Voyage Of The Scarlet Queen and The Six Shooter

Summary

Podcast Summary: The Relic Radio Show - "Voyage Of The Scarlet Queen and The Six Shooter"

Release Date: May 20, 2025
Host/Author: RelicRadio.com
Podcast Description:
Unearthing audio artifacts from radio's golden age. Relic Radio features a variety of old time radio including horror, science fiction, comedy, adventure, and anything else you would like to hear!

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1. Voyage of the Scarlet Queen: The Death of David Malone

Introduction:
The episode kicks off with the host welcoming listeners to "The Relic Radio Show," setting the stage for an immersive journey into the golden age of radio drama. The first story featured is "Voyage of the Scarlet Queen," specifically its inaugural episode titled "The Death of David Malone," which originally aired on February 2, 1947.

Plot Overview:
Voyage of the Scarlet Queen centers around Philip Carney, the master of the esteemed schooner Scarlet Queen. As the ship prepares to set sail from the port of San Francisco, a sinister event disrupts the voyage: the murder of the first officer, David R. Malone.

Key Scenes and Discussions:

• Departure and the Murder (00:11 – 02:59):
  Philip Carney chronicles the final moments before departure in his log entry. He details the location, weather conditions, and the unfortunate delay caused by Malone's death. Carney paints a vivid picture of the damp, gray San Francisco night, juxtaposing his deep affection for the Scarlet Queen with the grim reality of murder aboard.

  Philip Carney [01:04]: "The Scarlet Queen nudged her fenders against the dock right below me. She looked clean and young in her new white paint... But that particular gray San Francisco night wasn't cut out for romance between man and lacquered wood."

• Inspector Kessel's Investigation (02:59 – 05:42):
  Inspector Kessel arrives to interrogate Carney about Malone's death. Their tense exchange reveals Philip's limited tenure with Malone and hints at a larger conspiracy involving mysterious financial transactions and clandestine voyages.

  Inspector Kessel [05:48]: "We'll take care of it. Just a couple more questions."

• Unveiling the Money Trail (07:36 – 08:10):
  The plot thickens as Inspector Kessel discerns the significance of a $50,000 deposit made to Philip's name by a firm named Kang and Son from Shanghai. This revelation suggests that the voyage of the Scarlet Queen is entangled in international intrigue and possibly a hunt for a $10 million prize in the South Pacific.

  Inspector Kessel [07:38]: "A $10 million prize somewhere in the South Pacific. But only Kang knew where. And only Van Gort."

• Alliance with Red Gallagher (09:50 – 28:08):
  Red Gallagher, a rough-around-the-edges character, attempts to insert himself into Philip's voyage by offering his services as a chief mate. Initial mistrust gives way to a reluctant partnership as both realize they share common enemies—particularly the elusive Felix Van Gort and his global operations.

  Red Gallagher [10:05]: "I want to sign on."

  Their dynamic showcases themes of trust and survival, setting the stage for the Scarlet Queen's perilous journey.

Notable Quotes:

• Philip Carney [04:06]:
  "A three strand Turk set in my right bicep. A what? A three strand Turk's head. It's a knot, you know."

• Inspector Kessel [07:18]:
  "It was sent over as a letter of credit from a firm in Shanghai called Kang and Son."

Character Highlights:

• Philip Carney:
  A seasoned mariner facing unexpected betrayal and murder aboard his prized vessel. His resilience is tested as he navigates both physical and moral storms.

• Inspector Kessel:
  A determined law enforcer whose probing questions unearth deeper layers of corruption and mystery surrounding the Scarlet Queen's mission.

• Red Gallagher:
  An enigmatic figure whose entrance adds complexity to the narrative. His motivations remain unclear, fostering suspense about his true intentions.

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2. The Six Shooter

Introduction:
Following the intense maritime drama, the episode transitions seamlessly into another classic radio tale, "The Six Shooter," featuring the legendary James Stewart in the titular role. This Western-themed story adds a contrasting flavor to the maritime suspense of the Scarlet Queen's voyage.

Plot Overview:
The Six Shooter follows Britt Poncet, a Texas cowboy navigating the rugged terrains of the Western Territories. The narrative intertwines themes of justice, deception, and redemption as Poncet uncovers truths in the small town of Smoke Falls.

Key Scenes and Discussions:

• Introduction to Smoke Falls (31:40 – 36:15):
  Red Gallagher narrates his first days in Smoke Falls, detailing interactions with townsfolk and the looming shadow of Pete Kellgren's murder trial—the man indicted for killing Seth Quincy.

  Red Gallagher [32:16]: "But I guess you knew that, didn't you?"

• Meeting Anna Nordquist (37:15 – 43:02):
  Anna Nordquist, an immigrant from Sweden, arrives in town to marry Pete Kellgren, whom she has never met in person. Her unwavering belief in Pete's innocence sets up a poignant narrative of love versus justice.

  Helen Curran [37:15]: "You come to marry me, mister?"

• Discovery of Evidence (50:52 – 57:18):
  As the plot unfolds, Red Gallagher discovers Pete Kellgren's murder weapon buried near Seth Quincy's ranch. This pivotal moment challenges Anna's belief in Pete's innocence and drives Red to confront the harsh realities of the Whitest justice system.

  Red Gallagher [50:52]: "I want you to tell this to Anna."

• Climactic Confrontation (55:04 – 56:34):
  In a tense dialogue, Gallagher and Pete Kellgren discuss the murder, revealing Pete's desperation and the unintended consequences of his actions driven by love and financial strain.

  Pete Kellgren [55:05]: "It wasn't cold blood, Brit. Not the way you think."

Notable Quotes:

• Anna Nordquist [52:08]:
  "I marry him because I love him. I never see him, but I love him."

• Pete Kellgren [55:25]:
  "I do not understand. In old country, they talk about America. They say, best country in the world."

Character Highlights:

• Britt Poncet (The Six Shooter):
  A principled cowboy caught between his loyalty to Red Gallagher and the quest for truth in a town mired in suspicion and prejudice.

• Anna Nordquist:
  A symbol of innocence and unwavering trust, her character challenges the notions of guilt and the potential for redemption.

• Pete Kellgren:
  A man whose actions, driven by love and desperation, paint a complex portrait of morality in the face of dire circumstances.

