Yours Truly Johnny Dollar: The Amy Bradshaw Matter Omnibus (EP4800s)

Summary

The Great Detectives of Old Time Radio
Episode: Yours Truly, Johnny Dollar – The Amy Bradshaw Matter (Omnibus) (Ep. 4800s)
Host: Adam Graham
Date: September 14, 2025

---

Episode Overview

This episode features the complete "Amy Bradshaw Matter" from the acclaimed detective radio drama "Yours Truly, Johnny Dollar," originally aired November 21–25, 1955. Host Adam Graham presents this multi-part story as an omnibus for the podcast’s 4800th episode and as a listener appreciation special.

Johnny Dollar, insurance investigator, is sent to New York to protect stage star Amy Bradshaw, who has received a threatening note and suspects someone is trying to kill her. As the investigation unfolds amidst the bustling world of theater, Dollar encounters a cast of potential suspects with complex motives, and the suspense builds toward an unexpected and tragic climax.

---

Key Discussion Points & Plot Breakdown

1. The Case Introduction & First Threats

[02:29 – 05:37]

• Johnny Dollar is sent by the insurance company to protect actress Amy Bradshaw after she receives an ominous note:
  “You are an evil woman. You will be punished by sudden death.” (04:34, Porter Kane)
• The theater’s director, David Coleman, and Amy downplay the threats, fearing bad publicity, but Dollar suspects someone close may be hiding behind the façade of a crank.

2. Amy Bradshaw’s World & First Suspects

[07:55 – 13:15]

• Amy is introduced as accomplished yet vulnerable, yearning for acceptance and unnerved by the threat.
• A suspicious incident occurs — she is pushed into traffic after a performance.
• Johnny probes her relationships, hinting the threat may come from someone she trusts:

  “Did it ever occur to you this might not be a crank out in the audience—that it might be someone closer to you?” (12:06, Johnny Dollar)

• Suspects established:
  • Mike Pomeroy (Amy’s agent, controlling and forceful)
  • David Coleman (director, old flame)
  • Emory & Dora Taylor (producer and wife)
  • Porter Kane (eccentric, obsessive fan)
  • Bill York (ex-husband, insurance beneficiary)

3. Tension Rises: Strange Encounters and Motives

[13:37 – 21:01]

• Dollar observes Pomeroy watching Amy’s apartment.
• Bill York, the ex, is confirmed to be in financial straits.
• Johnny interviews Porter Kane, who chillingly describes collecting unique things—including Amy:

  “Amy is my career at present… I plan to add Amy to my collection.” (18:08, Porter Kane)

• Backstage tensions as Pomeroy warns Amy to stop upstaging another actress, revealing professional and personal friction.

4. Escalation – Attempts on Amy’s Life

[23:11 – 24:19]

• Dollar saves Amy as a sandbag narrowly misses her, confirming a real murder attempt.
• Amy finally admits to real fear:

  “Maybe I didn’t take it seriously before, but I do now... Somebody is trying to kill me, and I’m scared, Johnny. I’m scared.” (23:51, Amy Bradshaw)

• Police (Lt. Al Centella) begin to take production seriously.

5. Delving Deeper: Rivalries, Affairs, and Envy

[25:58 – 33:20]

• Johnny interviews Bill York in the Village, confirming his bitterness and financial motive.
• Dora Taylor (producer’s wife) expresses jealousy toward Amy and hints Amy has hurt others to get ahead—another lead.
• Pomeroy is revealed to have been holding York’s manuscript for collateral on debts, another web of manipulation.

6. Johnny’s Emotional Conflict

[37:55 – 41:46]

• Lt. Centella accuses Johnny of falling for Amy, which Johnny wrestles with, acknowledging his emotional entanglement with the case.
• A tender, emotionally charged scene between Johnny and Amy explores loneliness, fading fame, and the passage of time on the mantel clock.

  “That’s the wonderful thing about being an actress—you play so many parts… we go along pretending the clock isn’t there. But all the while it is.” (40:15, Amy Bradshaw)

7. The Climax: Murder Backstage

[43:41 – 46:42]

• Amy, terrified, calls Johnny to the theater late at night.
• He arrives just in time to discover her agent Mike Pomeroy shot dead in her dressing room.
• Amy recalls the shooter’s hand, bearing “a large signet ring”—immediately suggesting Porter Kane.
• Kane is brought in for interrogation; he admits to being there but denies the killing.

8. The Final Twist: The True Culprit

[49:55 – 51:56]

• Alone with Amy after the chaos, Johnny pieces the truth together:

  “The gun that killed Mike Pomeroy—there were no fingerprints on it… You said you saw a bare hand… A bare hand would have left fingerprints. You killed him, didn’t you?” (50:06, Johnny Dollar)

• Amy confesses: tired, desperate, and heartbroken over her fading beauty and Pomeroy’s preference for a younger woman. She faked earlier attempts on her life, then staged the final encounter to kill Pomeroy in a last act of passion.

9. Resolution and Aftermath

[51:56 – 55:01]

• Amy asks Johnny not to forget her as she is escorted away by police.
• Johnny files his final report—haunted by the outcome.
• Adam Graham returns for post-story commentary and appreciation for episode’s performances.

---

Notable Quotes & Memorable Moments

• Amy’s Mask Slipping:

  "I guess I can't stand being hated, Johnny. I've got to be loved." (12:01, Amy Bradshaw)

• Porter Kane’s Obsession:

  "So, I plan to add Amy to my collection." (19:02, Porter Kane)

• Johnny questioning Amy's self-assurance:

  "You've always gotten everything you wanted, haven't you?" (10:38, Johnny Dollar)

• Amy’s Confession:

  “You know why. ... I was dead. I couldn't stand that. I really couldn't. So I started making it look like I was in danger. … I’m a good actress.” (50:32+, Amy Bradshaw)

• Dora Taylor’s Jealousy:

  “There certainly is [someone who’d want to harm Amy] … Me.” (28:58, Dora Taylor)

• Johnny’s Emotional Turmoil:

  “One thing I’d accomplished, I guess. I decided I wouldn’t be seeing Amy anymore after this case was wound up.” (41:24, Johnny Dollar)

• Amy’s Final Request:

  "Don't forget me, Johnny… give me that." (51:45, Amy Bradshaw)

---

Commentary Insights by Adam Graham

[56:08+]

• Praises the quality of the cast, especially Carlton Young (Porter Kane), Virginia Gregg (Amy Bradshaw), and Florence Wolcott (Dora Taylor).
• Notes the strength of the serials in providing character-driven stories.
• Observes Johnny Dollar’s vulnerability—his empathy can cloud judgment, making him compelling but also fallible.
• Comments on Virginia Gregg’s range in radio drama, particularly as aging, complicated women.

---

Timestamps – Important Segments

• [02:29] – Case setup: Johnny called to protect Amy Bradshaw.
• [08:50] – Introduction of Mike Pomeroy, Amy’s agent.
• [11:13] – Amy recounts being pushed into traffic.
• [18:08] – Porter Kane’s chilling “collector” monologue.
• [23:17] – Attempted murder: sandbag incident.
• [28:58] – Dora Taylor admits intense jealousy.
• [40:15] – Amy’s existential reflection on fame and aging.
• [43:41] – Amy calls Johnny to the theater; murder occurs.
• [46:42] – Amy identifies the signet ring on the killer.
• [50:06] – Johnny confronts Amy; she confesses.
• [56:08] – Adam Graham’s in-depth post-show commentary.

---

Overall Episode Tone & Language

• The tone is hard-boiled, melancholic, and introspective, with dialogue reflecting the fears and ambitions of show business.
• Emotional depth builds steadily, culminating in a tragic and human twist.
• Adam Graham’s hosting maintains a warm, analytical, and appreciative voice.

---

Summary for New Listeners

“The Amy Bradshaw Matter” showcases "Yours Truly, Johnny Dollar" at its best: a tightly woven mystery, richly atmospheric, where everyone has something to hide, but the greatest secret is harbored by the victim. As Johnny Dollar unravels the threats against Amy Bradshaw, he moves among jealous lovers, washed-up artists, obsessive fans, and showbiz egos—never realizing that the biggest twist is Amy's own heartbreaking desperation. Excellent performances and sharp writing blend suspense and pathos in one of the show's most character-driven cases.

---

For Further Engagement

• Host Adam Graham encourages listeners to revisit the series and explore past seasons via the archive feeds.
• Acknowledgement of longtime Patreon supporters and a sneak preview of upcoming episodes.

---

Transcript

[Amy Bradshaw]

This is the story of the 1.

[Johnny Dollar]

As a custodial supervisor at a high school, he knows that during cold and flu season, germs spread fast. It's why he partners with Granger to.

[Amy Bradshaw]

Stay fully stocked on the products and.

