Yours Truly Johnny Dollar: The Blue Madonna Matter (EP4940)

Summary

Podcast Summary: The Great Detectives of Old Time Radio – "Yours Truly, Johnny Dollar: The Blue Madonna Matter" (EP4940)
Air Date: March 27, 2026
Host: Adam Graham
Original Air Date of Drama: February 22, 1959

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Episode Overview

In this episode, host Adam Graham presents a classic "Yours Truly, Johnny Dollar" mystery titled "The Blue Madonna Matter." Johnny Dollar, America’s fabulous freelance insurance investigator, is called into a perplexing case concerning a possibly forged painting, international intrigue, and a scheme that may just make an artist’s career. The case takes Dollar from Philadelphia to Paris and back, and exposes the clever (and often humorous) antics involved in tracking down art fraud. Adam Graham follows up with insightful commentary, listener feedback, and additional context for OTR fans.

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Key Discussion Points & Plot Breakdown

Setup: The Mystery Call from Paris

[02:21]

• George Reed from Floyd’s of England insurance contacts Johnny Dollar about a call he received from a mysterious Parisian known as Le Chagri ("The Gray Cat"), real name de Marsac, a well-connected underworld figure.
• Le Chagri supposedly has critical information regarding the "Blue Madonna," a painting insured for $12,000 and displayed at the Gavin Galleries in Philadelphia.

Negotiations with The Gray Cat

[05:02]

• Johnny calls Le Chagri in Paris and haggles over the price for information about the painting, with the negotiation sliding from $1,000 down to a settled fee of $200.
• Le Chagri reveals that the real "Blue Madonna" is in Paris, at a shady shop, implying the one in Philadelphia is a well-made fake.

Notable Quote:

“Oh monsieur, you touch me to the quick. While one might think that I slave and suffer and risk my life on your behalf only for money.” – Le Chagri (05:30)

Assembling the Experts

[07:26]

• Johnny enlists his art-expert friend, Foster Harmon, to authenticate the painting, luring him from Florida to Philadelphia.

Visiting the Owner: Kingsley Holland

[08:16]

• Johnny interviews Kingsley Holland, the owner, who is nervous and somewhat shady. Holland tries to sell Johnny the Blue Madonna directly at a significant discount and disparages the gallery’s authenticity.

Notable Quote:

“You think for a minute all that stuff they've got laying around the place is genuine? But the Blue Madonna is.” – Kingsley Holland (09:26)

Inspection at the Gavin Galleries

[10:27]

• Foster and Johnny visit the Gallery. Foster is astounded at the quality of the painting, noting subtle idiosyncrasies suggesting only the artist himself could have made such a perfect copy.
• Arnold Gavin, the gallery owner, tries to sell them another Bardot painting, dodging questions about authenticity.

Notable Moment:

• The tension in the gallery, with Foster’s expert eye confirming suspicions but also expressing admiration for the skill of the forgery.

“That copy is so perfect, so exactly in the style of Vincent Bardot. Even to little things, little idiosyncrasies that even the finest copyist couldn't match.” – Foster Harmon (12:31)

Suspicions and a Trap

[13:10]

• Dollar suspects both Holland and Gavin and sets a trap, making it clear he's on to the forgery. He then waits at his hotel, hoping one of them will make a move.

Notable Quote:

"Can you think of a better way to bring him out in the open?" – Johnny Dollar (14:08)

The Scandal Goes Public

[15:01]

• Johnny gets a police report: the story of the forgery is all over the news, causing a sensation and driving up the value of all Bardot paintings. The police have questioned Holland and Gavin but lack proof.

Notable Moment:

“The story about that phony painting is on every wire service in the country. All you can see in the headlines is that name Bardot. And I don't mean Bridget.” – Sgt. Jerry Hawkins (15:13)

The Twist: The Artist’s Own Plot

[16:27]

• Gavin and Holland confront each other. The plot thickens as museum experts declare the forgery is so perfect only Bardot himself could have painted it.
• Johnny pieces it together and confirms with Le Chagri by phone: the artist Bardot himself created two versions and staged the "theft" as a publicity stunt. Bardot is en route to the U.S. with the original (or the other copy).

Notable Quote:

"You're about to tell me that the Blue Madonna was smuggled into Paris by none other than the artist himself – by Vincent Bardot." – Johnny Dollar (17:57)

Case Closed: All Gain, No Loss

[19:10]

• Johnny arranges with Sgt. Hawkins for Bardot's imminent arrest, but notes that the artist and all involved stand to gain greatly from the notoriety.
• Johnny speculates humorously that Le Chagri might have been Bardot’s accomplice all along.