Themes and Analysis:

The Six Shooter delves deep into the conflicts between personal belief and societal judgment. Anna's steadfast faith in Pete contrasts sharply with the tangible evidence against him, exploring the grey areas of justice and the human capacity for forgiveness.

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Conclusion and Closing Remarks

The episode masterfully juxtaposes two distinct genres—maritime thriller and Western drama—each rich with intricate plots and compelling character arcs. Listeners are treated to a seamless blend of suspense, emotion, and classic storytelling that defines the golden age of radio.

Host's Closing Remarks (29:11 – 30:13):
The host wraps up by crediting the writers, cast, and production team, ensuring listeners are aware of the talented individuals behind these captivating stories.

Host [29:11]: "The Voyage of the Scarlet Queen is written by Gil Dowd and Bob Tallman... The Scarlet Queen, directed by Jim Burton, is a Command radio production."

Upcoming Episodes Tease:
As the episode concludes, the host hints at future broadcasts, maintaining the audience's anticipation for more adventures and mysteries.

Host [30:13]: "If you'd like to help out, visit donate.Relicradio.com or click on one of the links on the website. Thanks to those who have helped out. Thanks for joining me this week."

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Final Thoughts:
This episode of The Relic Radio Show not only preserves but celebrates the timeless allure of old time radio dramas. By presenting both Voyage of the Scarlet Queen and The Six Shooter, Relic Radio offers a compelling double feature that appeals to enthusiasts of adventure and Western genres alike. The inclusion of notable quotes with precise timestamps enriches the listening experience, allowing audiences to appreciate pivotal moments in these classic narratives.

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For more captivating old time radio shows and adventures, visit RelicRadio.com and tune in weekly for an hour of timeless entertainment.

Transcript

[Host]

This is the Relic Radio show Old time Radio entertainment Still standing the test of time from relicradio.com welcome back to the Relic Radio Show. One hour of radio drama every Tuesday at relicradio.com Our first story comes from Voyage of the Scarlet Queen. This week we'll hear first episode the Death of David Malone. That one aired February 2, 1947. After that from May 6, 1954 is the Six Shooter in his story Ana Norquist.

[Philip Carney]

They fail. Log entry the catch Scarlet Queen position 123 degrees 8 minutes West 37 degrees 31 minutes North Gyro Compass course 237 wind fresh sky Fair remarks cleared port of San Francisco at 2:30pm Sailing delayed 19 hours due to death of first officer. Cause of death murder. I stood there on the pier that evening, the ache in my frame reminding me that a long hard day of loading stores was behind me and looked out over the bay. It wasn't a night for stargazing or anything, just typically San Francisco damp and gray, the kind most people trade off early for steam heat and drinks and short glasses. But for me it was good. The Scarlet Queen nudged her fenders against the dock right below me. She looked clean and young in her new white paint with her shining bright work picking up the pier lights like costume jewelry and a neon. She was beautiful and she was mine, all 78ft of her. He rose and fell just a little, even on the quiet harbor water, delicately lifting her figurehead out of the shadows now and then to give her a glance at the dock. The Scarlet Queen, a fresh young body looking forward from just under the bowsprit, bold, teasing, dressed in only a crown and painted scarlet. But that particular gray San Francisco night wasn't cut out for romance between man and lacquered wood. I didn't hear him as he walked up behind me, but it didn't take me long to pick up the odor of a jail cell after he opened his mouth.

[Inspector Kessel]

You Philip Carney?

[Philip Carney]

Yeah, that's right.

[Inspector Kessel]

I'm Kessel, Homicide. You know a man named David R. Malone?

[Philip Carney]

Yeah, he's my chief mate. Who'd he killed?

[Inspector Kessel]

That's not what I'm interested in. I want to know who killed him.

[Red Gallagher]

Come on.

[Inspector Kessel]

You got a date at headquarters?

[Philip Carney]

Wait a minute, wait a minute. This is a little sudden. And a full stomach. What happened to him? How was he killed?

[Inspector Kessel]

The books are going to call it murder by a person or persons unknown. Homicide wants to know you better.

[Narrator]

And so begins the voyage of the Scarlet Queen with Phil Carney, master of the proudest ship to plow the seas bound for uncharted adventure. Every week a complete entry in the log. And every week a league further in the strange voyage of the Scarlet Queen.

[Helen Curran]

Your last name? First and middle initial.

[Philip Carney]

Carney, Philippine.

[Inspector Kessel]

Age?

[Philip Carney]

29. Six two and a half.

[Red Gallagher]

Weight?

[Philip Carney]

207. Eyes? Blue.

[Narrator]

Hair?

[Inspector Kessel]

Brown. Scars or other identifying marks?

[Philip Carney]

Yeah, a tattoo. A three Strand Turk set in my right bicep. A what? A three strand Turk's head. It's a knot, you know. Or does somebody else tie your shoelaces a knot? Kessel, I'm getting awful sick of this.

[Inspector Kessel]

Shut up and answer the question. Address?

[Philip Carney]

The schooner Scarlet Queen.

[Inspector Kessel]

Street number?

[Philip Carney]

Street number? Well, how in the. Here. 12, berth two, embarcadero. Not permanent.

[Inspector Kessel]

That'll be enough for now, O' Brien. That might be a pretty permanent address at that, Connie.

[Philip Carney]

Not with me paying the rent. My lease is up day after tomorrow.

[Inspector Kessel]

We'll take care of that. How long had you known Malone?

[Philip Carney]

Since, oh, about five days.

[Inspector Kessel]

Not about, Connie. How long?

[Philip Carney]

Five days. I signed him on five days ago.

[Inspector Kessel]

When did you see him last, exactly?

[Philip Carney]

Between 12:30 and 1 this afternoon. I saw his stern end going around the warehouse at Pier 12. He turned to the right. Exactly.

[Inspector Kessel]

He went to room 218, the Crown Hotel on Columbus Avenue in the north beach section. Why?

[Philip Carney]

Because he's human. I suppose they build hotels for people to go into.

[Inspector Kessel]

He didn't look human when we found him.

