piano lessons, and she was right. Mary, that song is awful.

[Mary Rutley]

It didn't sound too bad.

[Boston Blackie]

Oh, you're just crazy about my voice.

[Mary Rutley]

You say the nicest things about you. Is the song really terrible?

[Boston Blackie]

Awful. That's one of the reasons I'm taking it to Joe Hendrix right now.

[Mary Rutley]

Wait a minute. The song is bad and still you're going to take it to Mr. Hendrix, the music publisher?

[Boston Blackie]

Certainly. I forgot to tell you. I don't like Hendrix.

[Joe Hendricks]

Well, call all three hotels. You'll have to register in one of them. Leave word to call Joe Hendricks when he checks in. Right. Ah, phones, phones all the time. Phones. Yeah. Boston, Blackie. Sure sent him in, Dante.

[Boston Blackie]

Going in, Mary.

[Mary Rutley]

Thank you.

[Boston Blackie]

Hiya, Joe.

[Joe Hendricks]

Hello, Blackie. Long time no high C. This is Joe Hendricks, Mary.

[Boston Blackie]

He and Inspector Faraday make the worst jokes in the world. How do you do?

[Mary Rutley]

Hello.

[Joe Hendricks]

Well, what can I do for you, Blackie?

[Boston Blackie]

I've got a song, Joe. I'd like you to publish it.

[Joe Hendricks]

Here. What's the title? In a blue canoe with you. You're kidding with that, aren't you?

[Mary Rutley]

Oh, no, Mr. Hendrix. We're very serious. My. My cousin wrote it.

[Joe Hendricks]

Your cousin ought to be a very happy character. He's your cousin, Ms. Wesley. That's fame enough for anybody. Take this song back, Blackie. Put it on the floor. Let it crawl out of here by itself.

[Boston Blackie]

Well, don't you even want to hear it?

[Joe Hendricks]

If I want bad songs, I got Dick Alton and Bill Rutley under contract. They've written nothing but bad songs for the past year.

[Boston Blackie]

Say, how are the boys? Haven't seen them in quite a while.

[Joe Hendricks]

Physically, they're fine. Mentally, they're out of town.

[Boston Blackie]

How about.

[Joe Hendricks]

Actually, they're in a piano room down the hall trying to write a song.

[Mary Rutley]

Oh, please, Mr. Hendricks, won't you listen to my cousin's number? Blackie can play it for you.

[Joe Hendricks]

How bad is it, Blackie?

[Boston Blackie]

I can tell you in one word, very. But I got an idea.

[Mary Rutley]

What is it?

[Boston Blackie]

It isn't so bad that a professional songwriting team couldn't fix it up. Where'd you say Alton and Rutley were, Joe?

[Joe Hendricks]

In the piano room down the hall.

[Boston Blackie]

I'm going down to see them. Maybe they'll do something about your cousin's song. Mary, I won't be too long.

[Joe Hendricks]

Phones, phones, phones. All the time phones. Excuse me, Ms. Weston. Hello, Hendricks speaking. Tommy boy. Once you get in town, Tommy boy. Swell, swell. How's the lip in the old trombone? Sure. Always was the best, Tommy. I'm glad you called back. I got a score that's atomic. A musical comedy score. You know the show. Are you with it? How about doing Here I go again from it? It's a terrific to. Well, sure. I listen to your broadcast. Wouldn't miss him. Oh, you did the song last night. Hey, drop around for lunch tomorrow, huh, Tommy? About 4:00'. Clock. I got some new tunes to show you, Tommy. Steak. Terrific, Tommy. Thanks for calling, Tommy. That was.

[Mary Rutley]

I know, Tommy. This is a very interesting business, Mr. Hendrix.

[Boston Blackie]

Oh.

[Mary Rutley]

Oh, Blackie, there you are. Did you find a cart in the door?

[Boston Blackie]

Yes, but they were too busy to work on your cousin's song. Come on, Mary, let's get out of here.

[Joe Hendricks]

But you hurry, Blackie. Sit still. Hang around a while. I'll buy lunch.

[Mary Rutley]

No, thank you, Mr. Hendricks. I get hungry long before 4:00'. Clock.

[Joe Hendricks]

A normal girl. And what are you doing with Blackie?

[Boston Blackie]

Thanks, Joe. And thanks for turning down this tune, pal. Remind me not to do something for you sometime.

