That Hammer Guy 1953-02-10 Dead Dame In The Park

Summary

Podcast Summary: Harold's Old Time Radio – "That Hammer Guy 1953-02-10 Dead Dame In The Park"

Introduction

In the episode titled "That Hammer Guy 1953-02-10 Dead Dame In The Park," listeners are transported back to the Golden Age of Radio, immersing themselves in the classic detective noir narrative featuring the hard-boiled private investigator, Mike Hammer. Hosted by Harold's Old Time Radio, this episode masterfully blends suspense, sharp dialogue, and intricate plotting to deliver a compelling mystery that captivates both longtime fans and newcomers alike.

Main Characters

• Mike Hammer: A resolute and intuitive private investigator, Hammer embodies the quintessential noir detective—tough, street-smart, and unwavering in his pursuit of the truth.

• Marsha Bowman: Introduced initially as a mysterious woman in need of assistance, her true identity and motives gradually unfold, adding depth and complexity to the narrative.

• Ted de Courcia: The antagonist of the episode, Ted is a menacing figure with a vested interest in obstructing Hammer's investigation, embodying the pervasive threat of organized crime.

• Zelda: Hammer's trusted associate, providing support and serving as a confidante throughout his endeavors.

• Carlos Gomez: A pivotal character whose interactions with Hammer drive the central conflict of the story.

Plot Overview

Meeting Marsha Bowman in Central Park

The episode begins with Mike Hammer recounting a fateful encounter in Central Park. As he strolls through the park, contemplating his upcoming date with Zelda, Hammer notices Marsha Bowman sitting alone, seemingly lost in thought. Intrigued by her presence, Hammer approaches her, sparking a conversation that quickly reveals underlying tensions.

Key Quote:

Mike Hammer [01:40]: "The black dress you're wearing and sitting here in the shadows. Protective coloration."

This line establishes Hammer's perceptive nature, immediately sensing that Marsha hides more than meets the eye.

The Murder Unfolds

Their dialogue takes a tense turn when Marsha pleads for Hammer's help, leading to a brief but charged exchange. Hammer's intuition proves correct as the situation escalates abruptly—Marsha is suddenly attacked and killed, leaving Hammer with crucial evidence: a gun and two shells. The violent incident not only cements Marsha's innocence but also entangles Hammer deeper into the mystery.

Key Quote:

Mike Hammer [06:07]: "You give Velda a fast rundown on what happens. Then you tell her to get in touch with your friend Captain Pat Chambers."

Hammer's immediate response showcases his commitment to uncovering the truth, even when the situation appears dire.

Investigation and Clues

Determined to clear his name and find the real culprit, Hammer embarks on a meticulous investigation. He discovers a watch with an inscription—"GM with a love from MJ 1953"—which becomes a pivotal clue leading him to a jewelry store in Madison Avenue. From there, the trail points to the Elms, a roadhouse in Westchester, hinting at deeper connections and organized crime involvement.

Key Quote:

Mike Hammer [07:36]: "Found this watch in her pocketbook. When I yanked out the gun, it was the only other thing in there."

The watch serves as a tangible link between the victim and the perpetrator, driving Hammer's quest forward.

Encounter at the Roadhouse

At the Elms, Hammer meets Dorothy, portrayed as an alluring yet enigmatic woman. Their interaction is fraught with tension as Hammer seeks information about Ted de Courcia. It becomes evident that Dorothy is intricately connected to the antagonist, setting the stage for the impending confrontation.

Climax: Confrontation with Ted de Courcia

The plot thickens as Hammer uncovers Ted de Courcia's schemes to manipulate events and eliminate threats. A climactic showdown ensues where Hammer faces off against de Courcia, culminating in a dramatic gunfight. Hammer's strategic thinking and physical prowess ultimately lead to de Courcia's downfall, resolving the central conflict of the episode.

Key Quote:

Mike Hammer [22:24]: "Why Martha Jordan. What? She wasn't a bad kid. You promised me, Ted, you wouldn't keep after her. You promised me."

This exchange underscores the personal vendettas and moral codes that drive the characters, adding emotional weight to the narrative.

