The Falcon 49-02-20 (216) Murder Is A Knock-Out

Summary

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Podcast Summary: Harold's Old Time Radio

Episode: The Falcon 49-02-20 (216) "Murder Is A Knock-Out"

Date: January 24, 2026
Host: Harold's Old Time Radio
Starring: Les Tremaine as The Falcon (Mike Waring)

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Overview

This episode of "The Falcon," titled "Murder Is A Knock-Out," delivers a classic noir whodunit set against the gritty backdrop of postwar New York. When a ringside murder unravels tangled webs of greed, betrayal, and love gone sour, detective Mike Waring (the Falcon) navigates double-crosses and shifting allegiances to uncover the truth. With the familiar brisk dialogue and femme fatale intrigue of Golden Age radio, listeners are treated to a suspenseful detective yarn brimming with witty exchanges and clever plot twists.

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Key Discussion Points & Plot Breakdown

1. Setting the Scene: The Boxing Match and a Shady Deal

[02:16-03:06]

• At Madison Square Garden, Kay Davis and Vic Jones watch boxer Walters lose badly. Their tense exchange reveals financial and emotional strain:
  • Kay is tired of being used by Vic, who owes her money—but Vic claims he’s got “a lot of irons in the fire” (03:01).
  • Suspicion runs high, but their argument is interrupted when Kay spots a threatening figure from Alexo's gang.

Notable Quote:
"You have one iron in the fire? Me? Well, I'm tired of getting burned."
— Kay Davis, [03:01]

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2. The Manhunt for Kay: Betrayals and Bargains

[04:23-06:36]

• Vic tries to cut a deal with Alexo’s henchmen, offering to sell Kay’s location for money, revealing escalating treachery.
• Alexo, a crime boss from Los Angeles, is after Kay because she absconded with $75,000 of his money—not, as he first claims, because she's his sister.

Notable Quotes:
"He’s looking for Kay. I know where he can find her.”
— Vic Jones, [04:42]

"You know Hagen, sometimes I get the idea you don't want me to find Kay."
— Alexo, [06:36]

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3. Mike Waring Gets Drawn In

[07:05-09:02]

• Alexo hires Mike Waring (the Falcon) to find his “sister” Kay Davis, but Waring quickly detects deception in Alexo’s story.
• Waring’s skepticism and sharp questioning set the tone for the detective's no-nonsense approach.

Notable Exchange:
"So you have a detective looking for her in Chicago and me in New York. Anybody else?"
— Mike Waring, [08:10]
"Well, some of my boys are looking for her."
— Alexo, [08:12]

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4. Bluffing, Blackmail, and Blood

[09:04-14:05]

• Hagen (Alexo’s man) attempts to extort Kay, but she seizes control:
  • Kay knocks out Hagen and takes his gun, revealing formidable survival skills.
• Vic later informs Kay that Hagen is dead—not just knocked out—and that she may be implicated.

Notable Quote:
"I can take care of myself. And I can take care of anybody who tries to cross me."
— Kay Davis, [12:17]

"You're right. Hagan won't tell the police anything. But the reason he won't tell them isn't that he's afraid—it's that he's dead."
— Vic Jones, [13:54]

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5. Everyone is a Suspect: The Investigation Deepens

[15:15-18:59]

• Alexo’s true motives are revealed to Waring—Kay was his girlfriend, not his sister.
• The police find Kay suspicious, but there’s no proof she killed Hagen.
• Kay tries to hire Waring herself to clear her name even pulling a gun on him in desperation.

Notable Quotes:
"She is not my sister. Surprise. She was my girlfriend. Ran away with another man. I want her back."
— Alexo, [15:46]

"That's not very smart, pulling a gun."
— Mike Waring to Kay, [18:59]

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6. Red Herrings and Frame Jobs

[20:23-22:44]

• Waring interviews Vic, who reveals more about the missing $75,000 and their romantic breakup.
• Someone is caught planting evidence in Vic's apartment—a setup in progress.

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7. Kay Tries to Strike a Deal with Alexo

[23:48-25:35]

• Kay visits Alexo, proposing to frame Vic for the murder and plant evidence to back up the story.
• Their scheme is interrupted by Waring, who enters with his classic confidence.