[Philip Carney]

Look, Castle, I don't know anything about it. I'm sorry Malone's dead. He was a nice guy, but that's all I can give you. I saw him between 12:30 and 1. The rest of the day I spent loading stores. If you want proof, I've got four seamen who worked with me all day. That'll carry me to the time you tap me on the shoulder. What do you want, a halo?

[Inspector Kessel]

Don't get sore, Connie. Have a cigarette?

[Philip Carney]

No, thanks. All I want is a cab back to the Embarcadero on you.

[Inspector Kessel]

Sure, sure. We'll take care of it. Just a couple more questions.

[Philip Carney]

That Patience act fits you about like a bare midriff. Evening gone.

[Inspector Kessel]

Thanks, Connie. Might not last. What information could Malone have learned on your Scarlet Queen? That somebody go to a lot of trouble to get him out of.

[Philip Carney]

What are you talking about, Kessel?

[Inspector Kessel]

Malone was tortured for a good long time. And then somebody slipped or lost their temper.

[Philip Carney]

He didn't know anything.

[Inspector Kessel]

He didn't know why $50,000 was deposited in your name last year.

[Philip Carney]

I don't know what you're talking about.

[Inspector Kessel]

Hey, Barrett. Bring Funston in.

[Philip Carney]

The name Funston rang just a faint bell for me. But I recognized the little guy they brought in all right. If there was anybody you knew about my banking business, he did. He worked there in the assistant cashier's office. Down there he was just another face looking at you through rimless glasses. But here, he looked like trouble.

[Inspector Kessel]

Mr. Funston, is this the man you say received that $50,000 letter of credit?

[Helen Curran]

I'm sorry, Mr. Carney, but the police, you know.

[Philip Carney]

Yes, sir.

[Helen Curran]

He's the man.

[Philip Carney]

Remind me to bank someplace else next time.

[Inspector Kessel]

That's all, Mr. Funston. Thank you. I. I hope you understand, Mr. Carney.

[Helen Curran]

I had to answer the question.

[Philip Carney]

Goodbye, Funston. It's been grand. You guys have got long noses, haven't you?

[Inspector Kessel]

Uh huh. When things smell as rotten as this. It was deposited in the San Francisco bank while you were in China with a marine.

[Philip Carney]

What are you getting this, Castle?

[Inspector Kessel]

It was sent over as a letter of credit from a firm in Shanghai called Kang and Son. Most of it went to a local shipyard where your Scarlet Queen was built. To a flock of coast companies for your cargo. 50,000 mystery dollars, Connie, and a voyage to nowhere.

[Philip Carney]

I want it in a crap game, and my articles say Honolulu.

[Narrator]

Honolulu?

[Inspector Kessel]

With enough stores aboard for a two year cruise. Who do you think you're kidding, Connie? Why don't you talk?

[Philip Carney]

Why don't you get tired? You're pumping a lot of bilge flush. You're bluffing your heart out and you know it.

[Inspector Kessel]

All right, Connie, you can go. But we'll be hearing from you.

[Philip Carney]

Sure, sure. I'll send you a postcard from Honolulu.

[Inspector Kessel]

Be a Christmas card by the time you get there.

[Philip Carney]

I'll take that cab now, huh?

[Inspector Kessel]

With 50,000 in mystery money. You can pay for it. Now get out of here.

[Philip Carney]

I would have traded places with any engine room hand on any Great Lakes or ship after I left Kessel. And I hate fresh water almost as much as I hate engine rooms. Kang had warned me when I signed with him in Shanghai. The opposition he called him an octopus with a body in an office building in Hong Kong. A brain called Felix Van Gort and the tentacles groping across the world for the prize Kang was sending me after a $10 million prize somewhere in the South Pacific. But only Kang knew where. And only Van Gorton. Kang knew what it was. I didn't know who the San Francisco tentacle was, but he'd warned me and I'd fed Malone to it. I knew he'd been tortured for something even I didn't know, the true destination of the Scarlet Queen. I locked my cabin door, closed the ports and poured a couple of stiff drinks. I checked my naval coat on the disposition of the moneys and effects of the deceased seamen and got Malone stuff together. In a pocket of one of his coats I found a match folder from the Gorgonia, a bar advertising pre war whiskey and continuous entertainment. On the inside was a name Helen, and the number 218. So I kept it. By 11 the next morning, Malone was written off my books and my new chief mate was aboard an old salt by the name of Pritchard. By 11:15, Kessel's crack about that Christmas card made sense because the Coast Guard handed me a piece of paper saying my port clearance had been revoked indefinitely. And at 11:30 I was in my cabin cleaning a.45 automatic that I'd gotten out of the habit of wearing. And that's when I met Gallagher. Big Red Gallagher.

[Narrator]

Hello, Skipper.

[Philip Carney]

Who the devil are you and how'd you get aboard?

[Narrator]

I wanted to talk to you. I'm Red Gallagher.

[Philip Carney]

Where's my gangway watch? He's got orders. Nobody aboard tried, Skipper.

[Narrator]

Don't blame him, but you know how it is. I wanted to talk to you.

[Philip Carney]

He didn't have to explain. He held up a hand about the size of a fielder's glove and rubbed the knuckles as if they were bruised. He didn't have to say anymore. It was about my size. Wearing a shapeless, stained white duck officer's cap, faded dungarees and a jumper with the sleeves rolled up it. His face was heavy featured but not flat, his eyes gray and set off by crow's feet, wrinkles from squinting into the sun. And they were laughing at me.

[Narrator]

But no harm done, skipper. He isn't hurt bad.

[Philip Carney]

Maybe he wasn't big enough to put you over the side, huh?

[Narrator]

Now wait a minute, Skipper. Say it easy. We'll just bust a lot of furniture and lose a lot of skin that way. Don't be so jumpy.

[Philip Carney]

All right, unload in a hurry and get out of here. Then what do you want?

[Narrator]

I hear you're looking for a new chief mate and I want to sign on.

[Philip Carney]

You're about two hours too late. What? My new mate signed on. And listen, if anybody told you the way to get a berth is to start knocking the crew around, they gave you the wrong idea. I wouldn't get into a dory with you.

[Narrator]

Oh, wait a minute, Skipper. I was made for this trip. I've been with Sale all my Life and I traded three years out of Sydney. I know that South Pacific.

