The Big Story: Blind Date with Murder (EP4907)

Summary

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Podcast: The Great Detectives of Old Time Radio

Episode: The Big Story: Blind Date with Murder (EP4907)
Host: Adam Graham
Original Broadcast Date (Radio Drama): September 22, 1948
Podcast Release Date: February 10, 2026

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Episode Overview

This episode features a classic installment of The Big Story—titled "Blind Date with Murder." Host Adam Graham presents this tense mystery radio drama, originally aired in 1948, which follows crime reporter Harry Kandinsky as his night off turns into a harrowing investigation involving murder, gossip, and betrayal in a small Pennsylvania town. After airing the drama, Adam offers insightful commentary on the production, cast, historical background, and the real-life case that inspired the story.

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Key Discussion Points and Insights

1. Radio Drama Plot Breakdown

Main characters:

• Harry Kandinsky – Reporter, Pittsburgh Post Gazette
• Fred Moriarty – Local patrolman, “the friendly cop”
• Marilyn Baker and Her Father – Neighbors/witnesses
• Mrs. Agatha Norton and John (her son) – Victims
• Steve Lester – Local “hoodlum,” presumed threat
• Lola – Moriarty’s estranged wife
• Paul Whelan – Bar owner, alleged rival

The episode unfolds as follows:

• [02:51–05:13] Kandinsky is called away from his date to cover a shooting in Duquesne, PA.
• [05:13–11:04] He stumbles into a murder scene after meeting patrolman Moriarty and neighbor Baker. Two are dead: Mrs. Norton and her son John.
• [09:44–10:52] Young Marilyn claims another shot was fired at Steve Lester’s house; Kandinsky discovers Lester dead too.
• [11:04–14:26] At the deserted police station, Moriarty reveals himself as the killer at gunpoint and promises to tell Kandinsky everything.
• [14:26–26:55] In a chilling monologue, Moriarty unravels his descent: jealousy over his wife Lola, gossip from Mrs. Norton, instigation by Lester, and growing paranoia. He details how gossip and perceived betrayal led to his killing spree.
• [26:55–27:46] The police arrive, Moriarty surrenders his gun to Kandinsky, asks him to tell his story in the paper, and is led away in handcuffs.
• [25:38–26:55] Plot twist: Marilyn reveals she fabricated the initial gossip for fifty cents to see a movie, setting off the tragic chain reaction.

2. Notable Themes

• Danger of Gossip: The story squarely blames destructive rumors and small-town talk; a “little fib” spirals into lethal consequences.
• Mental Instability and Jealousy: Alongside gossip, the episode draws a portrait of a man unmoored by jealousy and insecurity.
• Tragic Irony: The murders were set in motion by a child’s innocent lie—innocence with catastrophic effects.

3. Host Commentary & Historical Context

Adam Graham provides post-show analysis:

• [28:49–30:21] This is a relatively newly-circulated audio, sourced from the collection of Jerry Hindigus, likely broadcast on the American Forces Network in the 1970s or 1980s.
• [30:22–31:28] Cast list highlights: James McCallion (Kandinsky), Larry Haynes, Ruth Shafer, Rita Ascot, Joan Alexander, Bill Smith, Mandel Kramer, and the announcer Bob Sloan.
• [31:29–32:28] Adam reflects on the episode’s message—warning against gossip—but notes that the main character’s psychological issues are deeper than community talk.
• [32:29–34:00] The true crime basis: The script was inspired by but significantly diverges from a real 1936 Pennsylvania murder case. The true killer, Martin Sullivan, was not a victim of gossip, but rather retaliated after being accused of molesting a child. He killed witnesses and was executed—the oldest person electrocuted in Pennsylvania.
• [34:00–34:37] Listeners’ comments and Adam’s thoughts: Engages with Spotify feedback, discussing how reporters and laymen in radio dramas seem more involved and physically brave than most people today.

