Michael Shayne: Big Voice Means a Big Body 05/07/1945

Summary

Choice Classic Radio Detectives | Michael Shayne: "Big Voice Means a Big Body" (Original Air Date: 05/07/1945)

Episode Overview

This episode of Michael Shayne, Private Detective opens with a comedic lull in detective work before quickly launching into a high-drama case. Madame Ghislaine Turlo, a larger-than-life opera diva, seeks Mike Shane’s help after receiving threatening letters concerning her soon-to-be-published memoirs. What starts as a potential publicity stunt turns deadly, as Turlo is soon found murdered, her secretary Helen Smith dead beside her, and a convoluted web of suspects unfolds. The opera world’s rivalries, secrets, and a cryptic operatic clue set the stage for Shayne’s unraveling of the mystery.

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Key Discussion Points & Insights

1. The Case Begins: Madame Turlo’s Threats

• [01:27] Madame Ghislaine Turlo bursts into Shane’s office, complaining of threats:

  “A big voice means a big body. Did you ever hear a voice from one of those little musical comedy whippets? No more voice than a sick grasshopper.”
  —Madame Turlo, [01:55]

• She hands Shane an unsigned threatening letter regarding her memoirs, which threaten to embarrass several high-profile associates.

• Shane’s initial skepticism gives way when Madame Turlot lists suspects with plausible motives, including her ex-husband Edwin Buck, a former lover Roderick MacKenzie, rival singer Leonora Burrell, and conductor Maestro Sabadel.

2. Opera Night—A Gathering of Suspects

• [05:04]Turlo arranges for Shane to meet the suspects at her benefit performance at the Figueroa Theater.
• There is comic relief as Mike gripes about attending the opera:

  “Yeah, sure, darling, but when guys get up on the stage and insult each other, I want to enjoy it in English.”
  —Mike Shane, [05:54]

3. The Murder—Double Tragedy

• [08:14] During the opera, Sabadel announces Turlo’s sudden death from the stage, shocking the audience:

  “Ladies and gentlemen, please. I am regret to announce there will be tonight no Cavalleria... Our soprano, Madame Turlo, is dead.”
  —Maestro Sabadel, [08:14]

• Mike and Phyllis rush to Turlo's home to find both her and her secretary Helen murdered, surrounded by evidence—a burned manuscript, scattered sheet music, and a torn aria from Rigoletto.

4. Clues & Interrogations

• [11:06] Inspector Faraday investigates the scene and interviews suspects (Edwin Buck, Roderick MacKenzie, Maestro Sabadel, and later Leonora Burrell).

• Key clues:

  • Turlo died clutching a baritone aria from Rigoletto.
  • A handkerchief with initials "LB" (Leonora Burrell) is found at the scene.
  • The typewriter Burrell used matches the threatening notes:

    “The letter E on your typewriter. Exactly like the E in the note threatening the life of Ghislaine Tallott.”
    —Phyllis Knight, [16:53]

  • Burrell admits to sending threatening letters but denies murder.

5. More Violence: Attempt on Sabadel

• [21:03] Shortly after arranging to meet, Sabadel is shot and critically injured in a seemingly targeted attack meant to silence him.

• Shane realizes:

  “Somebody decided Sabadel shouldn’t talk to us.”
  —Michael Shane, [21:37]

6. The Operatic Clue Deciphered: The Parentage Reveal

• [22:56-27:05] In a dramatic midnight confrontation at Turlo's home, Mike assembles the suspects.

• He explains the clue left by Turlo: the aria from Rigoletto signifies the victim is "my child." Using an opera record, he prompts the truth:

  • Helen, Turlo’s secretary, was actually her daughter—and Edwin Buck, her estranged father.
  • Turlo’s dying act was to communicate this secret, paralleling the Rigoletto plot.
  • Buck confesses reluctantly:

    “He hadn’t seen his daughter Helen since she was 6 years old. Buck says he just wanted to scare the madam out of publishing a book. Helen tried to grab the gun. It went off. Then he had to shoot again.”
    —Inspector Faraday, [27:08]

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Notable Quotes & Memorable Moments

• Madame Turlo’s entrance and flamboyant self-awareness:

  “A big voice means a big body.”
  —Madame Turlo, [01:55]

• Shane’s comic dread of the opera:

  “That’s what I’m afraid of.”
  —Michael Shane, [05:31]

• The chilling in-performance murder announcement:

  “Our soprano, Madame Turlo, is dead.”
  —Maestro Sabadel, [08:24]

• Phyllis cleverly exposes the origin of the threats:

  “Just checking something... the letter E on your typewriter. Exactly like the E in the note threatening the life of Ghislaine Tallott.”
  —Phyllis Knight, [16:53]

• Climax using the opera Rigoletto as a key to the murder:

  “The girl is his own daughter.”
  —Maestro Sabadel, [25:42]

• The ultimate revelation:

  “Helen was my child… Then Buck is her father… I didn't know.”
  —Maestro Sabadel & Michael Shane, [26:24-26:38]

• Finale’s banter about music, poetry, and cookbooks:

  “Climb down off that pedestal, you fake.”
  —Narrator, [28:33]
  “There's only one book a man wants a woman to review.”
  —Inspector Faraday, [28:37]
  “A cookbook.”
  —Phyllis Knight, [28:40]

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Timeline of Important Segments

| Timestamp | Key Event | |----------------|--------------------------------------------------------------------------| | 01:27 | Madame Turlo hires Mike Shane | | 02:15 | Threatening note revealed | | 05:04 | Suspects named; opera meeting arranged | | 08:14 | Sabadel announces Turlo’s onstage death | | 10:28 | Mike & Phyllis discover two bodies at Turlo’s home | | 12:13 | Key clues: manuscript, sheet music, and blood trail | | 13:35 | Interrogations: Buck, Mackenzie, Sabadel | | 16:49 | Phyllis exposes Burrell’s typewriter as source of threats | | 21:03 | Sabadel shot before revealing key information | | 22:56 | Shane calls for a midnight confrontation of suspects | | 24:28 | Aria clue explained; Rigoletto's meaning unpacked | | 26:24 | Parentage—and murderer—revealed: Helen was Turlo & Buck’s daughter | | 27:08 | Buck confesses killing Helen and Turlo | | 28:03-end | Lighthearted coda and team banter |

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Tone & Language

The episode alternates between:

• Snappy, playful banter (especially between Mike and Phyllis)
• The melodramatic flourishes of opera culture (exaggerated personalities, rivalries)
• The tense, atmospheric build-up and denouement characteristic of classic detective radio

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Summary

“Big Voice Means a Big Body” is a quintessential golden-age radio mystery, blending high-camp opera theatrics and witty detective repartee. Through ribbing and wit, Michael Shayne and Phyllis Knight dissect a deadly intrigue that revolves around the secrets of an operatic star, ultimately unmasking a crime entwined with motherhood, lost love, and fatal misunderstanding. The episode’s clever use of operatic motifs, puzzles, and dramatic misdirection make it both engaging and satisfying—a showcase of radio drama at its best.

Transcript

[John Lang]

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]

[Announcer]

the Adventures of Michael Shane, Private Detective. The people who make 76 gasoline and Triton motor oil. Union Oil Company present. The adventures of michael shane, private detective. Starring wally mayer and kathy lewis. Excitement and danger are the salt and

[Narrator]

pepper in Mike Shane's recipe for life. But at this particular moment, Mike seems fresh out of spice and seasoning. Life is very dull for our detective friend. So dull, in fact, he almost yawns right in the very pretty face of his secretary, Phyllis Knight.

[Michael Shane]

Ten minutes to four. You've had that poetry book propped under your nose since lunch.

[Phyllis Knight]

Well, certainly. If I'm going to write poetry reviews, I've got to read them.

[Michael Shane]

Exactly three people have walked through that door today. One bill collector and two guys asking where they could mike where they could comb their hair.

[Phyllis Knight]

Three plus one equals four.

[Madame Ghislaine Turlo]

You, sir, are Mr. Michael Shane, the private detective.

[Michael Shane]

If it's all right with you, ma',

[Madame Ghislaine Turlo]

am, I am mad. Once again, Madame Gerlaine Tolo. But of course, I shouldn't expect a detective to know.

[Phyllis Knight]

And the opera star, of course. Won't you have a chair, please?

[Michael Shane]

The other one, Phil. It's strong, more comfortable.

[Madame Ghislaine Turlo]

Young man, I weigh 230 pounds. If this chair won't hold me, I'll let you know.

[Michael Shane]

I'm sorry. I didn't mean to.

[Madame Ghislaine Turlo]

A big voice means a big body. Did you ever hear a voice from one of those little musical comedy whippets?

[Phyllis Knight]

No.

[Madame Ghislaine Turlo]

No more voice than a sick grasshopper.

[Phyllis Knight]

Madame Tiller, you wish to see Mr. Shane about some problem? A case, of course.

[Madame Ghislaine Turlo]

What did I come here for? It's in my purse. Here. Read this letter.

[Michael Shane]

Thank you, Madam. This is your last warning. If the book is published, you will not be here to enjoy the pain it causes. That's all. It's unsigned.

[Madame Ghislaine Turlo]

This is the second one I have received in the past two weeks.

[Phyllis Knight]

What on earth does it mean? The book?

[Madame Ghislaine Turlo]

My memoirs. Everybody knows I am writing them. A lot of famous people will lose sleep when they read what I. Madame, Je Laine Torlo has told about them. But I want to live to enjoy it.

[Michael Shane]

You. You wish me to investigate who's sending you these notes?

[Madame Ghislaine Turlo]

I do.

[Michael Shane]

I'm sorry, madam, I'm not a press agent. Writers have tried this publicity stunt before.

[Madame Ghislaine Turlo]

Why, you young caution.

[Leonora Burrell]

Very well.

[Madame Ghislaine Turlo]

I'll go to a good detective.

[Michael Shane]

I wish you luck, madam.

[Madame Ghislaine Turlo]

I like you, young man, you talk back to me and don't apologize.

[Michael Shane]

Only in months, spelt with an R.