[Joe Hendricks]

Don't leave, Blackie. Listen, did you hear the gag of.

[Mary Rutley]

I think you're right, Blackie. I think we better leave. Well, Mr. Hendricks, it was very nice.

[Joe Hendricks]

What was that?

[Boston Blackie]

Sounded like a scream. And nothing sounds like a scream except a scream.

[Mary Rutley]

You came from that direction.

[Boston Blackie]

Come on, Mary, let's get out of here.

[Mary Rutley]

All right. But I never knew you to run away from.

[Joe Hendricks]

It's Bill Rutland. Wait, honey, what's the matter?

[Mary Rutley]

It's awful, Joe. It's awful.

[Joe Hendricks]

Come on, kid, snap out of it. What is it?

[Mary Rutley]

Go the other room. Go look for yourself.

[Joe Hendricks]

Come on, Blackie. There's only one other room. And that's a piano room with ticket. Bill, we're working. Let's go.

[Boston Blackie]

Are you with us, Mary?

[Mary Rutley]

Right here, Blackie.

[Joe Hendricks]

Yeah, this is the piano room.

[Boston Blackie]

Okay, hold everything, kids.

[Joe Hendricks]

Oh, Holy Mac.

[Boston Blackie]

Stay back, Mary.

[Joe Hendricks]

Take Gorgy. And he's been shot through the heart. I, I, I guess I, I, I better call the police.

[Boston Blackie]

I guess you better. Inspector Faraday likes nothing better than a nice clean murder he might possibly pin on me.

[Joe Hendricks]

Hey, Blankie, you were in here only a few minutes ago. And Norton was alive then. You said he didn't want to work on that song you brought me.

[Boston Blackie]

That's right.

[Joe Hendricks]

Maybe you better stay here, Blackie. Maybe you couldn't talk Dick into helping you. Maybe you got tired of shooting off Your mouth and switched to shooting off your gun.

[Inspector Faraday]

Okay, okay. Get them all ready for the lineup taken. Get the woman out there first. Okay, Rollins, take this down, then take down what she says. Name? Mrs. William Rutley. Occupation? Housewife.

[Boston Blackie]

Charge?

[Inspector Faraday]

Suspected homicide. Well, Mrs. Rutley, what have you got to say?

[Mary Rutley]

Nothing. I haven't done anything, Inspector.

[Boston Blackie]

Why don't you get smart? She found the body, that's all. That doesn't make her a killer.

[Inspector Faraday]

Shut up, Frankie. I run things down here. Mrs. Rudley, did you kill Dick Alton, your husband's father?

[Mary Rutley]

No. No. All I did was find him already dead. That's all I know.

[Joe Hendricks]

Please.

[Mary Rutley]

Please, let me get down from here. These lights

[Boston Blackie]

she's painted Paraday. Happy now?

[Inspector Faraday]

When that dame comes to, Rollins, take her in and book her for murder. I'll be in my office.

[Boston Blackie]

He'll be in his office. Rollins, with me.

[Inspector Faraday]

Beat it, Blackie, before I find a reason why you wanted Alton dead.

[Boston Blackie]

Oh, I had a reason, Inspector. Eh, a reason, but not a motive. There's a subtle difference there. You wouldn't. Saturday's booked, Mrs. Rutley, for Dick Alton's murder, Mary. But he's too good a cop to stop there. He'll be out looking for Alton's partner, Mrs. Rutley's husband, right now. Only if we're lucky. We'll find him first.

[Mary Rutley]

Well, Mr. Hendricks said he hangs out in this place. You see him?

[Boston Blackie]

The bartender might be of some help. Hey, buddy.

[Joe Hendricks]

Yeah?

[Inspector Faraday]

What do you have?

[Boston Blackie]

A little information for now. Do you know a fellow named Bill Rutley?

[Inspector Faraday]

I'm sure he's holding that last booth back there.

[Boston Blackie]

Thanks. Come on, Mary.

[Mary Rutley]

Blackie, something's bothering me.

[Boston Blackie]

Something in your shoe or something in your eye?

[Mary Rutley]

Something on my mind. Was Dick Alton alive when you went into the piano room to get him to work on my cousin's son?

[Boston Blackie]

Good question, Mary. Remind me to answer that sometime. Well, here's the last booth. And coincidentally, here's Bill Rutley. Hiya, Bill. Mind if I sit down?