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Memorable Quotes & Moments

From the Drama

• Patrolman Moriarty’s Breakdown
  “I'm a killer three times over, Kandinsky. So what's one more? What difference does it make now, huh?”
  (Fred Moriarty, 13:28)

• Moriarty’s Confession—Root of His Actions
  “You know what they call me, Kandinsky? ... They call me Moriarity, the friendly cop. Everybody likes me, all right. ... Then one day last week when I was off duty, I stopped in at Whelan’s Bar and Grill. Lola. Fred. Well, hello, Moriarity. What are you doing here, Lola?”
  (Fred Moriarty, recounting his descent, 14:23)

• Marilyn’s Twist
  “I just made up that story I told Mrs. Norton—about Mr. Whelan coming to your house when you were away and all... I just wanted 50 cents to see that new scary picture at the Strand. So I told Mrs. Norton I’d tell her a secret if she gave me 50 cents to go to the movies. And she did.”
  (Marilyn, 26:02–26:55)

From Host’s Commentary

• Adam Graham on the Episode’s Message
  “Of course the episode does have a powerful message about why one shouldn't gossip. Although even within the context... putting the onus on the gossipers as the cause of the detective’s problem is a bit problematic because he clearly had some issues going on.”
  (Adam Graham, 31:29)

• Adam on the Real Case
  “The actual story is a bit more grim than what we got on the radio version. ... A 73-year-old policeman in Duquesne was accused of molesting a 10-year-old girl. He got so angry about this that he went and killed all of the witnesses...”
  (Adam Graham, 32:29)

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Important Timestamps

• [02:51] – Start of the radio drama, scene-setting narration
• [05:13] – Kandinsky is sent to cover the shooting, meets Moriarty
• [09:44] – Discovery of a third shot, Marilyn’s involvement
• [11:04] – Confrontation in the police station, Moriarty reveals himself
• [14:26–26:55] – Moriarty’s long, detailed confession
• [25:38–26:55] – Twist: Marilyn’s “fib” confesses to starting the gossip
• [28:49] – Host Adam Graham returns for analysis, context, and listener feedback

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Overall Tone and Language

The episode is classic golden-age radio—intense, intimate, using inner monologues and direct dialogue. Host Adam Graham maintains an accessible, insightful, slightly wry tone, blending reverence for old radio with thoughtful critique and modern sensibility.

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For First-Time Listeners

"Blind Date with Murder” is a gripping morality tale about the lethal consequences of rumors—delivered in evocative, hard-boiled style. Adam Graham’s post-show analysis enriches the experience with historical depth and modern interpretation, making this episode a compelling blend of suspenseful fiction and media commentary.

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Recommended for:
Fans of mystery, classic radio, crime drama, or anyone curious about how entertainment mythologized—and sometimes distorted—real-life events.

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Transcript

[Adam Graham]

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[Adam Graham]

Welcome to the Great Detectives of Old Time Radio from Boise, Idaho. This is your host, Adam Graham. In a moment we're going to bring you this week's episode of the Big Story. But first I do want to encourage you. If you're enjoying the podcast, please follow us using your favorite podcast software. I do want to promote our other podcast and today I'm highlighting the Old Time Radio snack [e-mail] we will be launching into a brand new Old Time Radio Snack Wagon season starting on next Monday and we're going to bring you an exciting mix of comedy, drama, news and all sorts of little bits of Old Time Radio, either self contained programs or excerpts of longer programs. These are great little bite sized paste of Old Time Radio that are great to listen to on short trips or going in the store to get something real quick. You can check these [e-mail] or wherever you get your podcast from. But now, from September 22, 1948, here is Blonde with Murder.

[Harry Kandinsky]

It's long ago. It's also now radio's Mystery Theater. Like a vintage brew that gets tastier by the years, the radio mysteries of the 30s, 40s and 50s, although resting in the dusty archives, are still fresh and vibrant. Let's sit back now as the listener did so many yesterdays ago and try to figure out who done it. The Big Story here is America. Its sound in its fury, its joy in its sorrow, as faithfully reported by the men and women of the great American newspapers. Now the story as it actually happened. Harry Godinski Story as He Lived It Pittsburgh, Pennsylvania. A Harry Kandinsky of the Pittsburgh Post Gazette. And here it is, your night off. And what a night. What a night. As you leave the City Room, you look out the window and there's a full July moon tinting the smokestacks with eerie gold. And a warm and sensuous breeze eddying in through the window. And somehow the next thing you know, you're on the phone. You make a date with a certain blonde nurse at Braddock Church General Hospital. And a couple of hours later, you're waiting for your date near the hospital switchboard when.

