The Falcon: The Case of the Disguised Murder (EP4785)

Summary

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Podcast Summary: The Falcon – "The Case of the Disguised Murder" (EP4785)

The Great Detectives of Old Time Radio
Host: Adam Graham
Airdate: August 25, 2025

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Episode Overview

This episode features "The Case of the Disguised Murder," a suspenseful installment of the classic radio detective series "The Falcon." Set in the early 1950s during George Petrie's tenure as The Falcon, this story follows private detective Mike Waring as he untangles a web of deceit, murder, and false identities. This is a textbook "femme fatale" tale, with double-crosses, mistaken identity, and a tense investigation that puts the Falcon’s deductive skills to the test.

Adam Graham introduces the episode as a rare find with an imprecise original airdate, situated between the 1953 and 1954 episodes. After the story, he provides some commentary and responds to listener feedback.

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Key Plot Points & Discussion

1. A Fatal Proposal (03:04–07:14)

• Joyce Marshall manipulates lover Alan Crane into believing that murdering Sam DeMarco, a bookie who owes her husband Frank a lot of money, would free her from an unhappy marriage. If DeMarco dies, Frank becomes prime suspect, clearing the way for Joyce and Alan.

• Joyce is ruthless and commanding, using Alan’s feelings:

  • "It's the only way. We'd never have to worry again." — Joyce Marshall (04:46)

• The plan: Alan, in disguise, will confront DeMarco at his apartment with Joyce. Alan hesitates, but Joyce pressures him to carry out the murder.

• During the murder, Joyce makes Alan plant evidence to incriminate Frank—a coat button and Frank's revolver.

2. The Frame Up (08:18–11:31)

• Three hours later, Frank Marshall seeks help from the Falcon, Mike Waring:

  • "They found your gun next to his body and a button off your coat in his hand. What about the bellboy?" — Waring (09:43)

• Frank insists he’s being framed; circumstantial evidence mounts against him.

• Incisive exchange:

  • "You’re staring here, aren’t you?"
  • "Thanks, Hal. I won’t forget it." (10:34)

• The Falcon investigates Alan Crane, identified as a potential double for Frank.

3. Dangerous Liaisons & Shifting Suspicions (11:31–13:45)

• Alan is tracked via his circle, including his brother Walter; rumors surface that Joyce is seeing another man, Charles Montaigne.

• Alan confronts Joyce with his jealousy and guilt:

  • "You were only using this." — Alan Crane
  • "What are you gonna do about it? You're a murderer." — Joyce Marshall (13:37–13:42)

• Joyce reveals her contempt for Alan, confirming his role as her pawn.

4. Murder and Cover-Up Multiply (13:59–17:21)

• Alan Crane is killed—his head bashed in—before the police arrive. The Falcon’s hunch deepens: not only is Frank framed, but the motives and timeline don’t add up.

• Mike and Sergeant Corbett discuss possible scenarios, with Mike postulating Joyce cooked up the plan to rid herself of Frank, using Alan as a pawn.

• Discovery: Joyce receives passionate letters from Charles Montaigne, indicating a third party could be implicated.

5. The Unmasking: All is Revealed (21:00–25:10)

• The Falcon guides Sergeant Corbett to the real killer, unmasking "Frank Marshall" as actually Alan Crane in disguise (with a fake mustache):

  • "He's not Frank Marshall. If you remove that phony mustache, you'll see he's Alan Crane." — Mike Waring (24:36)

• Explanation of the plot: Crane faked his death, battered his own face to mislead police, and continued murdering to cover his tracks after being used by Joyce.

6. Resolution & Reflections (25:49–28:09)

• Adam Graham sums up: another case where The Falcon’s analytical skills prove an innocent man’s case, caught in destructive love and ambition.