[Madame Ghislaine Turlo]

I admit I like publicity, Mr. Shane. I love to see my name in print, but not in the obituary.

[Phyllis Knight]

If you will take the case, I'll

[Madame Ghislaine Turlo]

give you the names of the people that might have written these notes.

[Phyllis Knight]

Go ahead, Mike. We wouldn't want anything to really happen to Madame Tullot.

[Madame Ghislaine Turlo]

Thank you, my dear. What is your name?

[Phyllis Knight]

Phyllis. Phyllis Knight. I remember hearing you sing Carmen when I was a little girl.

[Madame Ghislaine Turlo]

You're older than I thought. You like opera? I love it.

[Phyllis Knight]

Yes, I've got record albums at home of Aida and Carmen. Rigoletto, Cavalier, Arista Cana. Wait a minute. Didn't I see in the papers that you were singing that tonight? The. The benefit series.

[Madame Ghislaine Turlo]

Yes, my fifth farewell appearance.

[Michael Shane]

Coming back to business, madam. You were going to give me some names.

[Leonora Burrell]

Yes.

[Madame Ghislaine Turlo]

The first one is Roderick MacKenzie of the Newport. MacKenzie's an old suitor of mine.

[Michael Shane]

Would he threaten to kill you?

[Madame Ghislaine Turlo]

He's come clear out to the coast just to keep his name out of my memoirs. He wants to buy his letters back from me. My dear Ghislaine, he says I was wild, a wild and foolish boy.

[Phyllis Knight]

But that was long ago.

[Madame Ghislaine Turlo]

There is my family, my circle you're

[Michael Shane]

writing this down on.

[Madame Ghislaine Turlo]

Then there's my ex husband, Edwin Buck. He's got political ambitions, which my book might sour. And Leonora Barille. Madame Barille. To think I have to sing tonight with that Hungarian woot owl. Oh, and one other. Savadal, Our Maestro.

[Phyllis Knight]

They're all in your memoirs.

[Michael Shane]

Any others?

[Phyllis Knight]

Yes.

[Madame Ghislaine Turlo]

Savadel, our maestro. E8. It's the air I breathe. Because I won't let Helen marry him.

[Phyllis Knight]

Helen?

[Madame Ghislaine Turlo]

My secretary, Helen Smith. Oh, the girl thinks she's in love with him. She's too young, too good for him.

[Michael Shane]

Oh, you might add the secretary to the list, honey.

[Madame Ghislaine Turlo]

Helen. I'm possible.

[Maestro Sabadel]

She couldn't.

[Madame Ghislaine Turlo]

She's no, never.

[Michael Shane]

Well, we've got four names here. Now, where do I find these people?

[Madame Ghislaine Turlo]

Come to the opera tonight. The Figueroa Theater. I will have them all there for you.

[Michael Shane]

Figueroa Theater. Okay.

[Madame Ghislaine Turlo]

It's a double bill. Pagliacci, then Cavallaria. I sing in the second half.

[Phyllis Knight]

Oh.

[Leonora Burrell]

Oh.

[Madame Ghislaine Turlo]

Let us meet in my dressing room during the intermission.

[Michael Shane]

One thing more, madam. Do we have to listen to the opera itself?

[Leonora Burrell]

Of course.

[Madame Ghislaine Turlo]

Someday you can tell your children you heard Madame Ghilaine Tourlo. You will never forget tonight.

[Michael Shane]

Uh huh. That's what I'm afraid of,

[Phyllis Knight]

Mike. I wanted to hear the end of Pagliachi.

[Michael Shane]

Yeah, so do I. It can't end quick enough.

[Phyllis Knight]

Oh, you're just being childish. You like music and singing.

[Michael Shane]

Yeah, sure, darling, but when guys get up on the stage and insult each other, I want to enjoy it in English.

[Phyllis Knight]

Oh, my.

[Maestro Sabadel]

Yes. Oh. Oh.

[Michael Shane]

We thought this was Madame Turlo's dressing room. I'm sorry.

[Maestro Sabadel]

It is. Madam is no come here yet.

[Phyllis Knight]

Oh, well, we were to meet her here in her dressing room. Can we come in and wait?

[Maestro Sabadel]

I am waiting to see her.

[Michael Shane]

Okay, we'll make it a threesome. The names are Ms. Knight and Mike Shane.

[Maestro Sabadel]

So I am Savadel the Maestro.

[Phyllis Knight]

But I thought you were conducting Cavallaria.

[Maestro Sabadel]

Only, madame. Oh, Diavolo, she is late. Late. Excuse me. Hello? Hello, Madame, the time I wait and wait and wait. So, see, they are here.

[Narrator]

You.

[Maestro Sabadel]

Mr. Shane, she want to talk. Oh, thank you.

[Madame Ghislaine Turlo]

Hello, Monsieur Shane. I am going to be late. A certain person has been here at the house trying to tear up my memoirs.

[Michael Shane]

What? Who?

[Madame Ghislaine Turlo]

I'll tell you when I get to the theater. Come back to the dressing room after the performance of where?