Notable Quote:
"A little matter of murder."
— Kay Davis, [24:31]

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8. The Truth Comes Out: The Falcon’s Deduction

[25:51-29:17]

• The Falcon assembles the suspects and unmasks the solution:
  • Kay confesses to knocking out Hagen, but didn't intend to kill him.
  • Waring's key deduction: The body was moved after death (no blood in the alley), clearing Kay.
  • With Alexo’s motive weakened, suspicion falls on Vic—he had reason to prevent Hagen from exposing him and Kay.

Notable Exchange:
"But who else would have wanted to kill Hagen? How about you, Alexo?"
— Mike Waring, [27:06]

"But if he didn't and Kay didn't, that just leaves...
— Waring, [28:40]
"Yeah, that's right.
— Vic Jones

"Isn't it a shame, Jones, that they went to the trouble of trying to frame you when you were guilty the whole time?"
— Mike Waring, [29:06]

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Memorable Moments & Quotes

• Mike Waring's dry wit and skepticism:
  "You know something, Alexa? Somehow I didn't think you would." [09:00]

• Tense exchanges between Kay and Vic:
  "I suppose you didn't tip Hagen where to find me." — Kay Davis, [11:54]

• Classic detective deduction:
  "Hagen's head was covered with blood, but there was no blood in the alley where he was found. That means he was killed somewhere else and brought there."
  — Mike Waring, [26:38]

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Key Timestamps for Important Segments

• Boxing Match & Kay-Vic confrontation: [02:16–03:37]
• Vic offers up Kay to Alexo’s men: [04:23–05:33]
• Waring confronts Alexo about his lies: [07:05–09:02]
• Kay knocks out Hagen & learns of his death: [11:43–14:05]
• Alexo confesses real motive to Waring: [15:26–15:46]
• Kay tries to hire Waring at gunpoint: [18:47–19:44]
• Eavesdropping & evidence-planting in Vic’s apartment: [22:19–22:44]
• Kay and Alexo plot to frame Vic: [23:48–25:35]
• Waring unravels the case & confronts the killer: [25:51–29:17]

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Tone and Style

• Hard-boiled and clever: The script is brimming with snappy banter, subtext, and misdirection.
• Moody and suspenseful: The noir atmosphere is palpable, with shadows, alleyways, and moral ambiguity.
• Engaging, with rapid twists: The plot zigs and zags, keeping the audience guessing up to the final reveal.

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This episode stands as a stellar example of postwar radio drama, blending intrigue, romance, and surprise—plus the indelible cynicism and sharp dialogue that’s the hallmark of “The Falcon.” Even listeners new to the series will find it a gripping introduction to the genre.

Transcript

[A]

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[B]

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[A]

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[C]

Falcon starring Les Tremaine.

[B]

Hello? Yes, this is the Falcon speaking. Oh, Marcia, I'm glad you called, but I don't see how I can make it tonight. Angel. I have to locate a girl. Is she attractive? Well, I know one guy who fell for her. Did he fall hard? They're burying him tomorrow.

[C]

Once again, the mutual broadcasting system brings you the adventures of the Falcon. One thing about Michael Waring the Falcon, he certainly gets around. You met him first in his bestselling novel, then you saw him in his thrilling motion picture series. And now we're happy to bring you again his adventures on the air. Yes, it's Michael wearing that freelance detective who's always ready with a hand for oppressed men and an eye for repressed women. So join him tonight when the Falcon learns murder is a knockout. It's 10:30 at night in New York, and in Madison Square Garden, the sixth round of the main event is underway. At the ringside, blonde K. Davis looks from the fighters to her escort, Vic Jones, whose good looking but rather weak face is chalk white as he sees the boy he is rooting for taking a bad licking.

[B]

Come on, Waller.

[A]

Keep it left up. Keep it up. Oh, this looks like the finish. Come on, Walters.

[B]

One, two.

[A]

Oh, there it is. Come on, Walters, get up. Oh, don't disturb me. Vicky needs you. That does it.

[D]

Yeah, well, I'm afraid you're gonna have to let me have five bills.

