Michael Shayne: Missing Body 08/06/1945

Summary

Choice Classic Radio Detectives | Michael Shayne: “Missing Body” (08/06/1945)
Episode Date: August 11, 2026 (Choice Classic Radio rebroadcast)

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Episode Overview

In this engaging episode from the Golden Age of Radio, private detective Michael Shane and his associate Phyllis Knight are drawn into a perplexing murder mystery titled "Missing Body." The episode’s central enigma is both classic and confounding: a man is reported murdered—his dead body seen and even touched by a witness—yet it vanishes before the authorities arrive. Shane, Knight, and an Inspector from homicide must unravel not just “whodunit” but also “where is the body?” This tight, witty detective story showcases the genre’s love for red herrings, clever deduction, and the dynamic interplay between the leads.

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Key Discussion Points & Insights

1. Setting the Scene: Contrasts in Detective Work

• The story opens with Michael Shane, Phyllis Knight, and the Inspector preparing to go to lunch but instead find themselves called to a murder (“Murder or lunch?” 04:32).
• Key Insight: Shane and Knight reflect on the differences between police procedure and private investigation, noting how intuition and listening “to tones, to their delivery” can be more telling than just taking notes. (03:13–03:33)

2. The Murder with No Body

• Discovery: Mr. Porter, a friend, calls police after finding Mr. Beatty dead in his apartment, knife in chest, blood on the scene.
• The Twist: When the investigators arrive, the body has vanished. Only the bloodstain remains (06:05).
• Physical Impossibilities: Porter insists he never lost sight of the only entrance. No viable way to remove the body unseen, even by "Houdini" (07:39).

Notable Quote

“How do I go about finding a murderer when I haven’t even got a body?”
— Inspector, (08:03)

3. Searching for a Lead: Motives and Mail

• Shane decides to examine the murdered man’s mail, uncovering:
  • A threatening letter from Reynolds (11:08)
  • A warning letter, likely from a woman (12:17)
• Motives: Reynolds and Weaver claim Beatty swindled them in a business deal—morally blameworthy, but not actionable (14:17).

Notable Quotes

“It says, I don’t suppose I should care what happens to you, but just the same you are a fool. I’ve told you before that I don’t trust Porter. And I’m more sure of it now than ever before.”
— Phyllis Knight reading warning letter, (12:17)

4. The Warehouse Search

• The investigation leads to a warehouse jointly leased by Beatty, Reynolds, and Weaver.
• Clues: They find dust disturbed, a single drop of blood on a chair, and, following the trail upward, blood at a ceiling ventilator.
• Discovery: The missing body is found hidden along the rafters of the warehouse (18:12).

Notable Moment

“People never lift their eyes high enough…give me a hand, Inspector.”
— Mike Shane, (17:55)

5. Inventorying the Evidence

• With the body found, Shane and Knight catalog the belongings, noting the absence of keys—a clue that assumes greater significance later (19:06–19:43).

6. Piecing Together the Truth

• Telephone calls confirm Mrs. Beatty sent the warning letter, motivated by “woman's intuition” and distrust of Porter (23:19).
• Kansas police records reveal Beatty testified against a man named Porter in a robbery trial; that Porter died in prison in 1936, leaving open the question: Is this Porter related?

Insights into Human Nature

• Discussion of “woman’s intuition” as the memory of something “half heard and half forgotten,” suggesting subconscious recognition (26:05).

7. The Solution – The Ignored Details

• Shane gathers all suspects to reconstruct events. He methodically breaks Porter’s story:
  • No blood on the letters Porter claims to have handled with bloody fingers.
  • If the wind blew mail onto the floor, why was the front door still open?
  • Only Porter could have hidden the body elsewhere before calling the police.
• Key Evidence: The absence of keys on Beatty's body, and Porter’s possession of both the warehouse and apartment keys, which match the necessary locks (29:08).

The Crucial Logical Leap

“Just put your hands in your pockets, Inspector. That’s all. Just put your hands in your pockets.”
— Mike Shane, (20:45; hinting at the missing keys clue)

8. Confession and Resolution

• Porter ultimately confesses (29:32).
• Speculation remains about whether Porter is related to the earlier Porter, explaining Mrs. Beatty’s distrust (30:09).