[Joe Hendricks]

Hello, Blackie.

[Boston Blackie]

This is Mary Wesley. Bill.

[Mary Rutley]

Hello.

[Inspector Faraday]

Hello.

[Boston Blackie]

Say, you look low. Things aren't that tough.

[Joe Hendricks]

Aren't they?

[Boston Blackie]

No. I think I found a way to get Faraday to release your wife.

[Joe Hendricks]

Well, thanks, Blackie. I appreciate that.

[Inspector Faraday]

I mean, it doesn't get me out

[Joe Hendricks]

of the mess you're in.

[Mary Rutley]

A mess, Mr. Rutley?

[Joe Hendricks]

That's right. Dick and I were fighting. Everybody knows that.

[Inspector Faraday]

I was just out for a walk

[Joe Hendricks]

when Dick was shot.

[Boston Blackie]

I wouldn't worry, Bill. The fact that you and Dick were quarreling wouldn't hold as A motive for murder?

[Joe Hendricks]

No, but the insurance wouldn't.

[Mary Rutley]

What insurance?

[Joe Hendricks]

Partnership insurance. See, when Dick and I were hired a couple of years ago, we took out partnership insurance. $100,000 worth. The only businesslike thing I ever did in my life. When that policy is uncovered, I'll be in a spot.

[Boston Blackie]

You're in such a spot that the heat is beginning to affect me. Bill, tell me all you know about Dick. Well, he was single, legitimate.

[Joe Hendricks]

He didn't play around, but.

[Boston Blackie]

Yeah, well, there was some talk a

[Joe Hendricks]

while ago about him and Hendrick's wife.

[Mary Rutley]

Joe Hendrick's wife?

[Joe Hendricks]

Yeah. I didn't believe it, and Dick denied it. Oh, but that was six months ago. It couldn't mean anything.

[Boston Blackie]

No, maybe not, but it's worth taking a crack at. I've got to go down and get your wife out of jail. But you've got nothing to worry about if you didn't kill your partner. And remember I said if you didn't kill him. I don't suppose you want to listen to me, Faraday.

[Inspector Faraday]

Flacky, I don't even want to look at you.

[Boston Blackie]

Oh, well, if you don't want me to tell you why Mrs. Rutley couldn't have murdered Alton, I won't. So don't you mean I can't tease you into asking me to prove that?

[Inspector Faraday]

Blackie, you couldn't make me carry an asbestos umbrella if it was raining fire. You're leaving now?

[Boston Blackie]

You're a little too smug, Faraday. You know something? And there's a remark I never thought I'd make.

[Inspector Faraday]

Bye, bye, Blackie Bird. Be seeing you, inspector.

[Boston Blackie]

You're holding Mrs. Rutley, but I checked her arrival at the Hendricks Building and found that she got in the elevator only a few seconds before she found Dick Alton's body.

[Inspector Faraday]

Yes, genius.

[Boston Blackie]

Any smart cop would have done the same thing. Only because he wouldn't be any relation of yours. What I'm trying to tell you is that according to the coroner's report, the body had been dead at least a half an hour before Mrs. Rutley found it.

[Inspector Faraday]

Okay, you've told me. So long, Blackie.

[Boston Blackie]

Still the same old Farronnay. You won't listen to me.

[Inspector Faraday]

Sure, I'll listen, but it's a little boring. You see, I checked all the details about the elevator myself this morning, and

[Joe Hendricks]

Mrs. Bradley has been free for two hours.

[Inspector Faraday]

And now back to Boston.

[Boston Blackie]

Blackie,

[Inspector Faraday]

Dick Alton, part of the songwriting team of Alton and Rutley, has been murdered. The body was discovered by Mrs. Rutley, who promptly was booked for murder by Inspector Faraday. But later released when it was proven that she came into the building only seconds before she found the body. And that the body had been dead almost a half hour at that time. Austin Blackie has discovered that the songwriting team had a partnership insurance policy payable to one on the death of the other. Which makes Bill Rutley a suspect. But he has also uncovered the fact that at one time there was talk concerning the murdered man and the wife of Joe Hendrix, music publisher. As we return to our story, Blackie is in Hendrix office.

[Joe Hendricks]

I can't talk to you now, Blackie. I'm busy.

[Boston Blackie]

Don't talk. Listen, Joe. I hear that there was some gossip concerning Dick Alton and your wife about six months ago.

