Episode 665 - Downbeat Pete (Pete Kelly's Blues)

Summary

Podcast Summary: Down These Mean Streets (Episode 665 – Downbeat Pete: Pete Kelly’s Blues)

Podcast: Down These Mean Streets (Old Time Radio Detectives)
Host: Mean Streets Podcasts
Air Date: April 19, 2026
Episode Focus: Four classic episodes of Pete Kelly’s Blues – a 1951 Jack Webb crime series featuring noir stories set in jazz-soaked Prohibition-era Kansas City.

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Overview of the Episode

This week, host Mean Streets Podcasts continues a month-long tribute to Jack Webb by spotlighting his lesser-known but beloved series, Pete Kelly's Blues. Unlike Webb's other police procedurals, this show is a period drama where music, particularly jazz, is as important as the crime. The stories center on Pete Kelly, a cornet player working Kansas City speakeasies, who’s constantly pulled into the crimes and personal dramas of the city’s underworld. Webb delivers the tough, poetic narration, while the writing and jazz arrangements anchor the atmosphere.

Main Theme:
An exploration of the interplay between jazz, crime, and personal loyalty in the underworld—through four radio stories: "Gus Trudeau" (08/15/1951), "Zelda" (09/05/1951), "The Dutchman" (09/12/1951), and "June Gould" (09/19/1951).

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Key Discussion Points & Episode Insights

1. Podcast Host’s Introduction (00:54–04:12)

• Explains why Pete Kelly’s Blues stands out among Webb’s detective roles—“a period piece set in Kansas City, Missouri during the Prohibition era.”
• Highlights: “Pete Kelly’s world was full of gangsters, gun malls, crooked cops, and other desperate characters...” (01:40)
• Webb’s affection for jazz is a core element; real musicians like Dick Cathcart provide the show’s musical backbone.
• Mentions how the show had “terrific writing from Richard Breen… James Moser… and Joe Eisinger” (02:30).
• Nod to the 1955 Pete Kelly’s Blues film, with Ella Fitzgerald as Maggie Jackson and Peggy Lee in an Oscar-nominated performance.

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2. Episode 1: Gus Trudeau (08/15/1951)

Cast of Characters:

Pete Kelly, Rosie (piano player), Madge Trudeau, Gus Trudeau, Eddie Newman (cop), and assorted underworld denizens.

Synopsis & Highlights:

• Setting: 417 Cherry Street, a speakeasy run by the tightfisted George Lupo.
• Inciting Incident: Notorious gangster Dutch Courtney is killed; escaped convict Gus Trudeau, Pete’s old mentor and friend, is framed for the murder.
• Moral Dilemmas: Cops and crooks alike believe Gus will turn to Pete for help, putting Pete in an impossible bind between loyalty and self-preservation.
• Atmosphere: The blend of weary existentialism and hardboiled humor—“The help is paid in cash and the books are burned at the end of the month. Every week we use 30 cases of booze and a pound of coffee.” (09:15)
• Music as Refuge: Even as violence swirls, jazz is constant—“The music is straight. New Orleans started it, drifted north. Some of it laid over in Chicago. That's where I got on...” (09:30)
• Notable Quote:
  • “If Gus did kill Courtney, why didn’t he pick up some travel money before he did it? It was backwards. If you’re gonna hang up your pants, you take them off first.” – Pete Kelly (21:25)
• Climax: Gus didn’t kill Dutch—he’s being railroaded due to old associations. The true murderer is revealed to be a third party, not Gus. Madge, caught up in her own pain and longing for the past, is left holding the bag.
  • “You’ve been working at it.” – Pete to Madge Trudeau, on how both have changed (18:17)

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3. Episode 2: Zelda (09/05/1951)

Central Characters:

Pete Kelly, Zelda, Johnny April, Matty Wynn, Maggie Jackson, Barney Ricketts.

Plot Outline:

• Conflict: Zelda, once married to Matty Wynn (club recording engineer), is now the wife of mobster Johnny April, and desperately wants to retrieve a mysterious record ("June Night").
• Noir Devices: Layered secrets—recorded confessions, hidden motives, and betrayal.
• Key Noir Exchange:
  • “Don’t be mean, Pete. I’ve had my share of meanness.” – Zelda (41:02)
  • “Zelda doesn’t know jazz from German needles and cares less…” – Matty, regarding his ex (46:38)
• Musical Interlude: The band rehearses, music intertwines with the narrative, a hallmark of the series’ ambiance.
• Twists: Zelda tries to blackmail Matty with the recording; Matty is murdered; the true nature of "June Night" is exposed in a dramatic playback scene. It’s an audio confession revealing the criminal plot Zelda and Matty hatched against April.
• Notable Quote:
  • “You can’t dance at two weddings with one heart.” – Pete Kelly, to Zelda (65:14)
• Resolution: Truth comes out as the confession is played for Johnny April, leading to violence and heartbreak.

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4. Episode 3: The Dutchman (09/12/1951)

Focus:

Pete tries to save Dr. Jonathan Budd, a gentle doctor caught in a gangland contract, marked for death by the Dutchman.

Summary:

• Atmosphere: Existential and mournful—a meditation on loyalty, fate, and the limits of moral action in an immoral world.
• Dialogue Highlights:
  • “You play your cornet as though you believed in it… Faith. And the belief in something. Never lose it, sir, because when you do, you’re lost yourself.” – Dr. Budd to Pete (71:04)
• Classic Noir Tension: Pete tries to hide Budd, but is outmaneuvered by the Dutchman’s deceptively innocent-looking agents, even a fake daughter.
• Cri de Coeur:
  • “You're an anachronism, Mr. Kelly. A moral man in the immoral jungle.” – Budd to Pete (91:42)
  • Budd willingly awaits his fate in a rain-soaked shed. “We cannot escape from what we have made of ourselves.” (93:04)
• Ending: Budd accepts his, and Pete must walk away.

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5. Episode 4: June Gould (09/19/1951)

Structure:

A mother searches the dive bars of Kansas City for her vanished daughter, June Gould.

Plot Trajectory:

• Entry: Her search brings her to Pete at 417 Cherry Street. Each clue leads to another smoky club:
  • Maury at the country club (standoffish),
  • Maggie Jackson (helpful),
  • Flora Acosta (confused and nervous),
  • and ultimately to June's last love, Nails Norton.
• Musical Lament: Each character and location is scored by blues numbers that echo the heartbreak at the story’s center.
• Tragic Twist: June is alive but disfigured and broken after an attack involving acid—her ruined face and spirit a reflection of the city’s cruelty.
• Notable Exchange:
  • “Yeah, I'm June. June Gould. A beauty.” – June (120:54)
  • “Let her live with it. That’s his Finn. He found me like that…” (121:32)

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Notable Quotes & Memorable Moments

• On the city's underworld:
  “My name’s Pete Kelly. I play cornet. We start every night about ten and we play till they sweep out the broken glass. We don’t draw any customers; we don’t chase any away. The music is straight.” (09:15)
• On friendship and fatigue: “Friends are like everything else, Gus. Yeah. They wear out on you.” (28:59)
• Barney Ricketts’ wolf theory—Noir existentialism:
  “Like the wolf, man is a lone hunter, hating the herd because he is forced to depend upon it for survival.” (56:17)
• Pete’s code: “I got nothing for you. You get no help from me.” (30:40)
• Music as escape and reality: (repeated throughout episodes)
  • “The blues, Petey. We’ll ride them into the middle of next year.” (21:08)
• Haunting conclusion:
  • “You found me, Kelly. So take a good look. Something to remember on those long nights when you can’t sleep.” – June Gould (121:08)

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Key Timestamps for Important Segments

• Host Introduction & Show Context: 00:54 – 04:12
• Start of Gus Trudeau Episode: 08:08
• First Musical Set/Jazz Atmosphere: 10:37 (Rosie and Pete backstage)
• Gus Trudeau confronts Pete: ~26:44
• Episode 2 (Zelda) Begins: 38:34
• Zelda’s desperate plea: 41:02
• June Night record reveal: 62:41 – 64:14
• Episode 3 (The Dutchman) Begins: 68:18
• Dr. Budd’s existential monologue: 71:04
• Dr. Budd faces fate: 93:03 – 94:11
• Episode 4 (June Gould) Begins: 96:54
• June Gould’s mother appears: 102:15
• June’s tragic reveal: 120:54

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Structure & Tone

The podcast weaves in and out of Pete Kelly’s Blues original radio dramas, with introductions and historical context from the host. Tone throughout is tough, melancholic, wryly humorous—the show’s hardboiled dialogue is underscored by bluesy authenticity. The urban poetry of the writing is matched by the ache of the music.

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Final Takeaways

Pete Kelly’s Blues stands out for its deep sense of place—jazz-drenched, perilous, haunted by dreams and regrets. The stories are about crime, yes, but more about longing, loyalty, and the corrosive effect of the past. Webb’s Kelly is both participant and observer, his cornet and narration scoring the city’s pain and joys alike.

For listeners who love classic noir, vintage jazz, and stories with a wounded soul, this is radio drama at its smoky best.

Transcript

[Narrator/Announcer]

Get this and get it straight. Crime is a sucker's road and those who travel it wind up in the gut of the prison of the grave.

[Pete Kelly]

The story you are about to hear is true. Only the names have been changed to protect the innocent.

[Show Announcer]

The Adventures of Sam Spade Detective the

[Commercial/Advertisement Announcer]

Adventures of the Saint starring Vincent Price Bob Bailey in the exciting adventures of the man with the action packed expense

[Rosie (Piano Player)]

account, America's fabulous freelance insurance investigator, yours truly, Johnny Dollar.

[Podcast Host]

Hello and welcome to down these Me Streets and more old time radio detectives and crime solvers. Our month long salute to Jack Webb continues this week with his unique crime drama Pete Kelly's Blues. Unlike the other shows we've heard this month starring Webb, Pete Kelly's Blues was a period piece set in Kansas City, Missouri during the Prohibition era, and the show incorporated Webb's love of jazz with multiple musical numbers performed in each episode. Webb starred as Pete Kelly, a cornet player with a combo that performed in a speakeasy run by the often mentioned but never seen or heard George Lupo, a penny pinching character who had more than a few things in common with Anthony J. Lyon of Jeff Regan, investigator. Pete Kelly's world was full of gangsters, gun malls, crooked cops and other desperate characters, and in between sets, Kelly was pulled into murders, missing persons cases and more. Now don't get me wrong, I love Jack Webb and Pat Novak and Dragnet are two of my favorite radio detective shows, but Pete Kelly's Blues may be my favorite favorite. The show had terrific writing from Richard Breen, who wrote Pat Novak and who co created Pete Kelly with Webb. The other writers on the show were James Mosier, a veteran Dragnet writer, and Joe Eisinger, whose work included the screenplays for Gilda and Night and the City, a pair of film noir classics. But what really makes Pete Kelly's Blues stand out is the music. Each episode featured multiple songs sometimes played by Pete's band, which were actually a set of musicians fronted by Dick Cathcart, who provided Pete's cornet, and Meredith Howard, who played blues singer Maggie Jackson. The music is great and it helps to draw you into the smoky, boozy world of speakeasies and dive bars where Pete Kelly lives and works. The show aired on NBC in the summer of 1951, concurrently with Dragnet. It had a very short run, but a few years later Webb brought it to the big screen with an adaptation of Pete Kelly's Blues that, like the radio show, put a premium on the music. Ella Fitzgerald played Maggie Jackson and singer Peggy Lee was nominated for an Oscar for her performance as a struggling singer. The cast also included Edmund o', Brien, Janet Leigh and Lee Marvin along with Webb, him himself. Today we'll hear four episodes of the radio show Gus Trudeau from August 15, 1951, Zelda from September 5, 1951, the Dutchman from September 12, 1951 and June Gould from September 19, 1951. We've got the Blues, Pete Kelly's blues. And we'll hear them right right after these messages.

[Commercial/Advertisement Announcer]

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[Pete Kelly]

Fill the glass with chilled milk, stir

[Commercial/Advertisement Announcer]

it once more and there. A craft malted is mighty nourishing too because it's filled with all the food values in milk.

[Pete Kelly]

Get a jar of Kraft Chocolate flavored

[Commercial/Advertisement Announcer]

malted milk from your grocer and enjoy a craft malted off.

[Pete Kelly]

Next time you refresh, enjoy a frosty ice cold Pepsi Cola sociability.

[Maggie Jackson]

Charlie.

[Rosie (Piano Player)]

All right, Kay, how's this?

[Pete Kelly]

Pepsi is light, refreshes without filling. You like to refresh? Have a Pepsi right now.

[Maggie Jackson]

Well, offer it to everybody. Charlie.

[Pete Kelly]

I will enjoy Pepsi at the fountain.

[Rosie (Piano Player)]

It's delicious at home too.

[Pete Kelly]

Have one at lunch or with a snack at the beach or at dinner. Wherever you go, wherever you're thirsty, Pepsi is there.

[Maggie Jackson]

It's here too, in our Be Sociable song.

[Singer]

Be sociable. Look smart. Keep up to date with Pepsi. Drink light, refreshing Pepsi. Stay young and play better. Be be sociable.

[Pete Kelly]

Have a Pepsi for the weekend.

[Rosie (Piano Player)]

Have plenty of Pepsi around.

[Pete Kelly]

Pick up an extra carton today. CK I'm sociable with Pepsi.

[Maggie Jackson]

Everyone is.

[Signal Gasoline Announcer]

Ed Stevens of Long Beach, California is the Whistler fan who receives a $20 Signal gasoline book this week as a token of our appreciation for sending in this limerick. There once was a driver named Abbott whose car took off like a rabbit. Signal Ethel said, he is the fuel for me. From now on I'll make it a habit.

[Pete Kelly (Main Character)]

Signal, Signal, Signal Gasoline.

[Signal Gasoline Announcer]

Your car will go far with go farther gasoline. If, like our friend Abbott, you like pickup that's quick as a rabbit, then Signal Ethyl is the gasoline for you. But flashing pickup, mind you, is only one of the improvements you'll discover when you power your car with this super fuel. In addition, you'll enjoy Signal Ethel's extra power that makes cars fairly fly up hills and makes passing safer. And you'll be amazed at your engine's contented ping free purr. For Signal Ethyl is scientifically engineered to bring out the very peak of performance your car is capable of regardless of age. So why not discover how much fun driving can be? Next time, treat your car to a tank full of the gasoline that's packed with more gold. Next time fill up with Signal Ethel.

[Commercial/Advertisement Announcer]

I dedicate this program to the fight against crime. Not merely crimes of violence and crimes of dishonesty, but crimes of intolerance, discrimination and bad citizenship. Crimes against America.

[Pete Kelly]

This one's about Pete Kelly. This one's about him. It's about the world he goes around in. It's about the big music and the big trouble and the big roar of the twenties. So when they ask you, you turn right around. Speak up, you tell them. This one's about the blues. Pink Kelly's Blues.

[Pete Kelly (Main Character)]

Pete kelly's blues, starring jack webb.

[Pete Kelly]

The story by jim moser.

[Rosie (Piano Player)]

Music by dick kafka.

[Pete Kelly (Main Character)]

Number 417 Cherry street is a standard speakeasy. The help is paid in cash and the books are burned at the end of the month. Every week we use 30 cases of booze and a pound of coffee. After salaries, there's gas and lights and a payoff to the Prohibition boys in Kansas City. The price is good for 100 bucks. They steer in the drunks and make one rate a year. The place is run by George Lupo. He's a quiet little guy who wouldn't give you the sweat off an ice pitcher. The beer's green and the gin's as young as yesterday and the music's loud. I'm Pete Kelly. I play cornet. We start every night about 10 o' clock and we play till they sweep out the broken glass. We don't draw any customers, we don't chase any away. The music is straight. New Orleans started In the front parlors of Storyville and drifted north. Some of it laid over in Chicago. That's where I got on and rode it out here with a piano player named Rosie. He's still with the band, but last night he was barely with it. We took a break about 11. Rosie was late getting back. Might as well have stayed in there. Because he kept looking around the room and the way the piano sounded, you'd think he had on the catcher's mitt. All right, let's take five, huh?

[Rosie (Piano Player)]

Sorry, Pete, I'm a little behind tonight.

[Pete Kelly (Main Character)]

You haven't left the station. What's the matter?

[Pete Kelly]

I'm nervous. Take a look around near the door.

[Rosie (Piano Player)]

Back this way.

[Pete Kelly (Main Character)]

Place is full of cops. Forget it. Have Jake open a couple of windows. Take a walk. Get yourself in shape.

[Rosie (Piano Player)]

Now till I find out which way to fall.

[Pete Kelly (Main Character)]

These boys are here for heavy duty.

[Rosie (Piano Player)]

I learned that out in the kitchen.

[Pete Kelly (Main Character)]

All right, let's duck behind the stand. Come on. All right.

[Eddie Newman (Cop)]

What about it?

[Rosie (Piano Player)]

You know Dutch Courtney?

[Pete Kelly (Main Character)]

I drink his beer, that's all.

[Rosie (Piano Player)]

Somebody shot Courtney up tonight out near Highway 40.

[Pete Kelly (Main Character)]

Well, that's too bad. He'd have drawn a good crowd downtown. Who killed him?

[Pete Kelly]

I don't know.

[Rosie (Piano Player)]

But whoever he is, he's in for a big night. The police are trying for him.

[Pete Kelly (Main Character)]

So is his partner. Let him play. How does our place fit into it? I couldn't guess. We'll soon find out.

[Rosie (Piano Player)]

See the big guy who just walked in the door?

[Pete Kelly (Main Character)]

Yeah. Boss cop. Almost said he.

[Izzy (Taxi Driver)]

Newman.

[Pete Kelly (Main Character)]

Dutch Gordon's partner. Come on, we better get back in the stand.