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Notable Quotes & Memorable Moments

• “If I had committed this crime, how would I go about it?” — Mike Shane, on deductive imagination (03:52)
• “No, no mystery, Porter. Just a tissue of lies. Well rehearsed.” — Mike Shane, (28:37)
• “We can and we will. Give me your keys.” — Mike Shane, (28:50)

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Important Segment Timestamps

• 03:13 — Shane on differences between police & private detective work
• 05:20–06:05 — Discovery that the alleged body has vanished
• 07:39 — Debate over the mechanical impossibility of body removal
• 11:00–11:30 — Motive and threatening letter revealed
• 12:17 — Discovery and analysis of a mysterious warning letter
• 17:55–18:12 — Discovery of body in warehouse rafters
• 20:45 — Shane provides the critical hint (hands in pockets/the missing keys)
• 23:19–24:07 — Mrs. Beatty on her distrust of Porter ("woman’s intuition")
• 26:04–26:21 — Reveal: Beatty testified against another Porter—possible connection
• 28:37–29:32 — The final confrontation and Porter's confession

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Episode Tone & Style

• Witty, fast-paced banter: The interplay between Shane, Phyllis, and the Inspector is light and smart, balancing suspense with humor (e.g., Phyllis ribbing Mike about his “criminal mind” and playful squabbling about deduction methods).
• Deductive emphasis: The investigation unfolds logically, with Shane focusing on overlooked details and the inconsistencies in Porter’s story.
• Classic noir atmosphere: The vanished body, confusing alibis, and shady business deals capture the essential spirit of 1940s detective fiction.

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Summary

This episode exemplifies the appeal of radio’s classic detective tales: a knotty case, sharp dialogue, and a satisfying puzzle resolved by shrewd observation of human nature and overlooked facts. Michael Shane’s approach—listening beyond the words, testing assumptions, and pressing suspects on inconsistencies—leads to a methodical breakdown of a too-convenient story. The “missing body” proves to be the linchpin in exposing a calculated killer.

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For fans of classic mysteries, this is a signature episode: brisk, clever, and twisty right up to its final moments.

Transcript

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[Mike Shane]

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]

[Narrator]

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 Detectives starring Wally Mayer and Kathy Lewis. It's just before noon on a bright but blustery day in San Francisco, and Mike Shane, San Francisco's favorite detective, instead of chasing criminals, is sitting peacefully in his office academically discussing crime and its detection with his able and attractive associate, Phyllis Knight. And, oh yes, the inspector of homicide who has come to take them to lunch.

[Mike Shane]

You see, inspector, I'm not criticizing the police department when I say that I'm not bound by the rules that, well, you, for instance, are bound.

[Inspector]

I realize that, Mike. I have to be pretty sure of my ground before I make an arrest. I have to have evidence enough to convince the district attorney and he has to have reasonable prospects of obtaining a conviction before he goes to the grand jury.

[Phyllis Knight]

Plus the fact that you, inspector, can be sued for wrongful arrest, whereas we, Mike and I never arrest anybody. We passed the buck to you.

[Inspector]

I know, I know all that. But what I'm getting at is this. Mike has something in the way of, well, being able to nose out a suspect that we, well, that is, most of us in the department either don't have or else don't apply.

[Mike Shane]

The answer is simple. Proving it is difficult.

[Inspector]

Let's hear it in all its simplicity.

[Mike Shane]

Well, you and every other member of the department are so busy taking notes, which you have to do, that you get into the habit of reading what witnesses and suspects have to say. Whereas I. I listen to their tones, to their delivery. I strain my ears for the meaning behind what they say instead of the mere words.

[Inspector]

I'll admit all that.

[Phyllis Knight]

I think there's something else, Inspector, although I hesitate to say this.

[Inspector]

Don't spare my feelings, Phyllis.

[Phyllis Knight]

No, I'm not thinking of your feelings. It's Mike's.

[Mike Shane]

Oh, don't spare mine, angel. You never do.

[Phyllis Knight]

Well, in spite of the fact that Mike hates criminals and hates crime, I think he has a criminal mind.

[Mike Shane]

Angel, what you just said.

[Phyllis Knight]

I mean it. Mike seems to be saying to himself, if I had committed this crime, how would I go about it? Or if I were the important clue, where would I be found?

[Mike Shane]

Well, that's not a criminal mind, angel. That's just a diet.

[Phyllis Knight]

Michael Shane, private. Oh, sure thing, Sergeant. For you, Inspector.

[Inspector]

Oh, hope this doesn't break our lunch date. Hello, Sergeant.

[Mr. Reynolds]

Reporter.

[Inspector]

Hammer side, Inspector. Man named Porter called up and said he found a body at 323Foothill. Any idea who the murdered man is? Porter said the man's was Bey. Didn't give much more information. He seemed pretty upset, not too coherent. Okay, Sergeant, I'll meet you there as soon as I can get there.

[Mike Shane]

Homicide, huh?

[Inspector]

Yeah. Well, what do you want? Murder or lunch?

[Phyllis Knight]

Oh, don't be silly, Inspector. We'll pass up a whole week's meals for a murder anytime.

[Inspector]

This is the street.

[Phyllis Knight]

Yeah, and that looks like the apartment right there. With a man standing on the steps.

[Mike Shane]

Yeah, that's it. No signs of your boys yet, Inspector?

[Inspector]

No, but then we were closer than headquarters. That must be Porter. Looks all upset.

[Phyllis Knight]

Wouldn't you if you just found a body?