Resolution

With de Courcia defeated and the mystery unraveled, Hammer reflects on the events, reinforcing his role as an unwavering seeker of justice. The episode concludes with Hammer reconnecting with Zelda, highlighting the enduring partnerships that support him in his relentless pursuit of truth.

Key Quote:

Mike Hammer [24:15]: "But the way things stack up, you're not a bit sorry. Because that final wall of resistance all the keep between her and you starts to crumble into beautiful dust."

This poetic reflection encapsulates the emotional resolution, blendingHammer's tough exterior with moments of introspection.

Conclusion

"That Hammer Guy 1953-02-10 Dead Dame In The Park" stands as a quintessential example of classic radio noir, skillfully weaving a tale of mystery, deception, and redemption. Through Mike Hammer's incisive detective work and the richly drawn characters, the episode delivers a gripping narrative that remains engaging and relevant. Notable for its sharp dialogue, evocative descriptions, and seamless pacing, this episode is a testament to the enduring allure of old-time radio dramas.

For those who haven't listened, this episode offers a captivating glimpse into a bygone era of storytelling, where every shadow hides a secret and every encounter could lead to uncovering the truth.

Notable Quotes with Timestamps

1. Hammer's Perception

   Mike Hammer [02:32]: "The black dress you're wearing and sitting here in the shadows. Protective coloration."

2. Identification with Evidence

   Mike Hammer [07:36]: "Found this watch in her pocketbook. When I yanked out the gun, it was the only other thing in there."

3. Hammer's Determination

   Mike Hammer [22:24]: "Why Martha Jordan. What? She wasn't a bad kid. You promised me, Ted, you wouldn't keep after her."

4. Emotional Reflection

   Mike Hammer [24:15]: "But the way things stack up, you're not a bit sorry. Because that final wall of resistance all the keep between her and you starts to crumble into beautiful dust."

Final Thoughts

Harold's Old Time Radio delivers a stellar rendition of the Mike Hammer saga, capturing the essence of 1950s radio drama with authenticity and flair. "Dead Dame In The Park" is an exemplary episode that not only entertains but also preserves the rich tradition of radio storytelling, making it a must-listen for enthusiasts of classic mystery and noir genres.

Transcript

[Ryan Seacrest]

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[Mike Hammer]

See terms and conditions 18+. And now here is Ted de Courcia in the Keys for Lane Mystery. That Hammer guy? You're not a poetic guy. At least you won't admit to it around the joints where you hang out. But come spring and the hardcore inside you starts to crack and melt away and you find yourself rhyming June and War. And like they say in the springtime, a guy's fancy turns to thoughts of light. I think right now your fancy is turning to the your girl Friday. Zelda is the juiciest looking game to you any day of the week. You've got an hour to slaughter before you date with her and you amble through Central Park. You spot the couples and princes and you're hoping that the warm evening breeze will melt that final wall of resistance I'll always hide behind you. You're walking along a dim lit path, creating exciting fantasies in your mind when you hear the voice.

[Marsha Bowman]

I beg your pardon?

[Mike Hammer]

The dame is sitting on a bench alone, almost hidden in the shadow. Her voice has a pleasant tickling effect on your ears. Naturally, you're about the rest of us. You got time. So you walk over to us.

[Marsha Bowman]

My light is in a stubborn roof. Could you help me?

[Mike Hammer]

You strike a match and the light wipes away the shadows. You'll like what you see. You like it so much you gawk like a hick kid who sees a sideshow dance act for the first time.

[Marsha Bowman]

You'd better be careful, huh? The match. You burn your fingers.

[Mike Hammer]

The match. Oh, the match. Yeah, yeah. Thanks.

[Marsha Bowman]

Thank you.

[Mike Hammer]

Anything, nice man?

[Marsha Bowman]

Very.

[Mike Hammer]

You waiting for somebody? Okay. It's none of my business.

[Marsha Bowman]

No, I'm not waiting for anyone. Why?

[Mike Hammer]

Some kind of a funny place for a dame like you to be alone? I guess that's none of my business either.

[Marsha Bowman]

I'm not a dame.

[Mike Hammer]

Well, just an expression I use.

[Marsha Bowman]

Maybe you better tighten up your vocabulary.