[Michael Shane]

Goodbye.

[Maestro Sabadel]

I want to talk to her.

[Michael Shane]

I'm sorry, Maestro. She hung up.

[Maestro Sabadel]

Oh, that woman. That big girl will not stand to this. I warn her. No, we're doing it. Do what?

[Michael Shane]

Hey, hey, just a second.

[Phyllis Knight]

There. That, my dear, is what we artists call temperament. Fortissimo.

[Michael Shane]

Yeah, well, I've got a plainer name for it. Come on, darling, let's go back to our seats and join the other sufferers.

[Phyllis Knight]

Mike. Hey, that man conducting the orchestra, he doesn't look like Sabadel.

[Michael Shane]

You're right. It's the same bald head who umpired the first opera.

[Phyllis Knight]

Yeah, but Sabadel said he would wonder what it means.

[Michael Shane]

Don't ask me, darling. The only thing I know about grand opera is the price of our tickets.

[Phyllis Knight]

Hey, that's. That's awfully funny. Well, this is the last part of the prelude, and right now the tenor's supposed to be singing off stage.

[Michael Shane]

The curtain's going up.

[Phyllis Knight]

There's nobody on the stage.

[Michael Shane]

Somebody's coming out from the wings.

[Edwin Buck]

Now.

[Phyllis Knight]

It's Sabadel.

[Maestro Sabadel]

Ladies and gentlemen. Ladies and gentlemen, please. I am regret to announce there will be tonight no Cavalleria.

[Michael Shane]

Bruce Stakhan.

[Maestro Sabadel]

I have to announce there is a tragedy. Our soprano, Madame Turlo, is dead.

[Narrator]

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[Inspector Faraday]

Well, for once, Mike, I beat you to the scene. The old lady started to phone the police but never completed the call. One of our operators heard gunshots over

[Michael Shane]

the phone, so you hightailed it right over.

[Inspector Faraday]

Yeah, when somebody at the opera phoned for her, I gave him the news. This is the living room. The bodies. Well, you can see for yourself.

[Phyllis Knight]

But. But Inspector, there are two of them.

[Michael Shane]

Yeah, as bloody as grand Opera itself. Oh, and when she came to our office, I thought it was a publicity stunts. Mike. Shane, you were here.

[Phyllis Knight]

Oh, Mike, you couldn't possibly know.

[Inspector Faraday]

I haven't had time to identify the other body. It's a woman of, I'd say 25 or 26.

[Phyllis Knight]

That's probably Helen Smith, the secretary. Only we knew who was here with Madame Tullo. And she telephoned you at the theater.

[Michael Shane]

Yeah, there's somebody who had just tried to destroy her manuscript.

[Inspector Faraday]

So that's what it was.

[Michael Shane]

A manuscript.

[Inspector Faraday]

One of my boys found a pile of paper over there in the fireplace. A lot of it is burned up.

[Michael Shane]

Uh huh. Looks like some old photographs and letters too.

[Inspector Faraday]

Oh, maybe that's the corner. Be right back, kids.

[Michael Shane]

Okay.

[Phyllis Knight]

Look at these, Mike. Here. These pages didn't burn.

[Michael Shane]

Chapter five. My husband. There never was a more dashing, gallant figure of a man than Edwin Buck. There's something screwy here. She's giving him a gold plated Oscar. Unless it's supposed to be sarcasm.

[Phyllis Knight]

Her desk looks as if she'd been working on a manuscript, Mike. A lot of typewriter paper and carbon sheets. Only used a couple of times.

[Michael Shane]

Good, good. You know what to do with them, Mike.

[Phyllis Knight]

What are you staring at?

[Michael Shane]

Blood stains on the carpet. They trail from the phone over here to the piano where she dies.

[Phyllis Knight]

Oh, she must have clutched at the music rack as she fell. There's music all over the floor.

[Michael Shane]

Uh huh. She's got a couple of sheets crumpled in her hand. Looks like they were torn out of something.

[Phyllis Knight]

I see. That's part of an opera score. An aria from Rigoletto.

[Inspector Faraday]

Court.

[Michael Shane]

I G on I Vow Ra Z Mike.

[Phyllis Knight]

Cosciane vill rotsi Saberton aria.

[Michael Shane]

I thought she was a soprano.

[Maestro Sabadel]

Mamma Mia.

[Michael Shane]

Hello, Sabadel.

[Maestro Sabadel]

No, don't touch her.

[Inspector Faraday]

I don't know who these men are, but they all insist they're special friends of Mad Turlo. What's your name, sir?

[Edwin Buck]

Edwin Buck. I was once her husband.

[Inspector Faraday]

And you?

[Roderick MacKenzie]

Roderick McKenzie. I've known Shane for. Well, a long time.

[Michael Shane]

I was supposed to meet all three of you gentlemen this evening about certain threatening letters sent to Madame Turlo.

[Narrator]

So I understand.

[Inspector Faraday]

Have you got those letters, Mike?

[Phyllis Knight]

I have one, Inspector. Here in my purse.

[Michael Shane]

Maestro Sa. When we were in the dressing room with you, you blew your top about madam. You said you had warned her and now you would do it. Do what, Maestro?