[Maggie Jackson]

All right.

[Pete Kelly (Main Character)]

It won't be long now.

[Singer]

Hot, right? Dodge your old man. Hold on, now. Here she comes.

[Pete Kelly (Main Character)]

All right, Rosie.

[Rosie (Piano Player)]

Yes.

[Pete Kelly (Main Character)]

All right, fellas, let's hit it.

[Singer]

Happy new year. Goodbye. 1921. Hell, 1920.

[Rosie (Piano Player)]

Yeah.

[Pete Kelly (Main Character)]

My name's Newman.

[Pete Kelly]

Come outside.

[Pete Kelly (Main Character)]

I would do the play.

[Pete Kelly]

I'll hear you later.

[Pete Kelly (Main Character)]

Come on.

[Pete Kelly]

You hear about Dutch Courtney? They picked him out of the mud tonight.

[Pete Kelly (Main Character)]

It means nothing to me.

[Pete Kelly]

Does to me. Dutch was a friend.

[Pete Kelly (Main Character)]

Well, if it'll help.

[Gus Trudeau]

Try.

[Pete Kelly]

I'm short on time. Kenny, give me a rundown. I'm Gus Trudeau.

[Pete Kelly (Main Character)]

There's nothing to say. He played for a while and he went to the boneyard. You'll know him.

[Pete Kelly]

You know his sister.

[Pete Kelly (Main Character)]

You'll have to ask Courtney about that. I haven't seen her since the old days.

[Pete Kelly]

You know Gus well enough to figure he didn't like Dutch Courtney. He didn't like him £1.

[Pete Kelly (Main Character)]

Well, you can't blame him. Dutch sidestepped and paid Trudeau's way to jail.

[Pete Kelly]

Bookkeeping. I don't know anything about it.

[Pete Kelly (Main Character)]

All right, look, Newman, you're on the wrong track. Now, this is a job killing. Your boy got frisky and somebody sent down a Chicago gun. The price tag shows.

[Pete Kelly]

Sorry. Trudeau's my pick.

[Pete Kelly (Main Character)]

What did he hit him with?

[Izzy (Taxi Driver)]

A high powered rifle.

[Pete Kelly (Main Character)]

Gus Trudeau's away. Up in Leavenworth.

[Pete Kelly]

He used to be. Gus went over the wall this morning. Only shows up I want him.

[Pete Kelly (Main Character)]

Well, why pick me?

[Pete Kelly]

I ask around, he'll head for you.

[Pete Kelly (Main Character)]

He's broke.

[Pete Kelly]

He'll need train fare.

[Pete Kelly (Main Character)]

No, not if he killed Dutch Courtney. Somebody will give him a railroad. When they dragged the blues out of the back room and moved him up front. There were three of them leading the parade. They were all blowing cornets. One was Buddy Bolden, one was King Oliver and the other was Gus Trudeau. There was a lot of music, but not much. Man picked me up on a union date on the south side of Chicago. Taught me how to play. He got into me for a Boston three star cornet and gin for the rest of his life. When he got down to running errands for Dutch Courtney, I left for Kansas City a couple of months later. Courtney needed a patsy and Trudeau was it. He wound up with a five year stand at Leavenworth. But Gus never felt right unless he was in trouble. Only this time he cut me in for a piece too. Well, I picked up a drink at the bar and fought my way back to the stand.

[Rosie (Piano Player)]

Anything wrong?

[Pete Kelly]

No.

[Pete Kelly (Main Character)]

Did you finish the set?

[Rosie (Piano Player)]

One more to go. Sensation.

[Pete Kelly (Main Character)]

All right, let's do it.

[Pete Kelly]

What's wrong, Pete?

[Pete Kelly (Main Character)]

Friend of ours killed Dutch Courtney. Right.

[Eddie Newman (Cop)]

Sensation.

[Pete Kelly]

One, two.

[Singer]

Sam.

[Pete Kelly (Main Character)]

All right, let's get off for a while.

[Rosie (Piano Player)]

Who'd you say killed Dutch Carton?

[Pete Kelly (Main Character)]

Gus Trudeau. And what? Prayer? No, not since this morning.

[Pete Kelly]

Which one of you is Kelly?

[Pete Kelly (Main Character)]

I am Friendly.

[Rosie (Piano Player)]

Yours in town wants to see you right away.

[Pete Kelly (Main Character)]

Who is he?

[Pete Kelly]

He's waiting up at your room.

[Pete Kelly (Main Character)]

Did he give a name?

[Pete Kelly]

Just Gus.

[Pete Kelly (Main Character)]

An hour later I was still looking for an out. The muscle man on the side door went to the bar a little after 2:00am Our base man, Red, loaned me his keys and I slipped out. I got onto 12th street, picked up his Erskine Coupe and headed up for my room. All the way out Grand Avenue. The streetlights were spending the rest of New Year's alone. Some guys with wide brooms were pushing at the confetti and the fog was loafing down in Washington Square. When I got to my Place. I parked the car and back and headed up the stairs. The college kids down at the end of the hall had their door open. The party sounded young. I was looking for Gus when I opened the door. But he had a substitute. I knew her way back at 18th and Hall Street. She was pretty. On the fastest freight in town. It must have been a long time ago, because somewhere along the line she'd run into a batch of Wednesday weekends. And she wasn't pretty anymore.

[Madge Trudeau]

Hello, Pete.

[Pete Kelly (Main Character)]

Where's your brother?

[Madge Trudeau]

I don't know where Guts is. That's why I'm here. I knew you'd be the first one he'd come to.

[Pete Kelly (Main Character)]

Yeah. Now, what about the break?

[Madge Trudeau]

I was up to see him two weeks ago. He didn't say anything about it. Pete, we gotta help him.

[Pete Kelly (Main Character)]

I've been hearing that since I met him.

[Madge Trudeau]

You're the only one who remembers, Pete. You're the only one who cares.

[Pete Kelly (Main Character)]

No, a lot of people care. Now, Eddie Newman wants him. The cops are looking hard.

[Madge Trudeau]

I gotta find him before they do. You gotta help Pete.

[Pete Kelly (Main Character)]

He was supposed to meet me. That's all I know. I'll wait for him.

[Madge Trudeau]

He needs a hand, Petey. He's in deep.

[Pete Kelly (Main Character)]

Yeah, well, he's always in deep. Now, you do what you want, Madge. I ran front for Gus too long. I'm out of the habit now.

[Eddie Newman (Cop)]

Please.

[Pete Kelly (Main Character)]

Gus wants cover, he can look for a police station.

[Madge Trudeau]

Gus can get away some money and a car. That's all he needs.

[Pete Kelly (Main Character)]

Gonna take more than that to get out. Every cop in town's working tonight.

[Madge Trudeau]

Give him a chance, Pete. Help him.

[Pete Kelly (Main Character)]

No. No, thanks.

[Madge Trudeau]

Gus has been good to you, Pete. He taught you music. He's been nothing but good to you.

[Pete Kelly (Main Character)]

I'm paid up. I bought his gin for him for five years.

[Madge Trudeau]

Well, then do it for me. What I used to be worth.

[Pete Kelly (Main Character)]

Now, Madge, it's old. That was 80 years ago. I can't help Gus.

[Maggie Jackson]

Do it for me.

[Madge Trudeau]

I haven't changed that much.

[Pete Kelly (Main Character)]

I have.

[Madge Trudeau]

You're still the same.

[Pete Kelly (Main Character)]

You've been working at it.

[Maggie Jackson]

You remember?

[Pete Kelly (Main Character)]

Yeah.

[Eddie Newman (Cop)]

Oh, it's the same, Petey.

[Maggie Jackson]

It's just like the first time.

[Pete Kelly (Main Character)]

You never had a first time. How about a drink?

[Madge Trudeau]

Will you help me, Pete? Find Gus. Get him out of town.

[Pete Kelly (Main Character)]

10 bucks. It's as far as I go. 10 bucks and a quarter. Now I'm getting off.

[Madge Trudeau]

Where are you going?

[Pete Kelly (Main Character)]

Back to work. Tell Gus to take care of himself.

[Madge Trudeau]

Hold it right there, Pete.

[Pete Kelly (Main Character)]

You stayed too long in Chicago, Madge.

[Madge Trudeau]

I bought the gun in Kansas. City don't go for the door.

[Pete Kelly (Main Character)]

You better give it to Gus. He may need it.

[Madge Trudeau]

We're going to find him. You're going to help me.

[Pete Kelly (Main Character)]

All right. Come on. Give me the gun, Madge.

[Madge Trudeau]

If I shoot, it'll hurt.

[Izzy (Taxi Driver)]

Put it away.

[Pete Kelly (Main Character)]

Madge.

[Pete Kelly]

Come on.

[Rosie (Piano Player)]

Drop it.

[Pete Kelly]

Who is she?

[Dr. Jonathan Budd]

Will trade.

[Izzy (Taxi Driver)]

Who are you?

[Pete Kelly]

Cage. I work downtown. Homicide. What do you got on the floor?

[Pete Kelly (Main Character)]

Madge Trudeau.

[Pete Kelly]

Tell me about her.

[Pete Kelly (Main Character)]

I knew her in Chicago. After that, I heard she did favors for Dutch Courtney. After that, I don't know.

[Pete Kelly]

She tired. What's she doing there?

[Pete Kelly (Main Character)]

Looking for Gus Trudeau.

[Pete Kelly]

Where is Gus?

[Pete Kelly (Main Character)]

I don't know. I've been asked that twice tonight. Now this is the third time around. I don't know.

[Pete Kelly]

You probably will.

[Pete Kelly (Main Character)]

Why? Why do I have to get into this?

[Pete Kelly]

Because you're Gus Trudeau's friend.

[Pete Kelly (Main Character)]

Well, I let him get another one. I'm tired of the job.

[Pete Kelly]

I don't blame you, fella. You're gonna come out of this with a lot of trouble.

[Pete Kelly (Main Character)]

For instance?

[Pete Kelly]

I'll make it simple. Gus Trudeau shows and you hide him. We'll book you for Aiden and Betty.

[Pete Kelly (Main Character)]

Yeah.

[Pete Kelly]

V shows and you turn them over to Newman. Wool send you up as accessory to murder. If he shows, you turn him over to us. Newman will probably kill you.

[Pete Kelly (Main Character)]

Well, that's good. In the meantime, what do you guys do for a living?

[Pete Kelly]

We're busy. We couldn't prove Newman killed you. It's after two. Get back that club.

[Pete Kelly (Main Character)]

And leave you here?

[Pete Kelly]

I got work to do.

[Pete Kelly (Main Character)]

Like what?

[Pete Kelly]

This woman. See if I can get anything out of her.

[Pete Kelly (Main Character)]

Yeah, it's been done before, But I'll bet 10 to 1 in your case.

[Pete Kelly]

Gone back. I'll tidy up here. All right.

[Pete Kelly (Main Character)]

Good night, cop. Leave the rugs. I left Cage standing in the middle of the room looking down at Mads Trudeau. He didn't watch me leave, but I figured it wouldn't be too long before he turned that gleam back on me. I went back to 4:17 and I ran into our piano man Rosie outside in the alley. Using a smoke for a chaser.

[Rosie (Piano Player)]

Happy holidays, Petey. How's Gus?

[Pete Kelly (Main Character)]

I didn't see him.

[Pete Kelly]

An odd hour of the morning, Petey.

[Rosie (Piano Player)]

But I figure the fates are hard at work shaping up a few few sordid futures. Cut the piano, you've got a very limited selection.

[Pete Kelly (Main Character)]

What do you mean?

[Rosie (Piano Player)]

Before the general citizenry sits down to breakfast, you may get a reward. The eternal kind.

[Pete Kelly (Main Character)]

Come on. What is it?

[Pete Kelly]

I've got it all figured for the

[Rosie (Piano Player)]

Two of us, Petey. Today we'll spend our time dodging destinies. We'll hit for some small back room. I'll bring the bottled goods. We'll live on gin and sauerkraut and make the walls sit up and listen.

[Pete Kelly]

One horn, one piano.

[Pete Kelly (Main Character)]

The blues, Petey.

[Rosie (Piano Player)]

We'll ride them into the middle of next year.

[Pete Kelly (Main Character)]

All right. Throw the bottle away, will you? Just set me straight, huh?

[Rosie (Piano Player)]

Across the river, there's two places. The High Life Club or Fat Annie's.

[Pete Kelly (Main Character)]

You sure he's there?

[Pete Kelly]

That's what the word is.

[Rosie (Piano Player)]

I'll pass the hat down at the

[Pete Kelly]

Union hall for both of you.

[Pete Kelly (Main Character)]

It's Gus alone over there right now.

[Pete Kelly]

But there's gonna be a crowd.

[Pete Kelly (Main Character)]

What do you mean?

[Rosie (Piano Player)]

I told you.

[Pete Kelly (Main Character)]

Yeah, When Eddie Newman gets back, I gotta. Well, I knew it was a silly move. Newman had a hundred guns on tour for Gus Cage and the boys from headquarters were standing by for seconds. Helping Gus Trudeau was out of order. But I couldn't get one thing out of my mind. If Gus did kill Courtney, why didn't he pick up some travel money before he did it? It was backwards. If you're gonna hang up your pants, you take them off first. Well, it was about 3am When I got down to the river and crossed over to the Camp, Kansas side. The High Life Club was smoked up and had a little of everything except Gus Trudeau. I looked in the kitchen and tried a back room. And then I went to the bar to see if I could drill up some talk. I had one taker, a boy with wavy black hair. He got up from a table of three others, walked over and sat down next to me. How are you?

[Pete Kelly]

Come in here often?

[Pete Kelly (Main Character)]

It's the first time.

[Pete Kelly]

Welcome in. I'll buy you a drink.

[Pete Kelly (Main Character)]

I'm all set. You try one yourself.

[Pete Kelly]

I think drinking's all right, but I hate people who drink too much. Don't you?

[Pete Kelly (Main Character)]

You work here?

[Pete Kelly]

Well, not regular. Sometimes I dance when the other act doesn't show up. You here alone or you waiting for something?

[Pete Kelly (Main Character)]

I'm waiting for a guy named Gus Trudeau.

[Eddie Newman (Cop)]

You want his phone?

[Pete Kelly (Main Character)]

I met.

[Rosie (Piano Player)]

Where is it?

[Pete Kelly]

He left a while ago.

[Dr. Jonathan Budd]

I'll let you.

[Pete Kelly (Main Character)]

Where are you? When you get sure it's important.

[Dr. Jonathan Budd]

Next to someone named Bessie.

[Pete Kelly (Main Character)]

All right, hold him.

[Pete Kelly]

What are you here, Kelly?

[Pete Kelly (Main Character)]

Get away, Newman. Try another stool.

[Pete Kelly]

This will do. If he asks you to leave, I think you should leave.

[Pete Kelly (Main Character)]

Oh, well, a choir boy.

[Pete Kelly]

That's nice.

[Pete Kelly (Main Character)]

Leave him alone. I never saw him before.

[Pete Kelly]

What does he know about Trudeau?

[Pete Kelly (Main Character)]

Nothing.

[Pete Kelly]

Now, don't kid me. You're not here to spend the time of day. You're here for Trudeau, you little friend. Where's Gus Trudeau? I don't have to talk to you. I'm a guest in this place. You're not anymore. Climb down. Head for that door, both of you. You can't make us do that. We're not gonna leave.

[Pete Kelly (Main Character)]

It's a split boat, Buster. I don't like the way he pushes.

[Pete Kelly]

That's right, Just walk. I'll bet you look good.

[Pete Kelly (Main Character)]

I knew right then. As we walked across the floor, I knew Eddie Newman wasn't gonna leave him alone. He was gonna pick at him whether he knew anything about Gus Trudeau or not. It was gonna get messy, and the boy with the nice eyes was gonna help. Outside, it wasn't snowing anymore, but the ground was covered right down to the river. There was a moon out and looked all right if you like nature. We walked over toward a bunch of trees. Newman's car was parked there. It was a black touring sedan with a strong arm guy in the back seat. There was another one sitting on the running board. He had a machine gun across his lap.

[Pete Kelly]

This will do. All right. Now let's hear about Gus Trudeau. I don't know anything about him. This man and I were just talking.

[Pete Kelly (Main Character)]

Go easy, Newman. I never saw him before.

[Pete Kelly]

Did he always talk to strangers or bet each other? It's none of your business. Where's Gus Trudeau? I wouldn't tell you. Suppose I knew? I wouldn't tell you. Yes, you would not. You keep your hands off of me.

[Pete Kelly (Main Character)]

Stop. Preston Newman. You don't care about Trudeau now. You just don't like this guy.

[Pete Kelly]

Stay out. Kelly, come here. Stop screeching. I'll break you out. You keep your hands off of you.

[Eddie Newman (Cop)]

You pig.

[Pete Kelly (Main Character)]

You dirty pig. You're in trouble, fella.

[Eddie Newman (Cop)]

Shut up.

[Pete Kelly]

Well, he is a pig. His hands are all dirty and his teeth are dirty.

[Pete Kelly (Main Character)]

I bet even his clothes are dirty. All right,

[Rosie (Piano Player)]

now, lay there.

[Pete Kelly]

All right, Dave, move in here. Back away, Kelly. You're up, choir boy. No. No.

[Narrator/Announcer]

Please, mister, do something.

[Pete Kelly]

Don't let a thing like this happen. It already has, buster.

[Singer]

No, you.