[Mike Shane]

Are you Mr. Porter?

[Mr. Porter]

Yes. Yes, I've been pacing up and down these steps, waiting. I thought you'd never come.

[Inspector]

Where's the body?

[Mr. Porter]

Upstairs on the couch in his living room.

[Inspector]

This isn't your house then?

[Mr. Porter]

No. No, this is Mr. Beatty's house.

[Phyllis Knight]

You were visiting Mr. Beatty?

[Mr. Porter]

I called to take him to lunch.

[Mike Shane]

When?

[Mr. Porter]

Just before I called the police. Not more than 20 minutes ago. In this way, please. Yes. Well, I went in and there he was lying on the couch. There was a knife sticking out of his chest. I ran over to him, felt for his heart and got my fingers all sticky with blood.

[Inspector]

You shouldn't have touched the body.

[Mr. Porter]

Well, I didn't know it was a body. He might still have been alive had he Been, I would have called a doctor before I called the police.

[Phyllis Knight]

That makes sense.

[Mike Shane]

Where is he?

[Mr. Porter]

In this room, on the couch. There.

[Mike Shane]

He.

[Narrator]

Oh, but.

[Mr. Porter]

But he must be body.

[Inspector]

There's no body on this couch.

[Mr. Porter]

But he was there.

[Inspector]

Maybe you were mistaken. Maybe he wasn't dead.

[Mr. Porter]

Oh, but he was dead. He was cold, he was bleeding. His heart wasn't beating.

[Mike Shane]

What's the matter, Angel?

[Phyllis Knight]

There's blood on the couch. I just got my hand in it.

[Mike Shane]

So you're right. Here, use my handkerchief.

[Inspector]

Well, if he was dead, someone must have removed him.

[Mr. Porter]

But they couldn't inspect her. There's only one entrance to the apartment. Through the front door.

[Mike Shane]

There's no back door to the apartment?

[Mr. Porter]

No, and I've been here all the time. I. I haven't been out of the sight of that front door since I discovered his body. I. I feel sick. I've got to sit down.

[Mike Shane]

Okay, okay. Now, calm yourself. Calm yourself. I don't blame you for being upset, but we'd better get this straightened out.

[Inspector]

Mr. Porter, tell us what you did from the very start.

[Mr. Porter]

I told you.

[Sergeant]

I told you.

[Mr. Porter]

I came to take him to lunch.

[Phyllis Knight]

If he was dead, how did you get in?

[Mr. Porter]

The door was open. And that's funny too, because he was always careful about locking and bolting it.

[Mike Shane]

Go on, go on. The door was open, so you went in.

[Mr. Porter]

I found him. And when I saw he was dead, I phoned the police. You'll probably find my bloody fingerprints on the phone.

[Inspector]

Yes. Then what did you do?

[Mr. Porter]

Well, I walked up and down. I went to the front door, I came back and, oh, I remember. I saw the mail lying in the hallway. I absently, almost unthinkingly, picked it up.

[Phyllis Knight]

Where did you put it?

[Mr. Porter]

On the table there.

[Mr. Reynolds]

Huh?

[Mike Shane]

Oh, the wind must have blown it

[Inspector]

on the floor there.

[Mike Shane]

That's it.

[Mr. Porter]

That's it.

[Mike Shane]

Then you did what?

[Mr. Porter]

Well, that's all. I walked back and forth and I walked downstairs to the front door to look for the police, and then I'd come back.

[Mike Shane]

And you were never out of sight of that hallway and front door?

[Mr. Porter]

No, not for one second.

[Phyllis Knight]

Well, it's a cinch that even Houdini couldn't take a body out this back window.

[Mike Shane]

That window was open? Yes. No signs of anything on the sill?

[Mr. Porter]

No.

[Phyllis Knight]

And even if there were, Mike, look there. Workmen working on that building would be bound to see anything like that.

[Mike Shane]

Yeah, you're right. Angel.

[Mr. Reynolds]

You up there, Inspector?

[Inspector]

Yeah. Come upstairs.

[Mike Shane]

Well, what do you think, Inspector?

[Inspector]

I don't know what to think. What's more I don't know what to do.

[Mr. Porter]

What do you mean you don't know what to do?

[Inspector]

Well, to put it bluntly, how do I go about finding a murderer when I haven't even got a body?

[Mr. Porter]

But there was a body and there has been a murder committed. You can't talk like that about not doing anything.

[Mike Shane]

The man's right, Inspector.

[Inspector]

I know perfectly well he's right. Why don't you suggest something?

[Mike Shane]

All right, I will.

[Inspector]

What?

[Mike Shane]

Let's go hunt. Her body.

[Narrator]

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[Mr. Reynolds]

Thank you,

[Narrator]

Mike. Phyllis and the inspector have been confronted with a murder. A man who saw the victim, but so far no corpse. They've finished searching the apartment and stand looking at one another.