[Maestro Sabadel]

I was. I was meaning for Helen.

[Michael Shane]

Madam.

[Maestro Sabadel]

She said we cannot marry. I'm say Madame Turlo have no right to stop us. Tonight I'm at a side. No more talk. We do it.

[Michael Shane]

And where did you go when you slammed out?

[Maestro Sabadel]

First I go for a walk. Get over my temper. Then I phone Madame. She's a very late.

[Michael Shane]

Let's say she's a dead. Just a bug. You came here for some reason, but you're very quiet.

[Edwin Buck]

Yes, I. It's so horrible.

[Michael Shane]

And how long ago were you divorced from Madame Turlow?

[Edwin Buck]

About 18 years.

[Michael Shane]

I understand you have political ambitions. Is that right?

[Edwin Buck]

I hope to run for congress.

[Michael Shane]

And what your ex wife wrote about you might do your opponents more good than you.

[Edwin Buck]

Why no. From all Ghislaine told me, she wrote rather well of me.

[Phyllis Knight]

From all she told us. That wasn't her idea.

[Inspector Faraday]

Can you tell us, Mr. Buck, where you were during the past hour.

[Edwin Buck]

Why, certainly. At the opera.

[Michael Shane]

De. Here's your lane, Mr. Mackenzie. I believe you made a special trip here from New York to keep your name out of these memoirs.

[Roderick MacKenzie]

There's no crime in that.

[Michael Shane]

You tried to buy your letters back for madam.

[Maestro Sabadel]

I did.

[Roderick MacKenzie]

I have my family to think of my social standing. Some of my letters were, well, full of youthful enthusiasm. I was afraid Ghislaine would distort them.

[Inspector Faraday]

Mr. MacKenzie, where were you during the past hour?

[Roderick MacKenzie]

I was at the opera.

[Maestro Sabadel]

No, no, that is one a lie. He was here. I'm see him.

[Inspector Faraday]

All right, Mackenzie dropped the innocent act. What were you doing here?

[Roderick MacKenzie]

Well, if you must know, I. I came to talk to Ghislaine's secretary. And I was going to bribe her to steal my letters for me. But nobody answered the door. I never got in. You can't prove anything on me except

[Michael Shane]

that you're a poor liar, sir. That goes for all of you. Any one of you three could have sneaked up here from the opera and killed these women. Inspector.

[Inspector Faraday]

Yes, Mike?

[Michael Shane]

Madam has some. Some of the musical score in her right hand. I want to borrow it for an hour or so. But, Mike, that's evident. Nothing's going to happen to an inspector. And honey, if you'll give me the keys to your apartment, please.

[Phyllis Knight]

What? I'll go with you.

[Michael Shane]

No, no, no. I want you here to sort of observe the proceedings. Mr. Shannon, please, I want to talk with you.

[Maestro Sabadel]

It must be private.

[Michael Shane]

Inspector Faraday will be glad to hear anything you have to say. Maestro. I'll be seeing you, children. Oh, angel, you dropped your handkerchief.

[Phyllis Knight]

Oh, thanks.

[Inspector Faraday]

All right, Mr. Sabadel, what was it you wanted to tell Mike?

[Maestro Sabadel]

Oh, it's like I say, it's a private.

[Inspector Faraday]

Okay, I suppose it's private. Why? You came here earlier and saw Mackenzie.

[Maestro Sabadel]

I'm already telling. I come to see Helen and say to madam that we get married. But nobody's. Open the front door. They're already dead, Inspector.

[Michael Shane]

Now what?

[Phyllis Knight]

This isn't my handkerchief. It's got the initials LB of course. Leonor Beryl, the singer. Her name was on our list, too.

[Inspector Faraday]

Then she must have been here.

[Michael Shane]

We're knee deep in suspects.

[Phyllis Knight]

Well, maybe this one is the fish we're really after. See you later, Inspector.

[Michael Shane]

Hey, Phil, where you going?

[Phyllis Knight]

Where do you suppose? Right.

[Leonora Burrell]

Inspector, I. I hope you will excuse my appearance. But I will. I am sworn strung from this shock.

[Phyllis Knight]

Yes, yes, I understand. Ms. Barrera, she leaning that way.

[Leonora Burrell]

We were such good friends. She was Like a mother to me.

[Phyllis Knight]

Yes, yes. Did you see it today?

[Leonora Burrell]

Today? Oh, no, no. Oh, my eyes. Mascara.

[Phyllis Knight]

Oh, here. Here, use this.

[Leonora Burrell]

Oh, thank you.

[Phyllis Knight]

You buy very expensive handkerchiefs, Ms. Burrell.

[Leonora Burrell]

What?

[Phyllis Knight]

That handkerchief. It's yours. You dropped it in the living room. Ghislaine to Lowe's living room. Oh, you did see her today, didn't you? In fact, this evening. How did you know? I didn't. There's a shot in the dark. I see you use a typewriter.

[Leonora Burrell]

What are you doing?

[Phyllis Knight]

Just checking something.