[Johnny Dollar]

Supplies he needs, from tissues to disinfectants to floor scrubbers, all so that he can help students, staff and teachers stay healthy and focused. Call 1-800-GRAINGER Click grainger.com or just stop.

[Amy Bradshaw]

By Grange Granger for the ones who get it done.

[Johnny Dollar]

This is the story of the 1. As head of maintenance at a concert.

[Amy Bradshaw]

Hall, he knows the show must always go on.

[Johnny Dollar]

That's why he works behind the scenes.

[Amy Bradshaw]

Ensuring every light is working, the H Vac is humming, and his facility shines.

[Johnny Dollar]

With Grainger's supplies and solutions for every challenge he faces. Plus 24. 7 customer support.

[Amy Bradshaw]

His venue never misses a beat. Call quickgranger.com or just stop by Granger for the ones who get it done.

[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 our final listener support appreciation special, which will also be our 4800th episode special. But first, I do want to encourage you, if you're enjoying the podcast, to follow us using your favorite podcast software and during our listener support and appreciation campaign, I do encourage you, if you are interested, to become one of our patreon [e-mail] well, now we are getting into another Yours truly, Johnny Dollar Omnibus. This one is the Amy Bradshaw matter from November 21st to 25th, 1955. Let's go ahead and take a lesson.

[Johnny Dollar]

From Hollywood.

[Narrator]

It's time now for.

[Johnny Dollar]

Johnny Dollar, George.

[Porter Kane]

Atkins at Northwest Indemnity.

[Johnny Dollar]

Oh, hiya, Georgie.

[Porter Kane]

How'd you like to go to New York, Johnny, and get into the game mad world of the theater?

[Johnny Dollar]

Thanks a lot, Georgie, but no thanks. I'm not the grease paint type I.

[Porter Kane]

Know, but Amy Bradshaw is.

[Johnny Dollar]

Amy Bradshaw? Yeah, we wrote a policy on her.

[Porter Kane]

A couple years ago.

[Johnny Dollar]

Look, if it's her autograph you want, why send me?

[Porter Kane]

It's not that simple. Anyhow, she's got all the fans she wants.

[Johnny Dollar]

I know. I'm one of them. I think she's great, Johnny. Looks like somebody's trying to kill her, Georgie. I'll be right over. Tonight in every weekday night, Bob Bailey.

[Narrator]

In the transcribed adventures of the man.

[Johnny Dollar]

With the Action Packed expense Account, America's.

[Narrator]

Fabulous freelance insurance investigators.

[Johnny Dollar]

Yours truly, Johnny Dalton. Expense accounts submitted by special investigator Johnny Dollar to The Northwestern Indemnity Alliance, Hartford, Connecticut. The following is an accounting of expenditures during my investigation of the Amy Bradshaw matter. Expense account item 1, $16.50. Transportation and incidentals to New York City. I checked in at a hotel and then went over to the Criterion theater on West 44th where Amy was starring in a play called the Unguarded Hour. David Coleman, the director, was standing in the wings watching the third act on stage. David Coleman? Yes. I'm Johnny Dollar, insurance investigator sent over by Northwestern indemnity.

[Porter Kane]

Oh, yes, Mr. Dollar. I called them. Let's go over here where we can talk.

[Johnny Dollar]

Okay. How's the play going?

[Porter Kane]

22 weeks now. Been going along just fine until this business came up.

[Johnny Dollar]

How did it start?

[Porter Kane]

Last evening, just before curtain time, I dropped by Amy's dressing room. She looked, well, strange.

[Johnny Dollar]

How so?

[Porter Kane]

Pale, trembling. She was staring at a note in her hand that sounded like some sort of crank note. Juno, you are an evil woman. You will be punished by sudden death, unquote.

[Johnny Dollar]

Have you reported this to the police?

[Porter Kane]

Oh, no. I was afraid that if I did, it might get into the papers and we don't want that kind of publicity.

[Johnny Dollar]

I see. How about if I talk to Amy after the show?

[Porter Kane]

I told her you'd be down and she'll talk to you.

[Johnny Dollar]

All good.

[Porter Kane]

Well, Mr. Dollar, the strain of this whole thing is beginning to show up in her performance. She's making mistakes and it rattles the castle. Especially the young ingenue, Sheila Mitchell.

[Johnny Dollar]

Mm. Well, I'll see what I can do. There's always the possibility that it is just a crank note and that Amy will never hear any more of it.

[Porter Kane]

Well, that's what I'm hoping, but we.

[Johnny Dollar]

Might as well face another possibility. That somebody close to Amy is using the crank note as a cover. Has that thought ever occurred to you? Why, no. No, it hasn't, Mr. Doll.

[Narrator]

We will continue with the Bradshaw matter in a moment. Friends, how'd you like to thrill your favorite youngster with some of the most exciting toys of the year? Picture the breathless excitement of any child surrounded by six gaily colored balloon like giant animals up to three feet long and all for the low, low price of just $1? Now, first you get Bounce O. The clown with round pot belly and funny nose. Next comes Hoppy, the Australian kangaroo. Third, there's Roscoe, the roller skating bear. He's two feet tall and looks almost like real. Fourth, there's Whitey, the fat indoor snowman. And fifth, Mortimer the giant mouse, 18 inches long and sure to scare the whiskers off any cat. That's five different giant animals. But now hold your breath for the most sensational toy of all. The star of the whole Christmas season. The jolly Giant Talking Santa Claus. Guaranteed to make everybody's Christmas a merrier one. He's a big, roly, poly, happy Santa. He stands erect on two legs is actually over 3ft tall and 32 inches around. Best of all, he actually talks. Just pull the tape and he says merry Christmas for all to hear. He's the biggest, merriest talking as Santa ever Sure to please your youngsters and spread good cheer. Yes, Giant Santa proves there really is a Santa Claus. That's a total of six giant animals made of brightly colored, preformed, sturdy latex which the kids can easily inflate. And the cost, just $1, not for each. Just $1 for all six of these lovable giants will turn your home into a circus parade. And here's a surprise. Mail your order today and you'll also receive absolutely free Peter the rabbit. Actually over 2ft tall with big red ears, almost 9 inches long. But you must send now. Rush $1 plus 10 cents for packing and mailing for each set you want to giant animals, Box 1580, Grand Central Station, New York City. If not delighted with every one of your seven giant animals return them to the Super Animals Company for a full refund. But keep the Giant Talking sat as our gift order now. Supplies are Limited. Rush $1.10 for packing and mailing for each set in cash, check or money order to giant animals, box 1580, Grand Central Station, New York City. That's $1 plus 10 cents with your name and address. Mail to giant animals, Box 1580, Grand Central Station, New York City. That's giant animals, Box 1580, Grand Central Station, New York City.

[Johnny Dollar]

I waited for Amy Bradshaw in a dressing room at the theater. Fifteen minutes later, after the final curtain, she swept in. I'd never seen her from closer than the 15th row before. Needless to say, I was impressed. But I didn't have a chance to say so. I didn't have a chance to say anything.

[Amy Bradshaw]

Oh, well, that's the way it goes. If you'll just give me a minute to get some of this makeup off.

[Johnny Dollar]

Now?

[Amy Bradshaw]

Now.

[Johnny Dollar]

Hi.

[Amy Bradshaw]

Hi.

[Johnny Dollar]

I know it was only a question of time until you ran down.

[Amy Bradshaw]

I'm sorry. I guess I get a little overcharged out on stage.

[Johnny Dollar]

Sure.

[Amy Bradshaw]

Listen, it's nice meeting you, Mr. Dollar. And I know why you've come down here, but I think you're wasting your time. Oh, this whole thing's really? Pretty silly, you know.

[Johnny Dollar]

I hope so, Ms. Bradshaw.

[Amy Bradshaw]

You mean Amy?

[Johnny Dollar]

Okay, Amy. Say, look, how about having a drink with me? Somewhere we can talk about it?

[Amy Bradshaw]

I'd love to, but I'm afraid I have a date tonight. Could we make it tomorrow, maybe?

[Johnny Dollar]

Sure, okay. Anytime.

[Amy Bradshaw]

You excuse me. Come in. Oh, Mike.

[Johnny Dollar]

Hello, Amy. I'm sorry. I didn't know you had company.

[Amy Bradshaw]

That's all right. This is Johnny Dollar. Johnny, Mike Pomeroy, my agent.

[Johnny Dollar]

Mr. Pomeroy, how are you?

[Amy Bradshaw]

What'd you think of it tonight, Mike?

[Johnny Dollar]

Well, I seem to like okay. Oh, tell you what, Amy, I'll see you tomorrow, eh?

[Amy Bradshaw]

Tomorrow. Mike.

[Johnny Dollar]

I've got a few things I gotta take care of tonight. Contracts to go over, you know, things like that.

[Amy Bradshaw]

Oh, of course.

[Johnny Dollar]

Well, glad to meet you, $. Night, Amy.