[Mike Hammer]

I'll Take that under advice.

[Marsha Bowman]

I'm sorry. I have no right to be so nasty.

[Mike Hammer]

Everybody should be that nasty with me.

[Marsha Bowman]

I came to the thought because I like it here.

[Mike Hammer]

Protective coloration.

[Marsha Bowman]

I beg your pardon?

[Mike Hammer]

The black dress you're wearing and sitting here in the shadows. Protective coloration. I learned about it in biology once. Animals use it to hide from other animals to prey.

[Marsha Bowman]

I have nothing to hide.

[Mike Hammer]

This I can see.

[Marsha Bowman]

Thanks again for life.

[Mike Hammer]

That's it, mister. How so long?

[Marsha Bowman]

Wait.

[Mike Hammer]

Yeah.

[Marsha Bowman]

You. You don't have to go if you don't want to.

[Mike Hammer]

I wasn't really.

[Marsha Bowman]

You're pretty sure of yourself, aren't you?

[Mike Hammer]

I've been known to make mistakes.

[Marsha Bowman]

Well, it might be a big one.

[Mike Hammer]

I'll take my chances. A gander when the arts are right.

[Marsha Bowman]

I like you.

[Mike Hammer]

You're direct.

[Marsha Bowman]

My name is Marsha Bowman.

[Mike Hammer]

I like you, but you're not direct.

[Marsha Bowman]

I know what you mean.

[Mike Hammer]

I mean you're lying. What about your name?

[Marsha Bowman]

What are you talking about?

[Mike Hammer]

Still ass name. It's not Bowen.

[Marsha Bowman]

No. Then what is it?

[Mike Hammer]

You tell me.

[Marsha Bowman]

Just what sort of a game is this?

[Mike Hammer]

Suppose you told me that too.

[Marsha Bowman]

No, it seems like.

[Mike Hammer]

Look, I'm no cops. I'm not going to blow the whistle on you.

[Marsha Bowman]

You think?

[Mike Hammer]

When I lit your cigarette, I saw the monogram on your bag. The initials were M.J. and Bowman. Doesn't begin with J even on a loose vocabulary, does it?

[Marsha Bowman]

I'm sorry I was nice to you.

[Mike Hammer]

No, you're not. You want me here with you. That's the idea, isn't it?

[Marsha Bowman]

Where did you get that silly idea?

[Mike Hammer]

You want me here because you're in some kind of a jam.

[Marsha Bowman]

Ridiculous. You don't know what you're talking about.

[Mike Hammer]

You know I do. Why are you sitting here in the dark? Why'd you give me that phony name.

[Marsha Bowman]

That doesn't rule the stage? Maybe this will go. You give that back to me. Oh, please, go ahead.

[Mike Hammer]

You have your head on. Here's what I was talking about. This gun, a.45, is kind of big to carry around in such a small purse. Or is that the latest Parisian style?

[Marsha Bowman]

Give me that gun.

[Mike Hammer]

Maybe I should.

[Marsha Bowman]

You give it to me or I'll get the police.

[Mike Hammer]

You do and you'll have to show him a license. The cops are real fussy about things like that. Now, what about that chalk?

[Marsha Bowman]

It wouldn't interest you.

[Mike Hammer]

Try me and see.

[Marsha Bowman]

All light. All right. But do you mind if I light another cigarette first?

[Mike Hammer]

When you hold up another match for her, you see her hand shake like a marble T going over a rough road and the muscles in her face draw tight. You flick out the match and wait for her to begin. But you don't even hear her get to the first word. Something blunt and heavy cracks into the back of your skull. The red flash of pain rips through you. And then you dissolve into black nothing. When you come to, you feel in your pocket for a match. And the first thing your hand touches is a gun. And the steel of it is as warm as light. After you light up the match, you see it's the same gun. The James.45. And two shells emitting from the clip. Then on the grass behind the bench, you see the dame is south for two circles of blood just spoiling the front of her dress. She's dead all right. And in your hand is the gun that killed her. You start looking through her handbag when you hear footfalls echoing down the wall. You make him out as he passes under a lamp. It's a cop and he's in a hurry. The way things stack, you figure you got as much chance if you stick around as a four legged dame in a beauty contest. You get out of there in more of a hurry. Then you phone Vel from the base station.