[Madame Ghislaine Turlo]

Will not be.

[Phyllis Knight]

Yep, it's the same. It is the same. What? The letter E on your typewriter. Exactly like the E in the note threatening the life of Ghislaine Tallott. All right. I was trying to scare her.

[Leonora Burrell]

She had me in her memoirs. I am trying to get my husband back. But if Salvador reads the malicious way she twisted things.

[Phyllis Knight]

He's your husband.

[Leonora Burrell]

And our divorce became final last month. But I am going to get him back.

[Phyllis Knight]

He was going to elope with Helen. So you got rid of the girl. Then you had to kill the other woman.

[Leonora Burrell]

I kill. Get out of here.

[Phyllis Knight]

Get out of here. Gladly. Gladly. I think you've told me all we

[Maestro Sabadel]

need to do with women. They tell her too much.

[Phyllis Knight]

How did you get here?

[Maestro Sabadel]

The inspector. He's a turn loose. Everybody but Mr. McKenzie. Now I talk to you.

[Phyllis Knight]

No, you don't.

[Maestro Sabadel]

You stay, sir. But I want to talk.

[Leonora Burrell]

You let go of me.

[Phyllis Knight]

Stop it.

[Maestro Sabadel]

Stop it.

[Leonora Burrell]

She's getting away.

[Phyllis Knight]

Sister. I am away. Mike, she was lying every minute of the time. Because everything that she said.

[Michael Shane]

Please, angel, please give it to me slow. I can't get it all at once.

[Phyllis Knight]

Well, listen, all right. Faraday has turned everybody loose except Mackenzie. He's holding the wrong man.

[Michael Shane]

It could be, but Inspector Faraday must have his reasons.

[Phyllis Knight]

But the handkerchief. Leonor Beryl admitted she was with Madame Tillot tonight. And she was married to Sabadel.

[Michael Shane]

Yeah, so you said.

[Phyllis Knight]

But doesn't all this mean anything to you? Sabadel tried to keep me in that apartment.

[Michael Shane]

Mm. Men try that occasionally. By the way, did you check madam's carbon paper?

[Phyllis Knight]

I did not. I found more important things to do.

[Michael Shane]

Phyllis.

[Phyllis Knight]

I told you, Mike, stop fiddling with that phonograph and listen to me. Leonor Barrel sent those threatening letters. She wanted Sabadel back, but he was going to elope with Helen. Don't you think Leonor would be mad enough to kill her? Angelaine to low.

[Michael Shane]

If you think that, why were you so scared of Sabadel?

[Leonora Burrell]

Because.

[Phyllis Knight]

Because they're in it together.

[Edwin Buck]

Mm.

[Michael Shane]

Oh, by the way, honey, have you got some extra phonograph needles? This one's getting scratchy.

[Phyllis Knight]

Oh, Mike, what's my.

[Michael Shane]

Something wrong?

[Phyllis Knight]

Yes, you. I beat my brains out trying to help you on this case. You just stand there gawking at sheet music and phonograph records.

[Michael Shane]

Excuse, please. Put the doorbell.

[Phyllis Knight]

That's the apartment phone, stupid. Down by the mailboxes.

[Michael Shane]

I'll get it. Probably. Inspector Faraday.

[Announcer]

Hello.

[Maestro Sabadel]

Please, Mr. Phyllis A. Knight.

[Michael Shane]

Well, who is it and what do you want?

[Maestro Sabadel]

Senor Sabadel. I must see her at once.

[Michael Shane]

Look, mister. Look, this is Mike Shane. If you come around here to Pastor Phyllis, I'll pin you.

[Maestro Sabadel]

Please, I want to talk to both of you. It's a secret. I have an idea. Hello?

[Michael Shane]

Hello?

[Phyllis Knight]

Hello?

[Michael Shane]

Hello?

[Maestro Sabadel]

Mr. Shan?

[Michael Shane]

Yeah?

[Maestro Sabadel]

The aria. The aria.

[Michael Shane]

Sabadel. Sabadel.

[Madame Ghislaine Turlo]

What's wrong?

[Michael Shane]

Somerdale.

[Narrator]

In just a moment we'll return to

[Announcer]

Michael Shane and his adventures.

[Narrator]

A few minutes ago we mentioned some of the reasons why clean spark plugs are important to the efficient performance of an automobile engine. Now, while you're having your spark plugs checked, it's a good idea to ask the minuteman to look at your ignition cables too. These cables are the small fine wires which deliver electricity to the spark plugs if any of them are broken or frayed or the insulation damaged. Even brand new plugs won't help your driving. You see, old or damaged ignition cables leak electricity so that by the time the charge gets to the spark plug, the there isn't enough juice left for the rich spark needed for instant firing. So to get full power out of old engines, ask the Union Oil minuteman to check both spark plugs and ignition cables. Then you'll be sure of more power and better mileage. Just drive in wherever you see the

[Announcer]

sign of the big orange and blue

[Narrator]

76 and ask for Union Oil Ignition service. Thank you. For the second time tonight, a phone call has been ended suddenly by a revolver shot. It is minutes later, Mike and Phyllis are standing on the sidewalk outside Phil's apartment house. Two men in white are lifting a limp body onto an ambulance stretcher.