[Fred Moriarty]

Brad at General Hospital. Who? Yes, sir, he's here. One moment, please. For you, Mr. Ginsky. I think it's your editor, Mr. Wall.

[Harry Kandinsky]

Thanks, Mary. Hello, Harry. Bill. Listen, I've got an assignment for you. Oh, this is my night off, Bill. I've got a date. Now, look, I'm shorthanded and you're in Brannock. We just got an anonymous phone tip. There's been some shooting across the river in Duquesne. I'll get over there right away and check. Call me back the minute you have something. So you stand up, your beautiful blonde and start to move as you drive across the Rankin Bridge. Turn left and climb the winding hillside to the cane. You curse your craft, the Post Gazette, and three times over, your editor, Bill Walsh. You roll into a dark and dingy section of Duquesne. And suddenly you see a man walking along a deserted street. You can't see his face in the darkness, but you figure you'll ask him if he's heard anything about the shooting. Hey, mister. What is it? What do you want? I only wanted to ask you. Get out of that car. What? Get out of that car and put your hands up. Okay. Now step closer, buddy, so I can see you. I don't know what this is all about, Moriarity. Patrolman Fred Moriarity. It's you, Cadillac. Yeah. Fine sweat you gave me, too. Here I am, a reporter being held up by Duquesne's only night cop. Yeah, and the guy they call the friendly cop. Sorry, Cadiz Katsinski. I didn't know it was you. What's the matter with you, Moriarity? What are you so trigger happy about? Well, there's a hoodlum here in town. He's threatened to get me to cocuning for me. Hoodlum, huh? Who? Name's Lester. Steve Lester. Say, wait a minute. We got a tip that there was some shooting here in Duquesne. You know anything about it, Fred? No, no, Katinski, I haven't heard anything why don't I jump in the car? We'll have a look around. No, no, no. You go ahead. I've got some business to. My name's Kadinski, a reporter. Post Gazette. What's happened here? Oh, we heard some shots in that house. Shots? Yeah, two of them. You see, I live next door. Her name is Baker. But anyway, my little girl, Marilyn, and I heard two shots. What happened? Who got shot? Well, I don't know. Nobody's gone into the house to look. What? Well, don't look at me like that, mister. I ain't taking no chances. What this town needs is more policemen. The killer may still be in there. You mean to say people may be dead in there dying, needing help, and you're waiting. Who lives here? A widow named Agatha Norton. You walk up to the front door, and strangely, Baker follows you. The goose flesh jumps out all over you, and your blood chills like jelly. You're scared. You're plenty scared. Maybe Baker's right. Maybe the killer is still in there. You go ahead. You rub your sweaty palm on your new suit and open the door. There's no sound. Nothing. You both go ahead. Kinsky. What is it, Baker? I. I just stepped on something. Switch on the light. Good Lord. Who's this? The widow. Mrs. Norton. Kudinsky. She. Yeah, yeah, you better. Bullet through the head. But there were two shots. What's that room there? That's the kitchen. Let's go. Oh, another body slug through the head. Know him, Baker? Yeah, I. I. Pull yourself together, Baker. Who is it? Mrs. Norton's son, John. See? Sweet mess. Now, Baker, listen. I want you to do something for me. Where's the nearest phone? Down at the grocery store. It's about a block from here. All right, go down there, phone the Post Gazette. Tell them to send a photographer. Come to call the district Attorney's office. And send some men out here. They got that? Yeah. Yeah, I guess so. Daddy. Daddy, that's my daughter, Marilyn. She.

[Fred Moriarty]

Daddy, they told me you were in here with the man from the newspaper. I got something to tell you. Daddy.

[Harry Kandinsky]

What is it, honey?

[Fred Moriarty]

I heard another shot.

[Harry Kandinsky]

Where?

[Fred Moriarty]

I think it came from Mr. Lester's house.

[Harry Kandinsky]

Steve Lester?

[Fred Moriarty]

Yeah.

[Harry Kandinsky]

Marilyn, I have a car outside. Will you show me where Mr. Lester lives?

[Fred Moriarty]

Oh, I'll be glad.

[Harry Kandinsky]

Goodinski. Look, don't worry, Bacon. I won't take a ride up to the house. You go ahead. Make that phone call. Come on, Marilyn.