[A]

What gave you that idea?

[D]

I was on Waller.

[A]

I wasn't.

[D]

Oh, now, don't be like that, baby.

[A]

Come on. Now on, Vic. That's exactly how I'm going to be. I played sucker long enough.

[D]

I got to have that dough. Kay.

[A]

What's the matter? You got a broken leg? You want money? Worse for it.

[D]

I'm gonna have plenty. But it'll take a little time. I have a lot of irons in the fire.

[A]

You have one iron in the fire? Me? Well, I'm tired of getting burned.

[D]

Okay, baby. You figure you got burned, so now you want to chill. Well, that's what you're gonna get anyway. It was nice knowing.

[A]

Now, wait a minute, Vic. I'm not asking for a sign off.

[D]

That's what you think.

[A]

And I was right.

[D]

About what?

[A]

You were only using me for what you could get out of me.

[D]

If there weren't people around here, I'd kick your teeth in for that.

[A]

Because I'm right.

[D]

What are we fighting for, kid? You know, it's you and me. No matter what. We. We can't help ourselves.

[A]

Wait a minute.

[D]

What's the matter?

[A]

Let's get out of here quick.

[D]

What is it?

[A]

Come on.

[D]

Well, the aisle jam.

[A]

Well, we can push our way through. Excuse me, please. Hurry up.

[D]

Big what goes?

[A]

You see that character over there? The one on the gray hat? He's looking this way.

[D]

What about him?

[A]

He works for Alexo.

[B]

Oh, you think he saw you?

[A]

I know he did. That's why he's here. Alexo knows I like to fight.

[D]

Yeah.

[A]

We'll have to shake him, Vic. He'll want to trail me and find out where I live. Is he following?

[D]

I don't know. I can't see him now.

[A]

Good. And that means he can't see us either. No. We can only keep it that way. We'll be all right.

[B]

Hello, Hagen. How do you know my name?

[D]

Kay pointed to us. A fight tonight. Sorry she couldn't stay around to see you, but she wasn't feeling sociable. She went home. I apologize.

[B]

What do you want?

[D]

Alexo. Is he.

[B]

No. Doesn't get in till tomorrow morning. What do you want to see him about?

[D]

I have a composition for him. He's looking for Kay. I know where he can find him.

[B]

Marty. I'm handling things for the Lexa.

[D]

You can talk to me, right?

[B]

What's your name?

[D]

Joan Vicki.

[B]

And what's your proposition?

[D]

500 on the line. That's kind of steep. Oh, I wouldn't say so in people of LA. She put 75,000 of Alexa's money with her. Five C's isn't much to get it back.

[B]

I'll find her sooner or later, whether you help or not.

[D]

Yeah, sure. But while you're looking, she'll be dipping into 75 grand. She could burn up a lot more than five bills before you rinse them.

[B]

H got a point.

[D]

Well, do we do business? I don't.

[B]

All right, Jones, the deal.

[A]

My plan for San Francisco and intermediate cities now loading gate three. All aboard flight nine, please.

[B]

Like so. Here I am. Hello, Hagen. How was the trip? How are things going? Got anything on the girl? Not yet. Nothing. Tried the fight? Yeah. If she was there, I didn't see her. Don't think she's in New York. A detective in Chicago, sir, will buy a ticket to New York. Maybe she went on through Florida. Maybe. I think she's here. I wouldn't have come all the way from LA if I wasn't pretty sure. Well, what should we do? I've already wired Mike Waring. McFarlane? Yep. You don't want that bird snooping into your activities. He won't. All I'm going to have him do is locate the girl. I don't like it. You know Hagen, sometimes I get the idea you don't want me to find Kay. What?

[D]

Now look Alexo, I turned the town.

[B]

Inside out trying to find her. I hope you did. Because if I find out you are lying, you are the one that's going to be turned inside out. How do you do, Mr. Wearing? Hello. You must be Electro.

[D]

That's right.