[Phyllis Knight]

Mike, do you think he'll live?

[Michael Shane]

Well, the doctor says he will if they get him to the hospital quick enough. Even so, we won't be able to question him for a days and that may be too late.

[Phyllis Knight]

Not a soul in this crowd saw who did it.

[Michael Shane]

Somebody decided Sabadel shouldn't talk to us.

[Phyllis Knight]

Yeah.

[Michael Shane]

Oh, if I had only listened to him when he tried to tell Me something at Madame Turlo's or you at Leonor Burrell's?

[Phyllis Knight]

Well, if we just knew what he wanted to tell us.

[Michael Shane]

I think I have a sneaking hunch, honey.

[Phyllis Knight]

You have?

[Michael Shane]

Yep. Well, come on, bright eyes. We're going to phone Inspector Faraday and send out the invitations.

[Phyllis Knight]

Invitations?

[Michael Shane]

To a midnight reunion at Madame Turlo's. The guest list will be very selective and slightly dangerous. Good evening, Inspector.

[Phyllis Knight]

Hello, Inspector.

[Michael Shane]

You round up everybody?

[Inspector Faraday]

I did. They're in the living room. Come on in.

[Michael Shane]

Okay.

[Inspector Faraday]

That package under your arm, Mike, what is it?

[Michael Shane]

Patience. Mean I, patients, everything in due time.

[Inspector Faraday]

Mike, you tell me on the phone that Mackenzie was innocent and released him.

[Maestro Sabadel]

Well, I haven't.

[Phyllis Knight]

You mean you've got proof on him?

[Inspector Faraday]

Mackenzie came clear across the continent just to stop Madame Tolo from publishing that book. He admits he was going to bribe her secretary to steal the stuff for him. And Savadel placed him here at the house at or about the time of the killing.

[Michael Shane]

That's enough for me. There's just one hitch, Inspector. How about the killer trying to remove Sabadel, too, at the very time you had Mackenzie at headquarters.

[Inspector Faraday]

Say, that's right.

[Phyllis Knight]

Yeah, unless Savadel's ex wife did it in a fit of anger.

[Inspector Faraday]

Oh, Miss Burrittle, this is Mr. Shane.

[Leonora Burrell]

So I understand I have you to thank for dragging me out at this unearthly hour.

[Michael Shane]

Yes, Mr. Buck. How are you?

[Edwin Buck]

As well as could be expected.

[Michael Shane]

Phyllis, will you look up those carbon papers now?

[Phyllis Knight]

Yeah, yeah, right away.

[Michael Shane]

I believe Inspector Faraday has told you of the shooting of Maestro Sabadel. So the first thing we want to know from both of you is where were you during the past hour?

[Edwin Buck]

Well, I was at home reading the newspaper story about tonight.

[Michael Shane]

Oh, an incomplete story, I'm afraid.

[Phyllis Knight]

And you, Ms. Peru, also at home

[Michael Shane]

when Ms. Knight left you and Sabadel, or should I say escape from you. What happened?

[Phyllis Knight]

Nothing. You and Savadel had a fight. He accused you of killing Helen so he couldn't marry her.

[Leonora Burrell]

I told him I didn't and he said truth.

[Michael Shane]

All right, all right, all right. Now, honey, how about the carbons?

[Phyllis Knight]

All checked. Madame Turlo was still working on the chapter. My husband. And we were right the first time. She's anything but flattering to Mr. Buck.

[Edwin Buck]

Rubbish. She was very kind to me.

[Phyllis Knight]

Well, here's the carbon sheets. We found them on madam's desk. Never used, only twice. I just held them up in front of my vanity mirror and read what she typed. And it was not flattering.

[Edwin Buck]

How was I to Know that I thought it was all favorable to me.

[Michael Shane]

Well, that's a minor issue now. Anyway, the real key is Helen Smith. The secretary.

[Inspector Faraday]

How do you mean, Mike?

[Michael Shane]

Madame Turlo was against a marriage between Helen and Sabadel. She told us it would never happen. Now, doesn't that strike any of any of you as a little strange? Employers usually don't have such control over the lives of their secretaries. Okay, Mike, but get to the point. Ah, that is the point, Inspector. And now, you wanted to know what I have in this package.

[Inspector Faraday]

Yeah, yeah.

[Michael Shane]

First, the music score. We found in Madame Turlow's hand, a baritone aria from Rigoletto.

[Phyllis Knight]

The Cottagerne Villarazzi.

[Michael Shane]

Pronunciation by courtesy of Ms. Phyllis Knight. Thank you, darling. And next, we have Phil's record album of the same opera. Angel, will you warm up the madam's phonograph for me?

[Leonora Burrell]

If you ask me, this is all very cheap and dramatic.

[Michael Shane]

Operatic is the word, Ms. Poirot. You see, when Madame Turlo was shot, she made a dying effort to tell us who killed her. And Helen. Especially Helen. She tore a very special aria from the score of Rigoletto in a desperate gamble. Somebody would understand it.