[Pete Kelly (Main Character)]

Tell me, Newman. Did you ever find out about Gus Trudeau? Newman didn't answer. He climbed into the car and they drove off. Why? Stayed there for a minute to look at the guy in the snow. His face was unmarked. I did him a favor. I rolled him over so it showed in the moonlight. I knew his mother had want him to look real good the night Eddie Newman's chopper squad cut him down. Well, it was getting cold out and the name Bessie had to mean Fat Annie's plays up the river on the canvas aside, I made it there and found Bessie. She was back at the piano, wandering around somewhere in the middle of the blues. You couldn't miss that voice if she took up yodeling. Bessie Smith.

[Singer]

I've got those Kansas City blues Since my man has gone away hi, Pete.

[Pete Kelly (Main Character)]

Bessie. What do you know?

[Maggie Jackson]

Around the back, Pete. You go up the stairs, the loft,

[Singer]

way up there at the top.

[Izzy (Taxi Driver)]

All right.

[Pete Kelly (Main Character)]

Thanks, Bessie.

[Eddie Newman (Cop)]

All right, go ahead.

[Pete Kelly (Main Character)]

I felt my way out and around back and up a couple of flights of stairs that didn't creak in time with the music. There was a door at the top and I pushed it open. He was hunched back on a pile of hay in the corner. He sat up and blinked a couple of times. There wasn't much left, just the frame and rattling around inside. A lot of tired echoes that wouldn't lay down and die. There was an empty gin bottle on the floor.

[Gus Trudeau]

Petey, I knew you'd get here.

[Pete Kelly (Main Character)]

Yeah, well, they didn't make it easy.

[Gus Trudeau]

You're looking good, Petey. Everything's six, two and even, huh?

[Pete Kelly (Main Character)]

You forget easy, Gus. You're in the jam. You broke jail.

[Eddie Newman (Cop)]

Yeah.

[Gus Trudeau]

I told them all about you up there, Petey. I told him there's another Gus Tudor blowing down in Kansas City. I'm proud of you, Pete.

[Pete Kelly (Main Character)]

Yeah, sure, Gus.

[Gus Trudeau]

You're just like me, Pete. I told him all about you. You're the only good thing I ever done. I knew you'd come through a car and some money, Pete.

[Pete Kelly (Main Character)]

It'll do everything.

[Gus Trudeau]

It'll make it all new. Is it too much to ask? You tell me, Pete.

[Pete Kelly (Main Character)]

They want you for Dutch Courtney.

[Gus Trudeau]

You know better, Pete. I didn't kill Dutch.

[Pete Kelly (Main Character)]

You had a reason. Did I forget he hung a frame on you, Gus? Five years worth, remember?

[Gus Trudeau]

I didn't kill Dutch. Get me it right now, boy.

[Pete Kelly (Main Character)]

No, not tonight.

[Gus Trudeau]

Don't preach at me. Just something to help me over.

[Pete Kelly]

Oh, yeah. Now, come out of the fog, Gus.

[Pete Kelly (Main Character)]

You're gonna get a drink or a train ticket for me. You take your pick. Cause it's the last time around.

[Dr. Jonathan Budd]

Just listen to that.

[Gus Trudeau]

Bessie's still going strong, ain't she?

[Pete Kelly (Main Character)]

Yeah, and so are the cops. I got one idea for you, Gus. Get moving.

[Gus Trudeau]

You remember Chicago, Petey? You and Madge? Chicago always liked me.

[Pete Kelly (Main Character)]

You checked out, Gus. Beiderbeck's got your chair.

[Gus Trudeau]

They'll Remember me And you, Petey. I found you when you were nothing.

[Pete Kelly (Main Character)]

What are you gonna do? Where you going?

[Gus Trudeau]

I got it all set up. It's big and brand new. A place in Mexico. The guy who bunked in my cell with me, his mother runs a place down there just like it used to be.

[Pete Kelly (Main Character)]

You won't get there on a gin bottle.

[Gus Trudeau]

I got it set up, boy. Car and some money. It's not much to ask. You haven't got a drink, have you?

[Pete Kelly (Main Character)]

You can drink in Mexico. Where you dreaming up the car? In the dough.

[Gus Trudeau]

It's fixed, boy. You just see this guy and tell him I'm ready. Abe Gaffney. He's got a place on Pershing Road. You know it?

[Pete Kelly (Main Character)]

Yeah, I know it. Abe's doing all this?

[Gus Trudeau]

Just tell him I'm ready.

[Pete Kelly (Main Character)]

All right.

[Gus Trudeau]

How's Madge?

[Pete Kelly (Main Character)]

Peace. He's all right.

[Gus Trudeau]

Come and see me now, Pete. It's hot in Mexico.

[Pete Kelly (Main Character)]

It gets hot here.

[Gus Trudeau]

What's the matter, Pete? You ain't sore, are you?

[Pete Kelly (Main Character)]

No, I ain't sore. I'm just tired. I'll tell Gaffney that I'm checking out.

[Eddie Newman (Cop)]

Goodbye, Gus.

[Gus Trudeau]

You're not getting too big for your old friends, are you, boy?

[Pete Kelly (Main Character)]

Friends are like everything else, Gus. Yeah. They wear out on you. Well, it wasn't any different than a dozen times before. I knew there wasn't very much left. But I wasn't looking for a second rate ghost with an empty gin bottle. I crossed the river back to the Missouri side and headed down Main street and then swung over toward Abe Gaffney's place on Pershing Road. It was pushing close to 5:30am the sun wasn't up yet and the night was too tired to care. I pulled up in front of the Murad sign in front of Gaff. Inside, a counterman with pimples and coffee was leaning on last night's paper. A beaded curtain shut off the hallway that led back to Gaffney's room.

[Pete Kelly]

You want some?

[Pete Kelly (Main Character)]

Yeah. Gaffney?

[Rosie (Piano Player)]

Not here.

[Pete Kelly (Main Character)]

Where do I find him?

[Gus Trudeau]

Not him.

[Pete Kelly (Main Character)]

I was supposed to meet him here. If so, look, this is Gaffney's place. Where is he? I told you. Now listen, Junior, maybe you think you do a good imitation of Calvin Kulage, but I want an answer. Where's Gaffney?

[Pete Kelly]

What's your name?

[Eddie Newman (Cop)]

Kelly.

[Pete Kelly]

You could have saved an argument.

[Eddie Newman (Cop)]

This way.

[Pete Kelly]

Through here. When do you go to bed, Kelly?

[Pete Kelly (Main Character)]

You still looking, Newman?

[Pete Kelly]

I'm still asking. Where's Gus?

[Pete Kelly (Main Character)]

I don't think you'd give me Time to answer.

[Pete Kelly]

There's a good reason why I let you walk away tonight. I gave you two hours all by yourself on the cancer side. I don't think you threw him away. You got a line on Gus Trudeau, I want it.

[Pete Kelly (Main Character)]

I got nothing for you.

[Pete Kelly]

Don't be silly, Pete. The cops get him. Where I do, he goes either way.

[Pete Kelly (Main Character)]

You get no help from me.

[Pete Kelly]

I don't want no help. I want Gus. Now, come on.

[Gus Trudeau]

Come on.

[Pete Kelly]

Come on. I'll make you part of the wallpaper.

[Pete Kelly (Main Character)]

You better send for Dave.

[Pete Kelly]

I don't need.

[Pete Kelly (Main Character)]

I think you do. Now, don't bother to get up. I'm leaving.

[Pete Kelly]

I don't believe. Wasn't your turn, Kelly.

[Pete Kelly (Main Character)]

When I got up off the floor, the room was cold and the lights were out. Newman was gone, but I knew he was still in business. I knew if he didn't find Gus Trudeau this trip, he'd come back for me. I got into Red's car and followed the radiator cap back to 417. I found Rosie back at the stand having breakfast.

[Rosie (Piano Player)]

Did you bring an egg, Petey? I hate to drink on an empty stomach.

[Pete Kelly (Main Character)]

Newman been back here?

[Rosie (Piano Player)]

I haven't noticed.

[Pete Kelly (Main Character)]

You look abused. Yeah. Anybody say anything? You were missed.

[Pete Kelly]

You heard the news.

[Pete Kelly (Main Character)]

What's that?

[Pete Kelly]

They found the guy who got Dutch Courtney. A fellow by the name of Doyle.

[Rosie (Piano Player)]

East St. Louis.

[Pete Kelly]

Cops got the goods on him.

[Pete Kelly (Main Character)]

Gun, fingerprints.

[Pete Kelly]

It works.

[Pete Kelly (Main Character)]

Yeah. Well, it's been a long night. What was his beef with Dutch Doyle?

[Rosie (Piano Player)]

Owned East St. Louis.

[Pete Kelly (Main Character)]

Dutch wouldn't believe it. Leave it to Gus. If there's a hole he'll fall in, it makes it easier on him, now, doesn't it?

[Pete Kelly]

Dooma will call his boys off now.

[Pete Kelly (Main Character)]

Well, somebody better tell him in a hurry. Did you see Gus? Yeah, I saw him. He's trying to get out of town.

[Pete Kelly]

Faith Kelly?

[Pete Kelly (Main Character)]

Yeah, that's right. Abe Gaffney.

[Pete Kelly]

Pig.

[Pete Kelly (Main Character)]

You're a hard man to find. Newman came in the front door.

[Pete Kelly]

I went out the back.

[Pete Kelly (Main Character)]

This won't take long. Car keys. Money for Gus. No, you got the wrong guy, Abe. I quit an hour ago. Find a die with yourself.

[Rosie (Piano Player)]

The car's out in the alley in Great Chandler.

[Pete Kelly (Main Character)]

Tell Gus it meets gas.

[Izzy (Taxi Driver)]

Wait a minute.

[Pete Kelly (Main Character)]

Wait a minute. You can take this stuff to Gus. You know where he is? No, thanks. You take care of Gus. He's an old friend. What's the matter with you? I hardly knew him. The clock over the bar was leaning on 6:15. We got back on the stand and started the last set. 80 pounds of stale cigarette smoke was holding up the ceiling and waving down on a dirty blue curtain over the dance floor. Behind the bar, one of the guys was wiping up. Two couples picked their way to the dance floor and pushed each other around a while. They finally gave up. Oh, the whole thing. It was all out of step. Wrinkled stockings, brown gardenias, torn paper hats. And Gus Trudeau. He walked in the door and stood off to one side, just back of the stand. All right, it's the last one. Blues and B flat. All right, that's it. Same call tonight. 10 o', clock. You can pack up.

[Gus Trudeau]

Hey, Pete.

[Rosie (Piano Player)]

Petey, over here.

[Gus Trudeau]

I heard you. You sound good, Pete. It's just. Why I told him up there you're on your way, boy.

[Pete Kelly (Main Character)]

All right, now you heard it, Gus. I got the money for you in the car. Keys. I'll see you, Gus.

[Dr. Jonathan Budd]

Huh?

[Gus Trudeau]

You know what I told him? Another Gus Chudo's blowing down. Can't you see?

[Pete Kelly (Main Character)]

Yeah. Yeah.

[Gus Trudeau]

I only got one thing to tell you, Pete. Don't forget it. Play like you talk, don't lie.

[Madge Trudeau]

Happy New Year, Gus.

[Gus Trudeau]

Hi, Madge.

[Madge Trudeau]

Hold it there, Pete. This is a family fight. Stay out.

[Pete Kelly (Main Character)]

I thought I took that gun away from you.

[Gus Trudeau]

What's the matter, Madge?

[Eddie Newman (Cop)]

What are you doing?

[Madge Trudeau]

Oh, don't sell me that talk, Gus. Dutch can't hear you.

[Gus Trudeau]

What do you mean, Madge, you killed him.

[Madge Trudeau]

You blew your top and you killed him just like you did everything else for me. You and the gin and that cheap brass horn of yours. You spent us all. Pete and me and you ran through the whole bunch till you got to Dutch.

[Dr. Jonathan Budd]

Pete.

[Gus Trudeau]

I didn't do anything.

[Madge Trudeau]

You killed Dutch Courtney. I loved him. I loved him enough to square it.

[Pete Kelly (Main Character)]

Well, you got it all wrong, Madge.

[Madge Trudeau]

Goodbye, Gus. I'll tell him to throw your horn in after you.

[Pete Kelly (Main Character)]

Want to read the paper, Mads? You killed the wrong brother.

[Madge Trudeau]

Stay away, Peter.

[Pete Kelly (Main Character)]

It's in the paper, Mads. Guy by the name of Doyle, he killed Dutch.

[Madge Trudeau]

They're not sure, are they?

[Pete Kelly (Main Character)]

Yeah, they're sure.

[Madge Trudeau]

What'll I do?

[Pete Kelly (Main Character)]

I got two things for you, Madge. And the car keys. Now, you see what you can do with 10 minutes start. You didn't have anything more for Gus, did you, Pete? No. No, I guess not. Well, he made it. Yeah, Gus finally got out of town.

[Pete Kelly]

Pete kelly's blues starring jack webb with story by jim noier music by dick cathcart scoring by matty matlock pete kelly's blues is based on characters created by richard l. Bread.

[Rosie (Piano Player)]

This is NBC, the national broadcasting company.

[Show Announcer]

This one's about pete kelly.

[Eddie Newman (Cop)]

It's about the world he goes around in.

[Show Announcer]

It's about the big music and the big trouble in the big twenties. So when they ask you, tell them. This one's about the blues. Pete Kelly's Blues. Pete kelly's blues. Starring jack webb. With story by joe eisinger and music by dick kepko.

[Pete Kelly (Narration)]

417 Cherry Street, Kansas City. It's a standard speakeasy. The ceiling is low, the prices are high and the whiskey is cut more times than a chin at a barber college. The entrance is just wide enough to handle one at a time, vertical or horizontal. My name's Pete Kelly. I play cornet. We start every night about 10 and we play to the last. Buck is home safe in Lupo's cash register. George Lupo owns the lease. He's a fat, friendly little guy you can always count on for a 20 in exchange for two tens. But that's all right. He lets us play the kind of music we like. And every once in a while he'll let us duck out to make a couple of phonograph records. All he asks is that we're back in an hour and 15% of the take. Well, last night Matty Win had been after us for two weeks to make another record for him to fill out one side. Mattie ran a two turntable recording joint in a loft over on Baltimore. During the day he'd keep busy making two buck personal records for the folks to send back home to the farm. At night, he'd rope a combo like ours to put out with some Dixie for the local market. We'd already pressed a few for his label under different names. The Spickardsville Sparks, the Grundy Growlers. The KC Cats. Maybe you got one or two in your collection. Hold on to them.

[Izzy (Taxi Driver)]

They're pure.

[Pete Kelly (Narration)]

Well, it was getting on to 11 when I pushed the tempo on the last number in the second set. Lupo glared at us as we hustled out, packed up our instruments. We piled into a taxi and Red Zersk and Coupe and slammed out for Baltimore street and Maddie's loft.

[Rosie (Piano Player)]

Come on, I'll help you with the.

[Eddie Newman (Cop)]

All right, all right. Let's keep it light, huh?

[Pete Kelly (Main Character)]

This is a residential district now.

[Pete Kelly (Narration)]

Hold it down, boys, huh?

[Rosie (Piano Player)]

Hold it down, fella's Quiet down now. Quiet. Pete, who's that, Red? Looks like Zel.

[Zelda]

Oh, Pete, I'm so glad I didn't meet you.

[Izzy (Taxi Driver)]

Yeah, Zelda, I have to.

[Zelda]

Could I talk to you for a minute, Pete?

[Eddie Newman (Cop)]

All Right.

[Pete Kelly (Main Character)]

What's on your mind?

[Maggie Jackson]

Alone.

[Eddie Newman (Cop)]

I got a recording date, Zelda.

[Zelda]

I know, Pete.

[Maggie Jackson]

That's why I came here.

[Eddie Newman (Cop)]

We have to get back to 417.

[Zelda]

A minute, Pete. I have a minutes.

[Pete Kelly (Main Character)]

All right.

[Rosie (Piano Player)]

Okay, Petey. We'll wait upstairs. All right, you guys, let's move.

[Commercial/Advertisement Announcer]

And Pete.

[Pete Kelly (Narration)]

Yeah, Red?

[Rosie (Piano Player)]

We don't sound like much out of corner. Make a stampy, huh?

[Pete Kelly (Narration)]

All right.

[Maggie Jackson]

Okay.

[Zelda]

Thank you, Pete.

[Izzy (Taxi Driver)]

All right.

[Pete Kelly (Main Character)]

Come on, Zelda.

[Zelda]

Don't be mean, Pete. I've had my share of meanness. The way the newspaper.

[Eddie Newman (Cop)]

What did you expect? Rave notices for the way you divorced Maddie to marry a hood like Johnny April?

[Zelda]

I have a right to live my own life.

[Pete Kelly (Main Character)]

Sure.

[Eddie Newman (Cop)]

No matter whose life you kick to shreds doing it.

[Zelda]

I love Johnny and he loves me. Of all people, I thought you would understand that.

[Johnny April]

You would.

[Eddie Newman (Cop)]

Now, look, Zelda, I like a guy named Matty Wynn. In my book, he didn't rate the kind of treatment you dealt him.

[Zelda]

You like a guy named Matty Wynn? How much do you really know?

[Eddie Newman (Cop)]

All right, Zelda, just funnel this down.

[Izzy (Taxi Driver)]

Now, what do you want?

[Zelda]

Maddie refuses to see me, Pete.

[Izzy (Taxi Driver)]

That figures.

[Zelda]

I want you to talk to him for me.

[Izzy (Taxi Driver)]

Saying what?

[Zelda]

You and Maddie, you always got on well together. He may listen to you.

[Pete Kelly (Narration)]

Now, look, Zelda, I got a job to do.

[Eddie Newman (Cop)]

Get to it.

[Zelda]

Maddie's got a record that belongs to me. I want it.

[Pete Kelly (Narration)]

What kind of a record?

[Zelda]

It's a record you and the boys made once.

[Maggie Jackson]

June 9th.