Notable Reflection:

“Look what it's done for him. Put him on the map. Anything he paints now will land him a fortune.” – Johnny Dollar (19:37)

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Notable Quotes & Memorable Moments

• Banter and Bargaining: The negotiation with Le Chagri, filled with playful back-and-forth, highlights Johnny’s dry humor and world-weary cynicism (05:02–06:45).
• Art Drama: The scene in Gavin Galleries, where Foster’s struggle to distinguish the real from the fake raises the tension and demonstrates the expertise required in art fraud cases (10:27–12:31).
• Media Frenzy: The revelation that the exposure of the fraud has made the artist and dealers famous—and wealthy—satirizes the impact of scandal on the art market (16:27–17:37).
• Meta-Humor: Johnny wryly suspects Le Chagri was in on the scheme, lampooning the revolving alliances and opportunism in the story (19:54–20:01).

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Timestamps for Important Segments

• [02:21] – Initial Case Presentation
• [05:02] – Negotiations with Le Chagri in Paris
• [07:26] – Johnny enlists Foster Harmon
• [08:16] – Interview with Kingsley Holland
• [10:27] – Gallery Inspection & Expert Analysis
• [13:10] – Johnny Sets the Trap
• [15:01] – News Coverage & Police Involvement
• [16:27] – Showdown: Revelations Among the Suspects
• [17:57] – Johnny Identifies the Real Culprit
• [19:10] – Case Summary and Fallout

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Host Commentary Highlights

Adam Graham’s Post-Episode Thoughts (22:43 and beyond)

• Graham reflects on Johnny’s witty negotiation tactics, comparing them to Bugs Bunny’s comedic haggling.
• He points out the meta-element of art fraud serving as a publicity stunt, and the audacity of insuring potentially dubious art.
• Graham shares Spotify listener memories about old phone systems, multi-extension households in the 1950s, and the enduring appeal of Johnny Dollar’s expense accounts.
• He responds to comments about omnibus episode formats and his selection of contemporary ad spots to preserve the podcast’s classic feel, as well as thanks Patreon supporters.

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Tone and Style

The episode balances classic noir intrigue, sly humor, and sharp dialogue, staying faithful to the dramatic tone of "Yours Truly, Johnny Dollar." Johnny's narration is brisk, sardonic, and pragmatic, providing both suspense and levity, while Adam Graham’s follow-up is enthusiastic, nostalgic, and community-oriented.

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Summary:
"The Blue Madonna Matter" uses forgery and Parisian intrigue to upend the usual art theft mystery, delivering an episode as much about the value of hype and notoriety in art as about solving a crime. Johnny Dollar navigates a world of con artists, opportunistic galleries, and self-mythologizing artists, ultimately exposing a clever, victimless scheme in which everyone walks away richer… except perhaps the insurance company. The episode exemplifies the slick plotting, snappy repartee, and playful reversals that make Johnny Dollar an OTR favorite.

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For Listeners:
This episode is a quintessential Johnny Dollar mystery, packed with sharp twists, memorable characters, and a satirical (but affectionate) indictment of the art world. The case is fast-paced, funny, and surprisingly modern in its themes of hype, value, and deception—perfect for longtime fans or newcomers to old time radio mysteries.

Transcript

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Sam.

[Adam Graham]

Welcome to the Great Detectives of Old Time Radio from Boise, Idaho. This is your host, Adam Graham. In a moment, we're going to bring you this week's episode of yours truly, Johnny Dollar. But first, I want to encourage you. If you enjoy the podcast, please follow us using your favorite podcast software. And remember, as you're making your travel plans to check out JohnnyDoller.com check out JohnnyDoller.com is our Priceline affiliate link. So part of your purchase price benefits the great detectors of Old Time Radio at no additional cost to you. So remember, when making your travel plans, check johnnydollerair.com first. But now, from February 22, 1959, here is the Blue Madonna matter

[Narrator]

from Hollywood. It's time now for.

[Johnny Dollar]

Johnny Dollar.

[George Reed]

George Reed here.

[Johnny Dollar]

Johnny. Well, Geor. George, I'm really glad to talk to you.

[George Reed]

Oh, why do you say it that way?

[Johnny Dollar]

Because every insurance case I handle for that company of yours pays me a nice fat fee. And right now I can use a little extra cash. Well, now, Johnny, so tell me all. What's Floyd's of England upset about this time?

[George Reed]

Well, I'm not sure.

[Johnny Dollar]

Oh, here we go again.

[George Reed]

But, Johnny, I just received a transatlantic telephone call from Paris, France, from a man who wanted to contact you but didn't know where to call you. And he identified himself only as Le Chagri.

