Michael Shayne: The Body in the Trunk 04/23/1945

Summary

Choice Classic Radio Detectives | Michael Shayne: The Body in the Trunk (04/23/1945)

Episode Summary

Main Theme:
In this taut and atmospheric episode, private detective Michael Shayne and his trusted assistant Phyllis Knight are drawn into a murder mystery when a body is found in a trunk—one that was meant for someone very close to home. As clues and suspects multiply, Shayne must sort through jealous lovers, criminal bosses, and old grudges to prevent another killing.

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Key Discussion Points & Insights

1. The Mysterious Trunk and Initial Suspicions (00:14–06:45)

• Inspector Faraday and Michael Shayne discuss a murder resembling a previous New York case, debating whether the police are pursuing the correct suspect.

• Phyllis Knight’s Call: Phyllis, visibly shaken, alerts Shayne and Faraday about a suspicious trunk in her apartment, fearing her friend Lois is dead inside. Shayne and Faraday rush over.

  "I think her body's inside." – Phyllis (02:50)

• Discovering the Body: The trunk is opened, and the grim suspicion is confirmed—Lois is dead. Nelson Carter, Lois's fiancé, arrives and soon becomes a primary suspect due to his temper and recent fight with Lois.

2. Unraveling Motives and Questioning Suspects (06:45–11:28)

• Nelson Carter is grilled. He and Phyllis trade accusations about who truly drove Lois to her fate, with Carter pointing the finger at Lois’s former boss, Dr. Spiegel.

  "He wanted to stop her tongue." – Nelson Carter (09:31)

• Shayne Theorizes Mistaken Identity: Michael speculates that perhaps Lois’s murder was a case of mistaken identity—maybe the killer intended to murder Phyllis, as Lois and Phyllis share similar features and the apartment is in Phyllis’s name.

  "Maybe somebody thought he was killing Phyllis." – Michael Shayne (10:01)

3. Dr. Spiegel’s Laboratory Visit (13:23–17:19)

• Encounter with Dr. Spiegel: Shayne and Phyllis seek out Lois’s old employer, Dr. Spiegel, who displays a cold, clinical disposition and is dismissive of Lois’s fears, labeling her “neurotic.”

  "She had a fine brain, but too much imagination." – Dr. Spiegel (14:12)

• Shayne Presses for Details: The detective discovers blood-soaked handkerchiefs and a suspicious surgical knife, but Spiegel insists the blood is from lab rats, not Lois. The confrontation grows tense.

  "Perhaps I show you how I use that knife in this cage." – Dr. Spiegel (15:56)

• Mutual Accusations: Spiegel and Carter both have motives and opportunity, but Shayne remains unconvinced of either’s guilt.

4. False Leads and the Real Target (17:20–20:52)

• Investigating the Transfer Order: The team investigates the transfer company that was supposed to move the trunk and realizes the company's “traffic investigator” was a fraud.

• Breakthrough: The trunk was addressed to Shayne’s apartment, suggesting that Phyllis was the intended victim. The team deduces that someone with a personal grudge against Shayne must be orchestrating the crime.

  "The murderer had planned to kill Phyllis, send her body in a trunk to my apartment and leave me to explain it to the police." – Michael Shayne (20:05)

5. The Prison Connection and True Culprit Revealed (20:53–22:45)

• San Quentin Inquiry: Faraday calls the prison, learning only one man, Harold Ford, had been released. Then, crucially, Shayne remembers Al Smock, a former enemy who died recently in prison.

• Jack Smock’s Revenge: Al’s brother Jack, now free, claimed his brother's body—and Shayne realizes Jack is avenging Al’s death by targeting Shayne through Phyllis.

  "Now brother Jack is out for revenge." – Phyllis (22:27)

6. Climax: The Final Showdown (24:10–27:20)

• Rooming House Siege: Following a trail of cemetery and address records, Shayne, Faraday, and Phyllis corner Jack Smock in a dingy rooming house. A tense, darkened gunfight ensues, ending with Smock wounded and apprehended.

  "Revenge doesn't take much in the way of brains. Just an awful lot of lives." – Michael Shayne (26:52)

7. Resolution & Reflective Epilogue (27:20–28:45)

• Aftermath: Faraday suggests Phyllis take a break from detective work, but Phyllis remains undeterred by the dangers (“I’d stick anyway…”), sharing a lighthearted exchange with Shayne about the “attractions of the job.”

