Pete Kelly’s Blues: The Veda Brand Story (Encore) (EP4678)

Summary

Podcast Summary: The Great Detectives of Old Time Radio - "Pete Kelly’s Blues: The Veda Brand Story (Encore)" (EP4678)

Release Date: April 15, 2025

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Introduction

In this encore episode of "The Great Detectives of Old Time Radio," host Adam Graham presents a captivating rendition of "Pete Kelly’s Blues: The Veda Brand Story," originally aired on NBC in 1951. This episode delves into the life of Pete Kelly, a cornet player navigating the tumultuous waters of love, deception, and the underworld during the roaring twenties.

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Plot Overview

Pete Kelly’s Blues transports listeners to a Kansas City speakeasy at 417 Cherry Street, where Pete Kelly, portrayed by Jack Webb, leads a band in the jazz-infused nightlife of the era. The narrative centers around Pete's entanglement with Vita Brand, a mysterious woman who persistently seeks his affection, leading to unforeseen complications orchestrated by the formidable Bakalidi.

Key Events:

1. The Routine Disruption (00:03 - 08:36):

   • Pete observes Vita Brand making repeated appearances at the speakeasy, each time accompanied by a deadpan gunsel. Her persistent attention disrupts Pete's routine, culminating in her direct approach where she confesses her love for him (08:20).

2. Sudden Proposal and Dilemma (08:39 - 16:37):

   • Under pressure from Bakalidi, Pete agrees to marry Vita to appease the latter's desires and dissolve his father's influence, leading to a hasty arrangement at City Hall. However, the plan backfires when Pete discovers Vita's lifeless body in his room, implicating him in a sinister plot.

3. The Revelation and Confrontation (17:18 - 29:54):

   • Seeking help, Pete consults Barney Ricketts, an ex-bootlegger, who unravels the truth: Bakalidi manipulated Pete into marrying Vita to eliminate Pete's father, Muggsy Brand. Faced with imminent danger, Pete confronts Bakalidi at the Grundy Bank, leading to a climactic showdown where both Bakalidi and his enforcer meet their demise.

4. Emotional Fallout (29:21 - 29:54):

   • In the aftermath, Pete grapples with the loss and the intricate web of manipulation, leaving listeners with a poignant reflection on love, loyalty, and survival.

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Notable Quotes

• Pete Kelly (03:39): "This one's about Pete Kelly."

• Vita Brand (07:22): "I'm getting happier by the minute."

• Pete Kelly (14:57): "I've made Vita cry. I do not like to see Vita cry."

• Narrator (19:03): "Nobody but me."

• Barney Ricketts (25:12): "Pete Kelly. Welcome, Petey, and have a drink."

• Narrator (28:15): "Silk stocking around my neck."

• Pete Kelly (28:32): "Tell a good story, friend."

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Character Dynamics

• Pete Kelly: A dedicated cornet player torn between his responsibilities and personal desires. His journey reflects the classic detective struggle between duty and emotion.

• Vita Brand: A captivating yet enigmatic woman whose affection leads Pete into a perilous situation. Her character embodies the femme fatale archetype prevalent in noir narratives.

• Bakalidi: The antagonistic force manipulating circumstances behind the scenes, illustrating the pervasive influence of organized crime in the era.

• Barney Ricketts: The loyal friend and former bootlegger who aids Pete, representing the quintessential sidekick with a murky past.

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Insights and Discussions

After the gripping audio drama, Adam Graham offers insightful commentary:

• Comparison to Other Series: Adam draws parallels between Pete Kelly’s Blues and Pat Novak for Hire, highlighting similarities such as the presence of a drunk friend aiding the protagonist in tricky situations. However, he emphasizes the distinct 1920s tone and the unique nature of Pete Kelly's character that set the series apart.

• Jack Webb's Passion: The host delves into Jack Webb's deep-seated love for jazz and the historical era portrayed in the series. Despite juggling his commitment to Dragnet, Webb passionately pursued Pete Kelly’s Blues, underscoring his dedication to authentic storytelling and musical appreciation.