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Notable Quotes

• Joyce Marshall: "If DeMarco was murdered, Frank would be the number one suspect. And after the cops got through with him, that would leave us free to do what we wanted." (04:36)
• Mike Waring: "Ever hear the story of a worm that turns, Bridges?" (11:07)
• Sergeant Corbett: "Well, he’s killed crazy, Mike. He killed Sam DeMarco and Alan Crane."
  Mike Waring: "I can prove that Marshall had nothing to do with it." (15:20)
• Mike Waring: "That marriage stuff is murder." (25:10)

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Key Timestamps

• 03:04: Joyce pressures Alan to commit murder
• 07:06: Immediate aftermath of DeMarco’s killing
• 08:18: Frank seeks the Falcon’s help
• 11:31: Alan’s associates questioned; the net closes
• 13:37: Joyce reveals her true feelings to Alan
• 15:20: Falcon debates with Sergeant Corbett about Marshall’s innocence
• 17:02: The case against Marshall is questioned; possible third party (Montaigne)
• 24:36: Alan Crane is revealed in disguise as Frank Marshall, closing the case

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Host Commentary & Listener Feedback

Host’s Wrap-Up (25:49)

• Adam Graham notes the episode as a classic tale of manipulation by a femme fatale and underscores The Falcon’s role in untangling the human cost of such drama.

• He mentions the end of available Falcon episodes, upcoming plans ("Danger with Granger"), and responds to listener feedback about audio quality.

• “On the positive side, Mike was right and his friend was innocent. But what we do get overall is just a typical tale of a man twisted by a femme fatale...” — Adam Graham (25:49)

Listener Comments

• Betsy: Audio could have been better.
• Delia: Enjoyed it despite audio issues; amusing coincidence about "Devil's Cargo" popping up as a film suggestion.
• Rick: "Best podcast ever."

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Tone & Style

• The episode maintains a brisk, hardboiled tone—snappy dialog, quick reversals, and witty banter typical of mid-century radio detective stories.
• The Falcon is methodical, skeptical, and clever, while the supporting cast displays emotional intensity, duplicity, and drama.

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Memorable Moment

• The final reveal—Frank Marshall’s supposed appearance is, in fact, Alan Crane in disguise, having ingeniously faked his death to evade suspicion and carry out further murder.

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Conclusion

"The Case of the Disguised Murder" offers a twisty, atmospheric mystery full of misdirection, deeply flawed characters, and detective savvy. The Great Detectives of Old Time Radio and Adam Graham serve up Golden Age nostalgia, with commentary and community engagement for classic mystery lovers.

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Next Time:
More adventures with the Falcon and, soon, a new detective series: "Danger with Granger." Stay tuned!

[End of Summary]

Transcript

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[Joyce Marshall]

Hey, Gecko, can you record my voicemail greeting?

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[Alan Crane]

Nailed it.

[Joyce Marshall]

No notes.

[Alan Crane]

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[Alan Crane]

Details.

[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 Adventure with a Falcon. But first, I do want to encourage you, if you are enjoying the podcast, to follow us using your favorite podcast software. And today's program is brought to you in part by the financial support of our listeners. You can support the show on a one time basis at support.greatdetectives.net you can also become one of our ongoing Patreon supporters for as little as $2 per month by going to patreon.greatdetectives.net well, in terms of an original air date, today's episode is a bit of an oddball. We can't determine when exactly it aired, other than it aired during George Petrie's time as the Falcon, but we have some episodes that were certain aired in 1954. So we're playing this in between the 1953 and 1954 episodes. And the fan title is the Case of the Disguised Murderer.

[Alan Crane]

There's one thing you learn working as a private detective, people will give a darn disdain. The case in point, I give you Alan Crane. He's a young man hiding in the underbrush in the New Jersey Tunis. For an hour he stands there motionless, and only when he hears a cloud roll up does he make his presence known. That's your George.

[Joyce Marshall]

Forget spec Allen late at the balves.

[Alan Crane]

I wish you wouldn't act that way.

[Joyce Marshall]

Oh, don't be Up. Scoot. Get in.

[Alan Crane]

You weren't followed out here, were you?

[Joyce Marshall]

You stopped acting like a child.

[Alan Crane]

I'm sorry.

[Joyce Marshall]

Sometimes I wonder that I ever stone a man like you.

[Alan Crane]

You know I'm crazy about you.

[Joyce Marshall]

I want to talk to you about that much.

[Alan Crane]

We talk about your husband.

[Joyce Marshall]

Now, why do you think I asked you to meet me? I thought that you couldn't have. Otherwise you would have realized it wouldn't take a chance. Now, Alan, listen to me. I think I finally found the angle. Have you a sand demarco?

[Alan Crane]

The man who owns the stables?

[Joyce Marshall]

Yeah, that's the boy. He's only flanked up to $26,000 last week on a bet.

[Alan Crane]

What's that got to do with us? Maybe everything.