[Fred Moriarty]

Isn't this exciting?

[Harry Kandinsky]

You drive down Urban street and you figure Moriarty in this Steve Lester went gunning for Each other. And one of them got it. But who? Meanwhile, this kid beside you with a curly golden hair and the wide blue eyes, chatters about, of all things, the movies.

[Fred Moriarty]

Oh, I love them. I could go all the time with the other. Your mother would give me the money.

[Harry Kandinsky]

Where's the house the shot came from, Marilyn?

[Fred Moriarty]

Oh, it's down that dirt road. The red house. See it?

[Harry Kandinsky]

Yeah. You stay right here. Don't leave this car, you understand?

[Fred Moriarty]

Oh, yes, sir.

[Harry Kandinsky]

And if I don't come back a little while, you run and get someone to come over here.

[Fred Moriarty]

All right, I will. My, isn't this thrilling? Just like the movies, isn't it?

[Harry Kandinsky]

You creep into the house expecting to find another corpse. You do. It isn't Patrolman Moriarty, so it must be Steve Lester. Get out of there in a hurry. Drop your movie mad little friend and look for a nearby phone. You find it in the empty police station in Duquesne City Hall. And just as you're about to call the office. Who's that? Who's that? Oh, it's you, Moriarty. Been looking all over for you, have you? I was just gonna call my office when you're on that phone. What? Put down the phone, I said. All right, Moriarty, but what are you. What are you pulling a gun on me for? Now, put out that desk light. Put out the light, you hear? You want me to blast your head off, do you? I did it before, you know. I did it three times. I'm a killer three times over, Kandinsky. So what's one more? What difference does it make now, huh? Now, wait a minute. My Moriarity. You mean you killed Mrs. Norton and her son too? Yeah, but. But why? Maybe Steve Lester was a hoodlum, but the Nortons weren't criminals. I had my personal reason, see? I had it coming to him. The whole rotten bunch, I had it coming. I want to tell you why, Katinski. Yeah? You and me are going to sit here in the dark and I'm going to tell you why. I gotta tell it to somebody. I gotta get it off my chest. You're a reporter. You like a good story. You're gonna get one. Only there happens to be a hitch in this story, Kandinsky. What's that? You'll never live to print. You, Harry Kadinsky of the Pittsburgh Post Gazette started the evening on a date with a blonde. But now you're sitting in the darkness of the deserted Duquesne police station opposite a killer, and you're scared. In the dark, his eyes watch you with a Fixed, glassy stare of a cat. Cat. And glow with a glaze of madness. You listen to Patrolman Moriarty and the words gush out crazily, tumble one after the other, but the shadowy gun in his hand never wavers. You know what they call me, Kadinski? You know what they call me here in Duquesne? They call me Moriarity, the friendly cop. Everybody likes me, all right. When I was a rookie, a young cop just starting out, I married my wife, Lola. There was this other man who wanted a beautiful girl, all the pretty as a picture. And he wanted her. His name is Waylon Paul Whelan. He owns a bar and grill on my street. You hear me, Katinski? I hear you all right, Paul. Waylon wanted her, but I married her. Then one day last week when I was off duty, I stopped in at Waylon's Bar and Grill. Lola. Fred. Well, hello, Moriarity. What are you doing here, Lola? Fred, what are you doing back here with him in this booth alone?

[Fred Moriarty]

Well, what's wrong with that? What's wrong with that? Will you stop staring at me as if I were a common criminal? Can I come in for a glass of beer if I want to? And if I meet Paul Whale in here and we have a friendly glass of beer, is there anything wrong with that? We'll leave there.

[Harry Kandinsky]

Let's go home, Lola.

[Fred Moriarty]

No. No, I won't.

[Harry Kandinsky]

You're. Will you hear me, Lola? You will. You go home with me, and you go now. Wait a minute, Fred. Take it easy. Sit down. Have a drink with us. It's on the house. You know what you can do with your drink, Will. And. Come on, Lola, let's go. What would you have done, Kandinsky? What would you have done? Your own wife sitting in a dark booth in a beer joint with another guy. Wouldn't you have been suspicious? Wouldn't you? Well, answer me. Don't sit there and say nothing. Wouldn't you have done what I did? Sure. Sure, Moriarty. But I would. Any man would. You're right there, Kandelski. Because if you didn't say that, I'd have shot you dead with this gun. Anyway, Lola and I got home and we had a fight.