[Marsha Bowman]

Don't tell me who this is. Let me guess.

[Mike Hammer]

Look, Belda, there's a legit reason for my being late.

[Marsha Bowman]

But of course, something in the of business came up.

[Mike Hammer]

Yeah, the worst kind for you. Will you give me a chance to explain? Why bother? Will you listen? I was walking across the park and I met this dame.

[Marsha Bowman]

Just two ships that pass in the night.

[Mike Hammer]

Oh, thanks.

[Marsha Bowman]

I just as soon spare myself the details, if you don't mind.

[Mike Hammer]

It's nothing like you think. It was murder.

[Marsha Bowman]

You're telling me.

[Mike Hammer]

Look, the dame is dead. Shot to death. And it looks like I did it.

[Marsha Bowman]

Mike, you're not kidding.

[Mike Hammer]

I'm not kidding. Now look, there's something you gotta do for me.

[Marsha Bowman]

All right, Mike. Anything. Anything.

[Mike Hammer]

You give Velda a fast rundown on what happens. Then you tell her to get in touch with your friend Captain Pat Chambers. A homicide, but not to let on to it.

[Marsha Bowman]

I'll call Pat right away.

[Mike Hammer]

You start to feel better after you hang up. You know Velda can handle Pat. Okay, you're in a tough spot. But you got a dame on your side who can use her head for something else than the parking lot. Perhaps by the time you get to Velda's place, she's already talked about. For a moment you forget all about the jam. All you can think about is this appetizing game, and you can't resist telling it.

[Marsha Bowman]

Don't you know there's a time and place for everything?

[Mike Hammer]

You've got the place, and there's always time.

[Marsha Bowman]

What am I gonna do with you, anyway?

[Mike Hammer]

Anything you want, and you'll know it.

[Marsha Bowman]

Well, right now, I want you out of this mess. Mike, you never should have run away.

[Mike Hammer]

I told you. Felt that the odds were stacked against me. I was a sitting pigeon.

[Marsha Bowman]

You could have explained anything to Pad. He's your friend.

[Mike Hammer]

He's also a cop. And the way things were, he'd have been as official as me as that badge he wears. What else did Pat tell you?

[Marsha Bowman]

Just what I told you.

[Mike Hammer]

Nothing on her identification.

[Marsha Bowman]

They're making a fingerprint check. You sure her first name is Marcia?

[Mike Hammer]

No, but it could be. And according to the monogram on that handbag, her last name began with a J.

[Marsha Bowman]

No idea why she was killed?

[Mike Hammer]

I told you, I just met her.

[Marsha Bowman]

Well, they're all right. You don't have to holler at me.

[Mike Hammer]

Well, you act like you still don't believe me.

[Marsha Bowman]

I want to, Mike.

[Mike Hammer]

You can. It isn't going to be easy believing.

[Marsha Bowman]

Me, finding the killer. There's nothing to go on.

[Mike Hammer]

Just one thing.

[Marsha Bowman]

What?

[Mike Hammer]

Found this watch in her pocketbook. When I yanked out the gun, it was the only other thing in there.

[Marsha Bowman]

Women don't usually carry a watch like those.

[Mike Hammer]

But men do. And there's this inscription on the inside.

[Marsha Bowman]

GM with a love from MJ 1953.

[Mike Hammer]

MJ the girls of Michelton.

[Marsha Bowman]

Yeah, something like.

[Mike Hammer]

Could be more. I can trace it to the store or the book.

[Marsha Bowman]

Oh, wait.

[Mike Hammer]

What?

[Marsha Bowman]

Something I forgot. Pat did say they had some chance of cracking the case. It's lucky you left that gun at the scene of the crime.

[Mike Hammer]

The serial number?

[Marsha Bowman]

No, the serial number was filed off. Then they did find fingerprints on the gun. That should help.