[Joyce Marshall]

When he said it wouldn't pay off, Frank got excited, made a couple of threats. Now, if anything were to happen to Mr. DeMarco. Can you see the position that would place Frankie?

[Alan Crane]

Then what's going to happen to DeMarco?

[Joyce Marshall]

He'd be Terry. He might even have a fatal accident.

[Alan Crane]

I don't follow you.

[Joyce Marshall]

Look, Alan, there's nothing very difficult about it. But if I've got to put it.

[Alan Crane]

In words of one syllable.

[Joyce Marshall]

All right. If DeMarco was murdered, Frank would be the number one suspect. And after the cops got through with him, that would leave us free to do what we wanted.

[Alan Crane]

You don't know what you're saying.

[Joyce Marshall]

Oh, it's the only way. We'd never have to worry again. Now, the Marco got an apartment with the Chelsea Arms. He'll be there tomorrow night and so will you. Only we'll be carrying.38 police special.

[Alan Crane]

I won't do it. You claim you love you and ligo.

[Joyce Marshall]

If you don't do as I ask your mother see me again and make up your mind, honey. Gonna let a little nervous down in your wall.

[Alan Crane]

I guess you're right.

[Joyce Marshall]

Don't stand there with your mouth open. Go ahead and ask.

[Alan Crane]

It's no use, Joyce. I can't do it.

[Joyce Marshall]

Don't be a fool. Everything's going like clockwork so far. Very proud of you. The way you talk to the desk. Kirk spoke up like a real man. That phony mustache and that coat of the show. And remember you.

[Alan Crane]

I'm scared, honey.

[Joyce Marshall]

Oh, listen, you spineless jellyfish. Gonna let all our work go down the drain? Let's get it. Go find yourself breaking the door. I. I can't right. I'll do it for you, Joyce. Listen to Troy. Pete. Say, try to act like a man.

[Alan Crane]

Joy. Hello, DeMarco. Now, look, Marshall. What are you doing here? I told you. Wait a minute. You're not Frank Marshall.

[Joyce Marshall]

No, he isn't.

[Alan Crane]

But you're Mrs. Marshall. Andrew.

[Joyce Marshall]

Oh, yes. I wonder if we could have a few words with me.

[Alan Crane]

Okay. Come in.

[Joyce Marshall]

Thanks. Tell me all it.

[Alan Crane]

Sure, sure. What's this all about?

[Joyce Marshall]

I understand you owe my husband for money.

[Alan Crane]

Well, if Frank sends you around to collect, he's wasting his time.

[Joyce Marshall]

Don't jump to conclusions, Mr. DeMarco. I've got no more love for Frank than you have. So I thought you might be interested in helping us pull a fast one on him.

[Alan Crane]

What do you mean?

[Joyce Marshall]

Suppose Mr. Crane here can show you something that'll solve all your problems.

[Alan Crane]

I don't get.

[Joyce Marshall]

All right, Al, show it to him, huh? Well, what are you waiting for?

[Alan Crane]

Put away that gun. What do you think you.

[Joyce Marshall]

DeMarco. DeMarco.

[Alan Crane]

I killed him.

[Joyce Marshall]

Shut up. I killed him.

[Alan Crane]

Jo. People, get out of here.

[Joyce Marshall]

Put yourself together, Joyce.

[Alan Crane]

Somebody may have heard the shot.

[Joyce Marshall]

Man with these are. Listen, I didn't go this far to have your live streams up at the last minute. Give me the gun.

[Alan Crane]

Yeah. Yes. Okay.

[Joyce Marshall]

Now tear off the buttons in Frank's coat. Good boy. Cuz I want the police to find it clutched into Marco's head. Now pull it off.

[Alan Crane]

I can.

[Joyce Marshall]

Oh, unless I do everything around here. Now open his hand.

[Alan Crane]

No.

[Joyce Marshall]

Come on. He won't bite you, he said. All right, but who slaps away? Turn around. I'll make a man of you. Yes.

[Alan Crane]

In a moment we'll return to the Adventures of the Falcon.

[Joyce Marshall]

But first.