• Dr. Spiegel’s Fate: Shayne notes Spiegel can be prosecuted for chemical theft, arguably preventing further criminal behavior.

  "Lock him up for stealing chemical formulas. That'll keep him quiet." – Michael Shayne (27:53)

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Notable Quotes & Memorable Moments

• Phyllis's terror and intuition foreshadows the emotional stakes:

  "I know something's happened. I don’t dare look." – Phyllis (02:20)

• Shayne's deduction about motive and mistaken identity:

  "Maybe somebody thought he was killing Phyllis." – Shayne (10:01)

• Spiegel’s chilling demeanor in the lab:

  "She had a fine brain, but too much imagination." – Dr. Spiegel (14:12)

• Shayne’s summation of revenge:

  "Revenge doesn't take much in the way of brains. Just an awful lot of lives." – Shayne (26:52)

• Phyllis playfully defending her choice of profession:

  "I’d stick anyway, my boss forgets the attractions of the job." – Phyllis (28:13)

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Key Timestamps

• [02:50] — Phyllis voices her fear: "I think her body's inside."
• [06:09] — Lois's death confirmed; focus shifts to suspects.
• [10:01] — Shayne's theory: "Maybe somebody thought he was killing Phyllis."
• [14:12] — Spiegel coldly reacts: "She had a fine brain, but too much imagination."
• [20:05] — Shayne identifies true murder plot: Phyllis was the intended target.
• [22:27] — Jack Smock named as the real culprit out for revenge.
• [26:52] — Shayne reflects: "Revenge doesn't take much in the way of brains."
• [28:13] — Phyllis asserts her commitment to detective work.

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Tone & Style

The episode is classic noir: tense, clever, atmospheric, and brisk, with sharp wit and banter between characters. The interplay between Shayne and Phyllis injects warmth and loyalty amid the suspenseful stakes.

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Final Thoughts

This Michael Shayne mystery perfectly exemplifies Golden Age radio’s knack for weaving suspense, character, and surprise into a tightly plotted detective puzzle. It tantalizes listeners with multiple plausible suspects, only to reveal an unexpected, deeply personal motive—an old enemy’s quest for vengeance. Both newcomers and seasoned radio sleuth fans will be gripped by the interplay of personalities, clues, and classic detective twists.

Transcript

[A]

Welcome to Choice Classic Radio where we bring to you the greatest old time radio shows like us on Facebook. Subscribe to us on YouTube and thank you for [e-mail]

[B]

the Adventures of Michael Shane Private Detective. The people who make 76 gasoline and Triton motor oil. Union Oil Company presents. The adventures of michael shane private detectives starring wally mayer and kathy lewis. When Mike Shane isn't burning the midnight oil over some unsolved crime, he's generally doing the next most interesting thing. Talking about one. Right now he's leaning back in his easy chair doing a powerful, powerful out of talking to his old friend Inspector Faraday. It's a stag session for Mike's assistant. Phyllis Knight has gone home early this evening.

[C]

Of course, Faraday, I don't know much about the case except what I've read in the papers, but it seems to me that you're going after the wrong guy.

[D]

Mike. This Joe has got a prison record as long as a kangaroo's tail. Why should he sidestep a little thing

[C]

like murder just because he has got a prison record as long as a kangaroo's tail? Look, I remember a case back in New York that's almost a carbon copy of this. I've got some newspaper clippings on it in the files. Here, I'll read them to you. Just a second.

[D]

You don't get the point, Mike. This killing is gruesome. Horrible. Would take a hardened criminal to carry it through.

[C]

Doggone it, they're here in the file somewhere now, Phil could turn right to it.

[D]

Yeah, she went home kind of early this evening, didn't she?

[C]

Yeah, she's got a girlfriend staying up at the imprompton with her. Went home to help her pack up.

[D]

Friend from out of town, huh?

[C]

Girl had a fight with her fiance and wants to play hermit for a few days.

[D]

I know the old feminine trick. Goodbye forever till next Saturday night. I'll get it, Mike. Hello?

[E]

Mike, thank heavens you're still there.