[Mike Hammer]

Oh, yeah, great help. It'll help lead Pat right straight to me. 101. No splints on the gun are mine. In just a moment, we'll return to the Mickey's Belay Mystery. That Hammer guy. Music for sand. What happen? And now back to the Mickey's Bain Mystery. That Hammer guy. Better off than running in another rat race. Only this time it's yourself you're trying to keep out of the trap. And so far, the only thing that's going to keep it from closing is that man's watch you got out of the dead name handbag. You and Velda do a tracking job. Two days later, you trace the watch to A jewelry store in Madison Avenue. And from there the trail leads to the Elms, a roadhouse up in Westchester where the right connections will get you into the back room where the suckers flirt with ladylux on the green coke card and dice table. It's nine in a p.m. when you amble into the joint and you're greeted by a bamboo blonde who looks like you just stepped down from the GI's spin up collection.

[Marsha Bowman]

Alone.

[Mike Hammer]

The way she says that is intended to make you feel like you're the last guy on earth.

[Marsha Bowman]

You're alone. My Dorothy. Peter, maybe I can help.

[Mike Hammer]

I wouldn't be surprised, Dorothy.

[Marsha Bowman]

I'm here to help do what I can to light my patrons evening.

[Mike Hammer]

And their pocketbooks too.

[Marsha Bowman]

Now that is a crude enough I'm cool guy. I like a man who doesn't put his pocket.

[Mike Hammer]

Actually, I like a dame who can take it.

[Marsha Bowman]

Father, we'll be along fine.

[Mike Hammer]

Only time will tell.

[Marsha Bowman]

I have all these.

[Mike Hammer]

I wish I did.

[Marsha Bowman]

You know what? Haze me.

[Mike Hammer]

Maybe we'll talk about the pros and cons of that later.

[Marsha Bowman]

Well, there's a Tracy table over there on the corner. Why not talk about it now?

[Mike Hammer]

Because right now there's some talking I want to do with Ted Beckley, the character who runs this joint.

[Marsha Bowman]

Oh, he's expecting you. Mm, but Ted's busy. I know.

[Mike Hammer]

Suppose you tell him I've got to see him anyway.

[Marsha Bowman]

Well, you made it damn nearly important.

[Mike Hammer]

A murder is always kind of important. Especially to the one who gets killed.

[Marsha Bowman]

What's this all around?

[Mike Hammer]

Well, right now, Dorothy, that's between Beckley and me. And that door over there marked the private upstairs. Beckley's office?

[Marsha Bowman]

Yeah. You come on, I'll take you to Taylor. You wait here, please.

[Mike Hammer]

Hear that?

[Marsha Bowman]

There's someone outside.

[Mike Hammer]

Who is it, Darcy?

[Marsha Bowman]

I don't know.

[Mike Hammer]

The name is Hammer Beckley. My camera. Who asked you in here? Can't you read? A sign in the door says private and that means strictly. That's when I hear about Beckley. Something strictly private, he said it's something.

[Marsha Bowman]

About murder to you.

[Mike Hammer]

You a cop? Uhuh. I just keep this hat on because I didn't brush my hair this morning. Come on, what are you? A crude guy by nature? A private investigator by what they call profession. What's this murder stuff about? That's what I want to find out. You don't talk sense. I will get back out front. Dorothy, do what I tell you.

[Marsha Bowman]

Well, all I say.

[Mike Hammer]

Okay, Hammer, let's have it. There was a killing a couple of nights ago. In Central Park. A dame. So far, she hasn't been identified. I traced a man's watch she'd bought a year ago to a jewelry store. According to the store's record, that watch was nailed here to a George Norton. Know anything about Norton? George used to be my partner. The Damo brought the watch, gave me the name of Marcia Jordan. Know anything about her? Sure. Marcia used to work here. She was George's girlfriend before he took up a Darth. The dame who brought me in here. That's right. You see Macho Jordan lately? No, not for six months. Not since that night it happened. Since what happened?

[Ryan Seacrest]

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[Mike Hammer]

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[Zelda]

Trip Planner by Expedia. You were made to have strong opinions about sand. We were made to help you and your friends find a place on the beach with a pool and a marina and a waterfall and a soaking tub. Expedia.

[Mike Hammer]

Made to travel since that night George and Marshall went for that car ride. Since that night the Peekskill cop found George Norton in that car with two slugs in his head. After you leave Beckley's joint, you drive up to Peakskill and check out his story with a local genar. Beckley said it to your straight, all right, right down the line. Then you stop at a gin mill across the street and phone Valda in town.