[B]

Come in. A nice trip or. Dad. Well, what can I do for you? I. I want you to find my sister. So you said in your wire. What can you give me? Honor. Yes, I picked him. When did you last see her? In Los Angeles, two weeks ago. And she disappeared without any warning? Yes. You have any reason to run away? Not that I know of. What makes you think she's in New York? Well, I thought she might have gone to Chicago. Why? She used to live there. So I sent her a picture to a Chicago detective. He located her but before I could get there she bought a ticket to New York and paid it again. Have you notified the police? No. I don't want her to get the idea I think she's done anything wrong. Why are you smiling, Mr. Wayne? I didn't realize I was. So you have a detective looking for her in Chicago and me in New York. Anybody else? Well, some of my boys are looking for her. Boys or fellows who work for me. Doing what? They work for me. My business. What is your business? What's that got to do with this? You never know. Look Waring, I didn't come here for a third degree. You came here to get me to find someone for you. So I have to know things about her and you. What do you want to know? Why you've been lying to me. You say you haven't any idea why she disappeared, but still you're sure right away. It's a long distance fade out. You don't want the police in it. You burn. When I ask what business you're in. I don't like the way it adds up. All right, Waring, you don't want the job. Sorry I bothered you. Who says I don't want the job? You just did. I said you were lying. But if that picture does the girl justice, I still could be persuaded to look for her. You know something, Mary? Somehow I don't think I've tried to persuade you. You know something, Alexa? Somehow I didn't think you.

[C]

Hello, Kay.

[A]

Higgins.

[B]

How come a girl with your looks is eating alone?

[A]

Maybe I like it that way.

[B]

Nobody likes to eat alone. I'll join you.

[A]

How did you know where to find me?

[B]

Maybe I followed you last night to find out where you stand.

[A]

Not unless you're invisible. I made sure I wasn't followed.

[B]

Well, here I am.

[A]

So I see.

[B]

What would you do if I told you Alexo's in town?

[A]

What? Does he know where I am?

[B]

Not yet, thank heaven. Don't thank heaven. Thank me.

[A]

Cave.

[B]

And I know just how you can show your gratitude.

[A]

Oh, you do?

[B]

Yeah. You have 75 grand of Alexo's money. But I'm a generous guy. I'll let you keep 50 of it.

[A]

Thank you, Hagen.

[B]

Don't mention it. I finish your lunch, we'll go pick up my 25.

[A]

Will I get time to think it over?

[B]

What do you have to think? You either want to keep 50,000 or you keep nothing.

[A]

All right. I'll bring you the money tonight.

[B]

Oh, no, you don't. I'm not letting you out of my sight till I have the cash in my hands. Not giving you a chance to run away again.

[A]

You don't miss any tricks, do you?

[B]

I can't afford to. I bid a grand slam. Believe me, K, I'm going to make it.

[D]

If you're the purchasing manager at a manufacturing plant, you know having a trusted.

[B]

Partner makes all the difference.

[C]

That's why, hands down, you count on Grainger for auto reordering with on time restocks, your team will have the cut.

[D]

Resistant gloves they need at the start of their shift.

[C]

And you can end your day knowing they've got safety well in hand. Call 1-800-granger. Click granger.com or just stop by Granger.

[B]

For the ones who get it done. What's the idea of going in the alley there?

[A]

Usually no parking places on the street. So I leave the car here and go in the back way.

[B]

Okay. Go get the zone.

[A]

All right.

[B]

Wait a minute. Your park's too close to the building. I can't get out here.

[C]

Slide over.

[A]

You can get out on this. Slide I'll get out first.

[D]

Okay.

[B]

I hope you don't have the bright idea that you make a break for it while I'm trying to get out. Because if you do, I'm. Oh. What?

[D]

Oh, hello, K. You dirty rat.

[A]

Huh?

[D]

What's the matter?

[A]

You know what's the matter. Get out of my way. I'm coming in.

[D]

What? I don't know. If you'd only tell me.

[A]

I suppose you didn't tip Hagen where to find me.

[B]

What?

[D]

Well, why would I do that?

[A]

You did it. You must know why.

[D]

Hey, wait a minute. Where'd you get that gun?

[A]

From Hagen.

[B]

How?

[A]

He tried to make a deal with me. 25,000 not to tip Alexo. I played alone.

[D]

Well, what happened?