[Fred Moriarty]

Fred, will you stop it? Will you stop asking me questions about Paul?

[Harry Kandinsky]

How long have you been seeing him behind my back?

[Fred Moriarty]

Paul? I told you, I have not been seeing him. I just went in for a beer and I saw Paul and we talked a while over. Nothing in particular. And that's what happened, is it? That's what happened. And that's all that happened. Don't you understand? Can't you get it through your stupid, suspicious head? What more can I say? What more do you want? The truth, Fred, for heaven's sake.

[Harry Kandinsky]

You'd like to get rid of me, wouldn't you, Lola? You'd like to take up with Paul Whelan just because he's done wanted to. No. No, Fred.

[Fred Moriarty]

I don't know. I give up. I married you for better or for worse. And I got worse. Fred Moriarty, the friendly cop. Fred Moriarty, the stupid cop.

[Harry Kandinsky]

Oh, Lola, Lola. It's just that I'm so crazy.

[Fred Moriarty]

Oh, don't talk to me anymore. If you feel that way. If you think I two time, you go ahead and think it. I don't care anymore. I just can't take it anymore. I can't talk about it anymore. I'm tired. I'm going to bed.

[Harry Kandinsky]

Lola, I love the Kandinsky. I was crazy about it. I felt terrible. Terrible. All broken up. You know what I mean? For two years. Sure, Fred. Sure, I know how you must have. Yeah. Funny. Everything's so funny inside my head, you know. It goes around and around and around. Anyway, when I left Lola, I had to go out on duty. I put on my uniform and walked out of the house. I met a neighbor of mine, the widow Norton. Agatha Norton? Yeah. Gossipy Norton, he called her in my neighborhood.

[Fred Moriarty]

Oh, Mr. Moriarty, I don't know what I ought to tell you. I don't know what's ought to tell you, seeing as you're always so nice and friendlike. All I can say is it's a shame and a disgrace. A downright shame and disgrace that such a thing has to happen to a nice man like me.

[Harry Kandinsky]

Just a minute, Mrs. North. You're going a little too fast for me now. What are you talking about?

[Fred Moriarty]

That's the way it always is. That's the way it always happens. The husband is the last one to know and. And it's my duty as a decent woman to tell you.

[Harry Kandinsky]

Well, tell me what?

[Fred Moriarty]

Your wife, Lola, and this other man, Paul Whalen, that's what. He's been coming to your home while you're on duty.

[Harry Kandinsky]

You lie. You snake tongue chattering fish wife. You lie.

[Fred Moriarty]

Oh, I do, do I? Well, we'll see about that. I happen to know it's the truth. Paul Whelan's green car has been out in front of your house while you've been away, and it'll be there tomorrow night. He's been seeing your wife right under your Nose. And you call me name just because I said to write. That's what I get for trying to do you a favor.

[Harry Kandinsky]

Lola. Lola.

[Fred Moriarty]

Hello, Mr. Moriarty. My goodness, you look awful scary. What's the matter?

[Harry Kandinsky]

Go home, Marilyn.

[Fred Moriarty]

I was only saying you look awful scared.

[Harry Kandinsky]

Go home, you hear? Go home, Marilyn.

[Fred Moriarty]

All right, Mr. Moriarty. But gosh, what are you picking on me for? I didn't do anything.

[Harry Kandinsky]