[Marsha Bowman]

But now that Martha herself is dead, it could mean the police are wrong about her.

[Mike Hammer]

You know, it could mean that. It could mean that she kept herself under wraps for six months to save her own skin.

[Marsha Bowman]

What now, Mike?

[Mike Hammer]

What now? You feel as useless as a deep freeze in an egg load. You tell Zelda you'll see her at the office in the morning.

[Marsha Bowman]

All right, Mike, but take it easy. Promise.

[Mike Hammer]

Zelda knows you. She knows the frustration leads you to the bottle. You hang up, not making any empty promises. Then you go over to the bar and order a double burden. Mind if I join you? You tell the little guy with a mouthful of gleaming white choppers that you do mind to be alone. That is bad enough to Be alone and unhappy. That is terrible. Look, if I want my fortune told, I'll go to a gypsy. T I only trying to be friendly. I got enough friends and perhaps enemies too, huh? You like that music? I put the money in a machine to play that. A Roomba, my favorite. I always play that one. For 5 cents. You can recapture a memory, a song. One song can mean so much in your life. Whatever your name is, Carlos Gomez, and it's a pleasure to know you. That song, a sad memory. Even the moment I recapture, it's not really mine. She was so beautiful like a star. But she could never do mine. I danced with her only once to that song. I think in touch she laughed at me. I was so nervous and so clumsy. But I didn't care if she left me. I would have done anything for her. Anything she asked, no matter what she thought of me. Beautiful, like a star. Can you understand what I mean? Yeah, maybe I can. But what's the difference? Oh, it is especially important that you understand. Why me? Because perhaps in a way you can do something for her which I can't. Why should I do anything for her, whoever she is? Because you will be doing it for yourself. At the same time she was. Marsha Jordan.

[Marsha Bowman]

What?

[Mike Hammer]

I follow you here. I overhear what you said at Beckley's place. I'm a waiter there. Waiter? But I'm a man too. None of them, they don't know what a man I am. They don't know nothing about me. Soon I will laugh at them out loud. I will laugh. The Jordan dance. Every time I play that music, I close my eyes, I see myself dancing with her. That one dance, I see myself not clumsy and nervous the way I was, but elegant, graceful. You said I could do something for myself and for her. You mean about getting a killer? Yes. Well, what is it? Tomorrow night I will have what you want. I am sure. What's the matter with tonight? You will have to wait till tomorrow. There will be no mistake. Then you can meet me. You name the price and wine. Gomez. The side street around the corner. 10 o' clock. You step out of your car. I will come to you. 10 o' clock. All right, I'll be there. Oh, she was like a star. So beautiful. But this time you go back to town and all the next day you're haunted by Carlos Gomez. Pathetic dream of love, his tragic devotion to a dame as far out of his reach as a stars. You're at your place getting set to drive up to Peekskill for your meeting with Gomez. Hello?

[Marsha Bowman]

Is this my camera?

[Mike Hammer]

Yeah.

[Marsha Bowman]

Oh, I'm glad I got to you before you left.

[Mike Hammer]

Who is it?

[Marsha Bowman]

That's not important. I had to talk to you before you went up to meet Carlos Gomez.

[Mike Hammer]

Well, how did you know about that?

[Marsha Bowman]

Don't ask any questions. Just listen to what I got to say to you. I just found out what Gomez is going to put on you. He isn't going to give you what you're looking for.

[Mike Hammer]

Who told you I had an appointment with Gomez?

[Marsha Bowman]

Will you just listen? You want to stay alive, don't?

[Mike Hammer]

Yeah, I'm sure you. So I have it now.

[Marsha Bowman]

Well, you won't if you meet Gomez. Believe me, the minute you step out of your car to meet Gomez, you'll get the same as the others. Got two bullets through you.