[Johnny Dollar]

Ah, the Chagri.

[George Reed]

It's French, Johnny. No, and I believe it means the gray cat.

[Johnny Dollar]

Yeah, and George, the name fits him. You know him then his real name is de Marsac. He probably knows more about the dark alleys and Back streets of Paris. Yeah, and about the people, in other words, the underworld. What did he call about?

[George Reed]

He mentioned the Blue Madonna.

[Foster Harmon]

The what?

[George Reed]

It's a painting, Johnny. A small oil painting by a modern artist named Vincent Bardot. It's owned by Mr. Kingsley Holland down in Philadelphia. Yeah, it hangs in the Gavin Galleries and we've insured it for $12,000.

[Johnny Dollar]

Well, what did he have to say about it?

[George Reed]

Only that you're to call him. His number there in Paris is Orleans 57722. That he has some very interesting information for you about that painting.

[Johnny Dollar]

Oh, sure, that he'll be glad to give me. For a price.

[George Reed]

Exactly. I can't for the life of me figure what his interest is in it. If there were anything amiss, I'm sure the gallery would have called me.

[Johnny Dollar]

George, if you knew that character as well as I do, you'd okay my expense account without even looking at it and be willing to pay me that big fee I was talking about.

[George Reed]

What do you mean?

[Johnny Dollar]

Want to make a bet?

[George Reed]

What kind of a bet?

[Johnny Dollar]

I'll give you odds of 10 to 1 that whatever's hanging in that gallery down there in Philadelphia is not the Blue Madonna.

[Arnold Gavin]

What?

[George Reed]

Now, look, Johnny.

[Johnny Dollar]

Good heavens, George. I'll be talking to you,

[Narrator]

Bob Bailey, in the Exciting Adventures of the man with the Action Packed Expense Account, America's fabulous freelance insurance investigator, yours truly, Johnny Dollar. And now, act one of yours, truly, Johnny Dollar.

[Johnny Dollar]

Expense accounts submitted by Special Investigator Johnny Dollar to Floyd's of England North American office, Hartford, Connecticut. Following is an account of expenses incurred during my investigation of the Blue Madonna.

[Le Chagri / Le Chaguis / de Marsac]

Matter.

[Johnny Dollar]

Expense account item one, $12 even for a phone call to my underworld contact in Paris, France. A man by the name of de Marsac who calls himself the Gray Cat.

[Le Chagri / Le Chaguis / de Marsac]

Oui, monsieur. Darling, this is your old, your very dear friend, Le Chaguis.

[Johnny Dollar]

Very dear friend, huh? Now listen, you telephone, George Reed, that you have some real hot information about a painting his company insured.

[Le Chagri / Le Chaguis / de Marsac]

Ah, oui. A Madonna blue. What did you call the Blue Madonna?

[Johnny Dollar]

Okay, how much you want this time?

[Le Chagri / Le Chaguis / de Marsac]

Oh, monsieur, you touch me to the quick While one might think that I slave and suffer and risk my life on your behalf only for money.

[Johnny Dollar]

How much, de Marsac?

[Le Chagri / Le Chaguis / de Marsac]

$1,000.

[Kingsley Holland]

A thousand?

[Johnny Dollar]

Look, if your info's worth anything, I'll send you a check for 50 bucks.

[Le Chagri / Le Chaguis / de Marsac]

50 bucks? No, 900.

[Johnny Dollar]

Okay, I'll make it 75.

[Le Chagri / Le Chaguis / de Marsac]

But, monsieur. 750.

[Johnny Dollar]

How about an even hundred?

[Le Chagri / Le Chaguis / de Marsac]

500.

[Johnny Dollar]

Two, four, three. That's final.

[Le Chagri / Le Chaguis / de Marsac]

Oh, please, 200.

[Johnny Dollar]

Okay, 200 it's all settled. 200 bucks. Now, what about the Blue Madonna?

[Le Chagri / Le Chaguis / de Marsac]

Aha. Yes, it is now here in Paris.

[Johnny Dollar]

Yeah? Where?

[Le Chagri / Le Chaguis / de Marsac]

In the shop of Monsieur Dubuisson on the Rue des Pas de Limour du Boussaint.

[Johnny Dollar]

Huh? You sure it isn't just a copy? That he'll try to foist it off on some wealthy sucker?

[Le Chagri / Le Chaguis / de Marsac]

Dubuissant is a crook. An evil crook. But he is an honest one.

[Johnny Dollar]

Oh, sure, yes.