[Leonora Burrell]

Mr. Shane, I don't believe you are the man to give us a course on opera appreciation.

[Michael Shane]

Well, we shall see.

[Phyllis Knight]

Ms. Perrier, photographs ready, Mike?

[Michael Shane]

Okay, darling. Now, do you people know the plot of Rigoletto and what this aria means?

[Leonora Burrell]

Well, of course, I have sung Rigoletto.

[Edwin Buck]

I'm afraid I have only a hazy idea.

[Michael Shane]

All right, this is the setup. A gang of the Duke's courtiers have just kidnapped a girl. Now, this guy Rigoletto was cursing them. Now he's begging them to give her up, and they won't. Now, he tells them a secret.

[Maestro Sabadel]

The girl is his own daughter.

[Michael Shane]

Well, does that mean anything to you, Miss Peril?

[Leonora Burrell]

Not a thing.

[Michael Shane]

You, Mr. Buck?

[Edwin Buck]

I can't say that it does.

[Michael Shane]

Okay, then I'll put on the other record. Now, this is the end of the opera. The payoff. Ms. Farrell, as an opera star, tell us what's happening on the stage right now.

[Phyllis Knight]

What?

[Leonora Burrell]

Rigoletto had planned to kill his enemy, the Duke.

[Michael Shane]

Right. He has the body in a sack, and then he makes a discovery. Now, listen carefully, Mr. Buck. Rigoletto opens the sack and sees a girl's body. He cries, speak. Oh, speak to me, my darling daughter.

[Maestro Sabadel]

Oh, awful fate.

[Michael Shane]

By my hand she hath fallen.

[Phyllis Knight]

What's what?

[Maestro Sabadel]

My. My child. Helen was my child.

[Phyllis Knight]

Helen was Ghislaine's daughter.

[Maestro Sabadel]

Then. Then Buck is her Father, I. I didn't know. I didn't know.

[Michael Shane]

Yes, her father and her murderer. There you are, my.

[Phyllis Knight]

Very well.

[Michael Shane]

Are you feeling better?

[Maestro Sabadel]

Ah, Mr. Shand, to you. Bigger. Congratulations. Your work. Bravo. She's the most brilliant.

[Michael Shane]

Well, thank you, maestro. I thought I was pretty good myself.

[Maestro Sabadel]

Good.

[Inspector Faraday]

Buck could hardly add anything to his confession. He hadn't seen his daughter Helen since she was 6 years old. Buck says he just wanted to scare the man him out of publishing a book. Helen tried to grab the gun. It went off. Then he had to shoot again.

[Michael Shane]

Mr. Savadel, you had something you wanted to tell me privately? Now? Can you talk now?

[Maestro Sabadel]

Yes, yes, I can. Tonight I see.

[Michael Shane]

Aria from Rigoletto in a madam's hand.

[Maestro Sabadel]

The ideas have come to me. Maybe Helen is a nut orphan, the

[Michael Shane]

way she should think.

[Maestro Sabadel]

Maybe she is the daughter of Madame and Mr. Buck. The same idea Mr. Shane have. But I must tell in private.

[Phyllis Knight]

Well, why under the sun would Ghislaine Telleau keep such a secret from her husband and her own daughter?

[Maestro Sabadel]

We in opera are stranger people. Madame Tello live and breathe opera. She's very dramatic. She's in a joyous secret, just like a storybook.

[Michael Shane]

Speaking of operas, angel, I noticed you got another record album up at your apartment. Maybe if I studied it, I might get the answer to another problem.

[Phyllis Knight]

Mike, not another crime.

[Michael Shane]

Well, a different sort. It's the Marriage of Figaro. Catch on, Miss Nick?

[Maestro Sabadel]

Then, Mr. Shay, you must have translated better than your Rigoletto.

[Michael Shane]

But just a minute ago you were complimenting me about.

[Maestro Sabadel]

See? Honor your thinking. But Yariel. No, I'll never hear such a bad translation.

[Phyllis Knight]

Oh, my theor. I was so proud of your learning and your culture.

[Maestro Sabadel]

Well, what about you?

[Michael Shane]

You didn't correct me. You're supposed to be the highbrow in this partnership.

[Phyllis Knight]

Oh, I am.

[Michael Shane]

Opera, music, books, poetry reviews.

[Narrator]

Climb down off that pedestal, you fake.

[Phyllis Knight]

Why, Michael Shane?

[Inspector Faraday]

Bill, there's only one book a man wants a woman to review.

[Phyllis Knight]

I know, I know. A cookbook.

[Maestro Sabadel]

Right.

[Announcer]

Tune in again next week at 8:30 for another adventure with Michael Shane. Private Detective. Starring Wally Mayer and Kathy Lewis. With Joe Forte as Inspector Faraday. Tonight's story was written by Richard Degrave and based on the character created by Brett Holiday. Music was composed and directed by Bernard Katz. This is John Lang saying good night for the people who make 76 gasoline and Triton motor oil. Union Oil Company. This is the Mutual Don Lee Broadcasting System.

[Madame Ghislaine Turlo]

Ra.