[Pete Kelly (Narration)]

Well, you're beginning to make a lot of sense, Zelda.

[Zelda]

You'll understand. Pete, just tell him I. I'll give him anything he wants for the record. You just tell him that. Pete, if you talk to him, maybe he'll.

[Pete Kelly (Narration)]

Now, look, Zelda, just for the book.

[Izzy (Taxi Driver)]

Here.

[Eddie Newman (Cop)]

I never liked you much.

[Zelda]

I know.

[Izzy (Taxi Driver)]

I think you were grief for Maddie

[Eddie Newman (Cop)]

from the first day he met you

[Izzy (Taxi Driver)]

until the day you dealt him the final foul.

[Eddie Newman (Cop)]

All right, now, why don't you just

[Izzy (Taxi Driver)]

leave him alone for Maddie sake.

[Zelda]

Believe me, Pete, for his sake, I

[Maggie Jackson]

must have that record.

[Zelda]

And if you're a friend of his teacher, advise him to give it to me.

[Narrator/Announcer]

All right.

[Eddie Newman (Cop)]

I don't know what you want with

[Pete Kelly (Main Character)]

an old disc of mine, but if

[Eddie Newman (Cop)]

it's something you need, it's something Maddie's better off without. Maddie.

[Rosie (Piano Player)]

Well, Pete, I begun to think you deserted us to the Mountain City Blue Blower.

[Pete Kelly (Narration)]

I just.

[Rosie (Piano Player)]

Of course, the wisest thing any man could do.

[Pete Kelly (Narration)]

She was waiting for me downstairs.

[Rosie (Piano Player)]

Why is it, Pete, that we always assume the Vulture to be Maeve, she

[Izzy (Taxi Driver)]

seemed more like a frightened rabbit.

[Rosie (Piano Player)]

Zelda? Rabbit, Mink, yes, but never rabbit.

[Eddie Newman (Cop)]

All right, Matty, I'll tell you about

[Pete Kelly (Main Character)]

it after the session, huh?

[Pete Kelly (Narration)]

All right. Let's get it on the road, huh? Maddie, what do you want us to do?

[Rosie (Piano Player)]

Well, you've just got one side to fill. Last time you did anything in the blues, never did get a good take on Dixieland. One step. Okay.

[Commercial/Advertisement Announcer]

All right.

[Pete Kelly (Narration)]

Come on, guys. Let's like each other, huh?

[Rosie (Piano Player)]

Quiet down. Quiet down.

[Pete Kelly (Narration)]

All right, let's do Dixieland.

[Pete Kelly (Main Character)]

One step.

[Rosie (Piano Player)]

How you want to routine it, Petey?

[Pete Kelly (Main Character)]

Well, let's see. Like this.

[Pete Kelly (Narration)]

Everybody going in. Nick, plug those brakes solid. Matlock, you take the first little break on clarinet.

[Pete Kelly (Main Character)]

Yeah.

[Pete Kelly (Narration)]

Then Mo, you take the second and

[Eddie Newman (Cop)]

really blow it out, huh?

[Pete Kelly (Narration)]

Give me a second.

[Rosie (Piano Player)]

Everybody in on the first course, huh?

[Pete Kelly (Narration)]

Yeah, that's right.

[Pete Kelly (Main Character)]

And I'll take it for 16. Matt, Locky, take 16.

[Eddie Newman (Cop)]

Everybody out.

[Izzy (Taxi Driver)]

Good and bright, huh?

[Johnny April]

Y.

[Izzy (Taxi Driver)]

All right.

[Eddie Newman (Cop)]

Ready, Maddie?

[Rosie (Piano Player)]

Just a second. Okay, take it on the count, huh?

[Izzy (Taxi Driver)]

All right, now, Here we go.

[Rosie (Piano Player)]

4, 3, 2. Well, felt good, huh? Yeah, it was good for me. Bye, Matlock.

[Johnny April]

Maddie, that does a pink.

[Pete Kelly (Main Character)]

All right, you can pack up.

[Pete Kelly (Narration)]

I'll see you back at 4.

[Pete Kelly (Main Character)]

17, huh?

[Rosie (Piano Player)]

You stand behind Pete.

[Pete Kelly (Narration)]

Yeah.

[Izzy (Taxi Driver)]

10 minutes.

[Pete Kelly (Narration)]

Leave the ear for me, will you read?

[Pete Kelly]

Sure.

[Rosie (Piano Player)]

Look, Pete, you come here to take care of your business, leave it that way, huh?

[Pete Kelly (Narration)]

Don't worry, Red.

[Pete Kelly (Main Character)]

I aim to. Will you take my horn?

[Johnny April]

Yeah.

[Pete Kelly (Narration)]

I'll see you later.

[Rosie (Piano Player)]

Nice.

[Pete Kelly (Main Character)]

Pete.

[Rosie (Piano Player)]

One solo. Seemed a little long for time, but I think we can get it all on.

[Pete Kelly (Narration)]

Look, Maddie, I know this is probably none of my business.

[Rosie (Piano Player)]

The papers and her marriage to Johnny April has made Zelda everybody's business.

[Eddie Newman (Cop)]

Oh, she asked me to talk to

[Pete Kelly (Narration)]

you about a record.

[Pete Kelly (Main Character)]

Indeed.

[Pete Kelly (Narration)]

An old one of ours.

[Pete Kelly (Main Character)]

June 9th.

[Rosie (Piano Player)]

Yeah, June night. I remember it well, Pete. I always considered it a splendid achievement in jazz that should one day become a collector's item.

[Pete Kelly (Narration)]

Zelda doesn't know jazz from German needles

[Eddie Newman (Cop)]

and cares less, but she said she'd give you anything you want for that record.

[Rosie (Piano Player)]

You can tell Zelda that you can purchase a copy of June Night at Lambert's for 35 cents.

[Eddie Newman (Cop)]

Yeah, that's why I don't get it.

[Rosie (Piano Player)]

And if you're fortunate, Pete, you never will.

[Pete Kelly (Main Character)]

Forgive me, Pete.

[Rosie (Piano Player)]

I don't mean to be sharp with you, but you're young and carefree. Stay that way. And if Zelda should again approach you, take a trip around the world to someplace else.

[Show Announcer]

But go.

[Pete Kelly (Narration)]

All right, Mattie. She asked Me to ask you and I ask.

[Eddie Newman (Cop)]

Good night.

[Rosie (Piano Player)]

Good night, Pete. Hey, you Pete coming?

[Pete Kelly (Narration)]

Who wants to know?

[Rosie (Piano Player)]

Hear that, Perry? He wants to know. Who wants to know? All right, I'll tell you.

[Eddie Newman (Cop)]

I want to know. Feel better? Sure.

[Pete Kelly (Narration)]

I'm Pete Kelly.

[Izzy (Taxi Driver)]

But I got a right.

[Johnny April]

And I got a left.

[Izzy (Taxi Driver)]

Let's ride. Thanks, but I got my own car here right now. Ours is safer for you. It's bulletproof.

[Pete Kelly (Narration)]

Well, I was going to tell him I didn't need a bulletproof car. He showed me the gun was a.45. I know how to admit it when I'm wrong. So we got into the bulletproof car. During the ride, I cased the the two artillerymen. Except for their faces. I'd seen them a couple of times before at 4:17 over at sour Sammies at Fat Annie's. The same tightly tailored blue suits, the same long itchy fingers. And the same razor edged lips and eyes. Oh, there's hundreds of them around, but

[Eddie Newman (Cop)]

they're pretty right guys?

[Pete Kelly (Narration)]

You gotta know how to handle them. Just do as they tell you and the chances are you won't lose more than one eye.

[Eddie Newman (Cop)]

Well.

[Pete Kelly (Narration)]

A car glided to a smooth stop

[Izzy (Taxi Driver)]

in front of the Roxbury Apartments.

[Pete Kelly (Narration)]

The private elevator shot us up to the penthouse. My stomach caught up with me as the gunsels pushed me into a living room that was slightly smaller than Swope

[Eddie Newman (Cop)]

park, but less crowded.

[Pete Kelly (Narration)]

One man, all shoulders, no hips and rich black hair. A face that had make Wally Reed cut his throat. He was sitting at a table with earphones on. He was tuning a radio. He glanced once over his shoulder at me. I didn't jump more than 20 yards. Was Johnny April?

[Johnny April]

Just a minute. I've been listening to something good on the earphones. Here, I'll plug in the speaker for you. You hear that music? Yeah. Nice reception, huh? Yeah, just got it. 12 tube, superheterodyne, Magnavox horn, Posen, Frisco without static. The best.

[Madge Trudeau]

Drink?

[Eddie Newman (Cop)]

No.

[Izzy (Taxi Driver)]

No thanks.

[Johnny April]

You sure?

[Pete Kelly]

I'm sure.

[Johnny April]

Canadian import.

[Izzy (Taxi Driver)]

The best. You sure?

[Johnny April]

You want number one?

[Pete Kelly (Main Character)]

Yeah, sure.

[Rosie (Piano Player)]

Well,

[Pete Kelly]

luck.

[Dr. Jonathan Budd]

Luck.

[Johnny April]

It's good stuff. Got a jolt.

[Barney Ricketts]

The best.

[Johnny April]

You know who I am?

[Eddie Newman (Cop)]

Yeah.

[Rosie (Piano Player)]

You sure? Sure.

[Johnny April]

What's my name?

[Eddie Newman (Cop)]

April.

[Pete Kelly (Narration)]

Johnny April?

[Johnny April]

That's right. You know, my wife?

[Rosie (Piano Player)]

Your wife?

[Johnny April]

My wife?

[Rosie (Piano Player)]

Yeah.

[Izzy (Taxi Driver)]

You sure?

[Rosie (Piano Player)]

Yeah.

[Pete Kelly (Narration)]

Mrs. April.

[Johnny April]

Don't you know better than that?

[Eddie Newman (Cop)]

Than what?

[Johnny April]

Than Mrs. April.

[Izzy (Taxi Driver)]

Well. Huh.

[Pete Kelly (Narration)]

Well, sure I know her. I knew her when she. Before she.

[Johnny April]

When she was married to Matty Wynne. Yeah, but you didn't call her Mrs. Wynne, did you?

[Pete Kelly (Main Character)]

Well, I.

[Johnny April]

What did you call her by?

[Pete Kelly (Narration)]

Her name.

[Eddie Newman (Cop)]

Which is Zelda.

[Commercial/Advertisement Announcer]

Zelda.

[Johnny April]

That's right. That's all I wanted to fix. Now, we both know what we're talking about. Zelda. You understand now?

[Narrator/Announcer]

Yeah.

[Johnny April]

That's why I invited you here. To talk about Zelda and why you're bothering her.

[Pete Kelly (Narration)]

Well, you lost me, Mr. April.

[Johnny April]

Not a bad suggestion. But first, I want you to tell me what you and Wynne are clubbing Zelda with.

[Eddie Newman (Cop)]

You're asking me to play without a

[Pete Kelly (Narration)]

cue sheet, Mr. April, I don't even know the tune.

[Johnny April]

Tonight, you stopped Zelda on Baltimore Street. You talked to her on a corner. You were seen. She was pleading with you.

[Pete Kelly (Narration)]

Now, look, Mr. April, you're spinning it backwards.

[Eddie Newman (Cop)]

She stopped me.

[Pete Kelly (Narration)]

Asked me to speak to Wynne.

[Johnny April]

About what?

[Pete Kelly (Narration)]

Well, about a record she said belongs to her.

[Izzy (Taxi Driver)]

What record?

[Pete Kelly (Narration)]

Well, it's a record. One that I made for Win. It's called the title.

[Eddie Newman (Cop)]

Yeah.

[Pete Kelly (Narration)]

I know this sounds silly, but it's true.

[Rosie (Piano Player)]

That's right, Kelly.

[Johnny April]

Sounds silly because it isn't true. What do you want with Zelda?

[Pete Kelly (Narration)]

All right, April, you take it any way you like. All I want from Zelda's distance between us. Now I got a date to play.

[Barney Ricketts]

Jake, teach him.

[Johnny April]

What are you and when cooking?

[Izzy (Taxi Driver)]

Nothing.

[Johnny April]

What do you want from Zelda?

[Pete Kelly (Narration)]

Nothing, I tell you.

[Zelda]

Johnny. Johnny, what are you doing?

[Johnny April]

This the crumb who stops you tonight?

[Zelda]

Yeah, he's the one.

[Izzy (Taxi Driver)]

How much did Win pay April to

[Pete Kelly (Narration)]

take angel off his hands?

[Johnny April]

What did he want, money?

[Zelda]

Yeah. He said he and Win would make trouble for me. For you?

[Johnny April]

What kind of trouble?

[Zelda]

My divorce. About my divorce. Open it up again unless I paid them all right.

[Johnny April]

Now listen to me, tinhorn. You got luck. You got lots of luck. You should light a candle to your luck next time you fill a ditch. This time I only warn you. And these are the warnings on the way. Tomorrow morning, 9 o', clock, you go to Union Station. You buy a ticket. East, west, north or south, you go. You go till the train runs out of the rails. No more room for you in Kansas City. Only in that ditch. You hear me?

[Narrator/Announcer]

I hear you.

[Pete Kelly (Narration)]

Well, Jake and Perry drove me back to the Erskine. They dropped me on Baltimore. I sat on the curb, my head between my knees.

[Izzy (Taxi Driver)]

After a while, I felt a little better.

[Pete Kelly (Narration)]

I could breathe again. The lights were still on up in Maddie's loft. He was probably working on the master while I navigated the long flight of stairs, trying hard to hold back the sudden anger kicking up in me. Wasn't Maddie's fault. He'd warned me about Zelda. No use to take it out on him.

[Pete Kelly (Main Character)]

Him.

[Pete Kelly (Narration)]

Well, I went into the loft and made an effort to hold it down, but it was a wasted effort. Maddie wouldn't have minded anything I said or did. Maddie wasn't even there, only his body half covered with a burlap used on the walls to soundproof the joint. He'd been shot once through the head, clawed down enough burlap over himself to make a shroud. I picked up the phone in the office, gave Central a number of sour Sammies and waited for Sammy to see if Bonnie Ricketts was under his favorite table. Bonnie Ricketts is the only ex bootlegger I know who went broke in 1922. He set out to prove that a man could drink his gin without ill effects. But he never set a time limit on the experiment. No, Bonnie hadn't come in yet to sour Sammy's. Well, I left word for him. Meet me at Fat Annie's place.

[Eddie Newman (Cop)]

I started to leave.

[Pete Kelly (Narration)]

I hesitated and went back to Matty Win, spread a clean handkerchief over his face. I made the street three stairs at a time. I crossed the river, jolted the Erskine down Boulder Road to Fat Annie's place. Seemed like a waste of good singing, but Maggie Jackson was getting ready to do her number. I eased a lone drunk out of a booth, draped him on the edge of the bar and sat and listened to Maggie.

[Singer]

Across the river on the Kansas side that's where Fat Annie and the Grooves abide To get your music and your chicken fries come to f. Just pour a pocket full of rock and ride across the river to the can side and when you get across that great divide Come to sudden.

[Maggie Jackson]

I'm just beat, Pete, Right down to my shoes.

[Pete Kelly (Narration)]

Yeah, It's a noisy crowd, Maggie.

[Maggie Jackson]

Out of town wine buyers with gin chasers.

[Dr. Jonathan Budd]

Murder.

[Pete Kelly (Main Character)]

Yeah.

[Pete Kelly (Narration)]

Do you want a beer?

[Maggie Jackson]

Thanks, Pete. I could use it.

[Izzy (Taxi Driver)]

Fine.

[Eddie Newman (Cop)]

Hey, draw two, will you?

[Pete Kelly (Narration)]

Barney ain't been in yet, has he?

[Zelda]

No.

[Maggie Jackson]

You got trouble again, Pete.

[Pete Kelly (Narration)]

Where can I buy a new birthday? The stars are ganging up on me.

[Maggie Jackson]

Ain't nothing in that astrology, Pete.

[Pete Kelly (Narration)]

Well, there must be some explanation.

[Eddie Newman (Cop)]

Yes or no? Hot or cold, I catch it.

[Maggie Jackson]

What's the misery? This?

[Pete Kelly (Narration)]

Only that Matty Wynn caught a bullet in the head. No. And if I'm not out of KC by morning, he's gonna have company. Look, Maggie, do you remember a disc I cut for Maddie June night?

[Pete Kelly (Main Character)]

Sure do.

[Maggie Jackson]

Good session.

[Pete Kelly (Narration)]

You got a copy of that one?

[Eddie Newman (Cop)]

Right on top of the pile.

[Maggie Jackson]

Where in My room just down the street a piece.

[Pete Kelly (Narration)]

Well, I'd go with you, Maggie, but I don't want to miss Barney.

[Zelda]

I'll get it for you, Petey.

[Pete Kelly (Narration)]

Thanks a lot.

[Barney Ricketts]

Ah, Peach Kelly, noted troubadour, bar of the Barrel Houses.

[Maggie Jackson]

Hi.

[Barney Ricketts]

Bonnie and Maggie Jackson, canary of the cribs.

[Maggie Jackson]

I'll be right back, Pete.

[Pete Kelly (Main Character)]

Thanks a lot, Petey.

[Barney Ricketts]

I've just suffered a great hurt. No sooner did I set foot in Sour Sammy's joint than Sour Sammy himself came a grinning and a smirking to tell me with undisguised glee that you were waiting for me here. He was openly delighted to see me go.

[Izzy (Taxi Driver)]

Yeah.

[Barney Ricketts]

Look, Barney, I was sorely tempted to ignore the message merely to aggravate Sour Sammy, you understand. But since it was you, Petey, and in distress, I'll warrant I came on the wings of mercury.