• Legacy and Adaptations: Adam discusses the subsequent adaptations, including the 1955 film "Pete Kelly's Blues", which introduced notable elements like casting Andy Devine as a tough cop, and the 1959 television series starring William Reynolds. Although the TV iteration didn't achieve the desired popularity, it cemented the series' enduring appeal.

• Jack Webb's Continued Influence: Even during challenging periods in his career, Webb remained connected to his roots by hosting "Weekend Sound Flat" for the Air Force Reserve, further showcasing his unwavering passion for jazz and storytelling.

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Concluding Remarks

Adam wraps up the episode by reflecting on the timeless allure of Pete Kelly’s Blues, inviting listeners to appreciate the blend of mystery, music, and character-driven narratives that define the Golden Age of Radio. He encourages continued engagement through listener comments and social media, fostering a community of old-time radio enthusiasts.

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Stay tuned for more thrilling adventures with the Great Detectives of Old Time Radio, and join Adam Graham as he unearths the captivating stories that defined a generation of radio drama.

Transcript

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[Adam Graham]

From Boise, Idaho, this is your host Adam Graham. As I'm taking a recording break, please enjoy this special encore presentation. Please note this episode was recorded in 2019, so any offers or information in the episode may not be valid unless they're reflected on the Great detectives [e-mail] now on with our podcast, welcome to the Great Detectives of Old Time Radio. From Boise, Idaho, this is your host, Adam Graham. If you have a comment, email it to me. Box13racedetectives.net Become one of our friends on Facebook @RadioDetives and follow me on Twitter @RadioDetives. Today's program is brought to you in part by the financial support of our listeners and I want to thank Bishop Andrew for sending in a one time donation at support.greatdetectives.net you can also send a donation with the zelle app to box [e-mail] or to our P.O. box, P.O. box 15913. That's 15913, Boise, Idaho 83715. You can also become one of our ongoing Patreon supporters for as little as $2 per month. Go to patreon.greatdetectives.net Today we begin our countdown of the top five programs in our short division and for number five, this one is about Pete Kelly. Pete Kelly's Blues was a 1951 replacement series that aired over NBC and star Jack Webb. We played Pete Kelly's Blues back in season three. So it's been quite a while and we're going to take a listen to an episode. The original air date is July 11th of 1951 and this one is the Vita Brand Story.

[Pete Kelly]

This one's about Pete Kelly.

[Narrator]

It's about the world he goes around.

[Pete Kelly]

In it's about the big music and.

[Narrator]

The big trouble in the big twenties.

[Pete Kelly]

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

[Narrator]

Pete Kelly.

[Pete Kelly]

Pete Kelly's Blues, starring Jack Webb. With story by Joe Eisinger and music by Dick Kef.

[Narrator]

My name's Pete Gelling. I play cornet. You'll find us at 417 Cherry Street, Kansas City. It's a standard speakeasy. Before Prohibition, the building housed a cleaning and dying plant. It hasn't changed much. The vats came in handy. It's still tough to get a clear gin, but a lady likes the idea of a drink to match the color of her dress. The lease is owned by George Lupo. He's a fat, friendly little guy who wouldn't harm a fly. There's no money in harming flies. We start every night about 10 and flatel of customers get that first frightening look at each other in the early light. Lupo's working on a scheme to push the Don back for at least one more hour. I don't think he'll make it, but I wouldn't want to risk a buck against him. Last night everything was routine until I saw her again. We were just winding up the third set when she came in, flanked by the same deadpan gunsell. She sat alone at the same table, ordered the same drink, smoked the same Egyptian deities and gave me that same loving look. The gunsel, as usual, nibbled at his drink at the bar and his eyes playing watchdog for the girl. This was the fifth night, four nights running. Same girl, same gunsel, same routine. Sit for five solid hours, drink, smoke and work me over with her eyes. Reach down deep for a sigh and leave with deadpan right behind her. Well, I didn't like it. I was beginning to taste salt on my tongue. We went into a finish and the girl looked once at the gunsel. He nodded, left the bar and started to the stand. All right, Nick. Can you push it a little? It helps when we can hear the beat. Don't audition for me. Just do it, huh? Yeah. Red, that babe's here again. I know, I know. All right, what do we got up next? Working up ahead of steam, Petey. Well, she's beginning to make me feel like a wayside shrine. You. Who? You. Me? Yeah. Oh, you got a request? A number you'd like? No, I got no request. But the lady, she's got a request. The lady. What's the matter? You don't see the lady? How come you don't see the lady when she's looking right at you. Oh, that lady. Yeah, sure, I see the lady. Why do you make like you don't see the lady when all the time you know the lady's looking right at you? Look, friend, I'm only a poor, underpaid employee in this trap. Now, my contract says I'm to play music to please the patrons. I'd be very happy to do anything. The lady likes to please the lady. So. All right. So what does she want me to do? She wants you to have a drink with her. Sure. That'd be an honor, but I'm afraid that Mr. Lupo, he's my boss, you know. George Lupo, the proprietor. He doesn't like his employees to mingle. I will talk to Lupo. He'll like it. Yeah, you could probably make him love it. Come on. I'll be right back. Red, use some nickel. Right, Petey. Vita, this is Mr. Kelly. Mr. Kelly, this is Vita Brand.