[Joe Hendricks]

Where'd you hear that?

[Boston Blackie]

What's the difference where? It's true, isn't it?

[Joe Hendricks]

There was some talk. Sure that's true. We ain't ever paid any attention to you. Hey, you're not thinking.

[Boston Blackie]

I don't know why you say that. Jealousy is pretty strong motive.

[Joe Hendricks]

You think I killed Dick Alton for something that happened six months ago? If it happened at all, which I

[Boston Blackie]

doubt it could be. You know, Joe, you're in a fascinating business. Words and music. Stay honest and the world dances to your songs.

[Joe Hendricks]

What?

[Boston Blackie]

But fool around with murder, Joe, and you'll dance at the end of a rope. Please connect me with Mr. Lambert. This is Inspector Paraday again.

[Mary Rutley]

Gladly. You'll get into trouble.

[Joe Hendricks]

Lambert speaking. How are you, Inspector?

[Boston Blackie]

Fine, thank you. How are things at the bank? Anybody cash in there lately?

[Mary Rutley]

Ouch.

[Joe Hendricks]

Things are fine here, Inspector. I have the information you wanted on the bank accounts of Dick Altman as Bill Rutley.

[Inspector Faraday]

Just a second.

[Boston Blackie]

I'll wait. We're getting somewhere.

[Mary Rutley]

We are going somewhere to jail a Saturday that finds out you're using.

[Boston Blackie]

So we'll brag about it. That's all.

[Inspector Faraday]

Hello?

[Joe Hendricks]

Inspector Faraday?

[Boston Blackie]

I'm still here.

[Joe Hendricks]

Richard Alton's account has remained around $30,000 for several years. William and Mary Rutley have a joint account. It was very large at one time, but there's just a few thousand left now. Checks have been drawn against it every few days for the past month.

[Boston Blackie]

Who sign the checks and to whom were they made out?

[Joe Hendricks]

Sorry, I don't have that information at the moment. If you'd care to drop down to the bank, I'd be glad to get the checks we have on hand.

[Boston Blackie]

I'll do that, and thanks very much. Goodbye. The net result of that call was to find out that Dick Alton had $30,000. That Mrs. Rutley had the same first name as yours, Mary. That she and her husband had a joint account. And that it's shrunken considerably in the past month.

[Mary Rutley]

Put that all together and it spells murder.

[Boston Blackie]

I doubt it. Come in.

[Mary Rutley]

Expecting anyone?

[Boston Blackie]

Not that I know of.

[Mary Rutley]

Good Evening, Blackie.

[Boston Blackie]

Well, Mrs. Rutley. Please come in.

[Mary Rutley]

I didn't mean to intrude, Grant. I just mean by to thank you for your help.

[Boston Blackie]

Well, you're not intruding at all, Mrs. Rutley. Glad you dropped in. This is Mary Weston.

[Mary Rutley]

How do you do? Hello.

[Boston Blackie]

Sit down, would you?

[Mary Rutley]

Thank you.

[Boston Blackie]

Cigarette?

[Mary Rutley]

Yes. Then.

[Boston Blackie]

Oh, dear. I'm sorry. I have no matches. I did have a lighter, but I wore out one of the parts. My thumb.

[Mary Rutley]

I have my own matches, Andrew. I think I can ever find them in this bag. Don't you find that no matter how big a handbag you carry. It's never large enough to hold what a girl needs? Certainly do. Well, Eureka. Uncovered one book of matches.

[Boston Blackie]

Yeah. I'll light your cigarette. And this is Ry. Let me have him there. Yeah. Thank you.

[Mary Rutley]

Blackie. Are the police close to finding Dick's murderer?

[Boston Blackie]

I don't know, Mrs. Rley. All I do know is I'm not well.

[Mary Rutley]

I'm sure you will be.

[Boston Blackie]

Thank you, Mrs. Rley. I'll just sit back and listen while you tell me how wonderful I really am.

[Mary Rutley]

I'd like to, bra. But I really did come down just to thank you. And I have thanked you so much. I guess I'll run along. Nice to have met you, Ms. Wesley. Don't bother, Blackie. I can get the door myself. Goodbye. Bye.

[Boston Blackie]

Goodbye.

[Mary Rutley]

She has charm, Blackie.

[Boston Blackie]

You have green eyes, Mary.