[A]

We drove into the alley behind my building. When he was getting out of the car, I touted him with a flashlight. Then I got his gun.

[D]

You're quite a girl.

[A]

I can take care of myself. And I can take care of anybody who tries to cross me.

[D]

I didn't cross you, baby. You gotta believe that.

[A]

Maybe, maybe not. Anyway, Alexo still doesn't know where I am. And you are not tipping him.

[D]

Of course I won't.

[A]

I'm glad we agreed on that. But just to make sure.

[D]

Now don't be careful with that gun.

[A]

Stand right where you are. Okay. Don't try to get to that window. You're not getting out of here.

[D]

Well, there's always the window.

[A]

Hello?

[D]

Hello, Kay.

[A]

Vic. Well, that was a great stunt you pulled.

[D]

Yeah. Lucky I only live on the second floor. Anyway, it was better than getting shot.

[A]

I wasn't going to shoot you.

[D]

Well, it looked like it.

[A]

All I wanted.

[D]

Never mind that now.

[A]

All right, what do you want?

[D]

I've been looking for Hagan. Finally found him.

[A]

You did?

[D]

Yeah. He's still in the alley where you left him.

[B]

He was? Sure.

[D]

Pack of wallop.

[A]

I gave him everything I could.

[D]

You sure did.

[A]

Why are you calling?

[D]

I thought I ought to tip you off. Even if you do think I double crossed you.

[A]

Tipped me off for what?

[D]

Police have already found Hagen. If you're gonna blow, you'll have to hurry.

[A]

Why should I blow?

[D]

Well, you have a story ready in case they call on you.

[A]

They're not calling on me. Hagen won't tell them anything about me. I know too much about him and Alexa.

[D]

You're right. Hagan won't tell the police anything. But the reason he won't tell him isn't that he's afraid.

[B]

It's that he's dead.

[C]

When sudden death calls, wearing a white tie and leaving a calling card in the form of a.45 caliber slug. It's frequently just another case for the Falcon. But when wholesale disaster threatens a community, that's the time when everyone thinks in terms of the Red Cross. The 1949 Red Cross campaign has set its sights on the sum of $60 million to assault the problems that lie ahead this year. The increased total of disasters in the last year, the expanding national blood program, the large number of community services, all these require greater Red Cross efforts made possible only by the financial support and volunteer participation of the people. Remember this. You, through your contributions and voluntary action, are the Red Cross, providing a channel through which compassion and mercy find expression in the relief of human suffering. You, too can help through your Red Cross. Now, back to the adventures of the Falcon. It's a couple of hours since the body of Hagan was found in an alley behind the apartment house where Kay Davis lives.

[B]

Lives now.

[C]

Peter Alexo, the client whom Mike Waring had rejected, is once again at Waring's door.

[B]

Oh, you again, Alexo. Yes. May I come in? I want to talk to you. Okay. All right. What is it, Waring? I don't suppose I could persuade you to forget my visit for you this morning. Persuade me how? Money. Why? I have my reasons. What would it cost for you to forget that you ever saw me? Sorry, Alexo, My memory's too good. I was afraid you'd take this attitude. Well, then, Waring, there's just one thing to do. Gotta be cards on the table. Well, it's about time. Waring. That girl I wanted you to find. Yes? She is not my sister. Surprise. She was my girlfriend. Ran away with another man. I want her back. Mm. But I don't intend to risk a murder rat to get her. Where does murder come in? I had one of my boys, Joey, hang looking for Kay. Seems he found her. According to the paper, he's been murdered. And you figure she did it? I don't know Waring. How about her boyfriend? A possibility. I want you to look into it. All right. As long as you don't start acting coy again. I can't now. The police are bound to find out Hagen was on my payroll. You figure the police will think you killed him if we don't find the girl? I'm the only person in New York who had any connection with him. Uh huh. What I'd like would be to hop a plane back to the coast and make like I've never been here. But that would require your cooperation. Haven't been able to Buy that. So your next best bet is to get me to crack the case for him, or at least find Kay. Only now, whatever I find out, I turn over to the police instead of to you. Whatever you say. All right, Alexo. I'll do what I can. Good. I wish you luck. Thanks. And considering what happened to the last fellow who tracked down your girl for you, I'm going to need it. Homicide Squad, Lieutenant Gleason speaking. Hello, Gleason. Mike Waring. Sorry, Waring, we don't have a thing for you. How do you know? You don't know what I want. I know what we've got. Oh, you're too modest. You ought to be able to give me something on the Hagan case.