[Le Chagri / Le Chaguis / de Marsac]

And he knows the works of art. Also, he's very clever. To get his price, he will wait until the real Madonna is discovered missing.

[Johnny Dollar]

If it really is. That's what I'll check on now.

[Le Chagri / Le Chaguis / de Marsac]

And then you will. You will send me the $500? My very dear friend?

[Johnny Dollar]

200.

[Le Chagri / Le Chaguis / de Marsac]

Remember, I cheated myself. But, monsieur.

[Johnny Dollar]

Yeah?

[Le Chagri / Le Chaguis / de Marsac]

Suppose I could find out who smuggled the painting into him? Why, that would be worth a lot to you, no? Say a thousand.

[Johnny Dollar]

We'll see. I'll be talking to you. Item 2, 420. I phoned to my old pal Foster Harmon down in Sarasota, Florida. Tell him I'd pay his fe if he'd grab the first plane out and meet me in Philadelphia at the Bellevue Stratford Hotel. I knew that if anybody could identify the genuine painting, he could. Item 3, 940. For my own transportation to the City of Brotherly love. Item four, 950. Cocktails and dinner for the two of us there at the Bellevue.

[Foster Harmon]

Yes, the Blue Madonna is one of Vincent Bardot's best known works. I don't think there's another living artist who could so effectively use various shades of just one color. But what about it, Johnny?

[Johnny Dollar]

Well, first thing in the morning, I want you to come along with me and take a look at it.

[Foster Harmon]

It's in the Gavin Galleries, isn't it? Up on Walnut Street?

[Johnny Dollar]

Yeah. At least it's supposed to be. Supposed? Now, all I want you to do is take a good look at it. Then reserve any comments until after we get out of the place. That's all.

[Foster Harmon]

Well, but Johnny.

[Johnny Dollar]

Meantime, I want to check with the owner of that painting. The telephone directory gave me Kingsley Holland's address. Item 4, 620 for a cab to a small apartment house out in West Philadelph. Holland turned out to be, well, I'd say he was about 30, short, lean and nervous. With the surly expression of a man who feels the world hasn't done right by him.

[Kingsley Holland]

Yeah. You mean you're interested in buying the Blue Banana?

[Johnny Dollar]

Well, it. It all depends, Mr. Holland.

[Le Chagri / Le Chaguis / de Marsac]

Uh huh.

[Arnold Gavin]

Look.

[Johnny Dollar]

$.

[Kingsley Holland]

That what you said your name is?

[Johnny Dollar]

Yes, that's right. Johnny Dollar.

[Kingsley Holland]

Sounds familiar. Well, anyway, listen.

[Johnny Dollar]

Yeah, that gallery's got a price of

[Kingsley Holland]

15, oh, 18,000 on it. But if you want to buy a direct from me and right now I'll give it to you for 12, save yourself a few thousand bucks and it'll save me having to pay them their 20%.

[Johnny Dollar]

But if you've already commissioned the gallery to sell it for you.

[Kingsley Holland]

So I'll tell them I changed my mind, that I want to keep it. Then when they find out that I've sold it, will em try and catch up with me and collect? Because me, I'll be right back in little old gay Paris.

[Johnny Dollar]

Back in Paris?

[Kingsley Holland]

Sure, I'd be there still, only I ran out of money.

[Johnny Dollar]

12,000, huh?

[Kingsley Holland]

That's exactly what it's insured for. And that's what they appraised it for when I got it from my uncle's estate. With all his money, what does he die and leave me with but a lousy painting? Well, do you want it?

[Johnny Dollar]

Let me think about it. I'm staying at the Bellevue Stratford.

[Arnold Gavin]

Sure, sure.

[Kingsley Holland]

Just don't tell them at the Gavin Gallery about our little deal. But those crooks don't know won't hurt it.

[Johnny Dollar]

Crooks?

[Kingsley Holland]

You think for a minute all that stuff they've got laying around the place is genuine. But the Blue Madonna is.

[Johnny Dollar]

You're sure?

[Kingsley Holland]

What do you mean by that?

[Johnny Dollar]

Just stick around, Mr. Holland.

[Kingsley Holland]

Any reason why I shouldn't?

[Johnny Dollar]

I don't know.

[George Reed]

Is there?

[Kingsley Holland]

Now wait a minute, $.

[Johnny Dollar]

I'll be in touch with you.

[Narrator]

Act two of yours truly, Johnny Dollar. In a moment. Now, act two of yours truly, Johnny Dollar and the Blue Madonna at Kingsley Holland.