[Amy Bradshaw]

Is that offer of a drink still good, Johnny?

[Johnny Dollar]

Well, sure, but I thought you said you have. Oh. Oh, sure. Let's go.

[Amy Bradshaw]

Thanks for understanding.

[Johnny Dollar]

Anywhere in particular?

[Amy Bradshaw]

There's a little place right down the street, small and quiet.

[Johnny Dollar]

Good.

[Amy Bradshaw]

Oh.

[Johnny Dollar]

What's the matter?

[Amy Bradshaw]

Would you mind if we crossed the stage and went out the other door?

[Johnny Dollar]

Oh, no. Why?

[Amy Bradshaw]

I think someone's waiting for me outside this exit.

[Johnny Dollar]

Oh?

[Amy Bradshaw]

Sort of. A friend of mine, Porter Kane. But he can be a little wearing. And I'm rather tired.

[Johnny Dollar]

Sure, I could see him through the open door. A thin faced, rather elegant looking man in a black homburg. We went out the other side and down the street to a bar a few doors away. Item 2 on expense account. $4 drinks. After the first one, Amy relaxed a little. I wanted to get her talking about herself. And it wasn't too tough to do.

[Amy Bradshaw]

There's not really much to tell about me. I've been acting a long time. Sometimes it seems too long. I've come a long way. Some people would say up. I hope it is.

[Johnny Dollar]

You make it sound pretty simple, Amy.

[Amy Bradshaw]

I guess we do what we have to, all of us. I had to act so.

[Johnny Dollar]

So. Just like that, huh?

[Amy Bradshaw]

Just like that.

[Johnny Dollar]

You've always gotten everything you wanted, haven't you?

[Amy Bradshaw]

I think so.

[Johnny Dollar]

Hasn't anyone ever gotten in your way?

[Amy Bradshaw]

No, Johnny. That's never happened. If it did, it looks to me.

[Johnny Dollar]

Like somebody's standing in your way right now.

[Amy Bradshaw]

What do you mean?

[Johnny Dollar]

That threatening letter you got the other day.

[Amy Bradshaw]

I told you, the whole thing's silly. There's nothing to it.

[Johnny Dollar]

Now, that's what you told me, but I don't think you believe it.

[Amy Bradshaw]

Okay, so maybe I have worried a little about it. I wouldn't have if it hadn't been, it was probably only my imagination.

[Johnny Dollar]

What was, Amy?

[Amy Bradshaw]

Well, last night after the show, I felt like walking a little. I went west on 44th street to Times Square. As usual, it was crowded. I stood on the curb waiting for the light to change. And suddenly I got shoved out into the street. Oh, right out into the traffic. I jumped back just in time.

[Johnny Dollar]

You see who did it?

[Amy Bradshaw]

How can you tell in a crowd like that? I know it was probably only coincidence that it happened right after I got that note, but. Oh, Johnny, I still just can't believe anybody is really trying to do me harm. But I guess what's been making me nervous during the performance is staring out at that blackness past the footlights, wondering if there's somebody out there who hates me.

[Johnny Dollar]

Uh huh.

[Amy Bradshaw]

I guess I can't stand being hated, Johnny. I've got to be loved.

[Johnny Dollar]

Look at me. Did it ever occur to you this might not be a crank out in the audience that it might be someone closer to you?

[Amy Bradshaw]

What? Johnny, that's impossible.

[Johnny Dollar]

Is it?

[Amy Bradshaw]

I don't have many friends. They've mostly to do with the play. But those I have are good ones.

[Johnny Dollar]

Who else besides your agent? Pomeroy? How about the director?

[Amy Bradshaw]

David Coleman. He's a very old friend and one of the best.

[Johnny Dollar]

How about the producer?

[Amy Bradshaw]

Emory's the last person in the world who'd wish me harm on a dollars and cents basis. If nothing else. He and Dora both.

[Johnny Dollar]

Dora?

[Amy Bradshaw]

His wife. I like her very much.

[Johnny Dollar]

Does she like you?

[Amy Bradshaw]

Why shouldn't she?

[Johnny Dollar]

What about this man you wanted to duck tonight? The one who was waiting outside the theater?

[Amy Bradshaw]

Porter Kane. Oh, he's a sort of a fan, I guess. A little eccentric maybe. But he's been very good to me, Johnny, really. It couldn't be any of them.

[Johnny Dollar]

Maybe. Maybe not. Look, Amy, I was sent down here because Northwestern Indemnity holds a policy on you.

[Amy Bradshaw]

I know.

[Johnny Dollar]

Now, who's the beneficiary?

[Amy Bradshaw]

William York.

[Johnny Dollar]

Who's he?

[Amy Bradshaw]

My husband.

[Johnny Dollar]

Oh. I didn't know you were married.

[Amy Bradshaw]

We separated six months ago. What I wanted, he didn't. What he wanted, I didn't. It's as simple as that.

[Johnny Dollar]

Where is he now?

[Amy Bradshaw]

Here in New York somewhere, I guess. I don't know. He's a writer, sort of. Johnny, I'm tired.

[Johnny Dollar]

Oh, yeah, sure, you must be. I'm sorry I kept you so long.

[Amy Bradshaw]

Oh, no, I didn't mean that. It's been nice. Very nice. It's funny, I seem to relax a little when I'm with you.

[Johnny Dollar]

We Let that one lay and went outside. Item three, unexpensed account. $2. Taxi to Amy's apartment. There was a car parked two doors down with a man just sitting in it. I saw Amy give it a quick look. Then, as she said good night to me at the door, I noticed that she slipped the catch on it. I sauntered across the street and stepped into the shadows. A moment later, the door of the park car opened and her agent, Mike Pomeroy, got out and went into the apartment house. Then I realized I wasn't the only one watching this. Half a block down the street, I could see a figure in a shadowy doorway. I ran toward him, but he took off around the corner. When I reached the corner, he was nowhere in sight. Amy might have been taking this thing only half seriously, but I was real serious about it. Now, she said she had some very nice friends. But I had a strong hunch that one of these very nice friends was out to kill her. Johnny Duller, Al Sintella down at precinct headquarters. Johnny. Oh, hi, Al. Sorry I missed your call a few minutes ago. What's on your mind? An actress named Amy Bradshaw. Amy? One of my favorites. Me too. But right now I seem to be looking for a guy who doesn't feel that way about her. Huh. Al, it looks like somebody's trying to kill Amy Bradshaw. Better come down here and tell me all about it. Expense account submitted by Special investigator Johnny Dollar. Location, New York City, to the Northwestern Indemnity Alliance, Hartford, Connecticut. The following is an accounting of expenditures during my investigation of the Amy Bradshaw matter. The threat of an attempt on her well insured life expense account. Item 5. $1.75 cab from my hotel to precinct headquarters to talk to Detective Lieutenant Al Centella. Al looked about the same as the last time I'd seen him. Rugged, competent, maybe a few pounds heavier. Sit down, Johnny. Sit down. Thanks. Something about Amy Bradshaw, you said? Yeah. Didn't know you were a friend of hers. Northwestern Indemnity holds a $25,000 life insurance policy on her. Here, take a look at this note. Amy got it several days ago. You are evil. You will be punished by sudden death. Oh, come on now, John. A couple of nights ago, after the show, somebody shoved Amy off the curb and out into the traffic over in Times Square. Well, the same thing happens to me almost every time I'm around Times Square. You know what I smell in all this? Oh, sure. You probably smell a publicity stamp. I sure do. You think I'd fall for a thing like that? You know, Amy Bradshaw very long? No, I'd seen her in a few shows, but last night was the first time I'd ever met her in person. If I didn't know you pretty well, I'd say you might be getting a little stage struck on her. Uh huh. What about the man who trailed Amy to her apartment last night? Oh, who? I don't know. I chased him, but he had too much of a lead on me. I still wouldn't go jumping to any conclusions. Who you got to work on, for instance? Well, for one, David Coleman, her director. Then there's the producer, Emory Taylor, and his wife, Dora. From what Amy said, I gather Dora doesn't like her very well. Anybody else? And there's her agent, Mike Pomeroy. She seems to be pretty wrapped up in him. Old stable fool, huh? Yeah, looks like it. Also a fellow named Porter Kane, who was usually hanging around the theater waiting for Amy. And finally, the man I really came to talk to you about.

[Porter Kane]

Who's that?

[Johnny Dollar]

Name is Bill York, her husband, but they're separated. Oh. She doesn't know where he is. You figure he might tie in somehow? He is the beneficiary of Amy's insurance policy. Well, I'll see if I can turn up an address on him for you. Okay, thanks, Al. In the meantime, I think I'll pay a call on this Porter Cane. See if I can find out just how good a fan he is.

[Narrator]

We will continue with the Bradshaw matter in a moment.