[Alan Crane]

And that's where Mrs. Waring's little boy, Michael got himself involved. For three hours after the murder of Sam DeMarco, my door buzzer sounded off. And when I answered it, there stood trouble with a capital T. Hello, Mike. Well, if it isn't Frank Marshall. Hear it? Awful. Come in. Thanks. You'll never drink candy. Your bottle of bread and deluxe in the bar. Help yourselves. Better take it easy, Marshall. You don't know how I need it. I got a small idea. I've been listening to the radio. Then you know I'm hot. Well, you got the thermometer? Held in Jajar and portfolio. They got a tri state alarm out. I didn't kill Santa Marco. A big bet to you. Racket. Letting a man get away with that could ruin your business. That doesn't mean a thing. It does when they Find your gun next to his body and a button off your coat in his hand. What about the bellboy? What bell boy? The kid from the Chelsea Rams who identified you from one of your pictures as the man who asked him for DeMarco's room number. I take it to frame. Why did you come here? They can mail me for harboring a fugitive, and that means my license. Okay, Mike. Sorry I bothered you. Wait a minute. You say this is a frame? I swear it. But you're lying to me. I give you my word. Wouldn't I be a SAP to let anybody see me going into DeMarco's room? That's what I was thinking. Sounded like the killer went out of his way to be spotted. And while I might buy that button they found in DeMarco's hand, when you add it to the other things, like the gun, it's too much. Can you believe me? You're staring here, aren't you? Thanks, Hal. I won't forget to give it. You got any idea who might be behind this routine? Nope. Well, obviously it had to be somebody who could pass for you. Now, who do you know about your size? Oh, a hundred guys. Name one. Well, Steve Burns. Where can I find him? He's out on the coast. That's a big help. Let me throw the nomination. I tell you, the million guys. I'm still waiting for number two. Well, Alan Crane. Who's he? A guy who used to work for me. Did you fire him? Did you? Yeah. She didn't have nerve enough for the business. Well, then Ms. Crane sounds like a likely suspect. Oh, you're out of your mind. Alan's yellow. He'd never have enough guts to pull a deal like this. Ever hear the story of a worm that turns bridges? Alan Crane live at the Canyon. Okay. Sit tight till you hear from me. With a little luck, it'll be real soon. All right, buster, what's on your mind? You talking to me? That's right. I understand you wanted to see me. You Alan Crane? No, I'm a fellow. Order. Well, it was Alan I wanted to see. Any idea where I can find him? What's your name? Mike Waring. A private dick, aren't you? That's right. What do you want with Alan? You just want to talk to him. About what? It's a personal matter. That tells me a lot. It tells you all you have to know. I asked you something. And I answered you, I suppose. You answer me. You got any ideas where I can locate them? No, but let me give you a little tip. Don't search too hard. Who knows, you might find something you're not looking for.

[Joyce Marshall]

Was it?

[Alan Crane]

It's me, Walter. Open. Hi, Dr. Doyle. I. I ran into Harold Plant. He said you wanted to see me. What have you been up to these past few days? Nothing.

[Joyce Marshall]

Why?

[Alan Crane]

Was Mike Waring asking about you? Who? Mike Waring is a private dick and they call a Falcon. Don't ask me. Who am I gonna ask? This ain't Mike Marshall's wife? No, you better not if you want to stay in one piece. I swear I'm telling you the truth. Yeah, I guess you are. Come to think of it, I saw a couple of times last week at the Wamboron with Charles Montaigne. Who? Charles Montaigne. The guy Winchell called. The latest in French heels. You're lying. Okay, I'll show you the column. No, I mean about Joyce. In this. Montaigne. Why would I want to do that? Because you know why. You just told me. You packed her in. Yes, but if she's going with this move, not you. I'm going to get a straight answer if I have to tear you apart. Are you still seeing that Dave? Leave me alone. She been using you for any dirty work? No. I may, Walter. I'm old enough to take care of myself. And Mrs. Marshall too. Hello, Joy.

[Joyce Marshall]

Alan, what are you doing here? I.

[Alan Crane]

Have a seat.

[Joyce Marshall]

That was smart. With a cuff hanging right outside.

[Alan Crane]

I couldn't help myself. I got worried.

[Joyce Marshall]

What's there to worry about?

[Alan Crane]

You don't understand. I killed a man.

[Joyce Marshall]

Shut up.

[Alan Crane]

I did it for you, James.

[Joyce Marshall]

That's right, blame me.

[Alan Crane]

I didn't mean it like that. You know there's nothing in the world I wouldn't do for you.

[Joyce Marshall]

Why don't you stop talking so much?

[Alan Crane]

George, there's something I've got to ask you.

[Joyce Marshall]

What?