[Johnny Dollar]

The owner of the painting recognized my name. I thought so. And if a switch in that painting had been made and he knew about it, well, I'd do well to look out for him. Yeah. The more I thought about it, the more certain I became that whatever hung in the Gavin Galleries was not the Blue Madonna. Item five. Another six bucks for a taxi back to my hotel. Item six, five, eight, zero, breakfast the next morning for Foster, Harmon and myself. By 10 o' clock we were at the Gavin Galleries looking at a pretty modern but I must say beautiful paintings.

[Foster Harmon]

Amazing, Johnny, amazing. The most extraordinary. Well, I. I just can't believe it.

[Johnny Dollar]

Can't believe what, Foster? That it's the real thing or just a good copy. Oh, good morning, sir.

[Foster Harmon]

That's just it. You see, Johnny haul it for us.

[Arnold Gavin]

That painting, you know, is a genuine Bardot.

[Johnny Dollar]

Yeah. My name is Johnny dollar, this is Mr. Foster.

[Arnold Gavin]

Harmonies.

[Johnny Dollar]

Gentlemen, I'm Arnold Gavin.

[Arnold Gavin]

You're interested in buying the Blue Madonna?

[Johnny Dollar]

If this is really it, Johnny, listen. Wait, Foster. What is the price of it, Mr. Gavin? 20,000.

[Arnold Gavin]

Mr. Dollar, did you say?

[Johnny Dollar]

Yeah, but.

[Arnold Gavin]

Wow.

[Johnny Dollar]

Haven't you got a Bardot that's a bit cheaper?

[Arnold Gavin]

His Laconic Lagoon is priced at 10,000. Holy.

[Johnny Dollar]

Well, how about a copy of this?

[Arnold Gavin]

Bardot has never allowed his works to be copied.

[Foster Harmon]

Johnny, listen.

[Johnny Dollar]

Yeah, Foster, it looks like this stuff is too rich for our blood. No, come on, let's go back to the Bellevue Stratford.

[Arnold Gavin]

No, listen, perhaps there's something else that might interest.

[Johnny Dollar]

No, I'm afraid not, but thank you.

[Arnold Gavin]

That's quite all right.

[Foster Harmon]

Johnny, listen.

[Johnny Dollar]

Come on

[Foster Harmon]

now, Johnny, just take it easy.

[Johnny Dollar]

Well, Foss, it's a fraud.

[Foster Harmon]

Johnny, it's a copy. I'm sure of it.

[Johnny Dollar]

Hey, hey, hey. Did you say that Blue Madonna is a copy, mister?

[Kingsley Holland]

Yes.

[Johnny Dollar]

Wait. Well, I thought you were looking at it kind of funny there in the gallery.

[Foster Harmon]

Yes, sir. It's a fraud, Foster.

[Johnny Dollar]

Now, you don't mind my asking, who are you?

[Foster Harmon]

My name is Foster.

[Arnold Gavin]

Harmon. Harmon?

[Johnny Dollar]

From the John Ringling Museum down in Florida?

[Foster Harmon]

That's right.

[Johnny Dollar]

Well, then you ought to know. Just a minute, mister. Say, aren't you Johnny Dollar, the insurance investigator? So what? Who are you? Me? I'm rupe Alloway of TransWorld News Service. News Service? Oh, yeah. I'll see you, boys, and thanks a lot. Well, Foss, it looks like you opened your mouth and stuck my foot in it.

[Foster Harmon]

I'm sorry, Johnny, but what I said is true. That Blue Madonna is an imitation, a phony.

[Johnny Dollar]

That much I already knew. At least, I was pretty sure of it.

[Foster Harmon]

But don't you see the amazing thing? Well, Johnny, that copy is so perfect, so exactly in the style of Vincent Bardot. Even to little things, little idiosyncrasies that even the finest copyist couldn't match. Certain minute details about an artist's work are as distinctive, as impossible to copy as a man's own fingerprints. What I'm trying to say is that if I didn't know every brush mark on the original.

[Johnny Dollar]

Okay, Foss, forget it.

[Foster Harmon]

Forget it.

[Johnny Dollar]

Hey, listen. Kingsley Holland, the owner, and I wouldn't trust him for a minute. I think he knows who I am. If so, and if he knows that painting is just a copy, well, he's pretty sure to figure out what I'm doing here.

[Foster Harmon]

Johnny, he must know it's a copy. If he gave it to the galleries to sell.

[Johnny Dollar]

Perhaps, or maybe the switch was made after it was hung there.

[Foster Harmon]

Then what you're saying is that either one of them could be responsible for the fraud.

[Johnny Dollar]

That's right. How well do you know the Gavin Galleries? Well, they're not very big.