[Inspector]

Well, if there's a body in this house, it must be in small pieces and hidden in cracks in the walls.

[Mike Shane]

There's certainly no body in this apartment.

[Mr. Porter]

But Inspector. Mr. Shane, I saw it.

[Phyllis Knight]

We know, we know, Mr. Porter, but it isn't here.

[Mike Shane]

Now look, we've all had our say on the body. Let's change to something else.

[Inspector]

We pretty well covered the apartment. Not only us, but the sergeant and his boys. We couldn't find a thing Amiss.

[Mike Shane]

Ah, granted. So let's take a look at the murdered man's mail.

[Phyllis Knight]

Oh, here it is. I put it on this end table.

[Mike Shane]

Oh, thanks. Ad from flower shop. Oh, open this one, Inspector.

[Mr. Reynolds]

Okay.

[Mike Shane]

Here's another ad. And you open this one, Angel.

[Phyllis Knight]

All right, I'll tackle this one.

[Inspector]

Hey, Mike.

[Mike Shane]

What?

[Inspector]

Listen, I've warned you for the last time. Settle up or else. Sign. I can't read the initials, but the signature looks like Reynolds.

[Mr. Porter]

Oh, that must be.

[Mike Shane]

Yeah. Tell us more.

[Mr. Porter]

Well, I don't know very much, but Reynolds and another man by the name of Weaver went into some sort of a deal with Beatty. They felt that Beattie had swindled them not in the way that they could go to law, you understand, but in such a way that Beattie didn't lose his money, but they lost theirs. Beatty told me that he'd been threatened by them. He told me he was worried, but that was all.

[Inspector]

Why the dickens didn't you tell me this before?

[Mr. Porter]

Because I. I didn't think it was important. You surely don't think that either Reynolds or Weaver would kill Beatty over a thing like that?

[Inspector]

We don't know. But it's our only lead so far. Wouldn't you say so, Mike?

[Mike Shane]

Oh, not exactly, but it's one we've got to follow up.

[Inspector]

Of course you'll return home, Mr. Porter?

[Mr. Porter]

Yes, yes, of course. I'll be there if you need me.

[Inspector]

Okay, lets go, Phil. Mike, we'll go in my car. Let's see, the address on this stationary Reynolds is Stats Building. I'll stay behind, Inspector, just in case of any phone calls or anything like that. Watch out, Sergeant.

[Phyllis Knight]

Doesn't anybody want to know what was in the letter I opened?

[Mike Shane]

Why, you little. I wondered why you were so quiet all of a sudden.

[Inspector]

What is it, Phil?

[Phyllis Knight]

I didn't want to read it while we were in the room.

[Mike Shane]

You think we'd better wait till we reach the car?

[Phyllis Knight]

Oh, no.

[Narrator/Announcer]

No, huh?

[Phyllis Knight]

We're out of earshot.

[Mike Shane]

Okay, shoot.

[Phyllis Knight]

It says, I don't suppose I should care what happens to you, but just the same you are a fool. I've told you before that I don't trust Porter. And I'm more sure of it now than ever before.

[Mike Shane]

What's the signature? There isn't any.

[Phyllis Knight]

But although it's written on a typewriter, I'll make you a bet.

[Mr. Porter]

What?

[Inspector]

What?

[Phyllis Knight]

I'll bet you this warning was sent by a woman.

[Sergeant]

I am ready.

[Mike Shane]

Eighth floor, please.

[Mr. Porter]

Yeah.

[McDonald's Advertiser]

So?

[Mr. Reynolds]

Eight.

[Mr. Porter]

Number eight.

[Mike Shane]

There's Reynolds office right down the hall.

[Phyllis Knight]

Yeah, There's a man just going in.

[Inspector]

Yeah, we might be in luck. That might be Weaver.

[Mike Shane]

Something tells me that this isn't going to be very profitable.

[Phyllis Knight]

Well, we'll soon see. Yes? May I help you?

[Inspector]

We'd like to see Mr. Reynolds.

[Sergeant]

Mr. Reynolds is busy just now.

[Phyllis Knight]

If you'd care to wait. He has someone with him.

[Inspector]

The someone with him isn't by any chance, Mr. Weaver?

[Sergeant]

Well, yes, it is, but how?

[Phyllis Knight]

Oh, you saw him come in just before you did.

[Inspector]

Then if it is Mr. Weaver, that's most fortunate, because we want to see both gentlemen.

[Phyllis Knight]

Well, I. I don't know.

[Sergeant]

I'll ring Mr. Reynolds.

[Inspector]

Please don't. We're on police business and we'd rather go in unannounced.

[Sergeant]

Oh, but I.

[Mr. Reynolds]

Well. And to what do I owe this intrusion? Isn't my receptionist out there?

[Inspector]

Your receptionist isn't at fault, Mr. Reynolds. I'm from police headquarters. We'd like to ask a few questions.