[Mike Hammer]

You've got a good idea who made that call, but you're not checking back on it just yet. Now, you're not sure what to expect, so you make ready for any kind of a twist. That warning you figure could have been a gimmick to sidetrack you, and then again, it could have been legitimate. Say, get hold of Delta, and you two work out an emergency theory. You drive up to Peekskill to meet Carlos Gomez the way you set it up. Besides, the street is as dark and deserted as a losing candidate headquarters. An hour after the election results are in, you're parked right in the middle of the block. You figure the car up ahead is Gomez. You wait a second and then open the door. It won't be long now till you find out just what Gomez intentions are. You lift the dressmaker's dummy from the seat beside you and push it on the side one. Gomez makes his intentions known just one second later. In just a moment, we'll return to the Mickey's Delay mystery, that Hammer guy. And now back to the Mickey's B mystery, that Hammer guy. Right after the shots put the air, Gomez's car starts up and fades into the night. You turn your Cooper on and start back to town. All the way back, you keep thinking of those two neat round holes the plugs made in the dummy's head. You feel a lot better that they're not in your head. You're in your place for only a couple of minutes when the call from Zelda come through.

[Marsha Bowman]

I did as you told me, Mike. And I've been on Gomez's chair from the time this car pulled out of that side street. Believe me, I wanted to go back to you after I heard those shots. Are you all right?

[Mike Hammer]

Yeah. But you could see that, dummy. Where are you, D?

[Marsha Bowman]

I'm calling from a bar up in White Plains. A place called the Onyx. It's on Central Avenue.

[Mike Hammer]

Gomez, go straight there.

[Marsha Bowman]

He's sitting in a booth in the rear. Keeps looking around as if he were expecting someone.

[Mike Hammer]

Okay, honey, I'm on my way up. You get in your coupe and go up the west side drive. Cut into Central Avenue and stay on it until you get to the Onyx and white plain. Zelda is to wait for you at the phone in the front part of the journey. But she isn't there. You're starting to get some black unhappy thoughts about her when you spotter waiting to you from a booth on the rail.

[Marsha Bowman]

Oh, Mike, am I glad you're here. I thought you'd never get here.

[Mike Hammer]

What's wrong? What?

[Marsha Bowman]

I. I didn't know what to do. Like, it's an awful spot.

[Mike Hammer]

Wyatt, what are you talking about? What happened to Gomez? Where is he?

[Marsha Bowman]

Listen, I'm talking about Gomez.

[Mike Hammer]

Oh, come on. Come on. Where is he?

[Marsha Bowman]

That's where I found him after I phoned you. I didn't know how it happened to you.

[Mike Hammer]

Zelda, would you make sense? What happened to Carlos Gomez? Where is he?

[Marsha Bowman]

Just where I found him. Here in the booth under the table. Look for yourself, Mike. Dead.

[Mike Hammer]

You look for yourself. Gomez is dead, all right. He's rolled up in a ball under the table, and the brown handle of a knife is sticking out between his shoulder blades.

[Marsha Bowman]

Mike, what are we going to do?

[Mike Hammer]

There's only one thing for you and Velda. Tudo. Get out of there and fast. You can feel her trembling as you take her arm on the way out.

[Marsha Bowman]

Mike, I'm really so glad to see anybody in my life.

[Mike Hammer]

You tell her you're going to make a prove that later on when there's time.

[Marsha Bowman]

I'm going with you. I've gone this far.

[Mike Hammer]

You tell her. She's gone far enough. From here on, you're playing at the keep. After you put Velda in her car and send her off, you drive over to Beckley's Roadhouse. Ted Beckley isn't any healthier this time. Dorothy Peters is conspicuously absent from the joint. You find out where she lives and go over to her place.

[Marsha Bowman]

Yes. Oh, you.

[Mike Hammer]

The way she says that is intended to make you feel like you're the last guy on earth. It's the last guy she wants to see.

[Marsha Bowman]

What do you want?

[Mike Hammer]

First, I want to thank you for.

[Marsha Bowman]

Lightening my evening after what you're talking about.

[Mike Hammer]

I'm talking about that phone call you made to me before I left for my appointment with Gomez.

[Marsha Bowman]

Phone call? Gomez? You're not making sense.