[Foster Harmon]

You could see that for yourself. And, of course, they're rather new in the business.

[Johnny Dollar]

I think I better get a rundown on this Arnold Gavin while we're waiting at the hotel. Waiting? What for? Well, you. You plant a couple of seeds, you hope that one of them will sprout.

[Foster Harmon]

I'm afraid I don't understand, Foss.

[Johnny Dollar]

I told both of them who I am in the hope they'd guess at why I'm here. I also gave them reason to suspect. I think that Bluma Donna's a phony.

[Foster Harmon]

Well, I'm afraid that I may have led Arnold Gavin to feel that way.

[Johnny Dollar]

Same thing. I also made it very plain to them that I'm staying at the Bellevue Stratford. In other words.

[Foster Harmon]

Good heavens, Johnny, if you mean what

[Johnny Dollar]

I think you do. Yeah? Like what, Foss?

[Foster Harmon]

You think that one of them, the crook, will come to the hotel and try to. Don't you see, Johnny? Knowing that you're on to him, he might try to kill you.

[Johnny Dollar]

Can you think of a better way to bring him out in the open? Johnny, come on, let's get back to the hotel and wait.

[Narrator]

Act three of yours truly, Johnny Dollar in a moment. And now, act three of yours truly, Johnny Dollar.

[Johnny Dollar]

After all, there was no reason to drag Foster any further into this mess, although I know he began to see it through. So I paid him for all his expenses. That's item 7, 151 even. And sent him on back to Sarasota. Item 8, 10 cents for a phone call to Sergeant Jerry Hawkins at police headquarters. About mid afternoon, he called me back.

[Sergeant Jerry Hawkins]

Boy, did you ever start a riot.

[Johnny Dollar]

What'd you find out for me about Gavin and Holland?

[Sergeant Jerry Hawkins]

Holland's just a lazy kid that's been trying to live off his relatives all his life.

[Johnny Dollar]

And Gavin?

[Sergeant Jerry Hawkins]

Okay, so far as we know. But listen, you seen the papers?

[Johnny Dollar]

No.

[Sergeant Jerry Hawkins]

The story about that phony painting is on every wire service in the country. All you can see in the headlines is that name Bardot. And I don't mean Bridget. Johnny, you and that Foster Harmon ought to collect a publicity fee.

[Johnny Dollar]

Are you holding Gavin or Holland?

[Sergeant Jerry Hawkins]

Well, what on? Sure, the boys have questioned both of them, but unless we can show some evidence that one of them pulled the switch. Johnny, you got any ideas?

[Johnny Dollar]

Yeah, Jerry, suddenly I think maybe I have.

[Sergeant Jerry Hawkins]

Well, then start talking So I can make a pinch.

[Johnny Dollar]

No, I don't think you will.

[Sergeant Jerry Hawkins]

What do you mean? If you know who did it.

[Johnny Dollar]

Well, I didn't say that. But, Jerry, I've got a hunch, a real potent one. And if it's right. Yeah? Well, read tomorrow's papers, huh? Item nine. Half a buck for an evening paper and a tip for the bellboy who brought it up to me. Yeah, the sergeant was right. This was the most free advertising any artist has had in years. Prices on genuine Bardot's were skyrocketing. As for the fake Blue Madonna, I put in a fast call for Paris. But before the operator could get it through.

[Arnold Gavin]

Yeah, Arnold Gavin. Mr. Dollar. Well, Mr. Garry, do you see what has happened? Have you seen the papers?

[Johnny Dollar]

I sure have.

[Arnold Gavin]

And the police have closed my shop, my galleries.

[Johnny Dollar]

Can you blame them?

[Arnold Gavin]

But don't you understand? I've had offers of up to 30,000 for the Madonna. I've received wires offering me nearly 20,000 for the other Bardot.

[Johnny Dollar]

The real one. No kidding?

[Arnold Gavin]

Well, I'll show you how much.

[Narrator]

I'm kidding.

[Arnold Gavin]

I've cabled Bardot to paint some more for me. Paint anything. Don't you see? After all this publicity, we'll make a million.

[Kingsley Holland]

So it was you that rigged this

[Arnold Gavin]

whole thing, huh, Gavin, I. Mr. Holland? Why, of course not.

[Johnny Dollar]

Sure.

[Kingsley Holland]

To raise the price of some of your lousy paintings.

[Arnold Gavin]

How can you say that? You who gave me that copy expert, huh?

[Kingsley Holland]

You trying to tell me you didn't know that was a copy?

[Arnold Gavin]

No, it was only this morning when the authority from Sarasota, when I called in the people from the museum here in Philadelphia. Do you know what they said? What?