[Pete Kelly (Narration)]

Thanks, Bonnie.

[Zelda]

Mercury?

[Barney Ricketts]

That's a thought.

[Gus Trudeau]

Petey.

[Barney Ricketts]

We've tried ether in our beer, chloroform, and even the tincture of laudanum. Now, what would a soup spoon of mercury do? No, too risky. Unless, of course, one.

[Pete Kelly (Narration)]

Barney, listen to me, will you? I'm breathing against the clock.

[Barney Ricketts]

Never will I forget Sour Sammy's attitude. And after all the credit he's given me, too. No, Peter, it proves only one thing. Man is essentially an a social animal. We band together only because we find it impossible to survive alone. Yeah, I know, but there is no true affection anywhere. Like the wolf. Yes, take the wolf, Beatty. He too herds, but only in times of want and stress. And as soon as he doesn't have to rely upon his fellow wolf for survival, off he goes to prey upon his own. Yes, Petey. Like the wolf, man is a lone hunter, hating the herd because he is forced to depend upon it for survival.

[Pete Kelly (Narration)]

You all through?

[Barney Ricketts]

Very well, fellow wolf.

[Pete Kelly (Narration)]

Johnny April. Barney, do you know him?

[Barney Ricketts]

Oh, yes, yes, Fine gentleman. Johnny April never kills on the Sabbath.

[Pete Kelly (Narration)]

Well, I can't wait that long. He gives me till morning to get out of town.

[Barney Ricketts]

Foolish man. Right now you should be navel deep in timetable.

[Pete Kelly (Narration)]

Look, I got sucked into this by his wife, Zelda. She asked me to get a record for Matty when the belongs to her. She told April I'm trying to shake her down. I got worked over and Wynn got a bullet.

[Barney Ricketts]

What's on this record?

[Pete Kelly (Narration)]

I don't know. It's just a disc I once made for Maddie. It's called June 9th.

[Barney Ricketts]

Why does Zelda want it?

[Izzy (Taxi Driver)]

I don't know.

[Barney Ricketts]

Why did Zelda lie to April?

[Izzy (Taxi Driver)]

I don't know.

[Maggie Jackson]

Here's the record key.

[Pete Kelly (Narration)]

Thanks, Maggie.

[Barney Ricketts]

And who shot Matty?

[Pete Kelly (Narration)]

I don't know.

[Barney Ricketts]

Let's save time, Petey. Just tell me what you do know.

[Pete Kelly (Narration)]

Well, all I know is that Zelda's after this record, and she doesn't want April to know it.

[Barney Ricketts]

And that's a copy there.

[Pete Kelly (Narration)]

Yeah. June night.

[Pete Kelly (Main Character)]

I thought we.

[Pete Kelly (Narration)]

Maybe we could spin it once, and maybe it'll give us some kind of a message.

[Maggie Jackson]

I'll put it on the phonograph. Please.

[Pete Kelly (Narration)]

Thanks, Maggie. I'll wind it up for you.

[Narrator/Announcer]

Here.

[Izzy (Taxi Driver)]

All right.

[Pete Kelly (Main Character)]

Listen to it, huh, Sam?

[Eddie Newman (Cop)]

It.

[Pete Kelly (Main Character)]

Sa. Sam.

[Barney Ricketts]

Good quality. Mean anything?

[Pete Kelly (Narration)]

Nothing.

[Barney Ricketts]

No hidden meanings or codes or ciphers.

[Pete Kelly (Narration)]

Nothing there but the music.

[Barney Ricketts]

Tell me, Petey, how are these things made?

[Pete Kelly (Main Character)]

What?

[Barney Ricketts]

A recording.

[Pete Kelly (Narration)]

Well, you record directly onto a round table of soapy wax. And then they dust this wax with graphite and they dip it in a copper plating tank. From this, they make what they call a mother or the stamper. And that's what turns out the records that you buy in the store.

[Barney Ricketts]

I see.

[Commercial/Advertisement Announcer]

And the.

[Barney Ricketts]

The wax master that's always kept in the recording studio.

[Izzy (Taxi Driver)]

Yeah.

[Barney Ricketts]

When you finish the job, Pete, can anything else be recorded on the master?

[Pete Kelly (Narration)]

Well, I suppose you could dub from one master to another.

[Izzy (Taxi Driver)]

Yeah.

[Barney Ricketts]

Petey, when I was a mere lad, my old father told me, when you seek an answer, child always go to the master.

[Pete Kelly (Narration)]

I pointed Barney for the door. We got into the Erskine and jolted back over Boulder Road and across the river. Barney insisted on expanding his wolf man herd theory all the way back to Baltimore. So, street, by the time we reached Maddie Win's loft, my fangs were on edge. Barney looked away from Wynn's body as we headed for the file room. I yanked open a metal container was empty. The master of June Knight was gone.

[Pete Kelly (Main Character)]

Yeah.

[Pete Kelly (Narration)]

Your old father was right, Barney.

[Barney Ricketts]

He also told me, the master will always be there for you. Notice the disarranged state of the files here. All the compartments. Whoever came for the master of June night went directly to the right file, as you did. Didn't find it there, and ransacked the

[Johnny April]

rest of the place.

[Pete Kelly (Narration)]

Well, then Maddie hid it, figuring something like this.

[Pete Kelly (Main Character)]

But where?

[Barney Ricketts]

Let's look around the control room, Peter.

[Pete Kelly (Narration)]

Oh, there's no place there to hide a flea.

[Barney Ricketts]

Did you ever read a story called the purloined letter by Edgar Allan Poe?

[Pete Kelly (Narration)]

Not now, Barney.

[Barney Ricketts]

A wonderful little tale. Now, look, Barney's particular story PD a number detectives were taking a room apart by the seam, searching for a letter. They couldn't find it.

[Pete Kelly (Main Character)]

And why?

[Barney Ricketts]

Because man is blind. Petey, he never recognizes the truth when his eyes fall on it. Just as our eyes now fall on this peculiar looking record on the turntable.

[Pete Kelly (Narration)]

Funny, he wouldn't leave it out just like this.

[Pete Kelly (Main Character)]

Prove me wrong.

[Dr. Jonathan Budd]

Play it.

[Pete Kelly (Main Character)]

All right.

[Pete Kelly (Narration)]

Let's listen to it and see.

[Rosie (Piano Player)]

You understand what you'd have say, Zelda,

[Maggie Jackson]

you wrote the script for me.

[Rosie (Piano Player)]

Not that I don't trust you, of course.

[Maggie Jackson]

Let's get on with it, Mattis.

[Rosie (Piano Player)]

A little closer to the microphone, Zelda.

[Eddie Newman (Cop)]

This close enough, Mattis.

[Pete Kelly (Main Character)]

This close enough.

[Zelda]

Pete.

[Pete Kelly (Narration)]

Don't be foolish, Zelda. Put that gun away.

[Zelda]

Give me the record, Pete.

[Rosie (Piano Player)]

Sure.

[Izzy (Taxi Driver)]

In exchange for that gun, you'll get

[Zelda]

what's in the gun.

[Eddie Newman (Cop)]

What?

[Izzy (Taxi Driver)]

You dealt it to Matty.

[Pete Kelly (Narration)]

The record here on the turntable all the time. And you broke three nails ripping those files apart.

[Zelda]

Face the law. Keep your hands up. Lean against it, both of you.

[Barney Ricketts]

Excuse me, madam, but I just dropped in to make a record for the folks back home.

[Show Announcer]

Shut up.

[Pete Kelly (Main Character)]

Surely one moving.

[Zelda]

I'll give it to you in the back.

[Johnny April]

That's my department, Zelda. Johnny, give me that gun. All right, Zelda, I telled you.

[Eddie Newman (Cop)]

Here.

[Johnny April]

I only bought a small piece of your yarn. Now I want the rest of it.

[Zelda]

I didn't want to involve you, Johnny. I came to pay them off. They killed Maddie. See?

[Maggie Jackson]

See there?

[Zelda]

And I got the gun away.

[Pete Kelly (Narration)]

Oh, good, Zelda.

[Eddie Newman (Cop)]

Can't you see his face?

[Pete Kelly (Narration)]

He's just run out of mileage and ideas. Listen to this, April.

[Zelda]

No, no, darling, it's a frame.

[Eddie Newman (Cop)]

Shut up.

[Johnny April]

All right, Kelly, I'm listening. And it better be good.

[Pete Kelly (Main Character)]

All right, here it is.

[Pete Kelly (Narration)]

It's all on the record.

[Maggie Jackson]

Just close enough, Maddie.

[Rosie (Piano Player)]

Perfect. Now, just in case anything goes wrong, this recording will be our protection from each other. To whom it may concern, my wife, Zelda and I have entered into this agreement of our own free will.

[Maggie Jackson]

All right. Just get through it, Maddie.

[Rosie (Piano Player)]

Go ahead.

[Maggie Jackson]

I have told Johnny April that I

[Zelda]

want to divorce my husband and marry him.

[Maggie Jackson]

When this is accomplished, it is our intention that I be made a widow as soon as possible and then remarry. Maddy win.

[Rosie (Piano Player)]

Just for the record, you agree to decoy said Mr. April to a predetermined spot where he'll be unarmed and without bodyguard. I agree to shoot Mr. April. The police will not question your story that he was ambushed by a rival mobster, identity unknown to you. You will then inherit the April money and return to me. You agree?

[Maggie Jackson]

I agree. Crazy enough to do anything for you, even when you tell your own life.

[Pete Kelly]

All right, that's enough.

[Pete Kelly (Narration)]

Be legal and.

[Zelda]

Johnny.

[Johnny April]

Johnny, don't.

[Izzy (Taxi Driver)]

Don't shoot her.

[Zelda]

Johnny, don't.

[Pete Kelly (Main Character)]

Don't.

[Zelda]

Please don't.

[Barney Ricketts]

Back off so I won't miss you.

[Pete Kelly (Main Character)]

Daddy.

[Zelda]

Daddy.

[Izzy (Taxi Driver)]

He can't hear you.

[Zelda]

I should have let him kill me.

[Izzy (Taxi Driver)]

You fell in love with him, didn't you?

[Maggie Jackson]

Yes, I did.

[Zelda]

Only one thing I didn't count on.

[Pete Kelly (Main Character)]

Yeah?

[Pete Kelly (Narration)]

You can't dance at two weddings with one heart.

[Show Announcer]

Pete kelly's blues, starring jack webb. With story by joe eisenter and music by dick cathcart. Scoring by maddie matlock. The music of Pete Kelly's Big Seven and Maggie Jackson is now available on Phonograph Record. Ladies and gentlemen, the Red Cross already has allocated more than a million dollars for emergency relief work in the flood stricken areas of Kansas, Missouri, Illinois and Oklahoma. The biggest Red Cross job, however, will be rebuilding and refurnishing homes in the flooded areas. Cost of this job will run into the millions. More than present Red Cross resources can provide. That is why President Truman has issued a special appeal to all Americans to contribute generously to a special Red Cross flood fund of at least $5 million. Send all contributions to your local Red Cross chapter.

[Pete Kelly (Main Character)]

The proceeding was transcribed. It's the Silver Jubilee on NBC tonight. One of your old friends is returning to NBC. Yes, there's fun for everyone tonight with Uncle Gildy, that happy bungling hero of the airwaves, the great Gildersleep. And later tonight, there's the best in recorded music on Meredith Wilson's Music room. Meredith's special guest this evening is Frank Lesser, the composer of Broadway's musical Guys and Dolls. And make a note to hear Dragnet tomorrow with another athletic story from the files of the Los Angeles Police Department. The Great Gilder Sleeve. Tonight on NBC.

[Izzy (Taxi Driver)]

It's about the world he goes around in.

[Pete Kelly]

It's about the big music and the

[Show Announcer]

big trouble and the big twenties.

[Eddie Newman (Cop)]

So when they ask you, tell them

[Commercial/Advertisement Announcer]

this one's about blues.

[Pete Kelly (Main Character)]

Pete Kelly's Blues. Pete kelly's blues. Starring jack webb.

[Show Announcer]

With story by joe eisinger and music by dick ket.

[Eddie Newman (Cop)]

My name's Pete Kelly. I play cornet. You'll find us at 417 Cherry Street, Kansas City. It's a standard speakeasy. The whiskey matches the color of your money. It's a fairly quiet crib. Never any real serious trouble. The competing torpedoes. And regarded as a sort of a neutral zone. A place to meet and maybe talk things over before going to the gun. The Switzerland, the Kansas City. The lease is owned by George Lupo. He's A fat, friendly little guy who has only two things in his life. Dollars and cents. We start grinding every night at about 10 and we play till the cash register Tate gives out. But that's all right with us. He lets us play the kind of music we like and pays off with a smile. Sometimes we even managed to get a few bucks. Last night we were dragging through the lull hour of the first set when the distinguished old guy came in. I'd seen him in the place many times before, always with the Dutchman and two or three of the Dutchman's guns. He'd sit at their table, letting their whispers float around his gray hair, never taking part. Just sit quiet. Gaining slowly on the open bottle in front of him. Staring at a point that probably didn't exist. This was the first time I'd seen him without the Dutchman. He started to sit at the usual place, hesitated, looked around the half filled room. Took the small table in the corner near the bar. He smiled up at me as he poured his first drink. There was nobody behind it. We went into the wind up.

[Rosie (Piano Player)]

Man, we sure drag healed tonight.

[Eddie Newman (Cop)]

What's up next, Pete? Nothing. My lip's raw. Let's get off for a while.

[Rosie (Piano Player)]

You burned that lip at both ends. Petey. Slow down. You want a beer at the bar, Red? No thanks, Petey. I'll catch me a hunk of fresh air in the alley. All right.

[Eddie Newman (Cop)]

On your way out, throw some nickels in the pianola, will you?

[Rosie (Piano Player)]

Right. See you later.

[Gus Trudeau]

Mr. Hill.

[Eddie Newman (Cop)]

Yeah?

[Pete Kelly (Narration)]

Forgive me.

[Dr. Jonathan Budd]

I spoke quite on impulse. I find myself the sudden victim of an overwhelming desire for companionship.

[Eddie Newman (Cop)]

Yeah. I see you're alone tonight.

[Dr. Jonathan Budd]

I'm alone every night. Please sit down, if only for a minute.

[Izzy (Taxi Driver)]

Larry.

[Dr. Jonathan Budd]

Thank you. What will you drink?

[Eddie Newman (Cop)]

A little of that ginger ale will do fine. You expecting your friends?

[Dr. Jonathan Budd]

That's the one thing I can count on tonight. The arrival of my friends. I should like to compliment you, Mr. Carey.

[Eddie Newman (Cop)]

On what?

[Rosie (Piano Player)]

Your music.

[Dr. Jonathan Budd]

I must confess I don't really understand it. But I do understand and recognize one thing.

[Izzy (Taxi Driver)]

Faith.

[Dr. Jonathan Budd]

You play your cornet as though you believed him.

[Eddie Newman (Cop)]

Thanks.

[Dr. Jonathan Budd]

That is a priceless thing, Mr. Kelly. Faith. And the belief in something. Never lose it, sir, because when you

[Eddie Newman (Cop)]

do, you're lost yourself. Yeah, well.

[Dr. Jonathan Budd]

No, please, just sit another small minute.

[Izzy (Taxi Driver)]

All right.

[Dr. Jonathan Budd]

I lied to you, Mr. Kelly. I told you I wanted companionship. No, what I really want is an audience. There are so many things I want to say and so little time left in which to say.

[Eddie Newman (Cop)]

Sounds like you're about to get married. Have Another drink, huh?

[Dr. Jonathan Budd]

You think I'm drunk, don't you? Well, you're right, I am. But not on whiskey.

[Eddie Newman (Cop)]

Yeah, you're scared, aren't you? Is that it? Yeah.

[Dr. Jonathan Budd]

Feel my heart expending enough energy to power a modest side.

[Eddie Newman (Cop)]

Then what are you afraid of?

[Dr. Jonathan Budd]

All evening I've been asking myself that same question. What am I afraid of? Surely it can't be for life.

[Izzy (Taxi Driver)]

Loss of life.

[Dr. Jonathan Budd]

And yet you're sick with a disease for which neither man nor magician has yet been able to affect. A cure. The wrath of a killer.

[Eddie Newman (Cop)]

You're a target, is that it?

[Dr. Jonathan Budd]

I, as you so graphically put it, am a target.

[Eddie Newman (Cop)]

A Dutchman. A Dutchman. Look, I don't make this right. Now you should be 2 yards the

[Dr. Jonathan Budd]

other side of Baffin Bay streets aligned with the Dutchman's gun.

[Eddie Newman (Cop)]

But you gotta make a pass at it. You can't just say, okay, here's my head with a 50 cent cigar in it. Don't you want to live?

[Dr. Jonathan Budd]

I thought not. My adrenals refuse to concur.

[Eddie Newman (Cop)]

Look, isn't there somebody to help get you out of town? A friend?

[Dr. Jonathan Budd]

I have no friend except the Dutchman.

[Eddie Newman (Cop)]

The law.

[Pete Kelly (Main Character)]

Yeah.

[Eddie Newman (Cop)]

Now look, I gotta get back up there. Take this key. Hotel George, around the corner. Go up to my room. There's no reason for him to look for you up there. We'll think of something.

[Dr. Jonathan Budd]

Do you think so? He really thinks.

[Eddie Newman (Cop)]

Now look, we're gonna try. If we can't, we'll need two 50 cent cigars. A guan. E. Yeah.

[Rosie (Piano Player)]

Red, what's the matter with the senator?

[Eddie Newman (Cop)]

Nothing a thousand miles won't cure. All right, do goose pebbles. All right, everybody ready? Sam.

[Pete Kelly (Main Character)]

It.