[Johnny Dollar]

Expense account, item 6, 225, cab to the apartment of Porter Kane in the East 70s. It was an expensive looking place. I got there about noon, but Porter Kane was just finishing breakfast. Accompanied by Chopin.

[Porter Kane]

May I offer you a cup of coffee, Mr. Dollar?

[Johnny Dollar]

Oh, thanks. A blank, please. Yes.

[Porter Kane]

Now, you came to see me about Amy Bradshaw, I believe.

[Johnny Dollar]

That's right, Mr. Kane. I represent Northwestern Indemnity Alliance. They hold a policy on Ms. Bradshaw.

[Porter Kane]

You perhaps want some sort of character reference on her?

[Johnny Dollar]

You might put it that way.

[Porter Kane]

In that case, you couldn't have come to one better qualified than I. You see, Amy is my career at present.

[Johnny Dollar]

Afraid I don't understand, Mr. Kane.

[Porter Kane]

Well, some years ago, I was relieved of the sordid but customarily necessary task of working for my bread and butter. The result is that I've been able to devote myself to a fascinating hobby.

[Johnny Dollar]

What kind of a hobby?

[Porter Kane]

I collect things.

[Johnny Dollar]

Oh.

[Porter Kane]

The objects of my interest vary, but they all have one thing in common.

[Johnny Dollar]

Ah.

[Porter Kane]

This signet ring I'm wearing, for instance.

[Johnny Dollar]

Yes, I noticed it.

[Porter Kane]

Very unusual the crest is that of the Medici family. Renaissance Italy. The only ring of its kind in the world, so far as any of the authorities on that period are aware. That vase on the table, the painting on the wall, that sculpture.

[Johnny Dollar]

One of a kind, huh?

[Porter Kane]

Precisely. Which brings us, quite logically, to Amy, who is clearly one of a kind.

[Johnny Dollar]

So?

[Porter Kane]

So I plan to add Amy to my collection.

[Johnny Dollar]

Just like that, huh?

[Porter Kane]

I'm certain Amy will see it my way in time. And I have time. Now, if you'll excuse me, I must dress for the matinee. Will I see you again, Mr. Dollar?

[Johnny Dollar]

Yes, you probably will, Mr. Kane. I was glad to get out of the hot house atmosphere of Kane's apartment. Real weird, this character. And I had a hunch I'd better keep an eye on him. Item seven, a $65 cab fare that evening to the Criterion Theater. I arrived half an hour before curtain time and headed for Amy's dressing room. Then, as I approached her door. You'll listen real careful. I'll give it to you once again. You've been tossing wrong cues to Sheila. For three nights now. You've been doing everything you can to upstage her and make her look bad.

[Amy Bradshaw]

Mike, it's just that I've been nervous lately. Maybe I have made a few mistakes in my life, Amy.

[Johnny Dollar]

You know I've got plans for Sheila and I don't want her looking bad in this play.

[Amy Bradshaw]

Got plans for Sheila? What about us?

[Johnny Dollar]

Amy, we can talk about that some other time. But for now, I just want you to understand you're to lay off Sheila. I mean it.

[Amy Bradshaw]

Is that a threat, Mike?

[Johnny Dollar]

Take it any way you like. It sounded like Pomeroy was coming outside, so I ducked around behind a piece of scenery and waited a moment. Then I went back to Amy's door.

[Amy Bradshaw]

Oh, Johnny.

[Johnny Dollar]

Hello, Amy. You look tired.

[Amy Bradshaw]

I am. I just had a little go around with Mike Amarai. Uh huh. I've been fluffing some of my lines lately. He seems to think I've been doing it deliberately to make Sheila Mitchell look bad. But he's wrong. Have you found out anything yet, Johnny?

[Johnny Dollar]

No, not much.

[Amy Bradshaw]

I still can't believe there's anything to it. It's so silly to let it upset me. Silly even to give it a thought.

[Johnny Dollar]

Well, try not to, Amy. Let me worry about it.

[Amy Bradshaw]

All right. Did I ever tell you it's nice having you around, Johnny.

[Johnny Dollar]

I left a dressing room and started for the alley door, but somebody stepped out in front of me. It was Mike Pomeroy. Hello, Dollar. Oh, hi, Pomeroy. I was just talking to Dave Coleman, the director. He told me he was the one who sent for you. He told me why you didn't know about the threatening letter Amy got. No. No, I didn't. Look, $, every actress I've ever known has gotten at least one note like that during her career. You don't think they should be taken too seriously, then? No. Amy's pretty nervous these days. As long as you're around stirring things up, she'll be worried about it. If there's anything to be done about it, I can handle it. In other words, you want me to mind my own business. That it? You said that, $. I didn't. Might not be a bad idea. Funny thing. When somebody tells me to lay off a case, my interest in it always doubles. After the final curtain, I went backstage to wait for Amy. The stage door was open and I could see Porter Kane waiting in the alley outside. So I went over to him.

[Porter Kane]

Well, Mr. Dollar, good evening.

[Johnny Dollar]

Hello, Kane. On duty again tonight? Perhaps?

[Porter Kane]

That's one way of putting it. I thought I might have a little chat with Amy after she's changed.

[Johnny Dollar]

I'm afraid she has a date.

[Porter Kane]

Oh. Do you happen to know with whom?

[Johnny Dollar]

Yeah, me.

[Porter Kane]

Mr. Dollar, are you suggesting that I'm to regard you as some sort of rival?

[Johnny Dollar]

Not at all, Kane. I'm just suggesting that I'm a friend of Amy's.

[Porter Kane]

I see. Good night, Mr. Dollar.

[Johnny Dollar]

After Kane left, I stood beside the stage door and tried to figure out some of the angles on this case. There were too many of them. By the time I went in. The theater was dark except for a dim light bulb over the stage. And everyone had gone. Everybody, that is, except Amy. I ran into the darkened theater. She was standing horrified, next to the stairway by the dressing rooms, her eyes fixed on something that lay on the floor.

[Amy Bradshaw]

Johnny, I was on my way out to meet you.

[Johnny Dollar]

I heard a swish through the air.

[Amy Bradshaw]

This heavy sandbag.

[Johnny Dollar]

It barely missed me.

[Amy Bradshaw]

Oh, Johnny.

[Johnny Dollar]

Stay back against the wall, Amy. You'll be okay there. I climbed the long ladder up to the catwalk above the stage, where they sometimes used the sandbags to balance hunks of scenery. It was dark up there. I started edging along the catwalk. Suddenly, my foot hit a loose board. I almost lost my balance. A loose board that could have been left for me. And it was a long, long drop down to the stage. Whoever'd been up there knew the theater pretty well. Finally, I went back down to Amy. She was trembling.

[Amy Bradshaw]

Johnny.

[Johnny Dollar]

It's okay, Amy. It's okay, Johnny.

[Amy Bradshaw]

Maybe I didn't take it seriously before, but I do now. Somebody dropped that sandbag from up there deliberately. Somebody is trying to kill me and I'm scared, Johnny. I'm scared.

[Johnny Dollar]

Johnny. Duller. Al Sintella at police headquarters. Johnny. Yeah? You hear what happened at the Criterion Theater after the show last night? I was off duty when you called, but Sergeant Rogers gave me a fill in this morning. So somebody tried to drop a sandbag on Amy Bradshaw backstage? Yeah, a real near miss. You still think these attempts on our life are publicity stunts? Ah, looks like your hunch was right. I'll have a couple of my boys keep an eye on Amy. Thanks, Johnny. You wanted to know the whereabouts of this guy Bill York, the husband Amy separated from. What have you got on him, Al? 768 West 4th street, down in Greenwich Village. Thanks. I'll check it. New York City expense account submitted by Special Investigator Johnny Dollar to the home office, Northwestern Indemnity Alliance, Hartford, Connecticut. The following is an accounting of expenditures during my investigation of the Amy Bradshaw matter. Expense account item 8, 275. Taxi from my hotel to Greenwich Village to try and locate a writer named Bill York who had separated from Amy six months ago. Amy was a good actress, but she couldn't hide the fact. She was plenty scared by the attempts on her life in the last three days. My hunch was it was someone close to Amy. And Bill York was very much on my list. After all, he was the beneficiary on our life insurance policy. I hadn't been to this part of the Village in two or three years, but from the looks of it, it hadn't changed a bit. Defiantly shabby and run down. A few beards here and there. A few gals with long straight hair. Bookstores and bars side by side. I checked at the address Al Centella had given me. It was a beat up old rooming house.

[Porter Kane]

You come down here to interview the famous writer? Something like that.

[Johnny Dollar]

Not exactly.

[Porter Kane]

Too bad. Here I thought you wanted to carry my message to America.

[Johnny Dollar]

No, I'm afraid that's a little out of my department, Mr. York. Amy did mention that you were a writer.

[Porter Kane]

I can tell you exactly what she said. She said, you know, Bill's a writer.