[D]

This is Faraday, Phyllis. Mike's ransacking his files. I'll get them for you.

[E]

Wait a minute, wait a minute. You better hear this too, Inspector. Maybe it's your business.

[D]

What's wrong, girl? You sound scared, Blue.

[E]

I am. I know something's happened. I don't dare look.

[D]

All right, but what is it?

[C]

Yeah, wait. Wait a minute. Let me talk to her here.

[D]

She sounds like she's gonna cry.

[C]

Hello, angel.

[E]

Oh, Mike. Mike, get over here quick.

[C]

Now, wait a minute. Calm down, honey. Now tell me what's wrong.

[E]

Well, you Know, Lois was leaving my apartment tonight, and I came home to help her pack.

[C]

Yeah, sure, sure.

[E]

Well, Mike, she's not here. At least I don't think so.

[C]

Now, please, angel, wait a minute. I can't tell what you're talking about.

[E]

Well, I found her trunk already packed and locked.

[C]

Yeah?

[E]

And I think.

[C]

Yep.

[D]

What?

[C]

What, honey?

[E]

What? I think her body's inside. Well, at last. I thought you'd never get here.

[C]

Honey, we came as fast as we could.

[E]

Yeah.

[D]

Where's the trunk?

[E]

In the bedroom.

[C]

All right, now, tell me what happened.

[E]

Well, I found the hall door off the lock, so I expected she'd be right back. I kept waiting, and then I started to worry. She had that raw with Nelson. He threatened her.

[C]

You see what I mean, Faraday? A woman's intuition.

[E]

Well, the baggage man came. He started to take the trunk, but then. Then I heard it.

[D]

Heard what?

[E]

Something slumped inside. And the trunk seemed so heavy, I. I told the man to leave it. We weren't going to send it after all.

[F]

Oh, great.

[E]

I looked at it real close and. And when I saw the padlock. Oh, that's when I phoned you, Mike.

[C]

Mm. Well, I see it. A smear of blood on the lock. That's not unusual, honey. Maybe she cut her hand when she closed the truck.

[E]

Oh, for heaven's sakes, I'm no child. Look here in this closet. There. There are all Lois's dresses still on the hangers. They weren't packed in the trunk.

[C]

It just means that she hasn't finished packing.

[E]

I thought of that, too, Mike. I started to push the trunk back against the wall, but it wouldn't budge. There's something inside of it, and it isn't clothing.

[D]

Well, let's see.

[C]

I'll say it's loaded with something.

[E]

There. There. You hear that? Something slumped inside. Just as you tip the trunk, Faraday.

[C]

Okay. I guess the only way we can satisfy you is to open it. If we can find the key.

[E]

Here, I've got it. It's here in her purse. That's another thing that scared me, Mike. Lois's handbag just laying here on the dressing table.

[D]

Let's have it. Phil,

[C]

Honey, wasn't that the hall door?

[D]

Of course. There's your girl now.

[E]

Oh. Oh, it's about time that you. No, no, it's Nelson.

[D]

Let's see.

[C]

Yeah. You looking for somebody, Father?

[A]

Oh, I. I didn't think there was anybody here.

[D]

You always walk right in when there's nobody home.

[A]

Well, I meant I. I thought Lois was here alone. I'll come Back again?

[C]

No, no, no, no. We'd like you to stay. She. She may be in any minute.

[A]

Well, I. I really.

[C]

Come in a minute. Come on in. We'd like to talk to you ourselves. Come on, come on, come on.

[A]

I. I don't understand. You're friends of laws?

[E]

Yes. This is Mike Shane and Inspector Faraday.

[A]

I don't understand.

[D]

You don't have to. Okay, Phil, let's have that key.

[E]

Here.

[D]

Thanks.

[C]

Hey.

[D]

Here.

[B]

What are you doing?

[A]

That's Lois's trunk. You haven't any right to.

[C]

Maybe not, but we like to open surprise packages.

[E]

Oh. Oh, I hope I'm wrong. I hope it's a mistake.

[D]

All right, Mike, let's swing her open.

[C]

Honey.

[E]

Yeah?

[F]

What?

[E]

What's inside?

[C]

No, no, don't look. I'm afraid you.

[D]

K is on his way.

[E]

It doesn't seem real. Just a few hours ago I was talking to her, and now.