[Mr. Reynolds]

Police?

[Mike Shane]

What on earth for?

[Inspector]

You sent this threatening letter, Mr. Reynolds.

[Mr. Reynolds]

Let me see. Yes. Yes, I did. And I'll send more if I don't get satisfaction.

[Mike Shane]

Satisfaction for what, sir?

[Mr. Reynolds]

I don't think it is anyone's business.

[Inspector]

It's police business, Mr. Reynolds. Now, we can all be very comfortable and save a lot of time by getting our answers here. But, of course, if you prefer headquarters, then that's your privilege.

[Mr. Reynolds]

Oh, well, if Beattie has been fool enough to report this letter to the police, I'll tell you all you want to know.

[Mike Shane]

We'd like to know why you wrote the letter.

[Mr. Reynolds]

Well, briefly, Beattie. Mr. Weaver here and I put up equal amounts of money into an enterprise. It was at Beattie's inducement. Beattie had the inside track on the thing. He knew before we did that the venture wasn't going well. He withdrew his money without giving us a chance to withdraw ours.

[Phyllis Knight]

And the venture folded?

[Mr. Reynolds]

It did. And.

[Mike Shane]

Go on. Sir, Reynolds and I feel that Beatty should share the loss with us.

[Inspector]

In other words, you feel that Beatty should split what he got out of the deal three ways? With you too?

[Mr. Reynolds]

Yes. Legally, of course. We can't compel him. Morally, we feel entitled to it.

[Phyllis Knight]

Where does Mr. Porter fit into the scheme?

[Mr. Reynolds]

Porter? He doesn't fit in at all. He's just a real estate man who helped Reynolds find a warehouse.

[Inspector]

A personal friend of Reynolds?

[Mike Shane]

Well, yes, you said warehouse. Is the warehouse being used, Weaver? No, no, we still have a lease on it. But the business folded three weeks ago.

[Phyllis Knight]

And the warehouse is empty?

[Mr. Reynolds]

Yes, quite empty.

[Inspector]

You have the keys?

[Mike Shane]

I Do you want to borrow them?

[Mr. Porter]

Yes. Thanks.

[Mike Shane]

Now, one more question. Where is the warehouse?

[Mr. Reynolds]

It's at 2200 Key St. Beatty, Weaver and Reynolds is on the signboard.

[McDonald's Advertiser]

Now, at McDonald's, everyone can get more of what they want when they want it. With McVow, you can choose your wake up call. You can choose your study meal or even your drive thru dinner.

Jump from craving to saving with McDonald's under $3 menu, including a McChicken for only $2 limited time only. Price and participation may vary. Cannot be combined with any other offer.

[Phyllis Knight]

Oh, boy. What a rat trap.

[Mike Shane]

Yeah, well, here's hoping it's more than just a rat trap. A man trap.

[Inspector]

Yeah. This looks like the key. Well, yeah. Here we go.

[Mike Shane]

All right, now. Careful where you walk. Remember, they said the business folded three weeks ago. There should be enough dust on the floor to show footprints.

[Phyllis Knight]

Place is empty enough.

[Inspector]

There are footprints leading to that cubbyhole of an office.

[Mike Shane]

Well, leave us. Have a look.

[Mr. Porter]

See?

[Mike Shane]

Ah, there's not a blessed thing in here. Except this old table. Take a look, Bill.

[Mr. Porter]

Inspector?

[Mike Shane]

Yeah? You notice how the dust is disturbed on the edge of the table next to the wall?

[Inspector]

That means that table was moved.

[Mike Shane]

Yeah. Now, it may not mean a thing,

[Inspector]

but keep it in mind, outside of that rickety chair out in the warehouse, that seems to be

[Mike Shane]

no loose boards or hidden closets or anything.

[Inspector]

No. Pretty much of a blank.

[Mike Shane]

Yeah.

[Mr. Reynolds]

Yeah.

[Sergeant]

Here,

[Phyllis Knight]

take a look at this chair. I may be wrong.

[Mike Shane]

What is it, Angel?

[Inspector]

Look.

[Phyllis Knight]

That spot. Dry, shiny. It looks like brown paint.

[McDonald's Advertiser]

But it.

[Mike Shane]

It could be blood.

[McDonald's Advertiser]

Huh?

[Inspector]

It does look like blood. One single drop.

[Mike Shane]

If it is a blood spot, it dropped from quite a height. You see how it's spread out like a seal. Inspector?

[Mr. Porter]

Yeah?

[Mike Shane]

That table. Let's get it out here. Right in the center of the floor.

[Inspector]

Okay.

[Mike Shane]

Now the chair on top of the table.

[Sergeant]

Yeah.

[Phyllis Knight]

Mike, that ventilator in the roof.

[Mike Shane]

Right, Angel? Right.

[Phyllis Knight]

I didn't notice it till now.