[Johnny Dollar]

Sort of. Right. Well, as a matter of fact, Amy.

[Porter Kane]

Always felt it necessary to apologize for me. That was one thing about our marriage that was always so charming.

[Johnny Dollar]

Well, look, I didn't come here to discuss your marriage, York. I don't know what you're so bitter about. It's none of my business, My darling.

[Porter Kane]

What do I have to be bitter about? Here I am, an artist living an unfettered life of freedom in Greenwich Village. What more could I ask?

[Johnny Dollar]

I guess I haven't read any of your books.

[Porter Kane]

Don't worry about it. You're in good company. You and the publishers.

[Johnny Dollar]

That's too bad. Must make a little problem in the grocery department.

[Porter Kane]

Oh, that doesn't worry me. You see, one can always manage to live comfortably in hock. Oh, and if one is willing to hock his soul, of course, the returns are much greater.

[Johnny Dollar]

I don't get you.

[Porter Kane]

That's not surprising, because nobody else but me would call it my soul. It's just the manuscript for an unpublished novel. Three years of work and sweat and pain. But my clever pawnbroker, Mr. Pomeroy, has a fair idea what it means to me.

[Johnny Dollar]

Mike Pomeroy? Amy's agent.

[Porter Kane]

Charming chap. Quite true.

[Johnny Dollar]

In other words, if you could raise some money, you could get this brainchild of yours out of hock from him. Tell me, how long has it been since you've seen Amy?

[Porter Kane]

Several months. Why?

[Johnny Dollar]

You haven't been uptown near her apartment the last few days, huh? No. You sure? Of course.

[Porter Kane]

Anything else?

[Johnny Dollar]

No, not for now.

[Narrator]

We will continue with the Bradshaw matter in a moment.

[Johnny Dollar]

I was getting nowhere in my attempt to find out who was gunning for for Amy Bradshaw. And I knew it. I called Mike Pomeroy, her agent, but he was out. So I took the next name on my list. The producer of Amy's play, Emory Taylor. Expense Account, Item 9, 175. Camp fare to Taylor's apartment in the mid-50s near the museum of Modern Art. Taylor wasn't in, but his wife Dora was. She was sleek looking and a little on the brittle side. She was sitting behind a small bar in the den and she looked quite at home there.

[Amy Bradshaw]

Drink?

[Johnny Dollar]

Thanks. Will your husband be back soon, Mrs. Stingley? Who knows?

[Amy Bradshaw]

Here.

[Johnny Dollar]

Oh, thank you.

[Amy Bradshaw]

What do you want to see him about?

[Johnny Dollar]

Amy Bradshaw.

[Amy Bradshaw]

What about Amy Bradshaw?

[Johnny Dollar]

I wanted to ask him if he knew of anyone who might want to harm Amy for any reason.

[Amy Bradshaw]

I could answer that better than Emory.

[Johnny Dollar]

There is someone?

[Amy Bradshaw]

There certainly is.

[Johnny Dollar]

Who?

[Amy Bradshaw]

Me.

[Johnny Dollar]

Why?

[Amy Bradshaw]

Would you like it if your husband was knocking himself out for your. What? For a younger woman.

[Johnny Dollar]

Well, now, isn't that part of the business, Is it?

[Amy Bradshaw]

That's not all. Amy's hurt plenty of people getting where she is.

[Johnny Dollar]

Do you think your husband's one of them?

[Amy Bradshaw]

I hope not.

[Johnny Dollar]

Who has she hurt? Mrs. Taylor.

[Amy Bradshaw]

Do you know Dave Coleman, her director? He was very much in love with Amy a few months ago.

[Johnny Dollar]

I see.

[Amy Bradshaw]

I don't like to see someone I like get the way he was. One night here, he had a couple too many. Said if he couldn't have her. Funny how quick he got over it, though.

[Johnny Dollar]

Never says anything about it anymore, huh?

[Amy Bradshaw]

Not a word.

[Johnny Dollar]

What about Porter Kane?

[Amy Bradshaw]

Oh, you've met him.

[Johnny Dollar]

Is he one of them that Amy's hurt?

[Amy Bradshaw]

No, no, he's not in that category. Whatever happened to hurt him must have happened at about the age of five.

[Johnny Dollar]

What do you mean?

[Amy Bradshaw]

Oh, isn't that when most of our troubles start?

[Johnny Dollar]

I wouldn't know.

[Amy Bradshaw]

I once paid a psychiatrist $500 to tell me. That's when mine started.

[Johnny Dollar]

Your troubles? Sure.

[Amy Bradshaw]

Can't you tell, Mr. Dollard? I'm the mixed up type.

[Johnny Dollar]

Aren't we all, Mrs. Taylor? I left her still sitting behind the bar, and somehow I felt sorry for her. But she had given a new lead. David Coleman, Amy's director, who'd had it bad for Amy just a few months ago and had now completely recovered. Maybe I made a mental note to have a little chat with Coleman that night. Then I put in another call to Mike Pomeroy. This time he was in. And I finally talked him into meeting me at a little bar on West 44th near the theater. But when I got there, I could see that he wasn't feeling Very cooperative. Look, $, I suggested once before, nice and polite, that maybe you should try minding your own business. I got the message all right, Pomeroy. And now I've got one for you. I am minding my own business. This is what I was hired to do. The insurance company I represent holds a pretty hefty life insurance policy on Amy. And if she's in any danger they want to know about. But I told you before, I think this whole thing's pretty silly. I had a talk with Bill York, the writer, this morning. Even though he and Amy are separated, you know he's still the beneficiary on our policy. So? So he says he's in hock to you. He's a bum. He wasn't doing Amy any good. She was worrying about him when they split up. I told him as long as he stayed away from her, didn't try to see her, I'd keep him in groceries. I see. But naturally I wanted some security. The manuscript of his book, for instance. Great Unborn American Novel. Well, apparently that manuscript means a lot to you. That's why I figured it'd be good security. It's a matter dollar. You look like you smelled something bad. Do I? What am I supposed to be, a philanthropist? Let me make one thing clear, Pomeroy. As far as the kind of loans you make, I agree with you. It's none of my business, but maybe I just got a sensitive nose. Yeah, yeah. Anyway, now I want my dough back. Is anything wrong with that? Not a thing. I've got a play lined up. I know we'll go over big. I want to produce it. York's tab has run up to several thousand bucks. Now. I could use the money. I see. The stupid part of the whole deal is that York could pay me back within a couple of months if he wanted to. Sure, it's a lot of dough floating around to be made in television these days. But that prima donna thinks he's way above that sort of thing. This play you want to produce, Pomeroy, will it star Amy? No, she lament you. Oh. Well, thanks for the information. Be seeing you. I doubt it. On my way over to the Criterion Theater, I thought about Pomeroy, a rugged customer. And I felt he was one more who wouldn't let anyone stand in the way of anything he wanted to do. After the show, I picked up Amy backstage and took her back to her apartment. She looked very tired and didn't say much. We said good night at the front entrance and I started walking along the sidewalk. Then I spotted somebody in the shadows across the street again, watching. I could tell from his hat and coat he was the same one who'd been there the night before last. I kept on walking until I reached the corner, then circled halfway around the block to an alley and edged up on him from behind. He didn't see me until I doled.

[Porter Kane]

Adam.

[Johnny Dollar]

Well, Bill York.

[Porter Kane]

What are you doing here?

[Johnny Dollar]

So you haven't been near Amy for a long time, huh? Except tonight and the night before last. Watching her apartment, darling. Come on, York, start talking and it better be good. Johnny Duller, Al Sintella at police headquarters. Johnny. Better get over here to my hotel room. Al, I've got company. Who is it? Bill York. Amy Bradshaw's ex husband. Right. I caught him watching our apartment half an hour ago. And he's the one who was watching it the other night. This time I had better luck catching him. Has he opened up yet? No, but he will. Johnny, take it easy with him. I think he's got plenty to tell us. Looks like he's the boy we're after. Al. I'll be right over. New York City expense account submitted by Special Investigator Johnny Dollar to the home office, Northwestern Indemnity Alliance, Hartford, Connecticut. The following is an accounting of expenditures during my investigation of the Amy Bradshaw matter. Amy, star of a Broadway play. And somebody was out to get her expense account. Item 10, $3. Repairs to one coat sleeve torn in the process of inviting Bill York up to my hotel room.

[Porter Kane]

Look, Dolly, you've got no right to drag me up here to your room this way.

[Johnny Dollar]

York, you're gonna sit right here until you open up and tell me all about the attempt on Amy Bradshaw's life. What? You. Come in. Oh, Al. Hi. Johnny York, this is Detective Lieutenant Al Centeller.

[Porter Kane]

Look here, Lieutenant, what's this all about?

[Johnny Dollar]

Well, I kind of thought that's what you'd tell us. Mr. York, this is crazy.