[Philip Carney]

How do you know where I'm going?

[Narrator]

If that scarlet beauty on the about spread hadn't whispered to me, I could have checked your bills of lighting and found glass, jewelry, knives and general Pacific trading cargo.

[Philip Carney]

You're too nosy for me, Gallagher.

[Narrator]

That's because I'm interested. Give me the bread, Skipper. What do you say?

[Philip Carney]

I say get your sea boots off this ship. I'm manned and loaded and ready to shove as soon as I get clearance.

[Narrator]

When do you think that'll be, skipper?

[Philip Carney]

What do you mean by that?

[Narrator]

There you go getting jumpy again. That was a civil question. I just wanted to know how long, that's all.

[Philip Carney]

It'll be as quick as I can make it.

[Narrator]

Yeah, I guess I can't blame you for that. But maybe it'll be long enough for me to try again. You need me on this ship, Skipper.

[Philip Carney]

I've lived a long time without you. Gallagher. Keep your eye on the newspaper shipping column. That's as close as you'll come to my sailing. After he left, I went to work on the 45 again. And at about nine I got ready to follow the match folder. The Gorgonia was a typical non tourist north beach bar. Good healthy fishermen up from Fisherman's Wharf. Three women at the bar and one sitting in an electric organ up on a platform. None of them had Helen printed on their backs. But the only one whose name anybody would bother riding down was the gal making with the music. Honey colored hair with a gardenia over the left ear. White shoulders pushing out of a whiter gown. A face full of confidence in the rest of her and no wonder. After I finished my drink, I walked back toward her. Say, excuse me, but would your name be Helen?

[Helen Curran]

Well, that's a novel approach, isn't it?

[Philip Carney]

Should I get back and try it over with Irene or Penelope?

[Helen Curran]

What's the difference? It'd end the same way. Can I play something for you?

[Philip Carney]

Oh, this one suits me if I can talk to you through it.

[Helen Curran]

Can't for the life of me see what we'd have to talk about.

[Philip Carney]

Maybe some other time we can get around to that. But I ran into an old mate of mine yesterday. He mentioned this place and you. And now I'd like to locate him. His name is Dave Malone. You know him?

[Helen Curran]

Malone?

[Philip Carney]

You sure?

[Helen Curran]

He said he knew me.

[Philip Carney]

Yeah, yeah, I thought so. But maybe he was just hoping, huh?

[Helen Curran]

Right. That must have been it, because I don't know any Dave Malone.

[Philip Carney]

Yeah, well, it was One of those things. He mentions your name, so I thought I'd give it a try. But I'll browse around and maybe I'll come back on my own sometime.

[Helen Curran]

I hope you do. I'll be you.

[Philip Carney]

Yeah. And wear that dress, will you? I had another drink at the bar and kept my eyes off her, just enough to catch her looking at me with more than a professional look. Once or twice she did go off guard right after I threw Malone's name at her, I was sure of it. I finished my drink, waved to her, and went out the door like I had someplace to go. I stopped right after I got out of range of the windows, counted five, and eased back so I could just look in. He was leaving the platform and I, along with the good healthy fisherman, watched to take that white gown back to the phone booth. It wasn't taking her long to contact somebody about me contacting her. It was just chance so far, but there were Malone, Helen, and 218, a number of the murder room at the Crown Hotel. It still could have been coincidence, but there isn't much room on the back of a match folder. The Crown Hotel with a narrow brown stone front building squeezed between two more narrow brownstone front buildings. I looked in at the musty lobby. It was empty. I tried the door once to see if it was going to ring a bell someplace, and when nobody showed up, I went in. There was a dingy brown hunting scene hung on one wall and a dingy brown smell of bad ventilation hanging over everything. There was an immodest calendar from a Reno gambling club wasting its time behind the desk, and a register book that had seen more lives than Munchausen. I flipped the pages back to the day before, found room 218. It was registered to one John Smith, and then, just on impulse, I flipped back to the current date and found myself on top of the whole mess. There, sprawled in an awkward hand against room 218, was the single name Gallagher. Room 218 and the name Gallagher. All I needed to keep me going up those stairs, all I had to remember to enjoy bringing that. 45 out of my shoulder holster, was the picture of that wide grin and those gray eyes. I'd have gone through that door even if it hadn't been unlocked.

[Narrator]

Well, Skipper, go on in.

[Philip Carney]

I'm in, brother.

[Narrator]

What's all the hardware for? Skipper? Why are you always aching for a beef when you and I run into one another?

[Philip Carney]

Let's stow that warm friendship, shall we? Let you do a little talking. That you mean For a while.

[Narrator]

I never say anything I don't mean, Skipper. You'll learn that when you know me better.

[Philip Carney]

That's what I'm here for, Gallagher. So start saying something you mean.

[Narrator]

I thought you'd get here before this. What held you up?

[Philip Carney]

Something you mean I said?

[Red Gallagher]

That's right.

[Narrator]

I know you'd be bulling around this neighborhood with your chin, huh? Why do you think I took this room if I wasn't waiting for you?

[Philip Carney]

What interests me most is that you're dead.

[Narrator]

Sure. I knew you'd like it, Skipper. I know you gotta have somebody from alone before you can clear San Francisco.

[Philip Carney]

You mean you're ready to confess?

[Narrator]

Not me, Skipper. I'm as clear as deep water. I got a witness. Do I know who he is?

[Philip Carney]

Not especially.

[Narrator]

I think you do, Skipper. He's the guy who killed Malone. They call him Mr. Fox. At about 6 last night, he was paying me 2,000 bucks to sign on the Scarlet Queen.

[Philip Carney]

Yeah, that's sure clearing you in my log.

[Narrator]

It'll clear me a murder that's only.

[Philip Carney]

A misdemeanor in this game. Now, starting from Fox, let's hear some more that you mean.

[Narrator]

I think you and I are going to team up and beat this thing by tomorrow. That's what I mean.

[Philip Carney]

You what?

[Narrator]

That's right. Starting from the Fox. He's working for Van Gort. If you didn't know that before, you know it now.

[Philip Carney]

Who's Van Gord?

[Narrator]

Yeah. You're being cagey, Skipper, and that's all right. You don't know what to say because you don't know how much I know. I don't know how much you know.