[Vita Brand]

Sit down, Mr. Kelly.

[Narrator]

Yeah, thanks. All right, now, Vita, you happy?

[Vita Brand]

I'm getting happier by the minute.

[Narrator]

Sure, you. You want me to go back to.

[Vita Brand]

Bar, but here it's more friendly. Hello, Pete.

[Narrator]

Hello, Ms. Brian.

[Vita Brand]

Vita.

[Narrator]

Vita.

[Vita Brand]

You like my name?

[Narrator]

Sure, sure. It's beautiful, Vita.

[Vita Brand]

I only just got it last week.

[Narrator]

It'll take a little time to break it in.

[Vita Brand]

Let me hear you say it, Rita. Yeah, I like the way you say it. Like you mean it.

[Narrator]

Yeah, I do. I never meant anything more in my life.

[Vita Brand]

That's because you're sincere. I knew you were sincere the first time I looked at you. Remember? The first night I came in, sat here and looked at you.

[Narrator]

Yeah. Well, I'm pretty busy up there, you know.

[Vita Brand]

Ain't slept a wink since that night.

[Narrator]

Well, maybe if you go home and put your mind to it, huh?

[Vita Brand]

No use, Pete. I tried. Nothing's any good. Nothing I can do is gonna change it.

[Narrator]

Change what?

[Vita Brand]

Way?

[Barney Ricketts]

I feel sick.

[Vita Brand]

Yeah?

[Narrator]

With what?

[Vita Brand]

With love.

[Barney Ricketts]

Oh, poor Vita.

[Narrator]

Yeah. Well, beautiful girl like you, no trouble finding another man.

[Vita Brand]

I don't want another man.

[Narrator]

You don't want another man.

[Vita Brand]

I want you.

[Narrator]

That's what Vita wants you.

[Vita Brand]

I love you, Pete.

[Narrator]

Yeah, sure. Well, that's the way it ought to be. Everybody, you love everybody else. It's a better world. Well, I got a number to do. Now, you shut up. A lady is trying to tell you how much she loves you, so pay attention. Yeah.

[Vita Brand]

First time I saw you, Pete, hit me like a dum dum bullet.

[Narrator]