[D]

Well, I told you, I don't have any suspects. A girl, but a girl.

[B]

Gleeson, you interest me strangely.

[D]

Before you start dancing in the street swearing. We don't have very much on her. Only that Hagen was found in an alley behind the building where she lives.

[B]

Her address was in his pocket, but.

[D]

She claims she didn't know him. We can't prove different.

[B]

We're checking, but never mind that. What does she look like?

[D]

Blonde, bleached, about five' five.

[B]

Good looking, but a little on the.

[D]

Husky side for Dane.

[B]

That's enough, Gleason. Where can I find her?

[D]

At home, I guess. Not holding her yet. But what goes, Mike?

[B]

I'll let you know after I've seen her. And if she's who I think she is, the answer to your question is plenty.

[A]

What do you want?

[B]

You are.

[A]

And what?

[B]

The girl in the picture.

[A]

What picture?

[B]

That Alexo showed me.

[A]

What? I don't know what you're talking about. I don't know any Alexo.

[B]

Well, let me come in and I'll.

[C]

Tell you all about it.

[A]

No, you don't.

[B]

All right, then I go to the police and tell them that the Karen Dorrance they questioned is really Kay Davis of Los Angeles. And Joey Hagan came to New York for the express purpose of finding her.

[A]

You win. Come in.

[B]

Thanks.

[A]

And now, Mr. Waring.

[B]

Mike Waring.

[A]

The Falcons. You're working for Alexa?

[B]

Mm.

[A]

The police know about him yet?

[B]

Not yet, but I'll have to turn what I have over to them pretty soon.

[A]

I don't think you will.

[B]

Hey, that's not very smart, pulling a gun.

[A]

You're not gonna talk?

[B]

All right, I don't talk. The police have a corpse. They'll check on its background. It'll lead them to Alexo, and that'll lead them to you.

[A]

I don't know what to do. I have to have time to think.

[B]

Should have thought before you killed Hagen.

[A]

I didn't kill him.

[B]

He came here to see you.

[A]

Yes.

[B]

And you didn't want him to report back to Alexo?

[A]

He wasn't going to report back.

[B]

Why not?

[A]

He wanted me to pay him, not to.

[B]

Oh, and you agreed?

[A]

I was going to think it over.

[B]

But killing him was a cheaper route.

[A]

I tell you, I didn't kill him. I want to ask you something, Mr. Waring.

[D]

Go ahead.

[A]

What is Alexo paying you?

[B]

Why?

[A]

Whatever it is, I'll double it if you'll work for me.

[B]

Sounds like the same deal Hagen got. And look what happened to him.

[A]

No. No, I've given up trying to get away from Alexo. I. I see it's no use. But I'm on a spot with the murder. Maybe you can help clear me.

[B]

Maybe.

[D]

Unless you're guilty, I'm not.

[A]

Well, what do you say?

[B]

All right, Kay. You've hired yourself a detective. Hello. You must be Vic Jones.

[D]

Who are you?

[B]

Mike Waring.

[D]

What do you want?

[B]

You. If you are Jones, you fit Kay's description. I've been waiting in front of the building for you to come home.

[D]

Kay sent you?

[B]

I'm working for her.

[D]

Why did she send you here?

[B]

As a matter of fact, she didn't. That was my idea. She wants me to work on the Hagan case. I thought you might know something.

[D]

What would I know?

[B]

Plenty. If you're the murderer.

[D]

Why would I want to kill Hagan?

[B]

You wanted Kay for yourself. Alexa wanted her back. Hagan found her for him. You could have killed Hagan to keep him from recording.

[D]

There's only one trouble with that worry. Yeah, what can. I had already split up last night, so why should I care if Alexo found her?

[B]

It looks like my client has been holding back on me. Unless you're lying.