[Philip Carney]

So Reef, you're talking.

[Narrator]

The Fox didn't learn what he wanted to learn from Malone. He tried too hard. So he paid me two grand to sign on with you. I was supposed to go through your charts. And tell him what part of the southern oceans you were making for him. Find out everything about a Kang and Son. The payoff was going to be a grand a month for just keeping the finger on you. And waiting to be contacted was an easy deal.

[Philip Carney]

Someone in your family must have been born with shark fins. Not too far back, there was supposed.

[Narrator]

To be a great uncle under the Jolly Roger, Skipper. But no fins yet. But I got reason. I'm telling you this because if they pay off like that for just a line on you. I figure the real dough is going to be made on your side. I still want to ship with you, but for you.

[Philip Carney]

Well, I'm a. I'm Telling you, Gallagher, for the price of the queen, I can't tell you who's crazy in this room.

[Narrator]

Nobody has. Skipper, you're gonna be ahead, too.

[Philip Carney]

Believe me, I not ahead of you, Gallagher. I'm not crazy enough to turn my back on you.

[Narrator]

Listen to me. You know you're fighting a big outfit as well as I do. But I can clear up the mess here in Frisco. I'll put you next to the fox and his mermaid.

[Philip Carney]

Her name. Helen.

[Narrator]

How'd you get that?

[Philip Carney]

She isn't hard to find.

[Narrator]

Well, that's right. Helen Curran. She led Malone to this room with a smile and promise.

[Philip Carney]

Either one would look good from her. I know. I was there.

[Narrator]

Good. That makes it simple. Come on. I'm gonna get your Malone skills to prove. Who's that? Come on.

[Philip Carney]

Or put me on a morgue slam for an extra two grand. I trust you like I trust a compass at the North Pole. All right.

[Narrator]

Take a gamble. And it means your port clearance. But you gotta have bait. That's you. And you gotta have somebody who can put it in the right place. That's me.

[Philip Carney]

Come on.

[Narrator]

I'll show you how it works.

[Philip Carney]

It was about quarter of 11 when I pulled my left ear for luck the last time. Followed him down to the lobby and took my last look at that Reno calendar. Gallagher looked like he was enjoying putting me on the block. The only reason I could dream up for playing sucker was the idea that as long as I kept a line on him, I was at least secured or something. He squeezed me into the phone booth with him. When he put the bait on the hook, he held the receiver so I could get my ear into the. Into it, too. And called Helen Curran at the Gorgonia.

[Narrator]

Hello, baby. This Red.

[Helen Curran]

Well, it's about time. I thought you were coming in.

[Narrator]

Something came up. You get the gardenia?

[Helen Curran]

Yeah, I'm wearing it right now. When can I show you how much I like it?

[Narrator]

Don't talk like that when I'm so far away. Listen, I ran into something about the southern oceans tonight.

[Helen Curran]

Oh, how good?

[Narrator]

Sounded pretty close to me. Did a guy come in there tonight looking for Dave Malone?

[Helen Curran]

Yeah. I told him I didn't know him.

[Narrator]

How? It's smart, baby. Cause that guy was Pritchard. He's the one who beat me out of the berth on the Scarlet Queen.

[Helen Curran]

That sounds funny, Red. How'd you get all this?

[Narrator]

He stuck his head in the bar where I was, and I recognized him. He's got the information we want, baby. I could have maybe pumped him for it. But I thought it'd be better if you and the Fox were in on it, too. Maybe in your apartment later. That's for you to work out.

[Helen Curran]

Where is he?

[Narrator]

On his way back to the Gonia. I better tag along for the party, don't you think? Pritchard's big.

[Helen Curran]

Yeah. All right, Red. Give me a half hour to get through to the Fox and call me back. I'll let you know where he'll pick you up. Okay?

[Narrator]

Yeah, but, baby, take it easy till I get there. I don't want that gardenia crushed on anybody's shoulder but mine.

[Philip Carney]

Alan Kern's apartment was in the Beulah Arms on Russian Hill. It was a little overdone and modernizing. A setup that was dull mid Victorian a few years back. Light walls with venetian blinds, some flamingos and parakeets flying through verdant jungles and framed before they started. And a bedroom to the right that she went into, saying something about something comfy. When she came back, I saw clearly that she went for off the shoulder hostess gowns, too.

[Helen Curran]

Now I feel more comfortable. What's the matter with me anyway? Is there something I always seem to stir the wrong approach in you, or are you just shy?

[Philip Carney]

With you, you don't need an approach here. Just move naturally.

[Helen Curran]

You aren't shy at all, are you? You're just overconfident. You've been spoiled by women.

[Philip Carney]

It never hurt me. But then it's not very often as appealing as your brand.

[Helen Curran]

You think I'll spoil you?

[Philip Carney]

Uh? I wonder if you'd hurt me.

[Helen Curran]

Not even if I could. Hey, wait a minute. I couldn't hurt you if I wanted to, could I?

[Philip Carney]

I don't know. It gets so lonesome at sea. Like I said, she knew her business. And I had to keep remembering that it wasn't all crushed gardenias. Tonight we finally did get around to a drink out of a rattan covered bottle. And I could tell by the heavy lidded look she gave me over a glass that I was supposed to be a complete victim in this man, meek as a kitten with a full belly. She knew her business. But knowing that she knew her business, I went along with the kitten act. But I was as ready as a tomcat when the door opened. But I wasn't ready for who came through it. It was Funston. He was still looking through the rimless glasses, but now his eyes were steely hard and his mouth hung open a little like it was watering. It only took one deep breath to realize that he was the Fox Gallagher followed him in, wearing the grin.

[Narrator]

Hey, boss, wait a minute. Something's wrong. This guy isn't Pritchard.

[Helen Curran]

Red. What do you mean?

[Narrator]

That's right. This guy's Phil Carney, the master of the Scarlet Queen.

[Philip Carney]

I was sitting on the couch, and after a sellout like that, there was no use standing up. Helen left me like I'd broken out with a purple pox. And Punstone had a small caliber gun out of an inside pocket. Faster than I could get my breath. Gallagher still stood behind him, looking at me with that grin.