[C]

I know, honey. I know it. It's hard to take you, young fellow.

[D]

What's your name, huh?

[A]

Nelson Carter.

[D]

Supposed to be the girl's fiance, huh? You don't seem to be particularly upset.

[A]

I'm stunned.

[C]

What. What brought you here?

[A]

I came to see Lois. I. I was here this afternoon and we had another fight. I came back to apologize.

[E]

That's something new. First time you ever apologized for anything. It drove the poor girl half crazy.

[A]

It was her fault. She wouldn't listen to me. I was right from the very start.

[E]

Oh, sure. So right. You never let her have a thought of her own. You hounded her with your rightness. That's why she moved in with me. To get away from you and your pestering phone calls and your fight.

[A]

That's a lie. You came between us. Lois told me this afternoon you said she should forget me.

[E]

I told her so at breakfast, but she couldn't. She was still in love with you.

[A]

What?

[E]

She was going back to her apartment tomorrow morning.

[D]

There's something I don't get. If Lois was using Phil's apartment as a sort of hideout, how did this fellow know she was here?

[A]

That's my business.

[C]

It's also our son. What time did you come here this afternoon?

[A]

Why, about 4:30.

[D]

The girl's been dead three or four hours.

[C]

Say, look here.

[A]

If you're trying to pin this on me, you're crazy.

[E]

Maybe. Lois told me about your insane temper. You threatened to kill her.

[A]

I did not.

[C]

Oh, you're a pack of fools.

[A]

But I think I do know who did it.

[D]

Yeah?

[C]

Who?

[E]

Wait a minute. Who can that be?

[C]

Well, it's too Soon. For the coroner. I'll answer it. Good evening. Good evening. Sorry to bother you at this hour, but we had some trouble about a pickup at this address. Oh? What kind of a pickup? Why, a trunk. I'm the traffic investigator for the transfer company. We gave one of our drivers a pickup order at this apartment, but he didn't bring it in. In fact, he's disappeared.

[E]

Wait a minute. I can explain part of it. I told your driver I'd changed my mind. I didn't want the trunk sent.

[C]

Oh, I see. You. Oh, you were Ms. Phyllis Knight.

[E]

That's right.

[C]

Haven't I. Haven't I met you somewhere before? Your voice sounds familiar. It oughta, Mr. Shayne. You used to hear it every day. Going up, sir?

[B]

Floors, please.

[C]

An elevator operator in the Rust building. Well, I'm. I'm sorry I disturbed you, but we're

[D]

just trying to locate our driver.

[C]

Good night. Yeah, good night.

[E]

That's funny. Why should a baggage company driver disappear

[C]

right after he came for this truck, I wonder.

[D]

All right, kids. Let's get back to business. Now, Mr. Carter, you start to say you knew the killer.

[G]

Yeah.

[A]

Lois's old boss, Joseph Spiegel. He's head of the Spiegel Chemical Laboratories. She told me this afternoon he was coming to see her.

[E]

Yeah, but he doesn't know she was here. Lois quit her job with him last week.

[D]

Assume he did know. Why should our next boss want to kill the girl?

[A]

Because he's a crook. I used to work in Spiegel's laboratory and I discovered he was stealing formulas from other companies.

[C]

So I quit.

[A]

But not Lois. Oh, no. She was his private secretary. And her boss was just the soul of honor. That's what started our fighting.

[E]

Yes, but when she learned you were right, she did quit three days ago.

[D]

All right, but it sounds like a pretty flimsy reason to kill a girl.

[A]

Not if Lois had the goods on him. He wanted to stop her tongue.

[C]

You weren't fighting about that this afternoon?

[A]

No.

[G]

No.

[A]

She told me she was gonna go to work for another chemical company. I told her when I married I didn't want my wife working. Well, we both got pretty mad. She said she'd never marry me.

[E]

I can imagine how you took that with your conceit.

[D]

How about it, Mike?

[C]

I don't know. I'm a little worried. Faraday. This is Phil's apartment. She's been living here alone up till the past few days. Yeah, Lois and Phyllis are about the same height. Same kind of hair. Maybe. Maybe somebody thought he was killing Phyllis.

[D]

Huh?

[E]

Who'd want to? I haven't an enemy in the world.