[Alan Crane]

Do you know a man named Montaigne?

[Joyce Marshall]

Montaigne?

[Alan Crane]

Charles Montaigne. No. Are you sure?

[Joyce Marshall]

What is this, a third degree?

[Alan Crane]

I just heard that you've been seeing places with him.

[Joyce Marshall]

Whoever told you that is a liar.

[Alan Crane]

It comes to an awfully good source. Joy. It's my brother, Walter. He claims he saw the two of you to our rumba room.

[Joyce Marshall]

Are you gonna take that sneak's word against mine?

[Alan Crane]

He says he's seen you several times.

[Joyce Marshall]

Well, maybe he has.

[Alan Crane]

Joy.

[Joyce Marshall]

Why, you sniveling fool. Use your head. What can any woman with blood in her veins see in a man like you?

[Alan Crane]

You were only using this.

[Joyce Marshall]

What are you gonna do about it? You're a murderer.

[Alan Crane]

Alan, don't say that.

[Joyce Marshall]

Well, that's what you are.

[Alan Crane]

It was your idea. You're in this as deep as I am. If I went to the police.

[Joyce Marshall]

Shut your mouth. You get out of here before I really lose my temper.

[Alan Crane]

Get it? Arthur Alan Crane in? Yeah. Who wants to know? Oh, hello, Sergeant. Isn't this a little off your beat? Oh, hi, Mike. You know the rest of the boys? Sure. Hi, Artie. Hi, Vicky. What goes on here? What would be your guess? Look, Corbett, you don't have to be a brain to figure out what plays when you find half the homicide division here. Where's Crane? They took him down the morgue about five minutes ago. What happened? What didn't? Someone got sore and took the old blunt instrument to him. Should have seen his face. I'll take your word for it. Yeah, it's just as well. All right, all right, you guys. How about getting back to work? What'd you want with Crane anyway? I just wanted to talk to him. Yeah? About what? Various things. Like why he was afraid of Frank Marshall. Listen, Sergeant Marshall had no part in this deal. How would you know? Because I've known the man for years. Well, he's changed. He's killed Crazy Mike. He killed Sam demarco and Alan Crane. Why should he? Demarco, Welts and a bet. What about Crane? Well, he was playing around with Mrs. Marshall. Who says so? I do. Crane kept a diary. And when you can spare a week for some light reading, I'll let you take a peek at it. I tell you, you're barking up the wrong tree. I can prove that Marshall had nothing to do with it. Well, I'd like to see you. All right. What time did Crane die? About a half an hour ago, give or take a couple of minutes. Okay. Marshall's at my place. What now? Keep your shirt on. I can prove it's a frame. Who you calling? My apartment. If Marshall killed Crane a half hour ago, he wouldn't be at my place. It'll take him at least an hour and a quarter to get there from here. And you think. I told you what I think. It's a frame. I don't care what you found. Marshall couldn't have done this. Well, there's no answer. Well, there goes the ball game.

[Joyce Marshall]

Yes?

[Alan Crane]

Hello. You're Joyce Marshall, aren't you?

[Joyce Marshall]

You're another one of those cops.

[Alan Crane]

Not exactly. My name is Mike Waring.

[Joyce Marshall]

Oh, you're the one they called the fort. And Frank often spoke of me.

[Alan Crane]

Can I come in?

[Joyce Marshall]

Sure. Sit down.

[Alan Crane]

Thanks.

[Joyce Marshall]

Can I offer you anything?

[Alan Crane]

I'LL settle for a little information. You know, Frank's in a bad spot. The police think that he killed San DeMarco.

[Joyce Marshall]

You don't have to tell me. I always warn Frank. That crazy temper if he'd get him into trouble.

[Alan Crane]

You want to be careful when you make statements like that, lady. That's the kind of thing that can put a rope around your husband's neck.

[Joyce Marshall]

Oh, did I say something wrong?

[Alan Crane]

Archangel, let's talk. Stop trying to kid each other. Suppose I told you that Alan Crane was dead.

[Joyce Marshall]

Is that a fact?

[Alan Crane]

Yes.

[Joyce Marshall]

So he killed himself.

[Alan Crane]

Who said he did?

[Joyce Marshall]

Well, naturally.

[Alan Crane]

Assume that's not safe when a man's had his face bashed in with a ball back.

[Joyce Marshall]

Who did it back?