[Helen Curran]

Red, he's the one who was in to see me earlier. Never mind, Helen.

[Narrator]

Something went wrong then. This isn't the guy I talked to.

[Helen Curran]

Never mind, I said. I'm well acquainted with him. You're an impulsive man, Mr. Carney. What are you doing here?

[Philip Carney]

I like a game of breads as well as the next guy.

[Inspector Kessel]

You play a stupid game, Mr. Carney.

[Helen Curran]

You should remember that your red queen is not the top of the suit.

[Philip Carney]

She'll do.

[Inspector Kessel]

He'll never win a trick.

[Helen Curran]

You'll never use her. You know what I mean.

[Philip Carney]

Yeah, I know what you mean. But you're bluffing, Funston. Either that or you're double crossing Van Gort and talking for yourself. Fighting to stay clear of Malone's murder.

[Helen Curran]

I want more than talk.

[Philip Carney]

You're still bluffing. You don't want to hurt me. Because with me out of the way, Van Gort's octopus would have nothing to follow. Wise up, Funston. You don't scare me. I'm too valuable.

[Helen Curran]

All right. I'll pay you $25,000 for the destination.

[Philip Carney]

Of your Scarlet Queen. I can't hear you.

[Inspector Kessel]

There are methods that talk louder than money.

[Philip Carney]

Now you're bluffing again. You never get it that way, either. And what did Van Gort say if you laid me next to Malone?

[Helen Curran]

That's something I'll have to find out. At the moment, that looks better than arrest for murder. Stand up, Carney.

[Philip Carney]

You're really on a spot, Funston. You're even getting the double cross from your own people in this room.

[Helen Curran]

Now who's bluffing, Carney?

[Philip Carney]

I mean, you're getting it from Gallagher. He knew who I was tonight. Gallagher.

[Narrator]

Skipper, why do you have to rush me? I'm all right, Skipper. I'll take him.

[Red Gallagher]

Watch the mermaid.

[Philip Carney]

I raced her across the room to a table. She had a drawer open and a nickel plated revolver half out of it by the time I grabbed it. Drop it, sister. Drop it. I said drop it. Calm down, Sister. Get over there and calm down. I grabbed her by the arm and tossed her across the room. And had that.45 out before she landed. I twisted a look at Funston. And Gallagher had hit him hard enough. To keep him from opening until Christmas. He was tangled up with a flower rug and not thinking about a thing.

[Narrator]

Well, Skipper, there's your port clearance spread all over the room.

[Philip Carney]

Yeah. Now, what the devil was the idea of you leaving me to shake hands with that gun of Funston's for so long?

[Narrator]

I had to do it, Skipper. He knew I didn't have Pritchard up here. And I had to play along till we got ready to move.

[Philip Carney]

He knew.

[Narrator]

Yeah. He had some of his playmates guarding the Scarlet Queen. He knew Pritchard never came ashore tonight. Yeah, but we're a great team, Skipper. We're standing up and they're lying down.

[Philip Carney]

I'll agree with you there, Wren. Keep them that way, will you? I got a proud call to make the homicide. Kessel got what he wanted from Funston and Helen Curran. They didn't know any more about the whole story than I did. They were just stooges for Van Gort. What they couldn't answer made Kessel more curious than ever. And I told him what I could under legal pressure. Which was just that Kang was sending me some place for something. Where or what, I didn't know. After Pritchard heard about what we'd been through. He decided he'd like it better on a harbor tug. By 2 the next morning, Gallagher was signed on. And we cast off from Pier 12. We went through the Golden Gate under power. Sitting on the wheelbox with a box. We followed the channel buoys out to the barrel arms. Picking up that good deep water roll. The northwest trade started singing through the rigging. I felt like a man getting his back out of a cast and walking again. The crew perked up too, and they fell to with a will. When Gallagher started falling. Orders stand by to make sales. The men liked him too. Even the one he'd slugged had a pulled from the bottle and shook hands with him. They took their stations at the Mainle. Report sheep make sail. Then at the halyards hoisted away smartly. And the peak of the Mainel climbed up the mast. And the white, strong expanse of it bellied out and pulled. I could feel it at the wheel of the gypsy men.

[Red Gallagher]

Marley.

[Helen Curran]

Now.

[Philip Carney]

The gypsum got then the mizzen. The Scarlet Queen was glad to be free too. She took the bone on her teeth and charged every swell as Though she were carrying on a one woman war with the whole Pacific.

[Narrator]

Is the rig heavy enough for you, Skipper? We're showing eight knots on the taffrail line.

[Philip Carney]

Ah, it's good enough. We'll hold her folding by until nightfall and then ease her off, son.

[Narrator]

You got a fine lady here, Skipper.

[Philip Carney]

Behaving like a queen.

[Narrator]

She's right for southern waters.

[Philip Carney]

She'd better be, mate. She'd better be.

[Narrator]

How long are we gonna be down there?

[Philip Carney]

We may never get there. So who cares how long it'll be?

[Narrator]

Not me. I'm not married.

[Philip Carney]

You are now, mate, but a Scarlet Queen. The bigamist.

[Narrator]

I'm gonna get sick of sharing women with you. But let me take the wheel with you. We gotta have a honeymoon sometime.

[Philip Carney]

Sure. Take over. Course is 237 on a gyro compass. Got her?

[Narrator]

Got her. Hey, she's got spirit.

[Philip Carney]

You'll get us to Molokai Channel in less than 14 days. That means the Royal Hawaiian Bar in less than 14 nights.

[Narrator]

What a wife. What a honeymoon. What a drink, Skipper.

[Philip Carney]

After you, mate. After you. Log entry. Catch. Scarlet Queen 5:30pm Miles traveled 31. Wind brisk, sky fair, sea choppy with high crosswell mainsail and mizzen reef. Ship secure for night. Sign Philip Carney, Master.

[Narrator]

Sail into further adventure on the voyage of the Scarlet Queen. Next week at this same time. Porter call Honolulu. The Voyage of the Scarlet Queen is written by Gil Dowd and Bob Tallman. Our duff plays Bill Carney with Elliot Lewis as Red Gallagher. William Conrad was Inspector Kessel, Junius Matthews was Funston and Helen was played by Kathy Lewis. Music scored and conducted by Richard Irant. The Scarlet Queen, directed by Jim Burton, is a Command radio production.