[C]

Oh, you've got hundreds, Angels. As many as I've got Mike. Shane and Phyllis Knight have sent plenty of lugs up the river.

[E]

Yeah, but Lois and I don't really look alike. Micah, a killer would be awfully certain before he did it.

[C]

Why should he? Honey, yours is the only name on the mailbox. If some crook hired a gunman to come to this address and knock off the girl living in apartment six.

[D]

Listen, Mike, that stuff doesn't happen in San Francisco. Those are the old Al Capone days.

[C]

Well, maybe I'm a nervous Nellie. I just don't want Phil running any danger.

[E]

Mike.

[C]

Yes?

[E]

Come here a minute. Look here. Here. This ashtray.

[C]

I see what you mean. Mr. Carter, do you smoke?

[A]

What? Yes. Pipe.

[C]

Oh, there's a cigar button in the sashtray.

[A]

Spiegel, he smokes them all the time. I told you he was coming here.

[D]

Maybe we should check that right now. You know where he lives?

[A]

Yeah, he's got an apartment at his plant. That's next to the laboratory. That's on Bay Street.

[C]

Okay. Suppose Phil and I mosey over there right now and swap formulas with Dr. Spiegel. Good.

[D]

And if the coroner gets through here in time, I'll join you.

[A]

Oh, Mr. Shane, have you got a gun?

[C]

You think I'll need it?

[A]

You might. Spiegel's a huge man with a cunning, fiendish mind.

[C]

Well, thanks for the warning. I'll be ready with a few shenanigans of my own.

[B]

In just a moment. We'll rejoin Mike and Phyllis in their adventures. Quality of workmanship and materials has always been the hallmark of successful business. That is why Union Oil Company has copyrighted the name Stopware. You see, stopware lubrication is more than just a grease job. It is a system that has been worked out from years of experience to give your automobile the best possible care. With stopware lubrication, you can be sure that nothing on your automobile has been overlooked or hurriedly serviced. Each fitting is carefully and thoroughly lubricated according to the manufacturer's specifications. Only the finest high quality greases are used. And while your car is on the hoist, the minute men inspect out of sight points and check them for danger signs as a proof of stopware's superior lubrication. You receive a written guarantee with each job. Stopware lubrication jobs are a matter of pride with Union Oil Minutemen. And you'll know why when you take the wheel after a stopware servicing. You'll find your car rolls smoother, handles easier, stands up better with regular stopware lubrication. So, ladies and gentlemen, with correct car servicing so important these days, why take a chance on inferior work? Stopware, the best attention you can buy costs no more than ordinary lubrication. Remember, stopware is an exclusive guaranteed process available only at Union Oil Minuteman stations. It is a dark and foggy street in San Francisco's commercial district. Light streams out into the night through an open door. The entrance to the Spiegel Chemical Laboratories. In the doorway is the huge silhouette of a man.

[F]

Shane. Michael Shane.

[C]

Yes, sir.

[F]

I do not know you, sir.

[C]

I'm aware of that, Dr. Spiegel. But Ms. Knight and I would like to talk to you. It's very important.

[F]

Impossible. Tonight I'm working in my laboratory.

[E]

It's about Lois Lavers, doctor.

[F]

Lois. Oh, come in. Close the door, please. We will talk in the laboratory. I must get back to my experiment. This way, please.

[C]

Thank you.

[E]

Jeepers, he is a giant mike.

[C]

Mm. And those thick glasses make him look like a movie horror man.

[F]

Mr. Shane, you are a detective.

[C]

How did you know that?

[F]

Well, I rather expected laws might talk to someone. She's a very neurotic girl. She imagines things.

[C]

I'm afraid she's past that, Dr. Spiegel. She's dead. Dead?

[F]

Murdered. It's a pity. She had a fine brain, but too much imagination. My laboratory. I caution you both not to handle

[B]

the tubes or retorts.

[F]

They are very fragile.

[E]

Oh, golly. It's an elaborate place. What are you experimenting on?

[F]

That, madam, is my business, Doctor.

[C]

I believe you knew Nelson Carter, Lois fiance. He used to work here.

[F]

Capable, but of wild temper. And very jealous.

[E]

Of you, perhaps.