[Porter Kane]

Why would I want to kill Amy?

[Johnny Dollar]

You're aware that you're still the beneficiary on Amy's insurance policy? What? Even if I. Oh, so you need money. And you need it bad. You're several thousand bucks in debt to Mike Pomeroy, Amy's agent. He's been pressing you for it lately. Look, Don, you know you can't get the manuscript of your novel out of hock from him until you pay off. You've got two strikes against you, York. Motive and opportunity.

[Porter Kane]

Opportunity, sure, but motive, no.

[Johnny Dollar]

$.

[Porter Kane]

I've never had any reason to kill Amy. It's true she and I couldn't make it together, but I guess that was more my fault than hers.

[Johnny Dollar]

Go on.

[Porter Kane]

You see, Amy's never let anything stand in the way of what she wanted. What she wanted. I didn't. I guess we just lived in two different worlds.

[Johnny Dollar]

What do you mean?

[Porter Kane]

She's always been a success, and I've always been a failure.

[Johnny Dollar]

You still haven't explained why you lied to me, York. Why, when I talked to you this morning, you told me you hadn't been near Amy for a long time. But when I caught up with you in front of her apartment tonight, I realized you were the same one who was watching the night before last. How about that, York?

[Porter Kane]

You fellas don't leave me much.

[Johnny Dollar]

What do you mean?

[Porter Kane]

Sure, once in a while, I go stand outside our apartment house, look up at the light in the window. Maybe think a little about how things might have been. That's all.

[Johnny Dollar]

Maybe you better come downtown with me, York. We'll check your story further. If you're clean, you got nothing to worry about.

[Porter Kane]

All right, lieutenant.

[Johnny Dollar]

Sergeant, take Mr. York down to the car and wait for me there. Johnny, who else have you talked to? Oh, Everybody close to her. But the one who interests me most is her agent, Mike Pomeroy. He can be a pretty rough customer when he wants to. And he thinks Amy's standing in the way of a career for an actress he's currently interested in. Let's talk about somebody else for a moment. Oh, you. Johnny, I think you're getting a little bit out of line. What do you mean? Down at police headquarters, we got a little black book.

[Porter Kane]

It tells us what to do and.

[Johnny Dollar]

What not to do. It doesn't say anything about insurance investigators. Dragging possible suspects to their hotel room to question them. Listen, Al, when I'm assigned to a case, I usually try to break it any way I can. I know. It's just that I think you're taking this case pretty big. Meaning? Yesterday I told you that if I didn't know you better, I'd think you were falling for Amy a little yourself. Think it over, Johnny.

[Narrator]

We will continue with the Bradshaw matter in a moment.

[Johnny Dollar]

Expense account, item 11. $4. Drinks for me. I thought about what Al Centella had said. The possibility I was falling for Amy Bradshaw. Thought about it for two hours. Finally, I decided I had to find out if he was right. I went over to Amy's apartment.

[Amy Bradshaw]

It was good of you to come over, Johnny. I just can't seem to sleep lately. Yeah, I noticed. There's a policeman on duty down in the lobby.

[Johnny Dollar]

Lt. Centella Arrange for that.

[Amy Bradshaw]

It's funny. It should make me feel better, but it doesn't. Just keeps reminding me of it. Threat on my life. I'm glad you're here, Johnny. So am I. Awfully glad. Maybe I shouldn't say that, but do.

[Johnny Dollar]

You hear any objections?

[Amy Bradshaw]

Well, who could? Excuse me.

[Johnny Dollar]

Yeah, sure.

[Amy Bradshaw]

Hello? Yes. Oh, Porter. What? No, I'm sorry. No, really, Porter, it's out of the question. No. Good night, Porter.

[Johnny Dollar]

Cane, huh?

[Amy Bradshaw]

Yes. I suppose he means well, but he can be rather annoying. Do you have a cigarette, Johnny?

[Johnny Dollar]

Here.

[Amy Bradshaw]

Thanks. You seem rather quiet tonight.

[Johnny Dollar]

Oh? Just thinking, I guess.

[Amy Bradshaw]

Funny, our meeting like this.

[Johnny Dollar]

Yeah.

[Amy Bradshaw]

Just a few days ago, I didn't know you at all. And now.

[Johnny Dollar]

And now what?

[Amy Bradshaw]

I don't know, Johnny. I don't know.

[Johnny Dollar]

Amy.

[Amy Bradshaw]

It was a mistake, Johnny. I'm sorry.

[Johnny Dollar]

Was it?

[Amy Bradshaw]

Yes. Johnny, I'm afraid I've hurt a couple of people in the past. I don't want to hurt you.

[Johnny Dollar]

Don't worry. You won't.

[Amy Bradshaw]

That's the wonderful thing about being an actress. You play so many parts.

[Johnny Dollar]

The kiss. That was playing a part, huh?

[Amy Bradshaw]

Even if it weren't Johnny be no good? There'd always be something between us. It's right over there on the mantel.

[Johnny Dollar]

The clock?

[Amy Bradshaw]

Yes. We can't turn it back. I'd met you a long time ago, before Mike or. But I didn't.

[Johnny Dollar]

No. So is the clock so bad, Amy?

[Amy Bradshaw]

It is to an actress. Sometimes I pretend it isn't there. You ever do that, John?

[Johnny Dollar]

No. It doesn't do any good.

[Amy Bradshaw]

But you can try. You can live a whole life trying. Isn't that really what we all do?

[Johnny Dollar]

I don't know.

[Amy Bradshaw]

We go along playing our parts, doing what we have to do, pretending the clock isn't there. But all the while it is. And though we keep on fighting against it, we know we can't turn it back. We can't even stop it.

[Johnny Dollar]

One thing I'd accomplished, I guess I decided I wouldn't be seeing Amy anymore after this case was wound up. Winding it up, though, was another question. And I was still as far from home as ever on it. But I couldn't seem to get Porter Kane in his quaint little hobby of collecting things, out of my mind.

[Porter Kane]

Why, good evening, Mr. Dollar.

[Johnny Dollar]

Hello, Mr. Kane.

[Porter Kane]

Come in, come in.

[Johnny Dollar]

Thanks. I know it's late. I'm sorry.

[Porter Kane]

Not at all. As a matter of fact, I was hoping I'd see you again.

[Johnny Dollar]

I don't want to keep you. I see. Your hat and coat.

[Porter Kane]

No, I'm not going out. I've just come in.

[Johnny Dollar]

Oh. You said you were hoping you'd see me again.

[Porter Kane]

Yes. I enjoyed our other little chat very much. I suppose you came to talk some more about Amy Bradshaw.

[Johnny Dollar]

Matter of fact, Mr. Cain, I came to talk about you.

[Porter Kane]

Splendid.

[Johnny Dollar]

And about your hobby.

[Porter Kane]

Collecting. A fascinating hobby, Mr. Dollar.

[Johnny Dollar]

You take it pretty seriously, don't you?

[Porter Kane]

I've devoted most of my life to it. And I may say that I've succeeded rather brilliantly with it. Each item in my collection is incomparable without equal.

[Johnny Dollar]

Yeah. One of a kind.

[Porter Kane]

And that, of course, is precisely why Amy is necessary to complete the collection. The crowning and final edition.

[Johnny Dollar]

Final?

[Porter Kane]

Yes. For your information, Mr. Dollar, when I have acquired Amy, I intend to cease my hobbies. Oh, she will complete my collection without her, though it is still incomplete.

[Johnny Dollar]

Mind if I ask you a couple of questions, Mr. Kane?

[Porter Kane]

Not at all.

[Johnny Dollar]

You seem to have been pretty successful with your collection. Have you ever run up against an item you wanted but couldn't get?

[Porter Kane]

Of course not. That just doesn't happen.

[Johnny Dollar]

Has it ever happened?

[Porter Kane]

I can't remember that it ever.

[Johnny Dollar]

Yes.

[Porter Kane]

Yes, it did happen once. One when I was nine years old. A playmate of mine had a lollipop that I admired greatly. He wouldn't give it to me and he wouldn't sell it to me.

[Johnny Dollar]

What did you do?

[Porter Kane]

I did the only logical thing there was to do. I smashed the lollipop.

[Johnny Dollar]

Mr. Doll? Johnny Dollar.

[Amy Bradshaw]

Amy Bradshaw. Johnny?

[Johnny Dollar]

Amy, it's 1am Anything the matter?

[Amy Bradshaw]

Yes. Can you come over right away?

[Johnny Dollar]

Sure. Your apartment?

[Amy Bradshaw]

No, I'm in my dressing room at the Criterion Theater at 1 o' clock in the.

[Johnny Dollar]

Amy, there's a policeman assigned to you. Is he with you?

[Amy Bradshaw]

No, I. I went out the back way. I came over here alone.

[Johnny Dollar]

But why? He's supposed to be protecting you.