[Mary Rutley]

I do not. They're just sharp. I'm the observing type. For instance, I observed that you forgot to give Mrs. Rutley back her matches.

[Boston Blackie]

Hmm. The Rio Cafe, it says on the matchbox cover. Ever been to the Rio?

[Mary Rutley]

Nope. I don't go for that rumba and samba stuff. I like to dance in English.

[Boston Blackie]

The rail's quite a spot. Dancing hall downstairs. If you know the right people, you get in. Do you remember how Mrs. Rutley got these matches?

[Mary Rutley]

I once had a book of matches with an advertisement on the COVID Urging me to buy my hay, feed and grain at Davenport, Iowa. Too far, though. I just let my cattle get hungry.

[Boston Blackie]

The talk is good, but the results are negligible. Get your coat on, Mary. We're ma' am for the bank.

[Mary Rutley]

To the bank. Could I just throw in a casual why?

[Boston Blackie]

To withdraw some information and deposit it to the account of an unsolved murder.

[Joe Hendricks]

Here are the checks, Inspector Faraday, just as you asked for. They're the ones drawn this month on the joint account of William and Mary rutley.

[Boston Blackie]

Thank you, Mr. Fleming. You mind if my secretary and I looked him over?

[Joe Hendricks]

I'm not a door inspector. Just call me if you want anything.

[Boston Blackie]

Look, Mary, except for a few small ones, all the checks are pretty large amounts, all made out to cash and signed Mary Rudley.

[Mary Rutley]

Who endorsed them? Docket?

[Boston Blackie]

Let's see. Edward Stone. Edward Stone. Edward Stone and Edward Stone. Endorsed them all. Well, they don't mean anything till we find out who Edward Stone is.

[Mary Rutley]

We can try the phone book.

[Boston Blackie]

Yes, we can. Right after.

[Mary Rutley]

Right after what?

[Boston Blackie]

Right after we try the Rio Club. Maybe we'll find that they have an Edward Stone there. It's worth a try anyhow. Come on. The phone booth is over here. Now, just wait here while I phone the Rio Club. Let's see, the number should be in this matchbox. Oh, yes, here it is. Circle 97800. Keep your fingers cross.

[Mary Rutley]

Good afternoon. Real Club.

[Boston Blackie]

Eddie Stone, please.

[Mary Rutley]

Mr. Stone, just a moment. Go ahead, please.

[Inspector Faraday]

Hello?

[Boston Blackie]

Stone?

[Joe Hendricks]

Yes. Stone speaking.

[Boston Blackie]

This is Mr. Fleming at the 12th National Bank. You endorse several checks made out by Mrs. Mary Ruckley.

[Joe Hendricks]

Sure, am I. Any bounce? No, they're good.

[Boston Blackie]

I just wanted to verify your signature.

[Joe Hendricks]

It's fine. All right. I don't write so good. I'm just learning.

[Boston Blackie]

I see. Oh, Mr. Stone, if I wanted to come to the Leo Club, could you see to it that I was allowed downstairs?

[Joe Hendricks]

You know about the downstairs?

[Boston Blackie]

Yeah, a friend of mine told me about it. Bill Rutley.

[Joe Hendricks]

He's never been here. His partner, the guy who got fucked yesterday, started coming here about want to go. Did pretty well, too.

[Boston Blackie]

Well, I couldn't very well get him to take me to the club, could I?

[Joe Hendricks]

No, I guess not. Hey, Mr. Fleming, I don't see no harm in you coming down here. You don't need no friend. Just ask for me.

[Boston Blackie]

Oh, thank you, Mr. Stone. Thank you very, very much.

[Joe Hendricks]

Goodbye.

[Boston Blackie]

Good work, Mary.

[Mary Rutley]

Good.

[Boston Blackie]

Now, I've got to get Faraday on the wire and ask him to have Hendrix and Mr. And Mrs. Ruckley in Hendrick's office in half an.

[Inspector Faraday]

All right. Blankie. I got Joe Hendricks and Mr. And Mrs. Bill Rutley inside in Hendrix's office, just as you asked. Now, don't you think it's about time you told me why I did it?

[Boston Blackie]

You did it, Faraday, because you have great confidence and implicit faith in me.

[Inspector Faraday]

And because I'm a little Bit dumb. Half the time I listen to you, I could kick myself after.

[Boston Blackie]

But the other half of the times, you pat yourself on the back.