You, Harry Kandinsky, are sitting here in danger of your life. The killer is sitting in the dark just opposite you. His hands are jittery on the gun and he's promised to kill you after his story is over. But for the moment, you almost forget your danger as the story he unfolds, grips you, hypnotizes you. Now you lean on every word. I got it right between the eyes. Just like that. See, Kinski? I guess I was walking around in a kind of fog, and all of a sudden I run into this hoodlum, this Steve Lester on the corner. He laughed right in my face and said, hey, tell me your wife's been two timing you, flat foot. Why, you pretty. Go ahead, chump. Go ahead, call me names. But it's the truth, sucker, even if you don't know it yet. It's a lie. You hear me, Lester? It's a rotten lie, is it not? The way I heard it. It's the McCoy. While you're out pounding the beat here, this guy, Paul Whalen is at home. You're home making beautiful music with your ever loving wife. Keep your big mouth shut. You hear, Lester? Keep your mouth shut. Oh, I got it wide open right now, Moriarty. And I'm gonna keep it wide open. You stuck a knife in me once and sent me to the pen. And now I'm gonna stick a knife in you. Only I'm gonna turn this knife around and around. I'm gonna spill this to everyone I meet. And when I get through, the whole town is gonna know about it. So long, sucker. I guess I went a little crazy after that, Katinski. I walked right off my beat and went into Paul Whelan's place. I wanted to see if he was there and where he'd been last night. I wanted to make sure. I sat down in the corner booth, waiting and watching. I didn't see Paul Whelan around. Then I saw a man come in, sit down at the bar and start to talk to Bert the bartender. Hi, Bert. Hello, Frank. What's in tonight, Paul? He's in the back room waiting for suckers like me. Again. Yeah, he got those Poker cards shuffled and ready to go. I didn't think you'd come back after the licking you took last night. Don't remind me. I get a headache every time I think of it. How do you like that? I come in last night just for a beer. The next thing I know, I'm playing poker with Paul. We play all night and what happens? I lose 50 bucks. You say you played poker all night with Paul Willand. Why, yeah. Yeah, Morty. But it was just a friendly little game. Yeah, Fred, it's sure pork in the back room. Sure, I'm sure. What's the matter with you, Fred? What's eating you? If you don't believe me, look in the back room and see for yourself. Well, hello, Moriarty. Just getting up a friendly little poker game. Draw up a chair, Lieutenant. I'll give you a hand. I knew it, Ben Katinski. It was all lies. I knew what a fool I'd been. Paul Whelan hadn't been at my house last night, and he wasn't there tonight. I'd made a fool of myself off. I'd said some rotten things to Lola, and I couldn't wait till I got home. When I got home, she was gone. The wife was gone? Yeah, gone. Left me. Left the notes that she was sick and tired. She was fed up, through with me. And then. And I thought they did it. They ruined my life. Stole Lola from me. And then things in my head started to spin round and round. All I wanted to do was kill. Kill. So I went to the widow Norton's house first. She was in the living room knitting. And I walked right in on her. Hello, Mrs. Norton.

[Fred Moriarty]

Good morning.

[Harry Kandinsky]

How do you know what you've done, Mrs. Norton, with your lying ton? You've ruined my life. Lola's left me. She's left me because of you and your gossiping and your filthy lies.

[Fred Moriarty]

You got a gun.

[Harry Kandinsky]

That's right. I'm gonna stop that tongue of yours from wagging anymore, Mrs. Norton. I'm gonna stop it for a long time. You'll never lie and slander and gossip again.

[Fred Moriarty]

Oh, yeah, I know.

[Harry Kandinsky]

After that, I ran through the kitchen. You see, Kandisky, I ran through the kitchen. I wanted to get to Steve's house. But just then, Mrs. Norton's son John came through the kitchen door. Moriarty. What are you doing with that gun?

[Fred Moriarty]

Moriarty? No.

[Harry Kandinsky]

I didn't really want to kill a boy, but he was a witness. What could I do after that? Kandinsky. I started out to get Steve Lester. That's when I met you. You didn't know then, did you? No. No, of course you didn't know. I would have told you my story then. Yeah. Yeah, I would. But my work wasn't done yet. La Jed. That was still Steve Lester. I walked into his house. He looked at me scared like a rabbit, his mouth hanging open. Bren, you're going where? I just sent Mrs. Norton. Steve Brett. That's all. Kandinsky, I came back here to the police station. I don't know why. I guess I didn't know what else to do, where to go. Now, listen, Morgan. Wouldn't you. Wouldn't you, Kandinsky? You'd have killed them all, wouldn't you? The way they gossiped about me. The things they said. They stole Olaf from me. They're the reason my wife left me. Me, the friendly cop. Fred Moriarty. Me. What's that? Police cars. Moriarty. Police. Yes. But the chair. They'll take you there. I've seen the chair. I seen it with my own eyes. Kandinsky. It's terrible. Terrible. Katinski. Kotinsky, don't let him. Here. Here's my gun. I give up to you, Kandinsky. You know my story. Write it in the paper. Tell him how I've been robbed and cheated. Tell him how I was always up. Friendly cop. You know, I never harmed anyone in my life. Took little children across the street and smiled at everybody. Tell them, Kinski. Tell them. They come in the police from McKeesport and the DA's men. You tell your story quickly and they handcuff Fred Moriarty, walk him out. And there, waiting on the sidewalk in front is little Marilyn Baker.