[Amy Bradshaw]

Johnny, I can't explain now, but I think I finally know who's been trying to kill me. I want to talk to you right away. Over here. Hurry. Please hurry.

[Johnny Dollar]

New York City expense account submitted by special investigator Johnny Dollar to the home office, Northwestern Indemnity Alliance, Hartford, Connecticut. The following is an accounting of expenditures during my investigation of the Amy Bradshaw matter. Expense account item 12, $5. Taxi. From my hotel to the Criterion theater on West 44th. Two bucks for the fair, three bucks for getting me there in five minutes. Amy had sounded plenty scared over the phone. The cab skidded to a stop in front. I caught a glimpse of somebody at the other corner of the theater. It looked like Porter Kane. I couldn't be sure and I didn't have time to find out right now. Backstage it was quite dark and I had to feel my way through some. The shot came from the direction of Amy's dressing room. Mike Pomeroy, her agent, was lying on the floor, dead. There was a gun on the floor too. Just inside the door. Daddy. Oh, Daddy. What happened? Amy? Amy, stop it. Tell me what happened. The door. The door.

[Amy Bradshaw]

The shot.

[Johnny Dollar]

It came from the door. I ran outside the dressing room, across the stage, into the alley. No one in sight. Back inside, I found a light switch. So I phoned Al Centella at police headquarters, told him what had happened. Amy was quieter now.

[Amy Bradshaw]

Johnny.

[Johnny Dollar]

Amy, look. Look, I know it's tough for you to talk right now, but you've got to try and tell me.

[Amy Bradshaw]

I know. A little after midnight, Mike called me at my apartment. He said he wanted to talk to me about something important. His office is nearby and he asked me to meet him here in my dressing room. So I came over right away.

[Johnny Dollar]

Go on.

[Amy Bradshaw]

Mike and I started talking. Suddenly I saw the door opening a crack. A hand with a gun. Mike.

[Porter Kane]

Mike.

[Johnny Dollar]

Easy, easy.

[Amy Bradshaw]

Mike. Thought Dude. He dove in between me and the.

[Johnny Dollar]

Door and collected the slug.

[Amy Bradshaw]

He fell against the door and it slammed on the hand. Gun dropped and next thing I remember, you were in the room.

[Johnny Dollar]

You didn't see who was holding the gun?

[Amy Bradshaw]

No, just the hand.

[Johnny Dollar]

Amy.

[Amy Bradshaw]

There was something on one of the fingers that I recognized.

[Johnny Dollar]

A large signet ring?

[Amy Bradshaw]

Yes.

[Johnny Dollar]

Yeah. It belonged to the guy out on the sidewalk. Porter Kane. We will continue with the Bradshaw matter in a moment. Lieutenant Scintilla arrived at Amy's dressing room and Amy repeated her story to him. He sent a couple of his boys out to pick up poor Al, and Amy and I went down to headquarters. We left her in one room while we went into another to question Kane, who had been picked up at his apartment.

[Porter Kane]

See here, Lieutenant. I don't know what this is all about, but I certainly object to being routed out.

[Johnny Dollar]

Just hold it, Kane. You know why you're down here.

[Porter Kane]

I certainly do not.

[Johnny Dollar]

You don't know that Mike Pomeroy's dead.

[Porter Kane]

Amy's agent.

[Johnny Dollar]

Really? Really.

[Porter Kane]

I never did like that chap. Quite an insensitive person.

[Johnny Dollar]

Well, he's realin sensitive now, Kane. He's dead.

[Porter Kane]

How did it happen?

[Johnny Dollar]

Mike was shot by mistake. The real target was Amy.

[Porter Kane]

Good heavens, no.

[Johnny Dollar]

When's the last time you saw Amy?

[Porter Kane]

The night before last. I spoke to her briefly after the show.

[Johnny Dollar]

You haven't talked to her on the telephone?

[Porter Kane]

No.

[Johnny Dollar]

You're lying. Now, see here, at her apartment, about 11pm I was there.

[Porter Kane]

All right. I did telephone her. I suggested she meet me somewhere. I. I told her I'd wait for her outside her apartment.

[Johnny Dollar]

Go on.

[Porter Kane]

I saw her come out later by the alley. So I followed her to the theater, thinking she meant for us to talk there. But then I. I heard a shot.

[Johnny Dollar]

So you admit being in the vicinity?

[Porter Kane]

Well, yes, but I definitely did not go into the theater.

[Johnny Dollar]

Didn't you, Kane? Amy got a look at the hand holding the gun. There was a ring on one of the fingers.

[Porter Kane]

Ring?

[Johnny Dollar]

Your ring.

[Porter Kane]

She's completely mistaken.

[Johnny Dollar]

That's a very distinctive ring. It's not one that anybody be mistaken about.

[Porter Kane]

See here, Lieutenant. All of this, this wild supposition, is based on the assumption that I had a motive for wanting to kill Amy.

[Johnny Dollar]

You told me what your motive was when I talked to you last evening.

[Porter Kane]

What do you mean?

[Johnny Dollar]

I asked you what you do if you wanted something for your collection and couldn't get it. You told me a story about what happened when you were just a kid, nine years old. But I. I said another kid Had a lollipop you wanted. He wouldn't give it to you, so you smashed it. And that's what you were trying to do tonight in Amy's dressing room. You couldn't have her, so you tried to smash her. There wasn't much point in my hanging around, so I got Al Centella's permission to take Amy back to her apartment. We could wait there for any new developments. Amy didn't say a word all the way when we got there. She sat in a chair, staring at the wall. When she finally spoke, it was more like she was talking to herself.

[Amy Bradshaw]

He's dead, Amy. He's dead because of me.

[Johnny Dollar]

Stop talking that way. Mike Pomeroy jumped in the way of a bullet. If he hadn't, you'd be dead.

[Amy Bradshaw]

Would have been better that way.

[Johnny Dollar]

Stop it, Amy.

[Amy Bradshaw]

Johnny? Yeah, I think.

[Johnny Dollar]

You think what? Oh, just a minute. I'll get. Was Al Scintella down at police headquarters? When he finished talking, I didn't say anything. There wasn't anything to say. After I hung up, I stood there a moment, staring out the window. It had started to rain. I felt old and tired and empty and sick. I went back into the other room again. Amy was sitting there looking at me.

[Amy Bradshaw]

Johnny.

[Johnny Dollar]

Amy.

[Amy Bradshaw]

Was that called for me?

[Johnny Dollar]

No.

[Amy Bradshaw]

Who was it?

[Johnny Dollar]

Lieutenant Scintilla.

[Amy Bradshaw]

Oh.

[Johnny Dollar]

The gun that killed Mike Pomeroy. There were no fingerprints on it. You said you saw a bare hand with a ring on it holding the gun. A bare hand would have left fingerprints. You killed him, didn't you?

[Amy Bradshaw]

Yes. Johnny.

[Johnny Dollar]

The attempts on your life. You faked them, didn't you? To convince people you were in danger so you could kill Pomeroy. And we think the shot was intended for you. Why, Amy?

[Amy Bradshaw]

You know why.

[Johnny Dollar]

Yeah, I guess so. You loved Mike. You knew he was growing away from.

[Amy Bradshaw]

You so fast, so very fast.

[Johnny Dollar]

You saw him get interested in a younger actress. You knew she was taking your place with him.

[Amy Bradshaw]

Mike, I was dead. I couldn't stand that. I really couldn't. So I started making it look like I was in danger. It wasn't very hard, Johnny. I'm a good actress.

[Johnny Dollar]

Yeah.

[Amy Bradshaw]

After a while, I almost began to believe I was in danger. Something was after me, was hunting me. It finally caught up with me. And I did what I did. Which of us is the hunted, Johnny? And which is the hunted?

[Johnny Dollar]

Amy?

[Amy Bradshaw]

Yes?

[Johnny Dollar]

I think one of Lt. Scintilla's men is waiting for you out in the hall.

[Amy Bradshaw]

All right. Just one thing, Johnny.

[Johnny Dollar]

What is it?

[Amy Bradshaw]

I'll need something now. Something. Don't Forget me, Johnny. Give me that.

[Johnny Dollar]

That you can count on. Am. She walked out of the room and she didn't look back. I'm glad she didn't. Expense account item 13, $16.50. Transportation and incidentals from New York back to Hartford. Expense account total $185.20. End of account. End of report remarks. Amy repeated her confession to Lieutenant Sentella. Her trial's coming up soon. Sweet case. Well, tomorrow's another day, so they tell me. Yours truly, Johnny Dol.