Well, excuse me. I have to earn a buck. Frame it. It's the last one you'll have to earn. All right, let's do one. What do you got up? Deal with Meat again. All right, Petey. Yeah, Red. That babe. I got the rumble on it from Lupo. Yeah. Ever hear of a citizen named Baliti? The three for boy. Three killings for the price of two. All right, Red, Funnel it down, huh? She belongs to Baccalitis. Loser, Petey. Loser. You told me what. Now tell me how. Let's try one. Let's do it. When we meet again. All right, we'll make a slow intro out of the last eight. We'll go back to the top. Nick, you take the first four going in. Everybody got it? All right, let's try it. Come on, let's all play it, huh? All right, once more. Nervous, Petey? No, I'm not nervous. Now, come on, everybody. Once more. It. All right. No break. Pete Gun's heading this way again. Yeah, I know. What do we got up next, Bruce? Sweet little you and his dick. You want? Now, look, friend, I got a job to do. It. Let's go. Where? Now, you listen, buster. This ain't a lollipop poking you in the gut. I could drop you and be out of here before you hit the floor. Yeah. Let's go. Well, we went outside. The Hispano out in front probably wasn't as long as it looks. We've got fairly short blocks in this part of town. Vita took the wheel. She banked low around the corner, pulled out of a half Immelman, gained a little altitude and flew blind for downtown Kansas City. Vita glanced at me from the corners of charged eyes. It just glanced at me. I leaned my head back and closed my eyes. The Hispano whip down Main Street. Lost altitude as we gained the deserted financial district. Made a perfect no point landing at the side entrance of the Grundy bank and Savings. But we went into the bank through the family entrance. One light was burning and it hung low over the biggest dice table I ever saw in any bank. The stick man was busier than a flea on a fat lady. He called the plays and called the points. And not one of the 50 torpedoes glanced at us. As we climbed a short flight to an upstairs office. Two men were in the room. One, a shadow dressed in dark clothes looked through a small window onto the dice game down below. The tommy gun rested easy across his knees. The other man sat behind a desk no bigger than the loading platform at Union Station. He was counting money. Neat, orderly piles of bills were stacked around him like a well trimmed hedge. We waited while he Finished thumbing a book of 50s, he just held him up to his ear, fanned him once, made a note on a pad by his elbow. Finally, he turned his swivel chair to face us. It was all chin and jaw. He leaned back, made a church steeple with his fingers threw me a credit manager smile and rocked his chair gently to and fro.

[Pete Kelly]

Well, come in, Mr. Kelly.

[Narrator]

Sit down.

[Pete Kelly]

You're among friends.

[Narrator]

Yeah, thanks.

[Vita Brand]

Pete. Permit me to introduce you to this here gentleman here who's very fond of you.

[Narrator]

Sure. Everybody loves me tonight.

[Vita Brand]

Oh, he doesn't love you. Only I love you. He's merely very fond of you.

[Pete Kelly]

I am Baccalydes.

[Narrator]

Yeah.

[Vita Brand]

He's confused. Ain't he cute? Ain't he cute when he's confused?

[Pete Kelly]

What is your confusion?

[Narrator]

How much time do you have?

[Pete Kelly]

I'm at your disposal.

[Narrator]

Well, now, look, it runs something like this, Mr. Bacolides. I play cornet, see? At 4:17. I mind my own business. I try not to poke a thumb in anybody's eye. Well, I noticed this young lady here sitting out front and tonight she asked me to have a drink with her. Well, naturally, I'm flattered.

[Pete Kelly]

Yes, I know all this, but what is your confusion?

[Narrator]

Well, it seems that this young lady here has a. Well, some kind of an idea that she sort of likes me and loves you, Mr. Kelly. Yeah, well, loves me like you say. Well, I don't figure myself for no Rudolph Valentino, so I get an idea that it's a rim, know. And especially since I know how. Well, how she. How both of you.

[Pete Kelly]

Not both, one, Me. I love Vita very much.

[Vita Brand]

Oh, darling, you're sweet.

[Narrator]

Yeah, that's right for a fact. And when Vita thinks it over, I'm.

[Pete Kelly]

Sure there's nothing more to think over, Mr. Kelly, Vita has stopped loving me. All right, I face it. It makes me very unhappy, but I face it now. She loves you. She wants you. I know how unhappy this can make her. I do not like for Vita to be unhappy. So Vita and me, we talk it over. We decide you will marry Vita.

[Vita Brand]

Thank you. Dying.

[Narrator]

You're sweet nothing.

[Pete Kelly]

Vita, you know how I will do anything to make you happy. Anything.

[Narrator]

All right, now, how about doing something to make me a little happy, huh?

[Pete Kelly]

But I give you Vita.

[Narrator]

Yeah, well, I passed.

[Pete Kelly]

You refused.

[Vita Brand]

Oh, Pete, you don't mean that.

[Pete Kelly]

You have made Vita cry. I do not like to see Vita cry. Tell her you do not mean that.

[Narrator]

Goodbye, friend. I got a number to do at 417 and it ain't Here Comes the Bride Pick him up. On your feet.