[F]

Yes. I used to take Lois to dinner so I could continue my work without interruption. Nelson misunderstood. Yes. I should not be surprised if he killed her.

[C]

Perhaps you saw Lois this afternoon, doctor? About what time?

[F]

A very good detective. About five o', clock, I would say.

[E]

How did you know she was staying in my apartment?

[F]

One moment. There is trouble with this Rito. Better, better. How did I know? It is very simple. Lois telephoned me. Her last paycheck was incorrect. I brought her a new one.

[E]

Is that all you went to see her about?

[C]

No.

[F]

Also I asked her to come back. She was an Excellent secretary. Mr. Shane. What are you doing?

[C]

Just admiring your laundry in the sink.

[F]

Laundry?

[C]

Does your experiment include bleaching of blood soaked handkerchiefs, doctor?

[F]

Good heavens, yes. They are my handkerchiefs. Yes, but the blood is not from Lois veins.

[C]

She was strangled, then stabbed to death by a sharp instrument, Doctor. Like this surgical knife here.

[F]

Perhaps I show you how I use that knife in this cage.

[E]

Rats. Hundreds of them.

[F]

100, madam. Disease. Very sick rats. When my experiments are concluded, they go

[C]

in here

[F]

into this bin.

[E]

Oh, no.

[C]

Very dramatic, doctor. But it doesn't fool us. Sure, sure. You wanted Lois to come back to work. But she told you she was going to another chemical company. That scared you, Doctor. If she told about your stolen formulas and your other cookery.

[F]

Oh, she did talk. I thought this was a trick. Don't you reach for your gun, Mr. Shane. My hand is already in my pocket.

[E]

You killed her.

[C]

You lie.

[F]

She's not dead. It is a trick to get something on me. Get out. Get out of here, both of you. Now you will forget you ever came here. You will drop this investigation.

[C]

I don't take orders from you, Dr. Spiegel.

[F]

This time you will. Your young lady has sense if you have not. Good night.

[E]

Oh, I thought he was going to keep us in there and experiment on us.

[C]

Yes, he's a cold blooded baby.

[E]

Yeah.

[C]

Mike.

[E]

Hey, hey. The inspector there? He's parked in that police car with Nelson.

[D]

Yeah, just got here in time to see the bums rush. What are the odds?

[C]

I don't know, Inspector. He's devilish enough to commit murder.

[D]

Should I take him in for questioning?

[C]

No, no, not yet. Not yet. He'll be here. He doesn't scare out.

[E]

Mike. Found handkerchief soaking with blood. He said he was experimenting with rats.

[C]

I think he was sincere, though. He figured we were on the trail of those stolen formulas.

[A]

He killed her. I tell you, if the police don't

[B]

get him, I will.

[D]

Stop acting. You're too dead. Anxious, Dependent on Spiegel.

[C]

Yes, yes, and the good doctor threw the honor right back at Nelson. I'm on the fence. Spiegel had the motive. Nelson had the jealousy and the temper to do it. Each saw the girl about the time she died.

[E]

Mike, if you ask me, you're passing up a bet. The killer stuffed Lois into the trunk so her body could be smuggled out of the building. Find where the trunk was going and perhaps we'll have the address of the murderer.

[D]

But she ordered the trunk picked up herself, Phil.

[C]

Maybe she didn't. Anyway, it's worth a try. Hop in, angel. We're heading for that transfer company.

[D]

We appreciate it, sir. You're coming down and opening the office at this time of the night.

[G]

Lucky my wife saw you were a policeman or she'd never let me out of the house. This is our dispatch Office.

[C]

Oh, by the way, have you located your missing driver?

[G]

Missing driver?

[C]

I. I don't understand why your traffic investigator came to the apartment. The driver that was to pick up the trunk had disappeared. He. He was checking up.

[G]

Well, that's impossible. All of our men checked in tonight, and we don't have a. What did you call him? A traffic investigator, Mike.

[E]

He was a fake.

[C]

That's not so good. Probably never ran an elevator in the Rust Building either.

[D]

This thing is getting screwier by the minute.

[G]

Oh, here we are. Here's the pickup order on the trunk. It's under the name. Yes, Phyllis Knight.

[E]

Not under Lois Lavers.