[Mike Shane]

It's a common failing. People never lift their eyes high enough. Now give me a hand, Inspector.

[Inspector]

Okay.

[Mike Shane]

I hate to twist an ankle, even on a murder case.

[Inspector]

Any luck?

[Mike Shane]

Yes. Yes. Blood on the edge of the vent.

[Phyllis Knight]

You need a flashlight, Mike?

[Mike Shane]

Uh, the body's here, all right. Close to the eaves and lying along the rafters.

[Inspector]

That'll do till the police surgeon gets here.

[Mike Shane]

Yeah. Okay. Phil, will you make an inventory of all the stuff as we search him?

[Phyllis Knight]

Shoot.

[Mike Shane]

Okay. Leather Wallet, identity card, JJBD driver's license. Age 52, I think.

[Inspector]

Yeah, I think he was stabbed twice. Mike once in the back and that was the stab that killed him.

[Mike Shane]

Stabbed again in the chest, eh?

[Inspector]

Looks that way. Autumn seal. Tell us.

[Mike Shane]

Definitely pocket handkerchief.

[Phyllis Knight]

Okay, one or two.

[Mike Shane]

One in trouser pocket, one folded in breast pocket of coat.

[Phyllis Knight]

Got it.

[Inspector]

Checkbook balance $800.30.

[Mike Shane]

Any stubs to Porter Reynolds or Weaver?

[Inspector]

No, Mike seems to be all for light bills, gas bills, department store purchases, things like that.

[Mike Shane]

Pipe, tobacco pouch and book of matches.

[Phyllis Knight]

Yeah.

[Inspector]

Bill clip with $25 in loose cash. Three silver dollars ninety cents and two streetcar tokens.

[Mike Shane]

Old fashioned gold watch and chain watch and gray. J.J. beatty from Fellow Workers, Wadsworth Plant, Kansas, 1913. Fountain pen and pencil. And that seems to be it.

[Inspector]

Okay then, that's all.

[Phyllis Knight]

Got it. Got it all down in my own inimitable shorthand.

[Mike Shane]

So that's all, is it?

[Inspector]

What do you mean? Mike?

[Phyllis Knight]

Yeah. Why, that cat that ate the canary look on your face once before I

[Mike Shane]

told you that something was so blamed obvious that I wasn't going to tell you what it was.

[Phyllis Knight]

Oh, we remember, Daddy.

[Mike Shane]

Okay, the same thing applies here. Now come on, let's get going.

[Phyllis Knight]

I don't know where you'd like to go, but I'd like to put in a phone call.

[Inspector]

Who to, Phil?

[Phyllis Knight]

First to Mr. Beatty's wife, if he has one, ex or otherwise, to see if she wrote that warning Note to Beatty.

[Mike Shane]

One run. Go ahead.

[Phyllis Knight]

If no Mrs. Beatty exists, then to the little receptionist at Reynolds office for

[Inspector]

additional two runs, no errors. I'm with you.

[Mr. Porter]

Good.

[Mike Shane]

And I'd like to use a police teletype.

[Inspector]

I'm with you on that one, Mike. We'll teletype Kansas to see what associates Mr. Beatty had it in the days of his past. But I'm still puzzled about what you seem to know that we don't.

[Mike Shane]

I don't know a thing that you don't know, Inspector. I'll give you one hint, just one. But you mustn't ask any more questions.

[Inspector]

I'll bite. Go ahead.

[Mike Shane]

Just put your hands in your pockets, Inspector. That's all. Just put your hands in your pockets.

[Narrator]

In just a moment, we'll return to Mike and Phyllis. Ladies and gentlemen, a few minutes ago we told you about a sensational new way to wash your car. Now, if you think that there can't be anything new about washing a car, well, just try Union Luster Wash. You see, Luster Wash is a special detergent compound that makes washing a car just about the easiest, simplest thing you've ever done. All you do is empty a small package of Union Luster Wash into a pail of water. Then with an ordinary rag apply the mixture generously. To finish, you simply rinse the car with a hose. That's all. No rubbing or elbow grease is necessary. In 10 to 15 minutes your car is clean from radiator cap to tail light. Luster Wash cleans glass and chromium too, which means you don't have to use a chamois afterwards. It's harmless to the finish and to your hands and leaves no film to dull the surface. No matter how dirty your car may be, Union Luster Wash will wash it as swiftly as you can apply it. A package sells for just 10 cents, one dime and is enough to wash any average car. Remember the name Union Luster Wash. For a new, easy way to wash your car, you can buy Luster Wash at all Union Oil minuteman stations. Just drive in wherever you see the sign of the big orange and blue 76. Thank you, Mike. Shane, Phyllis and the Inspector are at headquarters. Phyllis is on the phone, Mike is looking at his notes and every few minutes the inspector guiltily puts his hands in his pockets, pulling them out again when he catches Mike's eye.