[Pete Kelly]

You will ask Vita to be your wife.

[Narrator]

What's the next best offer?

[Barney Ricketts]

I won't.

[Pete Kelly]

All right. Itch. I think Mr. Kelly wants to say something.

[Narrator]

Yeah. Kelly, huh?

[Pete Kelly]

Who am I?

[Narrator]

Huh?

[Pete Kelly]

You hear me?

[Narrator]

Yeah, I hear you.

[Pete Kelly]

Whiskey. Put him in that chair.

[Vita Brand]

Come on, boy.

[Pete Kelly]

Hold his head back. All right. He's fine now.

[Narrator]

Yeah. All I need is a few kind words.

[Pete Kelly]

I will give them to you. Just repeat after me. Vita, I love you.

[Narrator]

Vida, I love you, Venus. Vita, I love you.

[Vita Brand]

Oh, Pete.

[Pete Kelly]

Will you marry me?

[Narrator]

Will you marry me?

[Vita Brand]

Oh, darling, of course I will.

[Pete Kelly]

Congratulations. We drink to it. To the happy bride and groom.

[Narrator]

Long life.

[Barney Ricketts]

Long life.

[Vita Brand]

Long life.

[Narrator]

Yeah.

[Pete Kelly]

Now, here's how. Tomorrow afternoon, you and Vita will marry in City Hall. Itch will be best men. Then you go on a nice long honeymoon. Drive to Canada in my Hispano, which I give Vita for a wedding.

[Narrator]

Look, I got a job here in town. 417. Cherry.

[Pete Kelly]

Go back to that crib. Tell the boss you quit. Tear up your cornet.

[Vita Brand]

I'm loaded, Pete.

[Narrator]

Loaded.

[Pete Kelly]

All right. Here's a pound of 50s. Tomorrow morning, you buy some clean clothes. Top to bottom, inside and out. You will meet Vida at City Hall, 2:00. Here's a key to the Hispano. Take it. I'll kiss Vita good night.

[Narrator]

Yeah.

[Vita Brand]

Good night, angel. I'll be the happiest bride in the world.

[Narrator]

Sure.

[Pete Kelly]

And you'll be the happiest bridegroom.

[Narrator]

Yeah. Or the saddest. It. Well, I left the office inside the spin of a top Hispano stood by the curb, sleek and calm, just like nothing had happened. Nothing at all. Well, I pointed for the 12th Street Bridge, made the other side of the river and set a course down Boulder Road for Fat Annie's place. Oh, I tried to imagine life with Vita Brand. And then I thought of six painless ways of committing suicide. I began to feel better. Fat Annie's place was doing a fair business for the lull hours. Maggie Jackson was standing back to the piano. I groped my way to the bar, ordered a Bromo and ammonia and listened.

[Vita Brand]

All right. For the wealthy gentleman from Detroit. He needs me. All right, Ray. He needs me. He doesn't know it, but he needs me. And so no matter where he goes, though he doesn't care. He knows I. He needs me. I gotta follow where he leads me. Or else he'll never know that I need him. Oh, he me, me. Thank you. Thank you.

[Narrator]

Congratulate me, Maggie.

[Vita Brand]

Congratulations. What's for?

[Narrator]

Let's get back here. I want you to be the first to know in.

[Vita Brand]

Pete. Who worked you over?

[Narrator]

You ever hear of a nail named Vita Brand?

[Vita Brand]

Vita? Why, she don't weigh hardly enough to beat the weight of an egg.

[Narrator]

What do you know about her, Maggie?

[Vita Brand]

Nothing much for sure. Only she's Baccalides package. And that makes her a package. Nobody tampers with nobody.

[Narrator]

Yeah, nobody but me.

[Vita Brand]

Not if you love life, you don't.

[Narrator]

I gotta.

[Vita Brand]

Who says?

[Narrator]

Bacaliti.

[Vita Brand]

Says Petey.

[Narrator]

You all right till tomorrow at 2:00? Yeah.

[Vita Brand]

What's this?

[Narrator]

Then's the wedding. Who? Mine and Vita Brand.