[D]

If you don't believe me, ask Kay.

[B]

I may do that. But first I'd like to ask you a few more questions. Yeah.

[D]

Yeah, sure. But not that. Out here in the street, we can. We can go inside.

[B]

All right.

[D]

I don't understand, Waring. If. If you're working for Kay, how come you thought I killed Hagen?

[B]

Why shouldn't I? I didn't know you and she had split up.

[D]

But didn't she tell you what happened with Hagen?

[B]

What did happen?

[D]

If you don't know, I'm not saying why. I've had enough trouble with Kay. She thought I tipped Hagen off about her. I think I've convinced her. I. I didn't by now. But I'm not going to give her any other reason to blow up.

[B]

Oh yeah, she blew up, huh?

[D]

Yeah.

[B]

Why did she care if Hagen found her since she'd already split with you?

[D]

On account of the 75 grand.

[B]

What 75 grand?

[D]

Well, didn't she tell you that either?

[B]

No.

[D]

Didn't tell you much.

[B]

Seems not.

[D]

Well, in that case, there's not much I can do for you either.

[B]

But if you know anything. Here.

[D]

Here we are. No use, Waring. I'm not talking, so you might as well run along.

[B]

Oh, no, not yet.

[D]

Well, I tell you I'm not.

[B]

What's the matter?

[D]

There's somebody in the bedroom. I'm gonna go see who's there.

[B]

I don't hear anything. Jones.

[D]

Hey, the window's open. The fire escape.

[B]

See anyone?

[D]

Jones? I don't know. I don't know. Dark out there. Wait a minute. There's someone in the courtyard. In the shadows. Hey, you down there.

[A]

Scrap. Stop.

[D]

Okay, pal, you asked for it.

[C]

This high western action adventure for you on Mutual's thrilling new radio program, Straight Arrow. For the first time in radio history, a full blooded American Indian becomes the central figure of a radio drama. A champion of law and order, a dynamic hero, an action packed style struggles. The incomparable Straight Arrow presents the vanishing American in his true life. You'll find swift paced entertainment when you hear the bold and daring Straight Arrow on Mutual. Now back to the adventures of the Falcon. 20 minutes have passed since Mike Waring and Vic Jones surprised an intruder in Jones's apartment. Now in another part of town, Kay Davis stands outside the door of a hotel room.

[B]

Kay.

[A]

Hello, Alexo.

[B]

This is a surprise.

[A]

I thought it would be.

[B]

Come in.

[A]

All right. I see you'll never give up, Alexo. And I'm tired of running. Here I am.

[B]

Good.

[A]

Tell me something. Was it me or the money that you were really after?

[D]

Don't you know I feel like a jerk?

[A]

I'm no Bobby talked to, but I really had it bad with that crumb. Dick. It's all over now.

[B]

I'm glad to hear that. Now we can go back and pick up where we left off.

[A]

Aren't you forgetting something?

[B]

What?

[A]

A little matter of murder.

[B]

That's right.

[A]

But I think I know how we can take care of that. If we play it right, stick together, we ought to be able to pin this on Dick Jones.

[B]

How?

[A]

Try this on the side for 75 grand. Suppose I'm not the one who took it from you? Dick did and ran off with me. But I Didn't know it was your money. Couldn't he say that?

[B]

Then what?

[A]

So you weren't really looking for me. You were looking for Vic. The only reason you tried to find me was that I could lead you to Vic.

[B]

Oh, sure, I get it. Then when Hagen found you, Vic had to kill him to keep me away from the two of you.

[A]

That's it. It gives him a motive. Yeah, I've already started on it. I planted your briefcase, the one I took the money in Vic's apartment tonight. He almost caught me at it, but I got away.

[B]

Great. I think we can make it stick. This calls for a drink. Beautiful. A celebration. Who's that?

[A]

I don't know. But whoever it is, remember our story.

[B]

Sure, kiddo. Sure. Hello, Alexo. Thought I ought to report. May I come in, Waring? Of course. Come in. Thanks. Oh, my other client's here, too. Good. Hello, Kane.

[A]

Hello, Mr. Waring.