[Izzy (Taxi Driver)]

I don't know if I want to

[Eddie Newman (Cop)]

make it or not. Red, take over. I'm going to duck out for a while.

[Rosie (Piano Player)]

What's wrong, Petey?

[Eddie Newman (Cop)]

My lip starting to limp.

[Dr. Jonathan Budd]

Oh, here comes trouble.

[Eddie Newman (Cop)]

Mr. Kelly. What's Mr. Kelly? How many Mr. Kelly's you got in this crib? Never mind, Jamie.

[Barney Ricketts]

Yes, the punk.

[Eddie Newman (Cop)]

Nice is he Mr. Kelly? So he gives you with a smiley witch. Mr. Kelly. All right, Jamie. Please forgive Jamie. He hasn't had much sleep lately. Yeah, well, you wake him up and tell him there's another Kelly. Bob Kelly works downstairs in the plant. Maybe he's the boy you want. No, we're looking for Pete Kelly. Yeah. Yes, Pete Kelly. No, not Bob Kelly. Not Bob Kelly. Pete Kelly. Yeah, well, I'm Pete Kelly. I'm Pete Kelly. We'd like to talk to you for a minute.

[Dr. Jonathan Budd]

Sure.

[Gus Trudeau]

Outside.

[Eddie Newman (Cop)]

Outside. Just in the island. Private. Yeah. Well, I'd like to oblige you, but you see, friend, I got a job to do here, outside.

[Gus Trudeau]

All right.

[Eddie Newman (Cop)]

Jelly understands?

[Izzy (Taxi Driver)]

Yeah. I'll be right back.

[Pete Kelly (Main Character)]

Red?

[Eddie Newman (Cop)]

Yeah. Smoke, Mr. Kelly? Yeah, thanks. Thank you. You're welcome. You like my brand? Your brand?

[Gus Trudeau]

Go tip.

[Eddie Newman (Cop)]

You like them?

[Pete Kelly (Main Character)]

Yeah, sure.

[Eddie Newman (Cop)]

I never smoke. Anything else? There was an elderly gentleman inside this evening. He also smoked some. Do you smoke one of his? Elderly gentleman? Yes. About 55, my height, gray hair, blue eyes. He sat at your table, got a nice drink with him. You smoked a cigarette of his. Sorry. I haven't seen anybody all night. All right, Terry, let's get to it. Stop with the circle talk. Easy. We got the rumble. You was talking to. Well, you're wrong.

[Narrator/Announcer]

Well, you.

[Pete Kelly (Narration)]

All right,

[Barney Ricketts]

go on.

[Pete Kelly (Main Character)]

Me?

[Eddie Newman (Cop)]

That's enough.

[Izzy (Taxi Driver)]

Yeah, all right.

[Eddie Newman (Cop)]

Now you listen, junior. The next time you put your hands, you walk away without him. You deserve that, Jamie. You have to learn when to and when not to. Jamie's young, Mr. Kelly. He thinks he has to make his reputation in one man. Can't he be friendly? Can he be nice? Can't he be honest? Why can't he tell us the truth and let us go about our business? That's fair enough. Isn't that Fair enough, Mr. Kelly? Isn't Jamie right this time? Yeah, sure. Seems to me he's being fair. Seems to me he's right this time. I'm always fair. I just asked for cooperation. That's it. That's all?

[Izzy (Taxi Driver)]

That's all we ask for.

[Eddie Newman (Cop)]

Just cooperation. And mister, you're going to cooperate?

[Johnny April]

I'm a sepless, mister.

[Eddie Newman (Cop)]

This gun's been defense and back.

[Izzy (Taxi Driver)]

What do you want?

[Eddie Newman (Cop)]

Small hunk of truth. You sat and talked to this gentleman.

[Dr. Jonathan Budd]

You see?

[Eddie Newman (Cop)]

He ain't going to cooperate. Yeah, I talked to him. What about? This and that. What's this?

[Dr. Jonathan Budd]

And what's that?

[Eddie Newman (Cop)]

Music. What else? Horses. What else? Women. What else?

[Izzy (Taxi Driver)]

That's all.

[Eddie Newman (Cop)]

If you're lying, Terry says you're lying. He knows it's his business to know.

[Gus Trudeau]

Music?

[Eddie Newman (Cop)]

Yes. Horses and women. No, not him. You're lying. He was drunk. How drunk? Drunk enough to talk about horses and women. What's his name? He didn't say. Where's he now? I don't know. He saw him go. I left him at the table. All right, that's it, terry, for now. Mr. Kelly says he doesn't know where he is. Maybe he's telling the truth. You got it all. But if you're lying, Jamie's going to Come back and see you alone. Well, I didn't need Einstein to figure

[Izzy (Taxi Driver)]

it out for me.

[Eddie Newman (Cop)]

They were a couple of the Dutchman's guns. Assignment rub out of one old party method. Burn down anybody in the way. And from here on in they'd cuddle closer to me than a baby kangaroo to its mother. Well, I had to get that old party out of my room fast. I told Red to keep keep the boys working. And I went on the prowl for Barney Ricketts. Barney's an ex bootlegger. He went broke in 1922. Nobody's been able to figure out how a bootlegger could go broke in 1922. And Barney refuses to tell the secret of his failure. He did it the hard way and he isn't going to make it easy for anybody else. He wasn't at Sour Sammy's joint. He hadn't shown at Papa Pastas. And I was starting to worry when I caught up with him at Joe Donegan's over on 12th Street. As usual, he was boiled and loud.

[Barney Ricketts]

Ah, Pete Kelly, the Kansas City Gabriel.

[Eddie Newman (Cop)]

Listen, Barney, I need a favor without evasion.

[Barney Ricketts]

PT I tell you right out that your arrival is ill timed.

[Izzy (Taxi Driver)]

A major league favor.

[Barney Ricketts]

I was just about to pour a potion and now I'm forced to ask you to share it with me.

[Eddie Newman (Cop)]

No, Barney, look, there's no time.

[Barney Ricketts]

What's your trouble, PT no true understanding of the meaning of time. Do you know what time in the life of one man really is? I mean the nature of it and its function?

[Eddie Newman (Cop)]

Yeah, I know all about it. Now listen.

[Barney Ricketts]

Of course you don't. And it isn't many men who will so frankly confess their ignorance. That's what I admire most about you. Pity your honesty in admitting to your abundant ignorance.

[Eddie Newman (Cop)]

All right, Barney.

[Barney Ricketts]

No, no, you mustn't be disheartened. The very fact that you know, that you don't know is a hopeful sign. It means that you are ready to learn. And I will be your guide, counselor and teacher.

[Izzy (Taxi Driver)]

Yeah.

[Barney Ricketts]

Now then, take time. And to properly understand the true nature of. You must take time to understand it. Regard time as a valise. To each man at birth, such a valise is given some large, some small, according to his destiny. That is the one thing which he cannot really choose. The size of the valise which we call time.

[Eddie Newman (Cop)]

You all through now?

[Pete Kelly (Main Character)]

Yes.

[Barney Ricketts]

What are we going to put into your beliefs this time?

[Eddie Newman (Cop)]

Maybe a hunk of hope for a guy who needs it.

[Rosie (Piano Player)]

What's his problem?

[Eddie Newman (Cop)]

He was sitting in 4:17. I talked to him A mob said no. Educated, cultured, gentle.

[Barney Ricketts]

I see. A dangerous man.

[Eddie Newman (Cop)]

No, he was lost, Barney. Lost and frightened. The kind of fright that freezes you when you're on the other side of a gun.

[Barney Ricketts]

I see. Who fingered him?

[Eddie Newman (Cop)]

The Dutchman.

[Gus Trudeau]

The Dutchman?

[Eddie Newman (Cop)]

That's right.

[Barney Ricketts]

Tell me, is he about 55, gray hair, blue eyes?

[Eddie Newman (Cop)]

That's right.

[Barney Ricketts]

And you don't know who he is?

[Eddie Newman (Cop)]

No, I didn't say.

[Barney Ricketts]

Well, Peter, you're right and you're wrong. He's educated, cultured, gentle. But you're wrong about helping. Nothing you or anyone else can do can stretch his beliefs.

[Eddie Newman (Cop)]

Why not?

[Barney Ricketts]

Because the Dutchman says no, that's all.

[Pete Kelly (Main Character)]

Who is he?

[Barney Ricketts]

Dr. Jonathan Budd. An excellent surgeon and general practitioner.

[Eddie Newman (Cop)]

But what's he got to do with the Dutchman?

[Barney Ricketts]

For the last two years, he's been under exclusive contract to the Dutchman. Sort of company medic for the Dutchman's torpedoes. On call 24 hours a day. Remove an appendix or a boo, as the circumstances may require.

[Eddie Newman (Cop)]

I don't make it, Barney.

[Izzy (Taxi Driver)]

A man like that.

[Eddie Newman (Cop)]

Why would the Dutchman want to send him over?

[Rosie (Piano Player)]

I don't know.

[Barney Ricketts]

Pity. And I don't want to know. Go back to Lupo's, pick up your horn and Forget all about Dr.

[Eddie Newman (Cop)]

Bud. I can't do it.

[Gus Trudeau]

Heed me, Petey.

[Barney Ricketts]

The Dutchman says drop dead. He'll drop dead. Don't be near him when he falls.

[Eddie Newman (Cop)]

Don't get into this, Petey. I'm already in, Barney. I sent him up to my room. You didn't. He's there now, waiting for me. Get him out of there. I had to help him, Barney. You can't just stand by and send him into the street to be cut down. A man has to have somebody to worry about him. Somebody to help him get him out of there. I can't.

[Gus Trudeau]

Why not?

[Eddie Newman (Cop)]

I'm being watched. By the gun? Yeah. You sure they got the buzz? I was sitting with him. They're keeping a string on me.

[Dr. Jonathan Budd]

PT PT you4.

[Barney Ricketts]

How long do you think it'll be before they get into your room?

[Eddie Newman (Cop)]

That's why I came to you, Barney.

[Barney Ricketts]

No. No, Pete. Not this time. Not where?

[Pete Kelly (Main Character)]

The dust.

[Eddie Newman (Cop)]

Look, they're on my back, Barney. I'll draw the guns off, back to Lupos. You get him out, Barney. You can do it.

[Barney Ricketts]

And what do I do with him once I got him? Ask him what he'll charge to cut you out of my life.

[Eddie Newman (Cop)]

Take him to the other side of the river, over to Fat Annie's. Tell Maggie Jackson. She can fold him into the shed out back. He'll be safe there.

[Dr. Jonathan Budd]

Fine.

[Barney Ricketts]

He can make a new life for himself in Fat Annie's shed.

[Eddie Newman (Cop)]

I'll think of something. I'll shake the guns after I get back to 417, and I'll think of something. You do that.

[Barney Ricketts]

If you don't, you'll be dragging up full release before morning.

[Eddie Newman (Cop)]

Scuttled back through the streets, back to 417. Cherry. The guns were right behind me. My valise was getting fuller and heavier by the minute. And I knew I'd added a few pounds to Barney's. But that's the way it is. A guy drifts into your life, pulls out a finger for help, you take hold and you're near to drifting out

[Izzy (Taxi Driver)]

of it with him.

[Eddie Newman (Cop)]

But what can you do? You gotta take hold or you don't sleep so good anymore. Walupo glared at me with his what am I paying you for? Glare as I ducked into the joint. I started for the bandstand and I didn't get past the bar.

[Zelda]

Mr. Kelly?

[Eddie Newman (Cop)]

Yeah.

[Madge Trudeau]

I've been waiting for you.

[Eddie Newman (Cop)]

Yeah.

[Zelda]

Could we.

[Madge Trudeau]

Could I talk to you?

[Eddie Newman (Cop)]

Oh, go ahead. I'm listening.

[Maggie Jackson]

Someplace alone.

[Izzy (Taxi Driver)]

What about?

[Zelda]

It's about. My name's Mary Bud.

[Izzy (Taxi Driver)]

Oh, come on.

[Eddie Newman (Cop)]

Behind the bandstand.

[Zelda]

Thank you.

[Rosie (Piano Player)]

Let's go.

[Narrator/Announcer]

Petey.

[Rosie (Piano Player)]

RuPaul's just docked us another fin.

[Eddie Newman (Cop)]

I'll be right with you, Red. All right.

[Maggie Jackson]

Hi.

[Zelda]

I was told you saw my.

[Eddie Newman (Cop)]

Saw who?

[Maggie Jackson]

My father.

[Eddie Newman (Cop)]

Lots of fathers coming here. Who's yours?

[Maggie Jackson]

Dr. Budd. Dr. Johnson.

[Eddie Newman (Cop)]

Bud, you drive a couple car?

[Maggie Jackson]

Yes.

[Eddie Newman (Cop)]

Your license with you?

[Madge Trudeau]

Yeah.

[Eddie Newman (Cop)]

Let me see it. Thanks. All right, now pay attention. Your father's in trouble. The big trouble.

[Maggie Jackson]

Why?

[Madge Trudeau]

What's happened?

[Eddie Newman (Cop)]

The Dutchman took a dislike to him.

[Pete Kelly (Main Character)]

Who's the Dutchman?

[Eddie Newman (Cop)]

You don't know?

[Zelda]

My father never told me anything.

[Pete Kelly (Main Character)]

Well, you're a big girl now.

[Eddie Newman (Cop)]

The Dutchman's a man with a gun. He's pointing it at your father. All right, now, hold on. Maybe we can.

[Pete Kelly (Main Character)]

Why would anybody want to kill my father?

[Eddie Newman (Cop)]

I don't know.

[Maggie Jackson]

He's never hurt anybody in his life.

[Zelda]

Why would this man.

[Eddie Newman (Cop)]

Look, lady, I got no answers for you.

[Zelda]

Maybe if we could find out why, maybe we could.

[Pete Kelly (Main Character)]

Are you sure you have no idea?

[Eddie Newman (Cop)]

All I know is the Dutchman said drop dead. There's no court of appeals for that.

[Maggie Jackson]

Yes, I understand now.

[Eddie Newman (Cop)]

Oh, we still got a chance. It's skinny, but it's there.

[Maggie Jackson]

Where's my father now?

[Eddie Newman (Cop)]

He's being taken across the river. Fat Annie's place, Boulder Road. Is your car out front?

[Maggie Jackson]

No, I live downtown.

[Eddie Newman (Cop)]

Good. Go get it. Make sure you're not tailed. Go to Fat Annie's, see Maggie Jackson. I'll try to shake the Dutchman's guns after the next number. But if I can't get over to Fat Annie's, you collect your father out of that shed and back. Hit the highway north on the Kansas side. Now you got it.

[Maggie Jackson]

I. I'll never forget you for this, Mr. Kelly.

[Eddie Newman (Cop)]

Yeah, sure,

[Pete Kelly (Narration)]

Right.

[Pete Kelly (Main Character)]

All right, let's settle down.

[Eddie Newman (Cop)]

Settle down, huh? What's up?

[Rosie (Piano Player)]

Newlywed's in from St. Joe. Been asking for cornet solo for an hour.

[Eddie Newman (Cop)]

All right, what do you think?

[Rosie (Piano Player)]

How about pigeon toad jode my lip.

[Eddie Newman (Cop)]

And you asked for that.

[Rosie (Piano Player)]

All right, all right. Pigeon toad jode. You got it.

[Izzy (Taxi Driver)]

All right.

[Pete Kelly (Main Character)]

I'll give you the pickup.

[Eddie Newman (Cop)]

Well, that's all for me tonight, Red.

[Dr. Jonathan Budd]

Let me see that, huh?

[Eddie Newman (Cop)]

Yeah.

[Dr. Jonathan Budd]

You ain't fooling your lips bleeding.

[Eddie Newman (Cop)]

We'll do the next set without me, huh?

[Rosie (Piano Player)]

Oh, man, that Lupo, he's sure making the deducts tonight.

[Eddie Newman (Cop)]

Where's the Erskine park, red?

[Rosie (Piano Player)]

Around on 10th Street.

[Eddie Newman (Cop)]

You better put the top up. Looks like rain. Yeah, all right.

[Rosie (Piano Player)]

How long you gonna be gone?

[Eddie Newman (Cop)]

Huh?

[Rosie (Piano Player)]

I said, how long you gonna be gone?

[Eddie Newman (Cop)]

Depends on how much room is left in my valise. I left the stand and headed for the men's room just like nothing was happening. I bolted the door behind me, crawled out through the small window, dropped into the alley and lit out for 10th Street. Over fences and through backyards. Red Zerskin was right where it ought to be. I slammed over to 12th, rattled across the bridge, jolted down Boulder Road to Fat Annie's place. Halfway there, it started to rain. Inside Fat Annie's.

[Pete Kelly (Main Character)]

Business was slow.

[Eddie Newman (Cop)]

There was nobody there. Maggie Jackson was making for a piano when I got inside.

[Maggie Jackson]

Hi, Pete. I'm glad you got here. We got a tenant wet out back.

[Pete Kelly (Main Character)]

Yeah.

[Maggie Jackson]

Yeah, with a short term leave. Just a minute, Pete. All right.

[Singer]

Ready? Hi Am. Ain't going nowhere Ain't seeing no one know how. Cause love and I are party starting now I'm on good behavior so honey savior hello is answer two your passing the laugh there's no I've been somewhere Seeing someone Most every day of my sad life I'm gonna trade in my mad life for something slow and safe and so I ain't goin nowhere Ain't gonna wrinkle my brow Cuz love and I are parting that now

[Maggie Jackson]

that was nice. R place is really dead tonight.

[Pete Kelly (Main Character)]

Yeah.

[Eddie Newman (Cop)]

Business is bad all over. Look, Maggie, how about the guy in the shed? Is he all right?

[Maggie Jackson]

He ain't bleeding none yet.