[Inspector]

Doggone you, Mike, you got me as self conscious as a giggling schoolgirl.

[Mike Shane]

It's your own fault, Inspector, your own fault if the solution of the murder depended on it, I tell you right now, but, well, it's only one me.

[Phyllis Knight]

Hush kids, she's on the phone. The ex. Mrs. Beatty. Oh, hello Mrs. Beatty. Yes, Mrs. Beatty. Don't hang up when you hear my question because if you do you'll be called right back and that will be by the police.

[Sergeant]

Yes, go on.

[Phyllis Knight]

Did you by any chance send a note of warning to Mr. Beatty? Well, Mrs. Beatty, yes I did. Why?

[Sergeant]

Well, it's hard to explain but there was something about this Mr. Porter I didn't trust. Oh, I haven't seen much of Mr. Beatty these last few years, but I've met him socially several times when he's been with this man porter.

[Phyllis Knight]

Go on, Mrs. Beatty.

[Sergeant]

Well, that's all I have. Only a woman's intuition for not trusting Mr. Porter. He reminds me of someone, I can't remember who, but someone not to be

[Phyllis Knight]

trusted and that's all.

[Sergeant]

Honestly, that's all.

[Phyllis Knight]

Thanks very much. Well, there's not much there. She sent the note, but just womanly intuition made her distress Porter.

[Mike Shane]

You think she was telling the truth?

[Phyllis Knight]

Yes. Don't you?

[Mike Shane]

Not entirely, not the whole truth and nothing but the truth.

[Inspector]

Yes. Report from Kansas, sir. Bring it in, sergeant. Yes, Inspector. I'll get it typed up. Doggone if there isn't something in the Kansas report, we're gonna have a regular unsolved mystery on our hands.

[Mike Shane]

Wouldn't like to call in Sherlock Holmes or Father Brown, would you?

[Inspector]

Oh, Mike, this is serious. This is murder.

[Mike Shane]

I know it is, Inspector. Now look, both of you.

[Phyllis Knight]

Yeah, yeah.

[Mike Shane]

When we burst in on Reynolds and Weaver, they didn't show any signs of knowing that Beatty was dead. I mean, they were wholly taken up with the idea that Beatty had brought the police into it because of the threatening letter.

[Inspector]

That's right, yeah.

[Phyllis Knight]

As a matter of fact, Reynolds said that if that letter didn't bring results, he'd send more letters.

[Mike Shane]

Right, angel? Right. And although that could be cleverness, I'd be inclined to mark it down as truthfulness.

[Inspector]

You may be inclined to mark it down that way, Mike, but until we have the murderer in our hands, everybody who ever knew Beatty is a suspect in my little list.

[Mike Shane]

Granted, Inspector, but Weaver didn't hesitate to give us the keys to the warehouse.

[Phyllis Knight]

You can't lay too much stress on that though, Mike. Both Weaver and Reynolds knew that we could get into that warehouse without keys.

[Mike Shane]

True, true. But to be able to carry off their interview with us with such savoir faire would indicate that they were very clever and very experienced crooks, which I for one don't believe they are.

[Inspector]

Yeah, yeah, but Mike, murderers don't have to be crooks. Many a killing is a criminal's first and last crime.

[Mike Shane]

I know that, Inspector. I'm thinking out loud to convince myself. You see, what I.

[Inspector]

Not much, I'm afraid. Let's see what this says. Only connection Beatty ever had with police was his witness in robbery trial. His testimony was essential in proving guilt of defendant.

[Phyllis Knight]

And the defendant's name was Porter?

[Mike Shane]

Yes, Phil.

[Inspector]

The defendant's name was Porter.

[Phyllis Knight]

What are we waiting for?

[Sergeant]

That's it?

[Inspector]

No, no, not quite, Phil. You see, Porter died in a penitentiary in 1936.

[Sergeant]

Oh.

[Phyllis Knight]

Oh, well, then of course it isn't the same Porter.

[Mike Shane]

That report doesn't say whether or not Porter had a brother.

[Inspector]

No, Mike, it doesn't.

[Mike Shane]

But I'd be almost willing to bet that he had what so many women like to call woman's intuition is nothing more or less than a half forgotten incident or something half heard and half forgotten.

[Inspector]

You think that Mrs. Beater's instinctive dislike for Porter is because of the name or a likeness between the porter who found the body and the porter who went to jail?

[Mike Shane]

Yes, Inspector, that's exactly what I Do

[Inspector]

mean that shouldn't be hard to find out. But it still isn't the stuff that convinces district attorneys or grand juries.

[Mike Shane]

No, Inspector, but on the face of it, I think another interview is justified.

[Inspector]

Interview?

[Mr. Porter]

Who with?

[Mike Shane]

All of our suspects. Weaver, Reynolds, Porter and Mrs. Beatty.

[Inspector]

All right, Mike, we've got nothing to lose.