[James Stewart]

In a moment you'll hear James Stewart as the Six Shooter. Just one of the many fine programs brought to you each week on NBC. Tomorrow night there's top comedy entertainment with the Bob Hope show, the Phil Harris Alice Fay show and can you top this with Senator Ford? Bob Hope delivers rapid fire comedy routines while Phil Harris and Alice Fay bring both mirth and music. It's a great Friday night lineup of comedy programs, all of them heard only on NBC. James Stewart as the Six Shooter. The man in the saddle is angular and long legged. His skin is sun dyed brown. The gun in his holster is gray steel and rainbow mother of pearl, its handle unmarked. People call them both the Six Shooter. The NBC Radio Network presents James Stewart as the Six Shooter. A transcribed series of radio dramas based on the life of Brit Ponfet, the Texas who Wandered through the Western Territories, leaving behind a trail of still remembered legends.

[Red Gallagher]

It was Friday morning when I got the Smoke Falls and my first trip to town. About three months. Dad Foster needed a little extra money for feed, so he asked me to drive about a dozen of his heifers in and sell them at Saturday's auction. Well, I turned the cattle over to Brad McLean. He was the auctioneer. And then since about noon time, I wandered into Wendy Knight's cafe. Wendy's food's real good, too. Corned beef and cabbage, boiled potatoes, rice pudding for dessert. Real tasty. There was only one drawback to eatin there. Wendy.

[Wendy]

And then Ned Burke. He's a marshal now. Bread. But I guess you knew that, didn't you?

[Red Gallagher]

Well, as a matter of fact, I didn't.

[Philip Carney]

Oh, sure, sure.

[Wendy]

He was elected last July. 102 votes was cast.

[Helen Curran]

102?

[Wendy]

Well, that's the biggest election we've ever had in this town. The biggest in this part of the state for all I know.

[Red Gallagher]

Well, yes, huh?

[Wendy]

Well, unless you count Fort Lyons over there, they ain't very particular who they let vote. Why, I hear tell there was a drummer passing through the town last election day and they just drug him right off to the polls.

[Red Gallagher]

Don't say.

[Wendy]

Yeah, I'll just bet you if there was to be an honor senses we'd show up with a good 20 more people in Fort Lyon.

[Red Gallagher]

Let me show. Let me show. Well, I sure was a fine meal, Wendy.

[Wendy]

Now, now, where do you think you're going, Bri? You ain't let me tell you about Marshall Burke finding Seth Quincy's body, huh? Well, what did you think I was leading up to?

[Red Gallagher]

Well, I didn't exactly know.

[Wendy]

Yeah, a week ago. Last Monday. That's when it happened. Oh, the reason I remember so plain is wrong. About 10 o' clock in the morning it started to thunder. And I said to Mrs. Coombs, I run into a coming down Main street. I said, Ms. Coombs, I said, don't let that thunder fool you. It ain't going to rain the first week in September. No, sir. I lived around here for 17 years and it ain't never rained after the 25th of August. That's what I said.

[Red Gallagher]

Yeah. Well, now, what about Mr. Quincy?

[Wendy]

Well, I was coming to that bread. Can't you give a body a minute?

[Red Gallagher]

Oh, sure, sure.

[Philip Carney]

Where was I?

[Wendy]

Oh, yes. Well, he was lying on the floor of his parlor when Marshall Burke come in. They see the police. Looked like he put up quite a fight, too. Broken furniture and glassware. All over the place. I'd say a slug in his chest, that's what killed him. Shooting must have been around 11 o' clock that morning.

[Red Gallagher]

That's. Yeah.

[Wendy]

Leastwise that's when Mrs. Henderson said she heard what sounded like a shot. You know the Hendersons? Brit live right over in the road there. Just down the road a bit from Seth Quincy's ranch.

[Red Gallagher]

Yeah, yeah, sure.

[Wendy]

Clyde Henderson. He's that short red haired fellow who marries Harold Watkins.

[Red Gallagher]

I. I said I knew him, Wendy.

[Wendy]

Well, there's no need to take my head off. I'm just trying to give you the fact.

[Red Gallagher]

Oh, I'm sorry. You go ahead, give me the fact.

[Philip Carney]

Well, let's see, where was I?

[Wendy]

Well, that's the trouble. Somebody interrupts you and you lose your whole train of thought.

[Philip Carney]

Oh, yeah? Yeah.

[Wendy]

About Seth Quincy. Well, I guess that's all there is to tell. A trial was last Monday.

[Red Gallagher]

A trial?

[Wendy]

Sure. Pete Kelgrin, the fellow that killed him.

[Red Gallagher]

Pete Kelvin.

[Wendy]

What's the matter with you, Brett? Ain't you listening to me?

[Red Gallagher]

What? Well, you know, you kind of neglected to mention Pete Kellgren before, Wendy. You know.

[Wendy]

I did?

[Red Gallagher]

Yes.

[Wendy]

Oh. Well, there wasn't any doubt but that he was guilty. When Marshall Burke arrested him, Kelgren still had the 400 in his pocket.

[Red Gallagher]

$400, huh?

[Wendy]

The money he stole from Seth.

[Red Gallagher]

Oh, that's funny. Pete Kelgren never struck me as the type of. I guess you just never can tell about people, can you?

[Wendy]

I didn't know you was a friend of Pete's bread.

[Red Gallagher]

Well, we weren't exactly friends, but we met up a couple times. He always seemed like a nice young fellow to me.

[Wendy]

Why, he even admitted Robin Seth. Of course. He says that when he come in, Seth was already dead. And the strongbox was just sitting right there real inviting. He sure must think we a bunch of ignoramuses. Expecting us to believe a yarn like that.

[Red Gallagher]

Well, I suppose it could be true.

[Wendy]

The jury didn't see it that way. Hanging is scheduled for next Monday.

[Red Gallagher]

Hanging? Well, I reckon I owe you a quarter, huh?

[Wendy]

Well now, just a minute. I'll get you your change. Well, I'll be doggone. She's still there, that girl in front of the depot. Been standing there since 9:00am this morning. Come in on the express from Fort Lyon. Oh, I guess she's waiting for somebody to meet her. Funny, I ain't heard of nobody expecting visitors. I usually get wind of a thing like that.