[Inspector Faraday]

This is one of the kicking times. I can feel it. Tell me, what are those three doing inside?

[Boston Blackie]

One of them murdered Dick Alton. Well, take a deep breath. Here we go. Hello, everybody.

[Mary Rutley]

Hello, Blackie.

[Boston Blackie]

Take a seat, Farnie. Go ahead, sit down.

[Joe Hendricks]

What's the idea of this, Blackie? I'm trying to run a business here.

[Boston Blackie]

And I'm trying to run down a murderer. That's more important.

[Joe Hendricks]

You're looking at me, Blackie.

[Boston Blackie]

Possibly. Bill, you were the lyric writer in the Alton Rley team, weren't you?

[Joe Hendricks]

That's right.

[Boston Blackie]

I just wanted to make sure. Are you comfortable, Mrs. Rle?

[Mary Rutley]

Yes, thank you very.

[Boston Blackie]

Oh, now that we're all here, I've got to confess something. Yesterday morning I left Hendricks and Mary in this office, went into a piano room where I found the murdered body of Dick Alton. And I picked up a piece of music manuscript paper that was lying on the floor near the body. Dick was putting a tune down on

[Inspector Faraday]

paper when I left him.

[Boston Blackie]

Dick was working on that music when his killer walked in. He took one look and feverishly wrote down five notes at the bottom of the manuscript page. Here's the manuscript paper. And I'm going to play you the five notes right now. All right? To use your piano drum.

[Joe Hendricks]

Well, all right. Go ahead.

[Boston Blackie]

Thanks. Now, here are the five notes. That's all? Just those five notes. Anybody recognize the tune?

[Joe Hendricks]

Means nothing to me, Blackie.

[Boston Blackie]

That's because there are no harmonies. Let's do it now.

[Joe Hendricks]

Hey, that's George M. Cohan's Mary. What's that got to do with this?

[Boston Blackie]

Everything. The first line of the lyric, the one that matches these notes is. Cause it was Mary. Dick Alton named his murderer just before he was shot. Mary Rudley.

[Inspector Faraday]

You killed Dick Alton.

[Boston Blackie]

Grab a Faraday. Don't let a guy out that door.

[Joe Hendricks]

Don't worry.

[Inspector Faraday]

I got it.

[Mary Rutley]

Let me go. I had to do it, I tell you. I had to.

[Boston Blackie]

Well, that's a fitting climax in a music publishing office. I supply the words and music, and a murderous decides to sing. What don't you understand, Faraday? As if that were news.

[Inspector Faraday]

Why Mrs. Rutley killed her husband's partner.

[Boston Blackie]

Anybody knows the answer to that, Inspector?

[Inspector Faraday]

Sure. Anybody but me. Do you know Ms. Wesley?

[Mary Rutley]

I think so. Dick Alden had seen Mrs. Rutley gambling at the real fund. He threatened to tell her husband that she didn't stop. But she couldn't stop. She had to Try to win enough money to put back in the joint account that she's been draining.

[Boston Blackie]

Touchdown for Mary Wesley.

[Mary Rutley]

Thank you, sir.

[Inspector Faraday]

So Mrs. Rutley killed Alton because she knew he would expose her. What about her coming into the building and the elevator? Blackie, you checked the time.

[Boston Blackie]

She simply used the stairs the first time when she shot Alton and left the building. And then came back a half an hour later using the elevator where she could be seen.

[Inspector Faraday]

You were such a genius, Blackie. When you had a clue like that music thing in your pocket all the time, it practically told you that Mary Rutley murdered Alton.

[Boston Blackie]

You could have gotten it the same way I did, Faraday, about it yourself. That's what I did. I knew my facts were right, but I couldn't prove any of them. So I had to pretend that Dick Alton had named his killer in the hope of getting her to make a break. And she did. Well, aren't you going to congratulate me?

[Inspector Faraday]

What for? You getting married?

[Boston Blackie]

No, I'm solving this case for you, Faraday.

[Inspector Faraday]

You solved it for me? You solved it for yourself so you could ride all over me next time. You know, Blackie, I've got half a mind.

[Boston Blackie]

Hold it right there, Inspector.

[Inspector Faraday]

Right where?

[Boston Blackie]

Right where you were. You said, I've got half a mind. And you know something, Inspector? That's the first time you've been right in years.

[Mary Rutley]

Sat.