[Fred Moriarty]

Hello, Mr. Moriarty. Gosh, I heard them talking all about what you did. Hey, they've got you in handcuffs and everything.

[Harry Kandinsky]

You'd better run along home, Marilyn.

[Fred Moriarty]

All right, Mr. Kandinsky, I will. But honest, Mr. Moriarty, I didn't mean to get you into trouble or anything. I. I just made up that story I told of Mrs. Norton.

[Harry Kandinsky]

What story?

[Fred Moriarty]

Why, about Mr. Whalen coming to your house when you were away and all.

[Harry Kandinsky]

You made it all up and told it to Mrs. Norton.

[Fred Moriarty]

Oh, gosh, yes. But it was just a little fib. I didn't mean any harm by it. Honest, I didn't.

[Harry Kandinsky]

Marilyn, why did you do it? Why did you tell Mrs. Norton that lie? Why?

[Fred Moriarty]

My goodness. I didn't mean anything, Mr. Moriarty. I just wanted 50 cents to see that new scary picture at the Strand. So I told Mrs. Norton I'd tell her a secret if she gave me 50 cents to go to the movies. And she did. I guess maybe I shouldn't have told that fib. But I did want to go to the movie. So you see, I just love scary pictures.

[Harry Kandinsky]

Now we read you that telegram from Harry Godinski of the Pittsburgh Post Gazette. Completely broken. Killer in tonight's Big Story was unable to repeat his confession to police so I filled in the details for him. After many tests to determine his sanity, he was found guilty and sentenced the electric chair at the state penitentiary at Bellefonte. Following my big story to the end, I was appointed deputy sheriff and rode handcuffs at the killer on his trip to the death house. And that's Mystery Theater. Every week we'll reach into the dusty file, brush it off and present a still up to date replica of a whodunit of yesterday.

[Fred Moriarty]

Sam.

[Harry Kandinsky]

This is the American Forces Radio and Television Service.

[Adam Graham]

Welcome back. I should note that this is one of the more recent additions to the Big Story circulating episodes. This was from the collection of Jerry Hindigus. He shared it about four years ago online. The sort of intro to the episode the Mystery Theater. I was expecting when I saw Mystery Theater on the label that we were going to get, you know, the sort of Howard Duff, Peter Lorre thing. Had not heard this before, likely from the 70s or 80s and part of the American Forces Network as they were playing programs that they had in their archives and reflecting that old time radio remained popular during that era. Now I should go ahead and share our cast list and this is one where everybody doubled quite literally the announcer as well. Bob Sloan appeared in this and then you have James McCallion who played our intrepid Mr. Kandinsky, Larry Haynes, Ruth Shafer, Rita Ascot, Joan Alexander, Bill Smith and Mandel Kramer. Of course the episode does have a powerful message about why one shouldn't gossip. Although even within the context of the episode putting the onus on the gossipers as the cause of the detectives or the friendly officer's problem is a bit problematic because he clearly had some issues going on and the same thing can kind of be read in between the lines about his wife leaving. This wasn't just sort of an out of the blue one off moment. Now the actual story is a bit more grim that than what we got on the radio version. This took place in December 1936 and again here I quote from Dr. Joe Webb. A 73 year old policeman in Duquesne was accused of molesting a 10 year old girl. He got so angry about this that he went and killed all of the witnesses who were testifying against him with a total of two men and three women while also apparently attempting to kill the father of the girl as well as the girl's brother. And he was the oldest person electrocuted in Pennsylvania. And the name of the officer was Martin Sullivan. And this is probably the case that so far is the furthest from the actual facts. And we have a couple comments on Spotify regarding the deadline murder. Mechanic 66 writes, not a sympathetic victim. And Dr. Whodunit says Adam Graham, newspaper man, the cop is going to enter a room, he tells you to hold his gun to cover him. What do you do? I suggest that he may want to consider getting his head examined. I am too clumsy and I just don't have the nerves to impromptu jump into a situation and back up a cough. I will say that probably to the degree that there is a certain element in of truth to the stories about newspaper reporters got to be so closely involved in crimes, it's that a lot of these people could in theory take care of themselves. It would be the nature of the era. So it's tough to imagine having a skill which you don't have because you really don't need to have it. But if I were to make it as a big city crime reporter back then, I would have to be a somewhat different person than I am today. Thanks so much for the question. All right, well, now it's time to thank our Patreon supporter of the Day. And I want to go ahead and thank Daniel, patreon Supporter since October 2023, currently supporting the podcast at the Master detective level of $15 or more per month. Thanks so much for your support, Daniel. And that will do it for today. If you're enjoying the podcast, please follow us using your favorite podcast software and be sure to rate and review the podcast wherever you download it from. We'll be back next Tuesday with another episode of the Big Story. But join us back here tomorrow for Broadway's My Beat, where early bird out.