[Alan Crane]

Why should he?

[Joyce Marshall]

I thought they might have had a disagreement over business or something.

[Alan Crane]

You sure it wasn't over you?

[Joyce Marshall]

Really, Mr. Waring, that's the funniest thing I've heard in years.

[Alan Crane]

The cats think you were in love with Crane.

[Joyce Marshall]

Well, then I look all broken up over his death.

[Alan Crane]

Yeah, I can see I made a mistake.

[Joyce Marshall]

A bad one. And now, if you don't mind, would you please go? I've had a very exhausting day. And you've done nothing to improve it.

[Alan Crane]

Well, I told you you'd be wasting your time with that Marshall. Dang, Mike. When I lay my hands on her, you'll know no more than you do now. Frank Marshall didn't kill Sam DeMarco and Alan Crane. Well, if Marshall's innocent, why didn't he give himself up? Because he knew you'd never believe him. Listen, starting you're proceeding in the wrong theory. Now, suppose Joyce Marshall wanted to get rid of her husband. Then why didn't she shoot him and be done with it? Because she would have been the most obvious suspect. Could have grabbed her five minutes after the kill. No, it was much safer to frame Frank into the chair. You think she and Crane killed DeMarco? Right. Well, then riddle me this. After they get all through, why should she kill her boyfriend? The Dane's crazy enough about a guy, so he's going to knock him off later. Wait a minute. Maybe Alan Crane was just a stooge. Course, there was another man in the background. You mean they were using Crane as a tattoo? Yeah. Well, how are you going to find out who this third party is? Well, there's two ways to do that, Falcon, and I prefer the easy one. Let's go up and ask it. Okay, Mike, here's where we get off. Okay, you can go back to headquarters, Lewis. I won't be needing the car for a while. Hi, Sergeant. Oh, hello, Al. Mike, meet Officer Burke. Hi, Officer. Anything new, Burke? No, Phyllis, he's going off duty. Where's the relief? What relief, sir? Well, you know you're not supposed to go off your tour until you replace. Well, I thought this case was in the back. Oh, who told you that? Mr. Marsh. What? Well, he went inside about 15 minutes ago. You blithering idiot. Energy, Corbett doesn't Burke, you say Frank Marshall's in there? That's it. You didn't stop him? He had a safe conduct. First time to the commission. Well, it was a pony. How should I know that? What did he say with your precinct? Come on, Corbett, we're wasting time. I'll talk to you later. Burke. Where your keys? You think maybe this lady ought to do. Yeah. You still in? No. Maybe in one of the other rooms. This lead to the living room, if I remember. Okay, stand out. I'll give you the robe. Open the door and get down now. All right, Marshall, get him up. Well, wouldn't you know it? Nobody there. Only Mrs. Marshall, and she don't count. He's dead. Let me buy. I better call a coroner. In a moment we'll return to the adventures of the Falcon. But first. Now back to the adventures of the Falcon. And so death came for Joyce Marshall. And while Sergeant Corbett made with the telephone, I went on a safari through the apartment. It didn't take long. How'd you make out, Mike? There's no one in the house. You know there's a back entrance to this place? Well, there is. Right off the kitchen. Well, then that explains how Marshall got out. I guess so. What'd you find out about her? She was strangled. Micro switch. Yeah. I'll say one thing for your friend, Mike. He's a versatile boy. And he killed the Marco with a gun. I still say he didn't. All right, all right, I'll even grant you that. Suppose Joyce here and Alan Crane murdered the Marco. That gives Marshall a better motive. He found out what his wife and her boyfriend were up to, so he kills them both. Where does Charles Montaigne fit in? Charles Montaigne? Who's he? I found these letters from him to Joyce in her vanity. Oh, hot stuff. Hotter and hot. Okay, I'll arrange to have him picked up the questioning. But why don't you come clean, Mike? What do you mean? I got an idea. You know where I can find Frank Marshall? Maybe I do. All right, Sergeant, get me a phone book. How much further do we go? Just another Flight Another. You said you wanted your killer. Yeah, how do I know this ain't a rib? You have to take my word for it. What makes you think we'll find my party here? It's the only logical place for him. Behind us. Yes, look for apartment 4 6. Yeah, that'll let me take it from here. Well, go ahead. But I warn you, if your friend starts acting cute unprepared. That you, Waller? Yeah. Okay. Come in. Did you get. You're not Waller? No. He's got a gun. I'm warning you, Marshall. Okay, friend, you asked for it. You all right, Mike? I think so. Let's take a look at our friend Marshall. Marshall. You're wasting your time, Sergeant. I can see that. No, no, I mean for another reason. He's not Frank Marshall. If you remove that phony mustache, you'll see he's Alan Crane. Have another, Covid. No, no, no, thanks. I gotta be at home. But before I go, I wish you would answer something for me. Okay. You expect to find Crane in that apartment instead of Frank Marshall? Naturally. It was Crane's brother's apartment. And then you said you knew where to find Frank Marshall. I meant the morgue. When I asked Marshall who could double form, he named Crane. Well, while I went around looking for him, Marshall must have gone right to his apartment and the two of them had it out. That's a use. Yeah. Especially when you told me that Crane's face had been battered in. I thought it might have been done for a purpose. To keep the police looking for a man who was already dead. That left Crane in the clear. And then there was that cop you had staked in front of Marshall's home. He claimed he said Marshall go in but not out. Yeah, naturally, he went out the back way. Now, you tell me why a man who's wanted by the police takes a chance on flashing a phony pass when he could have avoided trouble by going in the back way. So he wanted us to think that Marshall was still alive. And then Crane was the one who killed Joyce Marshall, too? Yep. Must have found out that she was using him for a fall guy. Well, he goes to show you never can count on the worm, that turn. Yeah, for that reason. Reminds me, I don't want to get killed. I better be at home when a woman's waiting. Give her my love, Corbett. Yeah, well. Oh, incidentally, Mike, you ever give any thought to settling down? What do you mean? You know. You know, get married, go home at night to a loving wife. Oh, that's not for me. Fran, from what I saw tonight, that marriage stuff is murder. Good night, Captain.