[Eddie Newman (Cop)]

Where's Barney?

[Maggie Jackson]

He just dropped the package like it was hot chitlins and dusted.

[Eddie Newman (Cop)]

The girl get here yet?

[Maggie Jackson]

What girl's that?

[Eddie Newman (Cop)]

The tenant's daughter.

[Maggie Jackson]

No girl showed yet, Pete.

[Eddie Newman (Cop)]

Well, the minute she shows, Maggie, send her outside, will you?

[Maggie Jackson]

You going to the shack, Pete?

[Izzy (Taxi Driver)]

Yeah.

[Maggie Jackson]

Best to go through the kitchen, straight out the back.

[Izzy (Taxi Driver)]

Sure.

[Eddie Newman (Cop)]

Thanks, Maggie.

[Gus Trudeau]

Sure.

[Eddie Newman (Cop)]

Good luck. Doc. It's Kelly. Pete Kelly, Doc.

[Dr. Jonathan Budd]

Come in.

[Eddie Newman (Cop)]

You all right, Doc?

[Pete Kelly (Main Character)]

Yes.

[Dr. Jonathan Budd]

The roof leaks and I've run out of cigarettes. Sure. Yeah, thank you.

[Eddie Newman (Cop)]

I'll give you a light.

[Dr. Jonathan Budd]

That's good.

[Eddie Newman (Cop)]

Yeah. Now, look, I think we're home safe. I'm getting you out of here.

[Dr. Jonathan Budd]

Tell me, why do you, Pop? What?

[Eddie Newman (Cop)]

I said, why do you, pop? Look, I. Doc, don't confuse me.

[Dr. Jonathan Budd]

You're an anachronism, Mr. Kelly. A moral man in the immoral jungle.

[Eddie Newman (Cop)]

Now, look, I talked to your daughter. She'll be here soon.

[Dr. Jonathan Budd]

You talk to my daughter?

[Eddie Newman (Cop)]

Yeah, that's right. She's coming to pick you up.

[Dr. Jonathan Budd]

Small girl, red hair, blue eyes.

[Eddie Newman (Cop)]

Yeah.

[Dr. Jonathan Budd]

Mr. Kelly, I have no daughter.

[Pete Kelly (Main Character)]

You don't?

[Dr. Jonathan Budd]

You talked to the Dutchman.

[Pete Kelly (Main Character)]

Smile.

[Eddie Newman (Cop)]

Yeah, but the license. Her driving license. She showed me her driving license. I believed her.

[Dr. Jonathan Budd]

It's an excellent actress. And you told her where I am. And she asked me anything else but you might know about the Dutchman and me.

[Eddie Newman (Cop)]

Well, she asked. I knew nothing.

[Dr. Jonathan Budd]

You sure? You're sure you told her you know absolutely nothing?

[Eddie Newman (Cop)]

Yeah, that's right.

[Dr. Jonathan Budd]

Then you're safe.

[Izzy (Taxi Driver)]

You'll be all right.

[Dr. Jonathan Budd]

They'll forgive you for trying to help me. You finally did tell them where to find me, and for that, they forgive you.

[Eddie Newman (Cop)]

All right, come on now. Let's get out of here. Let's get going.

[Dr. Jonathan Budd]

Mr. Kelly, you'd better go quickly.

[Eddie Newman (Cop)]

Well, I got a car. We'll make a run for it. No, but they'll be here any minute.

[Dr. Jonathan Budd]

And I'll be waiting for. No use to Rudd anymore.

[Pete Kelly (Main Character)]

Yeah.

[Dr. Jonathan Budd]

In some strange way, I've begun to realize that I welcome their life. But I don't want to escape. You see, it's impossible for a man to escape from himself. I am nothing more than the works I have done. It is those works which decide the ultimate fate of the mine. And rightly so. Are about to kill me.

[Izzy (Taxi Driver)]

No.

[Dr. Jonathan Budd]

We cannot escape from what we have made of ourselves.

[Eddie Newman (Cop)]

But, look, you can start all over again. There have been others like this before. They Ran. Took the chance and ran.

[Dr. Jonathan Budd]

Strange things taught me in my youth. Things unremembered for years, my freshman days at school. And the words of Socrates, when Crito urged the him to delay the drinking of the hemlock as others before him had delayed. Yes, Crito, and they of whom you speak are right in so acting. For they think that they would be gainers by the delay. But I am right in not following their example. For I do not think that I should gain anything by drinking the poison a little later. I should only be ridiculous in my own eyes for sparing and saving a life which is already forfeit. Please, then to do as I say and not to refuse me. And so I ask you, Mr. Kelly, don't refuse me.

[Eddie Newman (Cop)]

Go now, please, for your sake. I'm all right. You're not all right. They're gonna kill you. Don't you understand that?

[Dr. Jonathan Budd]

I understand.

[Eddie Newman (Cop)]

Yeah, sure you do. There's nothing more I can do.

[Dr. Jonathan Budd]

Nothing. Except perhaps a cigarette.

[Eddie Newman (Cop)]

Sure. Take the bag.

[Dr. Jonathan Budd]

No, two will do.

[Eddie Newman (Cop)]

Yeah. Goodbye. Kelly. Am I down,

[Dr. Jonathan Budd]

Kelly?

[Eddie Newman (Cop)]

Yeah. Please leave the door open.

[Dr. Jonathan Budd]

Yeah.

[Show Announcer]

Pete kelly's blues, starring jack webb. With story by joe eisinger and music by nick kafka. Scoring by maddie matlock. The music of Pete Kelly's Big Seven and Maggie Jackson is now available on Phonograph Records.

[Pete Kelly (Main Character)]

The proceeding is transcribed. Now join the great Gilder sleeve on NBC.

[Izzy (Taxi Driver)]

This one's about pete kelly.

[Rosie (Piano Player)]

It's about the world he goes around in. It's about the big music and the

[Izzy (Taxi Driver)]

big trouble and the big twenties.

[Pete Kelly]

So when they ask you, tell them. This one's about the blues.

[Izzy (Taxi Driver)]

Pete Kelly's Blues.

[Pete Kelly (Main Character)]

Pete kelly's blues, starring jack webb. With story by joe eisinger and music by dick kettenheart.

[Izzy (Taxi Driver)]

My name is Pete Kelly.

[Eddie Newman (Cop)]

I play cornet.

[Izzy (Taxi Driver)]

You'll find us at 417 Cherry Street, Kansas City, on the Missouri side. It's a standard speakeasy. The slot in the front door is regulation size, just wide enough to frame a suspicious eye. And the bottoms of the shot glasses aren't quite thick enough to reach the top. It's a well run, orderly crib. The kind of a place the local prohibition agents can bring their wives to. The lease is owned by George Lupo. He's a fat, friendly little guy who always has his hand in his pocket. We start grinding every night about 10 and we play till Lupo runs out of inventory. But that's all right with us. He lets us play the kind of music we like. And on the breaks he doesn't care how many Nickels we throw into the pianola. Our nickels. His pianola. We were winding up the second set last night when little Izzy came in. Little Izzy's a cab driver who's been working the joints up and down Cherry Street. He's carted more drunks than Lupo ever counted in his wildest dreams. And once a week, week, he lights the candle to Mr. Volstead. But last night, little Lizzy wasn't hauling a lush. She was a white haired, gentle old lady. The motherly type that Mary Carr plays in over the Hill. She looked around the crib, nervous and bewildered. As little as he eased her down at the small table near the bar. He smiled at her as gently as little as he can smile and started for the bandstand. Sam. Hey, Pete. Hi, Izzy. How's the taxi business?

[Rosie (Piano Player)]

Yesterday I picked her up and I've been hauling her ever since. From barrel house to barrel house, from crib to crib.

[Izzy (Taxi Driver)]

What's she looking for?

[Pete Kelly]

A girl.

[Izzy (Taxi Driver)]

What girl? Her daughter.

[Rosie (Piano Player)]

Who's her daughter? A singer. What's her name?

[Narrator/Announcer]

June Gould.

[Izzy (Taxi Driver)]

June Gould.

[Gus Trudeau]

You know her?

[Rosie (Piano Player)]

You know this male?

[Eddie Newman (Cop)]

Yeah.

[Izzy (Taxi Driver)]

She's a beautiful girl. I haven't heard about her for almost a year. She used to sing over at Maury.

[Rosie (Piano Player)]

So where's she now?

[Izzy (Taxi Driver)]

You know. You know.

[Maggie Jackson]

How.

[Rosie (Piano Player)]

Where is she now?

[Izzy (Taxi Driver)]

I don't know.

[Pete Kelly]

Six, two and nothing.

[Rosie (Piano Player)]

Every crib we hit.

[Pete Kelly]

Yeah, sure, I remember June Gould.

[Rosie (Piano Player)]

But where is she now?

[Pete Kelly]

Six, two and nothing.

[Izzy (Taxi Driver)]

Well, look, maybe I can. Look, Izzy, tell the old woman to wait. Maybe I can send up a flare.

[Barney Ricketts]

Thanks.

[Rosie (Piano Player)]

Thanks, Petey boy.

[Izzy (Taxi Driver)]

I got it so good. All right. What's going. Yeah.

[Gus Trudeau]

Red.

[Rosie (Piano Player)]

That June Gould. Beautiful gal.

[Izzy (Taxi Driver)]

Yeah.

[Rosie (Piano Player)]

Ever hear Nails Norton?

[Izzy (Taxi Driver)]

Yeah.

[Rosie (Piano Player)]

Used to torch for with a thousand watt torch.

[Izzy (Taxi Driver)]

So?

[Rosie (Piano Player)]

So she wouldn't give him the coffee that's spilled in a saucer.

[Gus Trudeau]

So?

[Rosie (Piano Player)]

So I wouldn't go asking round about it.

[Izzy (Taxi Driver)]

So let's do the number, huh? For sure. All right. Whispering good and bright. Here we go. Everybody read.

[Rosie (Piano Player)]

All right.

[Izzy (Taxi Driver)]

Take five. Use some nickel.

[Rosie (Piano Player)]

Oh, man, that Lupo, he's going to get rich off us.

[Narrator/Announcer]

Petey, this is Ms. Gould.

[Izzy (Taxi Driver)]

How do you do, Ms. Gould?

[Narrator/Announcer]

Mr. Gould, this is Pete Kelly, Mr. Kelly.

[Izzy (Taxi Driver)]

Mr. Kelly here said he'll take care

[Pete Kelly]

of everything for you, Mrs. Gould.

[Izzy (Taxi Driver)]

Well, I. I didn't exactly see.

[Rosie (Piano Player)]

Your worries are over now, Mrs. Gould. So I'll leave you with Mr. Kelly and good luck.

[Eddie Newman (Cop)]

No, Izzy.

[Izzy (Taxi Driver)]

Wait a minute.

[Eddie Newman (Cop)]

Wait.

[Maggie Jackson]

Mr. Kelly, I. I don't know how to thank you. You've given me new hope. I. I was ready to.

[Izzy (Taxi Driver)]

Sure. All right, now, come on. It's gonna be all right, Miss Gould. Don't cry.

[Maggie Jackson]

I'm sorry, but it's so hard.

[Izzy (Taxi Driver)]

Well, come on now. Let's unglue it. Tell me about it, huh?

[Maggie Jackson]

Well, my little girl, June, she was always a very beautiful child. We lived alone in Cleveland. Her father died when she was a baby. She always had a lovely voice. She came here to Kansas City to get a start as a singer.

[Izzy (Taxi Driver)]

When was this?

[Maggie Jackson]

Two years ago. Last I heard, she was working in a place called Maury's. She would write to me every week, always send me a check for support. Oh, she's a good girl, Mr. Kelly. And I'm so worried.

[Izzy (Taxi Driver)]

How long haven't you heard from her?

[Maggie Jackson]

It's been more than six, seven months now. No letters? No letters at all. But each week a money order. But no letter.

[Izzy (Taxi Driver)]

Each week you get a money order from her?

[Maggie Jackson]

Well, I don't know. There's no letter, no name. Just the money order to support me. And I finally saved enough to come here to look for her.

[Izzy (Taxi Driver)]

Yeah, I see.

[Maggie Jackson]

Oh, I've tried everything, Mr. Kelly.

[Izzy (Taxi Driver)]

Yeah, all right. You wait here, Mrs. Gould.

[Pete Kelly (Narration)]

I'll buzz around.

[Izzy (Taxi Driver)]

Maybe I can come back with some

[Maggie Jackson]

answers for you and Mr. Kelly.

[Izzy (Taxi Driver)]

Yeah?

[Maggie Jackson]

I beg you to promise me, no matter what the answers are, you tell me the truth.

[Izzy (Taxi Driver)]

Yeah, sure. Well, the way I figured it, I could have told her the truth then without even leaving the joint. But it wasn't easy, not when you looked into her eyes. But where were the money orders coming from? Well, I had to make a pass at it. So I borrowed red Zersk and coupe, drove out to the edge of town where Maury's country club balanced itself neatly on top of a well kept hill. Nobody could get into Maury's front door unless he showed a white tie. I got in through the kitchen and made for Maury's private office. Office up on the second floor. Yes. Can I buy a minute of your time, Maury? Ah, come in, Pete. What can I do for you? You remember a singer who worked for you, June Gould? Yes. A cigar? No, no, thanks. June Gould. I remember June Gould. Why? You got an idea where she is now?

[Pete Kelly (Main Character)]

Why?

[Izzy (Taxi Driver)]

Well, I'm trying to get a line on her. Why? For her mother. She's in town looking for her. I heard she see you. She tried. You wouldn't see her? No. Why not? I had no information for her. You got some information for me? No, no information.

[Rosie (Piano Player)]

But if you ask me, do I have advice?

[Izzy (Taxi Driver)]

Maybe That I got.

[Eddie Newman (Cop)]

Like what?

[Izzy (Taxi Driver)]

Like stay away from this old lady, Kelly. Or maybe you'll never live to be as old as she is. Yeah, I see. Thanks, Maury. Yeah? Is Nails Norton still in town?

[Johnny April]

You know something, Kelly?

[Izzy (Taxi Driver)]

Yeah.

[Johnny April]

I can't figure how you live to

[Izzy (Taxi Driver)]

be as old as you. And that did it.

[Pete Kelly (Main Character)]

As clearly as he could.

[Izzy (Taxi Driver)]

Maury was trying to tell me to go back to Lupo's. Pick up my horn and blow myself to a comfortable old age. And I agreed with him. That was the smartest thing for me to do. Go back to 417 and forget all about June Gould. So I hustled the Erskine back downtown. Cut across the 12th Street Bridge to the Kansas side. Jolted down Boulder Road to Fat Annie's place and Maggie Jackson. Maybe more than a few people in town knew what had happened to June Gould. But if there was anybody who knew and who would tell me, it'd be Maggie Jackson. Maggie was just going into a number when I walked in.

[Maggie Jackson]

You're just in time, Pete. I need some strong support.

[Izzy (Taxi Driver)]

Hi, Maggie.

[Maggie Jackson]

How about helping me through one course of. What have I done?

[Izzy (Taxi Driver)]

I didn't bring my horn.

[Maggie Jackson]

How about Artie Hamilton? He's in the back room. He won't mind. Here.

[Izzy (Taxi Driver)]

Well, okay. Wait a minute. You better let me try an A Here. It's a little loud.

[Maggie Jackson]

Just a minute.

[Izzy (Taxi Driver)]

Okay, just a second. All right. I guess we can try it.

[Maggie Jackson]

All right. What have I done?

[Singer]

I was blue but now I'm bluer Wish I knew wherever you were what have I done to make you do this to me?

[Pete Kelly (Main Character)]

Me?

[Singer]

Can't we do a little teamwork? I need you to make my dream work. All I do now is long for

[Maggie Jackson]

your tears

[Singer]

what have I done to make you do this

[Maggie Jackson]

to me? Nice, Petey. Thanks a lot.

[Izzy (Taxi Driver)]

Sure, Maggie. Here's Artie's horn. Look, Maggie, I need some information. Maybe you got an open line.

[Maggie Jackson]

What's bothering you, Petey?

[Izzy (Taxi Driver)]

Maggie, you ever hear of a gal named June Gould?

[Maggie Jackson]

June Gould?

[Izzy (Taxi Driver)]

Yeah, she worked over at Maury's over on the hill.

[Singer]

Oh, yeah?

[Maggie Jackson]

Tall, flaming red haired, with real green eyes. Yeah, and a voice like red velvet. Whatever became of her?

[Izzy (Taxi Driver)]

That's what I'm trying to find out, Maggie.

[Maggie Jackson]

Ain't thought about her in a long time. She just dropped out of sight suddenly. Like last year's calendar.

[Izzy (Taxi Driver)]

Have you got any idea, any idea at all, Maggie? Anything you heard?

[Maggie Jackson]

No, Petey. Never did know much about that gal. Said she used to bunk with another gal who danced out to a Cuban casino. Name Of Flora Acosta.

[Izzy (Taxi Driver)]

Flora Acosta, huh? Thanks, Maggie.

[Maggie Jackson]

Sure. Good luck, Pete.

[Izzy (Taxi Driver)]

Well, a Cuban casino is a minor league trap. Over in Spanish Town. They deal strictly for the natives who are homesick for their own rhythm. Flora Costa was just going into her big finish. I folded myself into a corner and waited. Mr. Koster, can I talk to you for a minute?

[Maggie Jackson]

What is it?

[Izzy (Taxi Driver)]

Well, it's kind of noisy out here.

[Zelda]

Well, I'm sorry, but I just.

[Izzy (Taxi Driver)]

Have you heard from June Ghoul lately?

[Maggie Jackson]

Come into my dressing room, please.

[Izzy (Taxi Driver)]

All right.