[Narrator]

Johnny Dollar will return in a moment to tell you about next week's intriguing story. Friends, send for your set of some of the most exciting toys of the year. Six giant inflatable toys for only $1. Some up to 3ft tall. You get Bounce over Happy Clown Hoppy, the Australian kangaroo. Roscoe, the 2ft long roller skating bear. Whitey, the fat indoor snowman. Mortimer, the giant mouse, 18 inches long. And last but not least, the great giant talking Santa. A roly poly giant over 3ft tall and 32 inches around the belly that actually says Merry Christmas out loud when you pull the tape. That's six sensational giant toys for only $1. Made of sturdy, gaily colored latex that the kids can easily inflate. Send $1 for each set to Giant Animals, Box 1918, Grand Central Station, New York City. And if you order right now, you get Peter the rabbit, over 2ft tall, absolutely free. If not delighted with your giant animals, your money refunded immediately. Order today. You may never hear this offer again. Rush $1 plus $0.10 for packing and mailing and cash, check or money order to giant animals, box 1918, Grand Central Station, New York City. That's $1 plus 10 cents for each set with your name and address to giant animals, Box 19, 18, Grand Central Station, New York City. Now here's our star to tell you about next week's exciting story.

[Johnny Dollar]

Next week, a case with a great big question mark. Accident, suicide or just plain murder? Join us, won't you? Yours truly, Johnny Doll.

[Narrator]

Yours truly, Johnny Dollar, starring Bob Bailey.

[Johnny Dollar]

Is transcribed in Hollywood.

[Narrator]

Written by Robert Rife, it is produced and directed by Jack Johnstone. Heard in this week's cast were Virginia.

[Johnny Dollar]

Greg, Florence Walcott, Don Diamond, Larry Thor, Vic Perrin and Carlton Young.

[Narrator]

Musical supervision by Amerigo Marino. Be sure to join us on Monday.

[Johnny Dollar]

Nights, same time in station for another.

[Narrator]

Exciting story of yours truly, Johnny Dollar. This is Roy Rowan.

[Amy Bradshaw]

Spencer.

[Porter Kane]

Lowes knows how to get you ready for holiday hosting with up to 35% off. Select Home Decor and get up to 35% off Select Major Appliances plus members get free delivery hallway, basic installation parts and a two year Lowe's Protection Plan when you spend $2,500 or more on select LG Major Appliances valid through 10. One member offer excludes Massachusetts, Maryland, Wisconsin.

[Johnny Dollar]

New Jersey and Florida. Installed by independent contractors.

[Porter Kane]

Exclusions apply. See lowe's.com for more details.

[Adam Graham]

Welcome back. Well, I will say that this one is a bit shorter than our other omnibuses because we did cut back on the Giant Animal commercials which were pretty much the same, but we did leave a couple in so you can get a feel for them, but they were two in each part so a little bit shorter than some other ones. And overall I thought this was a good actor story and a good character story. It was a reminder of the quality of actors available to Jack Johnstone and who worked on this series, particularly during the serial run. The way Carlton Young played Porter Kane was great. It was so creepy and even though he was all in obvious suspect because of how creepy it was, I could buy him as the culprit. In fact, I think it's safe to say that Porter Kane will probably murder someone eventually, even if he hadn't already. And even that one scene with Johnny and Dora Taylor, the producer's wife, who was played by Florence Wolcott, was such a great scene. I wish we'd gotten more of her, but she was just so engaging for having her on. It's just a shame there was no plot reason for her to be in it further and then of course you have Virginia Gregg in another marvelous performance, this time as the manipulative aging starlet who got to the point where she nearly believed her own performance. I often talk about not being a showcase for William Conrad with all the great guests characters he got to play. I think the Johnny Dollar serials were much the same thing for Virginia Gregg. She got an opportunity to play if not her whole range, which is so significant than a lot of her range. We of course heard her from the Valentine matter, which we played last week, but aired several weeks before this, and she'd been in the broader matter the previous week in 1955. And of course she continued to make appearances throughout the serial run. She was Kathy Odair and Kathy Odair's landlord in the Nick Shern matter, she was in the Lamar matter, and she was Meg in the Meg's palace matter and so many other really memorable performances throughout this particular serial. In terms of the mystery, it was entertaining enough, but our hero doesn't do a whole lot to solve it the police, they pretty much figure it out. The episode highlights Johnny's character and its strengths and weaknesses. He has a very genuine nature and can be open hearted. As a professional, though, who has seen a lot. He can be suspicious and can even be over the top in that suspicion. But he can also easily become personally involved because he cares about people and he sympathizes with him. And that can make him more determined and get him to fight harder for someone in trouble. But he can also be played, particularly by a pretty woman. Johnny's humanity can cloud his judgment and lead him to make mistakes and explain, experience heartbreak. But that ultimately makes him an interesting character that we enjoy following around. All right, well, now it is time to thank our Patreon supporter of the day. And I want to go ahead and thank RB Patreon supporter since September 2024, currently supporting the podcast at the Master detective level of 15 or more per month. Thanks so much for your support, RB thank you. 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. This is the last of our listener support and appreciation specials, but we will have encores and specials throughout the year. Next week we will have our second Old Time Radio Snack Wagon smorgasbord. But join us back here tomorrow for the last adventure with The Falcon, where Mr. Waring?

[Amy Bradshaw]

Well, are you Mike Waring?

[Johnny Dollar]

I'm never quite sure. In the middle of the night.

[Amy Bradshaw]

My name is Phyllis Howard.

[Johnny Dollar]

I don't care if. Did you say Phyllis Howard?

[Amy Bradshaw]

That's right.

[Johnny Dollar]

Now, come in. How come they let you wander around loose?

[Amy Bradshaw]

What do you mean?

[Johnny Dollar]

Aren't you the gal whose uncle was T.J. howard?

[Amy Bradshaw]

Yes.

[Johnny Dollar]

And didn't I read in the papers that when his will was probated last month, he was left you a cool 10 million?

[Amy Bradshaw]

It was only one.

[Johnny Dollar]

Well, whenever I read figures containing more than three zeros, I get astigmatism. What's bothering you that a million dollars can't fix murder. Murder?

[Amy Bradshaw]

Yes. There's a dead man in my apartment.

[Johnny Dollar]

How'd he get there?

[Amy Bradshaw]

I think he came off the fire escape.

[Johnny Dollar]

And he was alive when he walked in?

[Amy Bradshaw]

Yes.

[Johnny Dollar]

Who is he?

[Amy Bradshaw]

He called himself Paul.

[Johnny Dollar]

Paul, huh? What about his last name?

[Amy Bradshaw]

I don't know.

[Johnny Dollar]

Did he try to walk off with any of your property?

[Amy Bradshaw]

My purse and my jewel box.

[Johnny Dollar]

Okay, then we'll claim self defense.

[Amy Bradshaw]

Self defense?

[Johnny Dollar]

Yes. What'd you do with the gun?

[Amy Bradshaw]

Well, I didn't kill him.

[Johnny Dollar]

And who did? I don't know. Now look, Ms. Howard, I tell you I didn't.

[Amy Bradshaw]

He tried to kiss me. And while we were struggling, there was.

[Johnny Dollar]

A shot from his gun.

[Adam Graham]

I hope you'll be with us then. In the meantime, send your comments to Box13greatdetives.net follow us on Twitter at radiodetectives and check us out on Instagram instagram.com greatdetectives From Boise, Idaho, this is your host, Adam Graham signing off.

[Amy Bradshaw]

You just realized your business needed to hire someone yesterday. How can you find amazing candidates fast? Easy. Just use Indeed. Stop struggling to get your job post seen on other job sites with Indeed sponsored jobs. Your post jumps to the top of the page for your relevant candidates so you can reach the people you want faster. According to Indeed data, sponsored jobs posted directly on indeed have 45% more applications than non sponsored jobs. Don't wait any longer. Speed up your hiring right now with Indeed and listeners of this show will get a $75 sponsored job credit. To get your jobs more visibility at indeed.comarts just go to indeed.comarts right now and support our show by saying you.

[Johnny Dollar]

Heard about Indeed on this podcast.

[Amy Bradshaw]

Terms and conditions apply. Hiring Indeed is all you need.

[Johnny Dollar]

This is the story of the 1. As head of maintenance at a concert.

[Amy Bradshaw]

Hall, he knows the show must always go on.

[Johnny Dollar]

That's why he works behind the scenes.

[Amy Bradshaw]

Ensuring every light is working, the H Vac is humming, and his facility shines.

[Johnny Dollar]

With Grainger's supplies and solutions for every challenge he faces. Plus 24. 7 customer support.

[Amy Bradshaw]

His venue never misses a beat. Call quickgranger.com or just stop by Granger for the ones who get it done.

[Narrator]

This is the story of the 1.

[Johnny Dollar]

As a maintenance supervisor at a manufacturing facility, he knows keeping the line up and running is a top priority. That's why he chooses Grainger, because when a drive belt gets damaged, Grainger makes it easy to find the exact specs for the replacement product he needs, and next day delivery helps ensure he'll have everything in place and running like clockwork. Call 1-800-granger. Click granger.com or just stop by Granger for the ones who get it done.