[Kingsley Holland]

And it better be good.

[Arnold Gavin]

They said the only one who could have made that copy.

[Johnny Dollar]

Wait a minute.

[Arnold Gavin]

The only artist in the world who could have possibly.

[Johnny Dollar]

Oh, they're. Hold everything. Holland, you said you got that penny from your uncle's estate.

[Kingsley Holland]

That's right.

[Johnny Dollar]

It was willed to me. Where did your uncle get it? Wife.

[Kingsley Holland]

Well, listen.

[Johnny Dollar]

I'm listening.

[Kingsley Holland]

Dollar, that Madonna was smuggled into.

[Arnold Gavin]

Smuggled?

[Kingsley Holland]

That's right.

[Arnold Gavin]

But by whom?

[Johnny Dollar]

Well, believe it or not, I think I can tell you who. And if this is my call to Paris, well, maybe I can even tell you where he is now. Johnny Dollar, this is your dear and

[Le Chagri / Le Chaguis / de Marsac]

faithful friend, Le Chagri.

[Johnny Dollar]

Good. Now, listen.

[Le Chagri / Le Chaguis / de Marsac]

And for the information I can give you this time, you will have to pay me a vast sum of money.

[Johnny Dollar]

You're about to tell me that the Blue Madonna was smuggled into Paris by none other than the artist himself by Vincent Bardot.

[Le Chagri / Le Chaguis / de Marsac]

Exactly. So that should be worth it. But how did you know?

[Johnny Dollar]

All right, All I want to know now is where is he?

[Le Chagri / Le Chaguis / de Marsac]

You know he's not in Paris.

[Johnny Dollar]

Where is he? For 100 bucks. 150.

[Le Chagri / Le Chaguis / de Marsac]

300.

[Johnny Dollar]

Oh, for that much, I'll find out for myself. Goodbye.

[Le Chagri / Le Chaguis / de Marsac]

No, no, no.

[Johnny Dollar]

Okay, 200 or I hang up on you.

[Le Chagri / Le Chaguis / de Marsac]

Well, only for you, my best. My oldest friend.

[Johnny Dollar]

Where he is?

[Le Chagri / Le Chaguis / de Marsac]

Aboard the plane for the United States.

[Johnny Dollar]

I might have guessed him.

[Le Chagri / Le Chaguis / de Marsac]

He has the Madonna Blue with him. He received the cable this morning.

[Johnny Dollar]

Great. I'll send you a check. You hear any of that, Mr. Gavin Holland?

[Arnold Gavin]

Yes, but I'm afraid I don't understand.

[Kingsley Holland]

I sure don't.

[Johnny Dollar]

Then maybe this call will help you. Headquarters, Sergeant Jerry Hawkins.

[Le Chagri / Le Chaguis / de Marsac]

Yes, sir.

[Johnny Dollar]

Sergeant Hawkins, you can have the boys in New York pick him up or wait for his plane to arrive here in Philadelphia. Johnny, if you're sure you really have any charges against him.

[Sergeant Jerry Hawkins]

What?

[Johnny Dollar]

He's on his way in from Paris. The guy who painted the copy of the Blue Madonna. Or maybe this is really the original over here, huh? Well, any rate, he'll have the other copy with him. So do you want to tell the papers or shall I?

[Sergeant Jerry Hawkins]

Look, will you make sense?

[Johnny Dollar]

Oh, and his name is Bardot.

[Sergeant Jerry Hawkins]

Bardot.

[Johnny Dollar]

That's right. Vincent Bardot. Well, you.

[Arnold Gavin]

You mean that he. That he painted two of them?

[Johnny Dollar]

Sure, with probably something like this in mind.

[Arnold Gavin]

But I can't paint him.

[Le Chagri / Le Chaguis / de Marsac]

And look.

[Johnny Dollar]

Look what it's done for him. Put him on the map. Anything he paints now will lend him a fortune. And I don't think you'll suffer particularly either, Mr. Gavin. Well, no. As for you, Holland, well, you'll get a lot more than you thought for that painting of yours.

[Arnold Gavin]

Man, what a fascinator.

[Johnny Dollar]

Sure. But you know something?

[Arnold Gavin]

What, Mr. Dollar? Hmm.

[Johnny Dollar]

I just wonder if Lechard Gris was in on this thing with him from the beginning.

[Arnold Gavin]

The Chagri.

[Johnny Dollar]

So help me, I wouldn't put it beyond him. Sure, sure, he was in with Bardot and probably collecting plenty from him. Anyhow, the insurance company isn't on anything, but I hope they'll be a lot more careful the next time they insure a painting. Any so called original expense account total, including $400 for Le Cha Gris, the hotel and the trip Back to Hartford. $620 even. Yours truly, Johnny Dol.