[Mike Shane]

We have everything to gain. You see, our chief suspect holds the key to this little mystery. And we'll find that key at 323Foothill. Well, I can understand why. Quiet please.

[Mr. Porter]

Quiet.

[Mike Shane]

Now, to some of you, this is going to be somewhat of a shock, but Mr. BD has been murdered.

[Sergeant]

What?

[Mike Shane]

We found the body in the warehouse you used Mr. Reynolds and Mr. Weaver, but Mr. Porter had the distinction of finding it first. Although he lost it again. Will you take over from there, Mr. Porter?

[Mr. Porter]

Well, I came here this morning to take Mr. Beatty to lunch. The door was open, which was funny because he was very careful about locking and bolting the door. I came upstairs, found him lying on the couch, stabbed through the chest. I ran over and felt him to see if he was alive. Found he was dead and called the police.

[Mike Shane]

And got your fingers all sticky with blood?

[Mr. Porter]

Yes. Then I wandered about the apartment, went downstairs to the front door to watch for the police and came back upstairs and picked up the mail.

[Phyllis Knight]

The mail which contained the threatening letter from Mr. Reynolds and the warning from Mrs. Beatty.

[Mr. Porter]

I don't know about that. But anyway, when you arrived, we all came upstairs and the body was gone. It couldn't have been taken out the front door because I was never out of sight of the head of the stairs.

[Mike Shane]

And we know it wasn't taken out the back because there's no back door. Would you have any explanation for that, Mr. Reynolds?

[Mr. Reynolds]

No, no, I. I can't see how.

[Mike Shane]

Or you, Mr. Weaver?

[Narrator]

No, no explanation.

[Mike Shane]

And I'm sure that Mrs. Beatty hasn't.

[Sergeant]

Oh, no, it's completely baffling to me.

[Mike Shane]

It was to us for quite a while. The reason it was baffling was because we were stupid enough to believe. Mr. Porter. What if you picked up the letters after you examined the body and after you phoned the police? How come there are no blood stained fingerprints on any of them?

[Mr. Porter]

But I.

[Inspector]

And with the wind blowing so hard that it blew the mail off the table, how come the front door was open? It would have blown shut.

[Phyllis Knight]

And if the body couldn't be taken out the back window and you never lost sight of the front door, how could the body be spirited away?

[Mr. Porter]

I don't know. I don't Know, that's the mystery.

[Mike Shane]

No, no mystery, Porter. Just a tissue of lies. Well rehearsed. The body never was here.

[Mr. Porter]

But the blood on the couch put

[Mike Shane]

there by you after you had hidden the body in the warehouse rafters.

[Mr. Porter]

Oh, this is absurd. You can't throw accusations around like that.

[Mike Shane]

We can and we will. Give me your keys.

[Mr. Porter]

My keys?

[Mike Shane]

Yes, yes, the keys in your pocket. There. You see, when we searched Mr. Beatty's dead body, we found everything a man usually carries. Wallet, pen and pencil, watch, checkbook, handkerchief. But. But, Inspector.

[Inspector]

Yes?

[Mike Shane]

No keys. No keys to get into his house or anything. Now, what Porter did with the rest of Beatty's keys, I don't know. But here's the key to the warehouse. F24 is its number. It checks with the number of your key key, Mr. Weaver.

[Inspector]

Yes, that's right.

[Mike Shane]

And one of these two keys is the key to Beatty's apartment. This apartment. Shall I try them, Porter, or do you admit it?

[Mr. Porter]

I. I admit it.

[Mike Shane]

Okay, Inspector. I guess that takes care of that.

[Phyllis Knight]

Well, here it is early in the evening and we're on our way home.

[Mike Shane]

But we're not on our way home, Angel.

[Phyllis Knight]

No. Where are we going?

[Mike Shane]

We're going to meet the inspector and have a late snack at Fisherman's Wharf.

[Phyllis Knight]

Oh, good. Mike, I wonder if Porter is a brother of the man who died in the penitentiary.

[Mike Shane]

Oh, I'm sure of it. He'd better be.

[Phyllis Knight]

Why?

[Mike Shane]

Because if he isn't, we'll spend the evening talking to the inspector about motives.

[Phyllis Knight]

What would you rather do, Mike Shane?

[Mike Shane]

Are you asking me or taunting me?

[Sergeant]

Me.

[Phyllis Knight]

Well, I just.

[Sergeant]

Mike.

[Mike Shane]

Huh?

[Phyllis Knight]

No, not here. In the car.

[Mike Shane]

I mean, why not, Angel? I can drive with one hand as well as the next.

[Narrator]

Tune in again next week at 8 o' clock for another adventure with Michael Shane. Private Detective, starring Wally Mayer and Kathy Lewis. With Joe Forte as the inspector. Tonight's story, based on the character created by Brett Halliday, was written and directed by David Taylor. 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 donne lee broadcasting system.