[B]

Your other client? Yeah. I have no objection to a double fee. Since you both want me to do the same job, crack Hagen's murder. Kane, why didn't you tell me you were the one who beat Hagen's head in?

[D]

What?

[A]

Who told you that? Vic?

[B]

No, he must have.

[A]

He's the only one who.

[B]

Who what? Who knew. And don't reach for that gun again. I'll take that.

[A]

Give it your.

[B]

That's better. Better of fact, Katie, Nobody told me. But you told me yourself. Hagen found you, and he wouldn't have let you get away from him again unless he couldn't help himself. You admitted you didn't pay him.

[A]

Well, I. I didn't mean to kill him. It was an accident. I just wanted to knock him out so I could get away.

[B]

She killed him.

[C]

But I thought.

[B]

Oh, no, Alex. No, she didn't.

[C]

But she thought she did.

[B]

That's why she's been so hysterical. What? I've checked with the police. Hagan's head was covered with blood, but there was no blood in the alley where he was found. That means he was killed somewhere else and brought there. But how does that mean that Kay. She wouldn't have planted the body right behind her own apartment building. It would point to directly toward her. I see.

[A]

But Vic knew I'd knocked Hagen out in the alley. So he brought the body there to frame me. It was Vic.

[B]

Not necessarily. Hagen recovered and left. He could have told anyone else what happened.

[A]

That's right.

[B]

But who else would have wanted to kill Hagen? How about you, Alexo? Me? Hagen double crossed you. You wanted revenge. You killed him. I didn't. I Didn't know about the double cross. Then you tried to frame Kay. No use, Alexo. All I need is a few more answers from Kay, and I'll have all the facts I need. And now that she realizes how you tried to frame her, I think she'll.

[C]

Give them to me.

[B]

What is this wearing? I hired you to clear me. You hired me to solve the case, Alexo. And that's exactly what I'm doing.

[D]

A plan to frame me.

[B]

How will. That's right, Joan.

[D]

Oh, I'm sure glad you saw through it. How did you know Alexa was the murderer?

[B]

Well, I didn't. I was just feeling my way. First, I eliminated Kay. The body being planted in the alley cleared her.

[D]

Yeah, yeah, you told me.

[B]

But then there was one fact I had to get straight.

[D]

Yeah, what was that?

[B]

How Alexo and Kay got together. Kay could tell me, but I had to make sure she was telling the truth. And that's why I accused Alexa.

[D]

Why?

[B]

Yeah. Because if she thought Alexo was the murderer and that he had tried to frame her, then she wouldn't try to protect him. So I accused him. And then I asked how Alexo found her. She said he didn't find her, that she went to see him herself tonight.

[C]

So what?

[B]

But don't you see? Alexa wanted to find Kay and his $75,000. Hagen knew where Kay was. So Alexa would never have killed Hagen until Hagen had talked. And he obviously hadn't talked because Alexo was still looking for her. Which means Alexo didn't kill Hagen either.

[D]

But if he didn't.

[B]

If he didn't and Kay didn't, that just leaves.

[D]

Yeah, that's right.

[B]

You, Jones.

[D]

But why would I? I tried to kill you because she.

[B]

Thought you tipped Hagan off about where to find her. You denied Tippingham. You hoped to convince Kay of your denial, but you couldn't. If Hagen told her the truth, you killed him to shut him up. Well, there it is. Isn't it a shame, Joan?

[D]

What?

[B]

That they went to the trouble of trying to frame you when you were guilty the whole time.

[C]

Death is a one armed bandit. Death is a one armed bandit. That's the title of next week's Adventure of the Falcon, when Mike Waring learns that when it comes to slot machines, there's more than one way to make a killing. So be sure to listen next week at this time to another exciting Adventure of the Falcon. The Adventures of the Falcon are based on the famous character created by Drexel Drake, produced by Bernard L. Schubert, written tonight by Gene Wang and directed by Richard Lewis. Music by Emerson Buckley, composed by Richard dupage. Les Tremaine was starred as the Falcon, with Beverly Roberts as K. Russ Dunbar speaking. This program came from New York. This is the Mutual Broadcasting System.

[A]

SA.