[Vita Brand]

Petey. You've gone simple for sure. You know what Baccalidis will do to you?

[Narrator]

Look, Maggie, I just left Baccaliti's. And Vita catch you with her? Look that way I'm healthy. If he catches me without her, I'm dead in my socks.

[Vita Brand]

Petey, you're taking those risks too fast. Slow it down a little, Bakalidi. He's just crazy about that woman. Remember Albino Arty? He once looked at Vita like Baccalitis didn't buy. That was six or seven weeks ago. You've seen Albino Arty for the past six or seven weeks? No, nobody has.

[Barney Ricketts]

Hear this?

[Narrator]

Bacalides orders me to marry Vita at 2:00 tomorrow afternoon. Now square it for me. Why?

[Vita Brand]

And Vita? What did she say about this?

[Narrator]

Only that she loves me. She tell her to bacalitis right to his platinum tea.

[Vita Brand]

I'm getting that feeling, Petey, like my grandmother used to get.

[Narrator]

What's it tell you that beat us?

[Vita Brand]

Preparing herself to be a bride and a widow both in the same day.

[Narrator]

Yeah, well, I better move.

[Vita Brand]

You do that, Pete. Fast and far.

[Narrator]

So long, Maggie. I will.

[Vita Brand]

And if I were you, I wouldn't stop moving till I heard him speaking foreign languages.

[Narrator]

Well, Mary, Vita, and I'm a dead bridegroom. Don't marry Vita. I'm a dead bachelor. Well, I decided to try to be a live fugitive. I raced the Hispano back across the river. Pulled up sharp in front of 417 cherry. The brakes never made a sound. Lupo was pounding the cash register with both fists. He threw the usual glare at me as I pushed through to the bandstand. All right, hold it down, huh? Hold it down. Let's do this one real fine. For me, it's my last time around, see? Yeah. Red, you being pushed out? Yeah. It's that or carried out. All right, let's do Singing the Blues, huh? Everybody ready? Yep. All Right. Here we go. All right. That'll do. Now, look, boy, I'm not gonna be around for a while. Little business I gotta take care of. Well, you'll hear from me. So just keep at it right here until.

[Barney Ricketts]

Red.

[Narrator]

Yeah. See in the alley? Huh? Look, Red, I'm in a jam. What can I do to help you? Thanks, but nothing. I got to keep moving. Maybe cool off in a couple of weeks. Maybe not. Meantime, try to keep the boys together, huh? Sure. Well. Well, hold on, Red. Take care of yourself. Need any couple of bucks, Erskine? Anything? No, I'm fine. I'll see you. Well, it wasn't easy. I was gonna miss the boys. I missed Red already. No, it wasn't easy. But there was only one exit. I drove around to the rooming house, raced up the stairs. All I had to take was a clean shirt, my other suit and my book of arrangements I'd hightail at east. Just keep rolling till I ran out of road. That was the plan. Until I got to my room. She was stretched across my bed. And she looked right at me as I came in. There she was on my bed, looking right at me. But I was all alone. Now. Vita would never be anybody's widow. She was too dead to say I do. The stocking from her left leg was where no girl's stocking ought to be, knotted tightly around her throat. Well, I tiptoed back to the door, though she was a light sleeper. I closed the door very gently behind me. And then I raced down the three flights, into the street, into the Hispano and into high speed. There was no lamming out of this one. You just don't hit the road in the car belonging to the stiff you leave behind. For such violations, the law is strict. Also bac a leading. Well, I pulled up hard in front of Sour Sammy's joint. This time the brakes cried. Bonnie Ricketts was sitting at his usual table in his usual state, boiled and loud. Barney's the only ex bootlegger in the country who went broke in 1922. He says he did that to aggravate a couple of Prohibition agents he hated. Barney saw me come in, waved me over to his table.

[Barney Ricketts]

Ah, Pete Kelly. Welcome, Petey, and have a drink.

[Narrator]

Look, Barney, I'm up to my eyes.

[Barney Ricketts]

Nonsense, Peter. You haven't even opened them yet. Ah, here we are. A drink for you and a drink for me.

[Narrator]

Now, listen, Bonnie, I'm in trouble.