[G]

Let's see. It was a phone. Order received 5:25pm Drunk to be sent to 9053 Jennifer Street.

[D]

Seems to me I've heard that address before.

[C]

9053 Jennifer. 9053 Jennifer. Yeah, there's something about it.

[E]

I should hope so. It's the address of Michael Shane.

[A]

I was talking to him. Enough.

[C]

I was right, Inspector. I was right. Lois was killed by mistake. It was intended to be filled.

[E]

Well, if that's the case, then Carter and Spiegel cancel out.

[C]

Correct, honey. The murderer had planned to kill Phyllis, send her body in a trunk to my apartment and leave me to explain it to the police.

[D]

All right, maybe so. Say the motive is revenge. You got a hundred enemies, Mike. One of them poses a transfer company investigator. But who is he? He didn't leave a single fingerprint in Phil's apartment. Where do we start looking?

[C]

Oh, if I could only remember the guy. I. I know his voice, but where have I heard it? When did I. I must know him well.

[E]

He didn't know me very well or he'd never have killed the wrong girl. Lois and I were the same height, same color of hair, Mike, but that's all.

[C]

Maybe. Maybe he figured you changed a lot. Honey, if he hadn't seen you in a long time. If he'd been away. If he'd had been. Faraday.

[D]

Yeah, he'd been away in prison. Kids, we're gonna make a phone call right now.

[B]

Hello?

[D]

Give me San Quentin.

[A]

Phil?

[C]

Phil? Honey, close that door to the other room. We can't hear a thing.

[D]

Hello. Inspector Faraday, San Francisco calling. Yes, I want to speak to him personally. Might get on that extension phone.

[C]

Yeah, okay.

[G]

Hello, Faraday. What's on your mind?

[D]

Plenty, sir. We need a list of all prisoners you've released from your little sanatorium in the past two weeks.

[G]

Past two weeks?

[F]

Yeah.

[G]

Afraid it'll hardly make a List Faraday. Only one man.

[D]

What's his name?

[G]

Let me see. It was Ford. Harold Ford.

[D]

That mean anything to you, Mike?

[F]

Never heard of it.

[G]

Who's that on the phone? Mike Shane.

[C]

Well, you got sharp ear, sir. We. We figured maybe you had released a prisoner who had a grudge against me.

[D]

Some old enemy of Mike's who might try his hand at revenge.

[G]

Oh, that's the only release we've had lately. In fact, Mike, you can subtract one enemy from your book. Died here last week. Al Smock.

[C]

Al Sm. Holy jumping. Now I remember. It's Al Smock's brother, Jack Smock.

[G]

That's right. He had a brother. Came up here and claimed the body. Does that mean anything to you?

[F]

Aha.

[C]

Does it? Set an extra plate in your dining room, chief. We're sending you a new border.

[D]

Goodbye, sir, and thanks a million for your help.

[C]

Jack Smock. He must have dyed his hair and put on glasses. Phil. Phil, you remember the case, the two brothers, about four years ago?

[E]

Yeah, yeah, vaguely. It was. It was manslaughter. You helped send the one called Al smock up for 20 years.

[C]

Right, honey? Right. Jack was supposed to be brother's Al alibi, but our testimony tied him up in bow knots.

[D]

So Al died in prison. Now brother Jack is out for revenge.

[E]

Oh, fine. But where is brother Jack right now? And how do we catch him?

[C]

Got it, honey. Jack claimed the body, so he must have buried him. Now we gotta find that.

[B]

We'll return to Mike Shane and his adventures in just a moment. Due to their position, the front wheel bearings of your automobile are subject to damage from dirt, water, grit and brake dust. Because of their more exposed position and because they are so important to safe, easy driving, front wheel bearings need the best possible lubrication. Failure to keep these bearings well greased can mean wheel shimmy, hard steering and weakening of the whole front assembly. For these reasons, your neighborhood Union Oil minuteman uses extra care when he lubricates your front wheel bearings. First, he washes out all the old grease and dirt with solvents. Then the bearings and races are individually cleaned until they are dry and shiny. Finally, the clean, polished bearings are carefully assembled in the races and greased with special equipment. With each bearing snugly sealed in a smooth, sturdy coating of Union Oil ball roll grease, your front wheels are all set for months of well lubricated easy rolling. The cost for the entire service is nominal. So for safer, easier driving, just stop in wherever you see the sign of the big orange and blue 76 and ask for Union Oil, front wheel bearing surface.