[Mike Hammer]

According to the switchboard record downstairs, I'm making a lot of sense. You made a call to my number, so the least I can do is to thank you for my life. I'm curious. Why did you bother? Yeah, Darcy, why did you bother? Boy, that in Hammer. This time I'm inviting you. I don't see how I can refuse your invitation. Me? I don't see how either, when it's engraved on this 45 inside. Both of you. You weren't feeling well tonight, huh? Dr. Sick so you couldn't come to work. You're even sicker. I followed you here. Hammer tailing me has turned out to be a threat of a national sport. I followed you because you gave me sort of a shock when you showed up at my place alive. You know what I mean? I can guess, Dorothy. He doesn't have to guess. She knows. Don't you, Dorothy? She knows. I had you tapped for the same place I sent George Norton. I had it set up nice and neat. Carlos Gomez was going to put on another shooting session for me, just like he did on Norton. But somebody tripped up me and Gomez. And it's a good thing Gomez isn't alive to hear about it. He'd be awfully disappointed.

[Marsha Bowman]

Gomez, it stays.

[Mike Hammer]

Didn't break my heart. I figured I didn't need him anymore. I had somebody pay him off at the Onyx Bar over in White Plain. Now to you, Dorothy. Somebody tipped Hammer off. That somebody.

[Marsha Bowman]

Well, no, Ted, I wouldn't do anything like that. God, how would I know? You didn't tell me.

[Mike Hammer]

Nobody knew about the deal I had with Gomez except you. But.

[Marsha Bowman]

But you didn't tell me, Ted.

[Mike Hammer]

Right, I didn't.

[Marsha Bowman]

Well, then how could I know?

[Mike Hammer]

I tried to figure out how. I got wiser than I remembered. I remembered you were standing outside my office last night when Gomez walked out and you had your ear to the door. You heard what we said.

[Marsha Bowman]

All right, Ted. I heard.

[Mike Hammer]

Well, I can say thanks for yet, anyway. Darcy, why did you do it?

[Marsha Bowman]

Why Martha Jordan. What? She wasn't a bad kid. You promised me, Ted, you wouldn't keep after her. You promised me. As long as you kept the mouth closed about George north, he'd let her alone.

[Mike Hammer]

What was she to you?

[Marsha Bowman]

Nothing. Just a nice kid. Too nice to get what she ended up with.

[Mike Hammer]

What's the matter with you? Are you crazy? I set up a nice spot for us. I get Norton out of the way. So the club is mine hours and then you go full of rotten lousy trick like that.

[Marsha Bowman]

Send me out the you can't go on killing. I had to stop you somewhere.

[Mike Hammer]

Just had to stop you wonder you didn't call a cop.

[Marsha Bowman]

I just wanted to stop you there so.

[Mike Hammer]

And she did. Beckley. Not yet, Hammer. There's still you. And her. You won't get away so easy this night. I'll take my chances. Now get over there with her. Go and get over there. You're over next to the dame. You can see she doesn't feel any way about it. But with you it's different. Like I said, I'll take my chances and you'll take yours. You don't know just how, but you do know you don't have much of a choice. When the jaw buzzer starts to cough you get an unexpected choice. Dickley takes his eyes off you for an instant and in that instant you take off with a flying leap head first you hit him with all you've got and the wind pisses out at him like gas is a magic. He goes down and slaps the roll on the floor like a lopsided apple. The gun is still in his head and he can still make a lot of trouble for you. So you bend over and then with a bagger your hands back in right behind him. From then on he's a sleeping rabbit. The buzzer is still sounding off. You go to the door and open it and you find out the aren't finished for this evening yet.

[Marsha Bowman]

Well, it took you long enough to answer.

[Mike Hammer]

Zelda glares at you like the school girl that finds her boyfriend carving another kid's initials on a tree.

[Marsha Bowman]

I followed you because I thought you might need me. And what happens? I find you in another woman's apartment.

[Mike Hammer]

You tell her you've never been so glad to see anybody in your life.

[Marsha Bowman]

You're going to have a job proving.

[Mike Hammer]

That everything is proven for you. When you bring her in and show her back on the way back to town she tells you how sorry she is.

[Marsha Bowman]

I am, right? I'm so sorry for Mistress.

[Mike Hammer]

But the way things stack up, you're not a bit sorry. Because that final wall of resistance all the keep between her and you starts to crumble into beautiful dust.

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[Zelda]

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