[Barney Ricketts]

I have suddenly become oppressed by the state of the world. Well, it's my own fault, Petey. My own Fault. I make it a rule never to look at the public prints. But tonight. Well, just listen to these few choice items.

[Narrator]

Now look, Barney. Right now I'm a moving target for Baliti's gun.

[Barney Ricketts]

Last night's edition of the Star. Look here, Petey. September 8, 1923. Girl forced to leap from strangers automobile. But let us remember, Petey, that the only girls who leap from strangers automobiles are those who climb into them. And here, look here.

[Narrator]

All right, Bob.

[Barney Ricketts]

California politicians say they are responsible for President Calvin Coolidge's success. Probably insists pity that it's in honor of their state that he's called Cal. And this pity.

[Narrator]

Barney, look. There's a dead girl in my roommark.

[Barney Ricketts]

Quoted at $0.28 per million. So you see, Petey, even a German millionaire is post hard to feel like 30 cents.

[Narrator]

Look. Vita brand. Bacolides girl. She's dead, Barney. In my room.

[Barney Ricketts]

Well, now, that's most careless of you, Peter.

[Narrator]

If I run, it's the law, Barney. If I stand still, it's Bacolides.

[Barney Ricketts]

How did you get mixed up with Vida Brand and Bakalidi?

[Narrator]

I don't know. I'm still in last week's fog. She wanted to marry me. Baccalidi said I would or else. Why, Barney? Why have he torched for?

[Barney Ricketts]

Very simple problem in human relationships, Petey. Tonight the word got out that Muggsy Brand was sprung.

[Narrator]

Who's Muggsy Brand?

[Barney Ricketts]

Peter's father. He was sent up last year.

[Narrator]

Peters.

[Barney Ricketts]

His whole life he tried to guard her like Lupo guards his cash register. He thinks baccholetes. And if he learned that, he and beat him.

[Narrator]

Yeah, now it's coming into focus.

[Barney Ricketts]

Sometimes, Petey, you are dull witted. Dull witted, but stupid.

[Narrator]

So Bacolides and Vita rigged it to disarm her old man. She marries me, takes the heat off Bacoli.

[Barney Ricketts]

Splendid, Peter, splendid.

[Narrator]

And her old man winds up throwing a knife at me. All I gotta do now is explain Vita's body in my room to Muggsy Brand.

[Barney Ricketts]

Precisely what Bacolides expects you to face.

[Narrator]

All right. Glue the rest of it together for me, will you?

[Barney Ricketts]

Battle Eaters is married. He could never square himself with Vita. He got in deeper than he wanted to. He couldn't temper because of Mugsy coming out. Out. So he ties her onto you, gets her up to your room, leaves her dead on your bed.

[Narrator]

How do I back out of this.

[Barney Ricketts]

One, Barney, you know where to reach Bakuli?

[Narrator]

Yeah, at the Grundy Bank.

[Barney Ricketts]

He's dice game.

[Narrator]

That's right.

[Barney Ricketts]

All right, Go There, see Bakulidi lay it on the line for him all the way. Just like we talked in here.

[Narrator]

He'll cut me down.

[Barney Ricketts]

You might.

[Narrator]

How much eggs do I have?

[Barney Ricketts]

Not quite enough to shave with.

[Narrator]

But maybe just enough to cut my throat, huh?

[Barney Ricketts]

It's your only chance, Pete. You're in the middle of a three way push. The law battle ladies. Mugsy Brand.

[Narrator]

All right, Barney, I'm counting on you on the outside.

[Barney Ricketts]

Don't worry, P.T. i'll be there with bells on.

[Narrator]

Yeah, make sure they don't toll for me. Well, I went back to the Grundy bank and Savings. I had no trouble getting in. The game was just heating up. I stalled around the dark edges of the table for a minute and laid a few bucks on the field upstairs. The light was on in the office. The boy with a big piece was still sitting at the window. I could see the head and shoulders of Bacolides. He was still counting money. I started slowly up the stairs, went into the room without knocking. The muscle man swung sharp, pointing the heater at my stomach. Bacolides, fast for a big man, flung out a hand and knocked the gun out of line.