[Narrator]

Yours truly, Johnny Dollar, starring Bob Bailey, originates in Hollywood and is written, produced and directed by Jack Johnstone. Heard in our cast were G. Stanley Jones, Forest Lewis, Harry Bartel, Joseph Kearns, Bert Holland and Byron Kane. Be sure to join us next week, same time and station for another exciting story of yours truly, Johnny Dol.

[Arnold Gavin]

Sam.

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[Adam Graham]

Welcome back. Well, from that one negotiating scene with La Cha Gris, I would say that Johnny Dollar may not know any martial arts specifically, but he does know his Bugs Bunny. But if, as Johnny theorized, La Cha Gris was behind or part of the conspiracy with the painting, then he created this situation where he used an insurance company to get him publicity and sent them on a wild goose chase and got them to pay him for it. I mean, that's the gray fox all over. I also had to chuckle about the be more careful the next time you approve a painting for coverage. Statement like this is a really common thing. You should have caught that. It was the artist forging a copy of his own painting as a publicity stunt. Listener comments and feedback and we turn to Spotify and some comments on the date with Death Matter. Elwood writes, the plot device of dialing a certain sequence and then hanging up to call any other phones in the house brought back good memories. My father worked his entire career at the phone company and he taught me this in the early 90s. I forget how I figured out how to do it, but I did figure out to do it and did so until my parents told me to stop. It was amusing. Dawn writes, In 1959, only about 75% of U.S. households had any phone. But Johnny and Betty have two. And in an apartment, Proto Yuppies. Johnny's expense account prowess is on full display, charging the insurance company for doing nothing for them. Well, I kind of think Johnny might have a good case for having multiple extensions, because I gather his apartment's not a studio, so I can see him having one by his bedside. So if he gets an emergency call on the night, he can pick it up and respond to it, but then also having one closer to his living area. As for the expense account, yeah, I'm. I'm not certain what that's for. I mean the previous weeks as detailed by John Abbott had a zero dollar total, which makes sense. But yeah, he didn't do any work for them, maybe just didn't want two weeks with zero expenses. And then some comments regarding the henderson matter omn Dr. Whodunit wrote, I love Johnny $omnibuses or omnibi as much as the five parters. It's going to be a good day. Well, thanks so much. I think it is omnibuses that seems to be the consensus. Although when it comes to book omnibuses, which tends to be the more common usage, some people use the slang omniscient, but the proper word is omnibuses. And I'm glad you enjoy them. And I know that there were some people it's been a few years who were not happy that the episodes were divided up on the podcast. And so for those who were patient through that and preferred the other way, I think both ways are great and you kind of experience the show differently with the weights between parts than all together. And it's fun to explore these in different ways. Peter writes, I've heard the large animal ad many times and it brings a smile to my face every time. Thank you for including the contemporary ad items. They are a delight to hear. Well, you're welcome Peter. And I know that there are actually some books that have actually called out the giant animal ad and a lot of people don't care for them and so I try to make space without over saturating the program by keeping every single one of them in. I think there was four or five in the two episodes so I didn't leave all of them in, but we did leave one in for those who enjoyed them or those who just wanted wanted to hear an ad that went with the program. And then we have a comment from Bob and Paula who wrote My wife and I love to listen to both Johnny Dollar and Dragnet. Well, thanks so much for listening and now it's time to thank our Patreon Supporter of the Day. Thank you to Greg, patreon supporter since January 2023, currently supporting the podcast at the Shamas level of $4 or more per month. Thanks so much for your support Greg, and that will do. If you're enjoying the podcast, please follow us using your favorite podcast software and be sure to rate and review the podcast wherever you download it from. We'll be back next Friday with another episode of Yours Truly, Johnny Dollar, but join us back here tomorrow as we give way to counterspyware.

[Sam]

This picture is a very good likeness of you.

[Arnold Gavin]

You've got a picture of me.

[Johnny Dollar]

When was it taken?

[Sam]

The important part is that it was taken for identification. So you use the name Charles Piers. You Wish Some identification, Mr. Burley? Unnecessary. I was standing unobserved right at the desk of the hotel when you signed in last night. Wanted to see your handwriting. Well, no wonder, Mr. Burley. You're famous for your precautions. From now on, you two will take orders from me. Come along. May I ask where we are going? To the 8th floor balcony of a certain building.

[Adam Graham]

I hope you'll be with us then. In the meantime, send your comments to box13greatdetectives.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.

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