[C]

Thank you.

[B]

At police headquarters, Mike and Inspector Faraday each holds a telephone in his hands. They have checked every cemetery in the book.

[E]

Well, here's the last one. Shadow Mountain Cemetery.

[G]

Yes, sir, Here it is.

[F]

Albert Smock, interred last Friday. The plot was bought by a Mr. Jack Smart.

[C]

Swell, swell. What's his address?

[F]

Our records show it as 196.

[G]

Oh, waterfront.

[D]

This is it, kids. Looks like a busted down rooming house.

[E]

And somebody's head sticking out of every window.

[A]

Yeah, there.

[C]

There's a sergeant at the entrance.

[D]

Good work, Sergeant. Anybody try to leave the building? No, sir. I got two boys at the back

[B]

door, two in the alley and two

[D]

by the fire escape. Okay, let's go in. Mike.

[E]

I'm coming too.

[C]

You are not. You want a hole in your head?

[E]

I might get one just standing here. Smarty, Smock may be in that crowd across the street.

[D]

Something to that, Mike. Sergeant, your job will be to take care of Ms. Knight. We're all going in.

[F]

Right.

[C]

Come on.

[E]

Oh, jeepers, it's dark again. Why don't they light these stairs?

[F]

Quiet, honey, quiet.

[C]

He's on this next floor if he's in his room. The landlord said room 305. Let me see.

[F]

That'd be here to the left.

[C]

Keep close to the wall.

[F]

There it is. That door there.

[E]

There's no light shining under it.

[C]

Maybe he's playing possum. Sergeant, you and Phil stay here. Flatten out against the wall. Yes, sir. Now, you ready? Fr.

[F]

Ready.

[C]

He's playing coy.

[D]

Open up, Smock. You're completely surrounded.

[C]

Okay, so you won't open up. All right, Fanny.

[D]

Yeah. So that's his answer. Okay, Mike, let's go

[C]

down there.

[F]

Oh,

[C]

wait a minute.

[B]

Wait a minute.

[C]

I'll get the light.

[E]

Oh, hurry up. Hurry up. Here it is, Mike. Oh, he's flat on the floor. Mike, are you all right?

[C]

Yeah, I guess so. Okay, Inspector. Okay, climb out from under that table. I know somebody got hit. But who?

[D]

He shot the gun right out of my hand.

[C]

Yeah, I know. I didn't know where to aim in the dark till he fired. And I saw his flash.

[D]

Thanks to you, Mike, I'm still breathing.

[E]

His man on the floor won't be unless we get an ambulance quick.

[C]

You found out. I didn't think. You're right, buddy. You didn't think, period. Revenge doesn't take much in the way of brains. Just an awful lot of lives.

[D]

Don't be silly, Phyllis. Mrs. Farty will be glad to put you up for a couple of nights. Here, drink this down.

[C]

He's right, honey. Stay out of your apartment for a few days till you sort of forget what's happened.

[E]

All right. I was just thinking, you know, this was a freak case. Everything stacked up so strongly against Nelson Carter and Dr. Spiegel. And yet at the last minute, it turned out to be almost a complete

[C]

stranger because we were looking for the wrong motive.

[D]

Yeah, I'm worried about that guy Spiegel. He looks to me like a guy who'd commit plenty of murders and will

[E]

before he gets through with his career.

[C]

No, you can spike that parody. Lock him up for stealing chemical formulas. That'll keep him quiet.

[D]

Not a bad idea. Keep him so busy making little ones out of big ones that he can't make dead ones out of live ones.

[C]

Well, I hope, honey, that this little episode won't scare you out of the detecting business. Nearly getting bumped off by your boss's enemies.

[D]

He's got plenty more enemies besides Jack Smock.

[E]

Oh, I don't know. I'd stick Anyway, my boss forgets the attractions of the job.

[C]

What? Why? Why, honey?

[B]

Tune in again next week at 8:30 for another adventure with Michael Shane, Private Detectives. Starring Wally Mayer and Kathy Lewis and Joe Forte as Inspector Faraday. Tonight's story was written by Richard DeGraffer 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.