[Pete Kelly]

Hold it. Next time knock or you pick up a lot of weight.

[Narrator]

Yeah. Silk stocking around my neck.

[Pete Kelly]

No, for you. A knife from the fingers of the best shiv man in the country.

[Narrator]

Muggsy Brand.

[Pete Kelly]

Don't try to run, Kelly. He likes a moving target. Just go to him. Tell him his daughters and your a stocking around her throat. Tell him you don't understand any of it. He will be very sympathetic.

[Narrator]

Well, that's nice, Mr. Baki. You set it up real nice.

[Pete Kelly]

Smart, huh?

[Narrator]

Sure. You persuade Peter to buzz it around that I'm number one. Everything fixed for her father's ears. Even get her to help you push her across by going up to my room.

[Pete Kelly]

Tell a good story, friend.

[Narrator]

Maybe too good. I'll put that rod down back at least before you drop it and break your toe.

[Pete Kelly]

Maxi, take him downstairs.

[Narrator]

Come back alone.

[Barney Ricketts]

Look out. Get down, Mumpy.

[Narrator]

Barney, you all right?

[Barney Ricketts]

Shell shock.

[Narrator]

Muggy by him.

[Barney Ricketts]

Yes, Pete. I knew where he was. All he heard was Baccalides Kelly.

[Narrator]

Yeah, Monsey Bacolides.

[Pete Kelly]

I got him.

[Narrator]

He was between the guns. Not much left of him or his trigger man. Or me. Now listen. My Pope money. Take it.

[Barney Ricketts]

My kid a good burial.

[Narrator]

Easy. Love you, huh? She was only a kid. Maybe if she met a guy like. Yeah. What do you mean, Pete?

[Barney Ricketts]

A guy like who?

[Narrator]

Who knows Barney? Who know Pete.

[Pete Kelly]

Kelly's Blues starring Jack Webb with story by Joe Eisenter and music by Dick Kafka scoring by Maddie Matlock. The music of Pete Kelly's Big Seven and Maggie Jackson is now a available on phonograph records.

[Narrator]

The proceeding was transcribed. It's the Silver Jubilee on NBC. There's another thrilling adventure in store for you tonight with Les Demon as the hard hitting adventurer known as the Falcon. Later hear the best in music, the tunes which America is singing. Yes, we bring you a sparkling new program devoted to the best in popular music and presided over by well known musical director Meredith Wilson. Tonight make a listening reminder to hear Meredith Wilson's music room Les Demon as the Falcon tonight on NBC.

[Adam Graham]

Welcome back. Well in some ways this did have a similar feel to Pat Novak for Hire with several things like the drunk friend who helped Pete out of jams. But it's 1920s tone and the nature of Pete Kelly do make it a pretty different series. This was really a passion project for Jack Webb. It was a sustaining series over NBC that he decided to do while he, you know, was continuing to do Dragnet full time. There was no summer break for Dragnet like would have made sense. This was the project that he absolutely loved because he was so much into jazz music and into that whole era in history. He would come back to Pete Kelly's Blues a couple more times. There would be a movie, Pete Kelly's blues released in 1955 and it's a pretty interesting film. Of course it has the great music, it looks really good and it makes some really interesting choices, most of which I think pay off, such as making Andy Devine play this sort of heavy tough cop. Pete Kelly's Blues would also be made over television with William Reynolds taking on the role of Pete Kelly in 1959 and that one lasted for just 13 episodes. It was never quite as popular as Webb wanted, but he loved the series, he loved the concept and he came back to it as many times as he could and he continued to love and enjoy jazz. In fact, during the period for which he was kind of in a career low in the early 60s, he actually hosted a show called Weekend Sound Flat over the Radio for the Air Force Reserve where he commented on some of the great jazz musicians and played some of their music and then provided a pitch for the Air Force reserves. Alright, well that will about do it for today. Join us back here tomorrow for Standby for Crime and then next Monday it will be a host choice selection. Be sure and listen for that. In the meantime, send your comments to box Thirteenreatdetectives.net Follow me on Twitter at radiodetectives and you can leave a voicemail for the show by calling 208-994-7783. From Boise, Idaho, this is your host, Adam Graham, signing off.