[Maggie Jackson]

Hello, little bird. Oh, you're such a fluffy little bird. Excuse me, Cinderella. Another cough for my next number.

[Narrator/Announcer]

Sure. It's all right.

[Maggie Jackson]

Now, tell me, who are you?

[Izzy (Taxi Driver)]

Pete Kelly. I play cornet over 417 cherry.

[Maggie Jackson]

Oh, yes, now I know.

[Izzy (Taxi Driver)]

Well, I was told that you used to live with June Gould, see?

[Maggie Jackson]

That's right.

[Izzy (Taxi Driver)]

You know where she is now?

[Singer]

No.

[Izzy (Taxi Driver)]

When did you see her last?

[Maggie Jackson]

A long time ago. I don't know.

[Izzy (Taxi Driver)]

Did she say where she was going?

[Singer]

No.

[Maggie Jackson]

She'll pack up and go.

[Singer]

Goodbye.

[Maggie Jackson]

Goodbye, Floor, my darling, she say. And she go. That's how she was.

[Izzy (Taxi Driver)]

That's how she was, see? Not how she is.

[Maggie Jackson]

Okay.

[Izzy (Taxi Driver)]

Well, you said was like you don't think she is anymore.

[Maggie Jackson]

I'm very sorry. You make too much English for me.

[Singer]

Hello, little bird. Such a happy little bird.

[Izzy (Taxi Driver)]

Yeah. Do you know any of her boyfriends?

[Maggie Jackson]

Boyfriends?

[Izzy (Taxi Driver)]

Yeah.

[Maggie Jackson]

Oh, see, she has lots of boyfriends also.

[Izzy (Taxi Driver)]

Many Nails Norton. Yes, one of her boyfriends. Nails Norton.

[Maggie Jackson]

I'm sorry, senor.

[Izzy (Taxi Driver)]

You. Yeah, I know. I make too much English for you.

[Maggie Jackson]

Well, she had so many boyfriends, it's very confusing.

[Izzy (Taxi Driver)]

Did you meet any of them?

[Maggie Jackson]

Believe me, senor is so confused. Confusing?

[Izzy (Taxi Driver)]

Yeah. Do you remember any of her boyfriends?

[Maggie Jackson]

She buckled her bags and she said, goodbye, Floor. Goodbye, my darling. I'm going to be a bride.

[Izzy (Taxi Driver)]

She was going to be married.

[Singer]

See? See that?

[Maggie Jackson]

He's married.

[Izzy (Taxi Driver)]

Who is he? Yes, the man she was going to marry.

[Maggie Jackson]

Oh. He's a very rich man. And she love him very much. And she's so happy. Goodbye. Flores is a. Goodbye, my darling.

[Izzy (Taxi Driver)]

Yeah, I know. Now, what's his name?

[Maggie Jackson]

His name? Bishop.

[Singer]

You have in English a name.

[Zelda]

Bishop.

[Maggie Jackson]

Bishop, See? Tom Bishop. Very rich man.

[Izzy (Taxi Driver)]

You know where he lives?

[Maggie Jackson]

In a big house. A very rich house.

[Izzy (Taxi Driver)]

The street?

[Maggie Jackson]

Well, I don't know, but a very rich street.

[Izzy (Taxi Driver)]

Yeah.

[Maggie Jackson]

Well, thanks, senor. Yeah. How you come to me with all these questions make me very sad, very worried about my friend. You think he's all right?

[Eddie Newman (Cop)]

Sure.

[Maggie Jackson]

Will Please let me know, senor. I would be very sad, very worried about her.

[Eddie Newman (Cop)]

Sure.

[Maggie Jackson]

Thank you, senor.

[Singer]

Hello, little bird.

[Maggie Jackson]

Such a happy little bird.

[Izzy (Taxi Driver)]

Well, I left the happy little bird and found me a city directory. Thomas Bishop, Vice president, Grundy Savings bank and Loan. Residence 440-n-Camberwell. Well, the house was set well back from the street. Surrounded by an ornate iron fence and a million dollars worth of shrubbery. I made the long trip to the front door on foot. Punched the door buzzer.

[Maggie Jackson]

Yes?

[Izzy (Taxi Driver)]

Mr. Bishop?

[Narrator/Announcer]

Yes.

[Izzy (Taxi Driver)]

My name's Pete Kelly. Is Mrs. Bishop at home?

[Narrator/Announcer]

What do you want with her?

[Izzy (Taxi Driver)]

Her mother's in town.

[Narrator/Announcer]

Her mother?

[Izzy (Taxi Driver)]

Yeah, she'd like to see her.

[Narrator/Announcer]

Are you sure you have the right Bishop?

[Izzy (Taxi Driver)]

You're Thomas Bishop, aren't you?

[Narrator/Announcer]

Yes, but my wife's mother is dead.

[Pete Kelly (Main Character)]

You sure?

[Narrator/Announcer]

Of course I'm sure. I buried her. You buried her 10 years ago. I'm sorry, young man, you must have the wrong Bishop.

[Izzy (Taxi Driver)]

No, no. I got the right Bishop, but the wrong wife. What'd you do with June Gould?

[Narrator/Announcer]

Be quiet.

[Izzy (Taxi Driver)]

Afraid your wife will hear? What do you want? I want to know what happened to June Gould.

[Narrator/Announcer]

Please, Mr. Kelly, not here.

[Izzy (Taxi Driver)]

Police headquarters suit you better?

[Narrator/Announcer]

I beg you, come away from the house.

[Izzy (Taxi Driver)]

All right. Now, come on, tell me about it.

[Narrator/Announcer]

Mr. Kelly, I assure you.

[Izzy (Taxi Driver)]

I don't want assurances. I want information. Where's June Gould?

[Narrator/Announcer]

I don't know.

[Izzy (Taxi Driver)]

You were going to marry her.

[Narrator/Announcer]

It was a misunderstanding.

[Izzy (Taxi Driver)]

You mean you already had a misunderstanding wife, huh?

[Narrator/Announcer]

June knew I was married, but we loved each other. We were going to run away.

[Izzy (Taxi Driver)]

What happened?

[Narrator/Announcer]

I don't know.

[Izzy (Taxi Driver)]

Now come on. You're going to have to do better than that.

[Narrator/Announcer]

We decided we'd made all the arrangements and I never saw her again. I never heard from her. I searched everywhere, tried everything, but without success. Please believe me, Mr. Kelly.

[Barney Ricketts]

I'm telling you the honest truth.

[Izzy (Taxi Driver)]

And you never got a line on her? No lead at all? Nothing.

[Narrator/Announcer]

Except a vague rumor that she'd been seen with a man named Maxie Finn.

[Izzy (Taxi Driver)]

Maxie Finn, the two bit bookie? Yes.

[Narrator/Announcer]

I was shocked when I learned what he is. I couldn't believe that she would.

[Izzy (Taxi Driver)]

Yeah, leave the great Mr. Bishop for a mouse like Maxie. That's what needles you, huh?

[Narrator/Announcer]

No, Mr. Kelly, I don't blame you for thinking that. But the truth is I loved her. She was the most beautiful woman I'd ever seen. And for the first time in my life. You see, I married when I was very young. Calculatingly to put myself ahead in the World. Well, my marriage gave me what I thought it would. Great financial success. But I didn't. I didn't realize I was only living half a life until I met June.

[Izzy (Taxi Driver)]

Yeah. Did you talk to Finn?

[Narrator/Announcer]

No, not directly. But I did have communication with him.

[Izzy (Taxi Driver)]

Cautious type, huh?

[Narrator/Announcer]

Yes, but for June Gould to spend the rest of whatever life I have left with her. I was ready to throw away all caution.

[Izzy (Taxi Driver)]

He asked Finn about her? Yes. What word did he send back?

[Narrator/Announcer]

Only two.

[Izzy (Taxi Driver)]

Drop dead. Yeah. All right. I'm gonna buy your story. But if it doesn't hang together, I'll be back for another one. Well, I knew where to find Maxie Finn. At the dice table in back of Sartori's garage. I pointed the Erskine for downtown KC Maybe Bishop story would hang together. And maybe it wouldn't. Traffic in back of Sartori's garage was heavier than out front. The crap table was getting a big play. I spotted Maxie Finn's pasty face hanging over the one buck line.

[Rosie (Piano Player)]

And the number is five. Make the point or break the joint. And the man throws. Days in the week. Pass with ice and make some ice. All right, get aboard, boys.

[Izzy (Taxi Driver)]

Get a boy. I got to talk to you.

[Rosie (Piano Player)]

I'm on the roll and the dice read. Days in the week.

[Eddie Newman (Cop)]

Seven.

[Rosie (Piano Player)]

The man's down. Pass the dice and make some ice. Everybody wins, everybody plays. Lay it on the left. We paid on the line. Nothing but throw out songs.

[Izzy (Taxi Driver)]

All right, let's get over here. Finn, it's important. What's your problem, Kelly?

[Rosie (Piano Player)]

Right or wrong, I go along.

[Izzy (Taxi Driver)]

All right, Kelly, I'm in the sock.

[Dr. Jonathan Budd]

My arm's cooling off.

[Rosie (Piano Player)]

What's the hustle?

[Izzy (Taxi Driver)]

June Gould.

[Rosie (Piano Player)]

What?

[Izzy (Taxi Driver)]

June Gould. You lost me. You sent word to Bishop. Dropped dead. I send you the sign. All right, come on. What happened to June Gould? Maxi? To me you read like boxcars. Goodbye, Kelly. Come here. Now, where is she? All right, come on. What'd you do to her? See her for maybe a couple of months, that's all. Why didn't she meet Bishop? She never said. Where'd she go after she left you? I don't know. But you got a pretty good idea. You got all I know. All right. Maybe I can get a line. I'll call you. I'll try and I'll call you. All right, at loopholes. Yeah, Yeah. I promise. At loopholes. Just to make sure you keep your promise. Maxi, here's a nickel. If you don't use it, I'll be back to take it away from you. Well, I had to leave it that Way. I knew that by pushing Maxie Finn around, I'd started something in motion. There'd have to be a reaction. Back at 4:17, I found Mrs. Gould right where I'd left her. She looked up at me anxiously as I went over to her table.

[Maggie Jackson]

Any news, Mr. Kelly?

[Pete Kelly (Narration)]

I'm waiting for word now.

[Maggie Jackson]

Mrs. Gould, do you think.

[Izzy (Taxi Driver)]

Mrs. Gould, I don't think this is the time for waiting. It's the toughest time of all. Where are you stopping?

[Maggie Jackson]

The Jefferson Hotel.

[Izzy (Taxi Driver)]

All right, now, look, you go back there. Don't argue. No. You're sitting in this trap the rest of the night. Get yourself some rest. I'll call you as soon as I get word.

[Maggie Jackson]

All right, Mr. Kelly. I'll do as you say. Somehow I feel you're the only one who could help me.

[Izzy (Taxi Driver)]

All right, Miss Gool. Bye.

[Rosie (Piano Player)]

All right, let's hold it down.

[Izzy (Taxi Driver)]

Hold it down.

[Rosie (Piano Player)]

Come on, Petey, let's get with it. Light lost all our business and we had a nickel.

[Izzy (Taxi Driver)]

All right. What's up?

[Rosie (Piano Player)]

Blues and beef Flag.

[Eddie Newman (Cop)]

All right.

[Izzy (Taxi Driver)]

I'll give you the pickup,

[Singer]

Sam. Ram.

[Izzy (Taxi Driver)]

All right, Petey. Yeah. Nailed Norton.

[Rosie (Piano Player)]

Heading this way.

[Izzy (Taxi Driver)]

Yeah. Kelly. Yeah.

[Johnny April]

Come down off of there.

[Izzy (Taxi Driver)]

What for?

[Pete Kelly]

This squirrel.

[Izzy (Taxi Driver)]

Now you forget all about June Gorfy. Next time I drop you, you won't get up.

[Rosie (Piano Player)]

Ever.

[Izzy (Taxi Driver)]

Well, I pulled myself together from all corners of the joint. Raced for the Erskine. Walloped at downtown to start Torres Garage. I felt no pain. Nothing but a wild, flaming anger. I had all my connections, from Maggie to floor to Bishop to Finn to Nails Finn to Nails Norton. Finn kept his promise, all right. He'd use the nickel, but not to call me. The crap game was still hot, but Maxi finted lambs. I tore around town and finally caught up with Finn in the back room at Joe Donegan. He saw me coming, turned a dirty gray and tried to duck out the back. He never made it. The first word I said at him with a right from the floor. All right, Maxi.

[Maggie Jackson]

Please. Please, Kelly. Stop it. Kelly.

[Gus Trudeau]

Stop it.

[Izzy (Taxi Driver)]

All right. Please. You called Nails Norton.

[Maggie Jackson]

I had to.

[Izzy (Taxi Driver)]

You told him I'm looking for June Gould. Now give me the truth. 7:25 Baltimore. Louder.

[Maggie Jackson]

June 7:25 Baltimore.

[Narrator/Announcer]

The truth, Kelly.

[Pete Kelly]

The truth.

[Pete Kelly (Main Character)]

7:25.

[Rosie (Piano Player)]

Roomsick.

[Izzy (Taxi Driver)]

All right, Maxi. If you ain't leveling this time, I'll break in too. 7:25. Baltimore was only three traffic violations away from Joe Donegan. It wasn't much of a place and never was. I found Room six on the second floor. I rapped in the door and waited. I Rapped again. The door was opened wide. First thing I saw across the room was something propped up in a chair was all wrapped up in a quilted bathrobe that the house dog probably refused. Long, lifeless hair straggled down onto the shoulders. It must have been a woman, but I wouldn't swear to it in a court of law. You couldn't tell by the face, a mass of gnarled, scarred tissue. The mouth pulled into a permanent, fixed grin. A bottle of gin was held on a broomstick Hand the first shock over, I looked at the man behind the door. That was the second shock. The one I didn't get over. Nails Norton.

[Maggie Jackson]

All right, Nails. Tell him we come all the way in.

[Pete Kelly (Main Character)]

Go ahead.

[Maggie Jackson]

You got a strong stomach, Kelly. He says if you ain't, you better look the other way. Nails here, he's got a good, strong stomach. Ain't you, Nails?

[Izzy (Taxi Driver)]

Yes, June.

[Maggie Jackson]

Yeah, I'm June. June Gould. A beauty.

[Izzy (Taxi Driver)]

Yeah.

[Maggie Jackson]

Well, you finally found me, Kelly. So take a good look. Something to remember on those long nights when you can't sleep.

[Izzy (Taxi Driver)]

What happened?

[Maggie Jackson]

He wants to know what happened there, too.

[Izzy (Taxi Driver)]

Good for you, dear. Let me take him out.

[Maggie Jackson]

I'll tell him, Astrid. That's what happened.

[Izzy (Taxi Driver)]

Who?

[Maggie Jackson]

Some bishop's wife. But he doesn't know. Nobody knows except his wife, Maxie, Finn and Nails. Now you. Yeah. She knew about me and Tom. He came before I could meet him with the acid.

[Izzy (Taxi Driver)]

You never did anything to her? Never.

[Maggie Jackson]

What could I do that would give me back my face? No. Let her live with it. That's his Finn. He found me like that. Took care of me all the while. Nails here. He was looking for me.

[Madge Trudeau]

Nails.

[Maggie Jackson]

He always cared for me. Didn't you, Nails?

[Izzy (Taxi Driver)]

Yes, we did.

[Maggie Jackson]

Now, Nails takes good care of me. Sees that I have everything I need. And all I need is a quart a day. All I need and all I want. Nails is a good boy. Even sends my mother money every week. You're a good boy.

[Izzy (Taxi Driver)]

She's in Kansas City, your mother.

[Maggie Jackson]

Yeah, we heard. Why Neil's tried to stop you.

[Izzy (Taxi Driver)]

Well, why don't you? You could write to her.

[Maggie Jackson]

No letters can be traced, but she's

[Izzy (Taxi Driver)]

worried sick about you. If you could only let her know.

[Madge Trudeau]

What?

[Izzy (Taxi Driver)]

Let her know what?

[Maggie Jackson]

You think I want to let her see me like this? You think?

[Izzy (Taxi Driver)]

Yeah.

[Maggie Jackson]

Look away, Ed. Kelly. You found me.

[Pete Kelly (Main Character)]

Tell her. Bring her to see me.

[Maggie Jackson]

Make the rest of her days happy.

[Dr. Jonathan Budd]

Yeah.

[Izzy (Taxi Driver)]

Kelly. Yeah?

[Narrator/Announcer]

What are you gonna do?

[Izzy (Taxi Driver)]

Apologize to Maxie. Fin.

[Show Announcer]

Pete kelly's blues starring jack whim with story by joe eisinger and music by dick kathgar. Scoring by matty mathlock.

[Rosie (Piano Player)]

The music of Pete Kelly's Big Seven consists of Dick Cascott and Cornet Matty Matlock on clarinet, Nick Fatou on drum, Ray Sherman on piano, George Vaynet on guitar, Judd not on bass, Mo Schneider on trombone. The songs of Maggie Jackson were written by Arthur Hamilton.

[Podcast Host]

We just heard Jack Webb in Pete Kelly's Blues. That will do it for this week's show. Thanks so much for joining me. I hope you'll be back next week for more Old Time Radio Detectives. In the meantime, you can check out Stars on Suspense, my other Old Time Radio podcast. New episodes of that show are out on Thursdays. If you like what you're hearing, don't be a stranger. You can rate and review the show on Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com meansts OTR. I'll be back next week with more Old Time Radio crime Solvers. But until then, good night and happy listening.

[Eddie Newman (Cop)]

Sam.

[Commercial/Advertisement Announcer]

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[Narrator/Announcer]

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[Commercial/Advertisement Announcer]

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[Narrator/Announcer]

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