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[Adam Graham]

Welcome back. On the positive side, Mike was right and his friend was innocent. But what we do get overall is just a typical tale of a man twisted by a femme fatale with wearing serving just to survey the damage. Now, I do want to go ahead and let you know that we are actually running out of episodes of the Adventures of the Falcon. We have three episodes left from 1954 and we will be playing those and in four weeks we'll be bringing you Danger with Granger. So be sure and plan on listening to that. Now, in terms of listener comments and feedback, we had a couple of comments on the audio quality. Betsy said maybe she could have gotten through the episode with better headphones. Delia said it was a bit difficult to hear, but I got through it. I love the Falcon. Well, thanks so much and I'm sorry that we don't have better quality episodes for this era of the program and appreciate your patience. Delia also writes, I think my devices are communicating with each other. Lol. I turned on my tablet to watch a little something while doing dishes and the first suggested for me movie on prime is Devil's Cargo, a Falcon movie. I had no idea. That would not surprise me. These devices can be quite sneaky. Although of course it's always possible that something else in your watch history or history on Amazon made them suggest that particular film. But thanks so much Delia. And then Rick just writes, best podcast ever. Well, thank you so much Rick and that will do it for today. If you are 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 will be back next Monday with another adventure with the Falcon, but join us back here tomorrow for the conclusion of the Willoughby murder case.

[Inspector]

Where you see Sergeant, in this case we are dealing with very prominent man and we must prove sufficient motive if we are to even force an arrest.

[Geico Gecko]

But how in the world are you going to do that, Inspector? You can't prove a motive when you haven't got a single piece of writing. Not a solitary witness. Now if it was money, that's easy. Or a woman. That's easier.

[Joyce Marshall]

A woman. Reggie. Sir Reginald did say something about both cousins being in love with the same woman. Gerald's wife. Oh, but that hardly fits the case as far as the murder of the Colonel is concerned.

[Inspector]

That it may, who can tell? Observe, if you please. Peculiar situation. I am convinced that Gerald killed his uncle then killed Simmons. Yet if you should ask me for motive, I can only give a suggestion. If you say Gerald has alibi, he was in Chicago when first murder was committed to and on plane flying to San Francisco when second murder was committed, I can only say it is for purpose of proving that said Gerald has motive that we are here. It is to break said alibi that we must bend off.

[Adam Graham]

I hope you'll be with us then. In the meantime, send your comments to box Thirteenreatetectives.net follow us on Twitter radiodetectives and check us out on Instagram. Instagram.com Great detectives from Boise, Idaho, this is your host, Adam Graham, signing off.