[Roommate/Narrator (unnamed character)]

To catch a worm, huh? Meste not me. Not for something I've done. I never do anything bad.

[Harry Kandinsky]

You Edward Bishop?

[Roommate/Narrator (unnamed character)]

Oh, not me. Mr. Bishop's my roommate. He gone and done something naughty. Come in, mister, and tell me all about it.

[Harry Kandinsky]

Where is he?

[Roommate/Narrator (unnamed character)]

Out frying his nightly kettle of fish. I presume his bed ain't been slept in.

[Harry Kandinsky]

No.

[Adam Graham]

Huh?

[Roommate/Narrator (unnamed character)]

Oh, my. That. That hollow you see in the bed clothes is where I tried it. I'm an experimenter. Long as he wasn't in it, I thought my roomie's bed might be Better than my own. It wasn't. Mr. Bishop's gone and done something naughty, huh?

[Harry Kandinsky]

Do you know where he is?

[Roommate/Narrator (unnamed character)]

I want to tell you something about Mr. Bishop, my roomie. He's a tight lipped man. Rock face, I call him when he ain't looking. That's because he never whispers a secret to me or shares a Coke. When I offer him part of mine, he just lets me dab his hanky with cologne sometimes when he's going out for a heavy evening.

[Harry Kandinsky]

You had a lot of them evenings like that?

[Roommate/Narrator (unnamed character)]

Well, for a man who has to shave twice a day, he has more than his share.

[Harry Kandinsky]

You wouldn't know with whom.

[Roommate/Narrator (unnamed character)]

I might. But first you tell me what my roomie did to you.

[Harry Kandinsky]

Maybe you'd find it cozier down at headquarters. Maybe that Japanese kimono you wear makes it.

[Roommate/Narrator (unnamed character)]

You're getting rough. Hello there, mister. I'll tell you what I know. Then you tell me what you know, huh? My roomie's been squiring a lady by the name of Anna Compton.

[Harry Kandinsky]

You know her?

[Roommate/Narrator (unnamed character)]

Oh, just to talk to on the phone. A lovely voice. Haunts you.

[Harry Kandinsky]

When'd you talk to her last?

[Roommate/Narrator (unnamed character)]

Oh, two or three days ago. I'll tell you just how it was. She kept calling here evenings, asking my roomie to call her back. Just leave her name. Anna Compton, my roomie. Squiring a married lady.

[Harry Kandinsky]

Bishop never shared anything with you and.

[Roommate/Narrator (unnamed character)]

Still I'll tell you about that too. Her haunting voice made me nervous. I told you, I'm an experimenter. So one day I sat down with a phone book and called every Compton there is. Then a man answered and said his wife Anna wasn't home, who was calling. Course I hung up.

[Harry Kandinsky]

Then you know her address in the.

[Roommate/Narrator (unnamed character)]

New Rochelle phone book for everyone's eyes to see. Now it's your turn. What did Mr. Bishop do?

[Harry Kandinsky]

A woman was found murdered in his car.

[Roommate/Narrator (unnamed character)]

My, oh my. That's as naughty as you can get.

[Adam Graham]

I hope you'll be with us then. In the meantime, do send your comments to box13atives.net follow us on Twitter. Radio Detectives. Check us out on Instagram. Instagram. Great. Detectives from Boise, Idaho, this is your host, Adam Graham, signing off.