[Red Gallagher]

Yeah. Yeah, I imagine you do.

[Philip Carney]

Yeah.

[Wendy]

Well, here's your change, Brit. Thanks a Lot.

[Red Gallagher]

No man shot. I'll be seeing you, Andy.

[Wendy]

You're gonna be in town for a while, ain't you?

[Red Gallagher]

No, no, I'm heading back to Quasha Ranch tomorrow.

[Wendy]

Oh, that's a shame. You'll miss the hanging.

[Red Gallagher]

Well, I reckon I can do without it. Sure. I couldn't help noticing the girl waiting on the station platform. She's young, not more than 20 or so. Pretty too. The straw colored hair that was sort of fixed up and braided across the top of her head. Real pretty. And it sure looked like she intended to stay around Smoke Falls. Rospell least. Why, she had plenty of luggage with her. Two great big canvas suitcases and a wicker basket packed over the floor. I started to cross over toward her and she gave a little turn. She was frowning, kind of anxious like. She seemed to be studying me as if she was trying to make up her mind about something. Excuse me for bothering you mess, but is there anything I can do for you?

[Helen Curran]

You come to meet me, mister?

[Red Gallagher]

Oh, no.

[Helen Curran]

Yeah, yeah. I seen that you could not be him. How that he's shorter fellow. He sent me pictures. He's different looking man.

[Red Gallagher]

Then you're waiting for somebody?

[Helen Curran]

Oh, sure, sure.

[Red Gallagher]

Well, maybe if you told me who it is, maybe I'd be able to find him for you.

[Helen Curran]

It is manic come to marry. Oh.

[Red Gallagher]

Oh, I see.

[Helen Curran]

We write letter over two years now. He have family in same part of Sweden where I live. A B. Swedish mister.

[Red Gallagher]

Yes, yes, I sort of figured you might be.

[Helen Curran]

Then he sent me money, come to America. I think he must be a rich feller. Send me so much money. $200.

[Red Gallagher]

Mmm, yes, that's good some money.

[Helen Curran]

Or he tell me stay with my sister in this crumpson till he makes some more. They say they're six months over, but they get tired of waiting. I still have $50 left, so I take train west.

[Red Gallagher]

Uh huh. Well, maybe he didn't know you were getting in today. Maybe that's why he's not here yet.

[Helen Curran]

Well, I write him letter from Wisconsin. My sister help me. I'm not so good at English language.

[Red Gallagher]

No, no, you're doing all right, doing fine.

[Helen Curran]

He must be busy working and that is why he's late. But he will come. I do not worry.

[Red Gallagher]

Well, whatever you say. Go on.

[Helen Curran]

Mister.

[Red Gallagher]

Yeah.

[Helen Curran]

You're a friend of his?

[Red Gallagher]

Well, I don't know. You didn't tell me his name.

[Helen Curran]

Oh, I am a very foolish person and it used my brain. It is Peter.

[Red Gallagher]

Peter?

[Helen Curran]

Yeah, Peter Kellgren. You have heard of Him?

[Red Gallagher]

Why yeah, yes, I've heard of him.

[Helen Curran]

You do not see him anywhere today?

[Red Gallagher]

No, no, I haven't seen him.

[Helen Curran]

Thank you just the same. Your Mr.

[Red Gallagher]

I. I didn't tell you my name either. It's Poncet. Brit Poncet.

[Helen Curran]

I'm very pleased to meet you, Mr. Poncet. I'm a nerdkiss.

[Red Gallagher]

Oh, how do you do, Anna?

[Helen Curran]

Why you look at me like that, Mr. Well, something is the matter.

[Red Gallagher]

I. Yeah, I'm afraid there is Peter.

[Helen Curran]

He is not sick?

[Red Gallagher]

No, no, it isn't that. Well, you said you'd come to America to marry Pete. Yeah, sure, but you don't know him very well, do you?

[Helen Curran]

Over two years he write letters.

[Red Gallagher]

Oh yes, but I. I mean, do.

[Helen Curran]

You think I cannot love a man I never meet?

[Red Gallagher]

No, no, not necessarily.

[Helen Curran]

I know Peter used to say me Zippy meet a hundred times. We tell each other everything in letters.

[Red Gallagher]

Maybe so, maybe so, but I. Yeah.

[Helen Curran]

I see, I see very. Did you think? Oh, you tell yourself I only marry Peter because he sent me so much money because he is such a rich fellow.

[Red Gallagher]

No, no, no, of course not.

[Helen Curran]

Well, I tell you truth, mister. I marry him because I love him. I never see him, but I love him. There's no other reason?

[Red Gallagher]

Uh huh. Yeah, well, of course, Anna. So why don't you come over to the cafe and have a cup of coffee?

[Helen Curran]

Oh, it's very kind of you, but. Ms. Be here when Peter comes.

[Red Gallagher]

Well, I'm afraid Pete isn't coming.

[Helen Curran]

Do not understand.

[Red Gallagher]

No, I'm awful sorry to tell you about this, but. Well, he's in jail, James. Yes.

[Helen Curran]

You mean police arrest him?

[Red Gallagher]

Well, it was the marshal and that's about the same thing.

[Helen Curran]

What did Peter do?

[Red Gallagher]

Well, oh sure, sure.

[Helen Curran]

And no, he's scared to meet me so he has too much to drink. Yeah.

[Red Gallagher]

No, no, Anna, it's. It's a lot more serious than that. Tell me Mr. Well, folks say that he killed a man last week.

[Helen Curran]

Peter killed a man?

[Red Gallagher]

That sure looks that way.

[Helen Curran]

No, it could not be. He's fine. Good fellow.

[Red Gallagher]

Yes, well, I guess you're bound to think that, Anna.

[Helen Curran]

But they make big mistake. I tell them so they let my Peter go. Where is Jay?

[Red Gallagher]

No, no, no, I wouldn't do it, mister.

[Helen Curran]

Where is J.

[Red Gallagher]

Well, it's just around the corner there. But I don't think you very much. Oh, here, here, let me give you a hand with those.

[Helen Curran]

I can manage. I can carry suitcase. Have her confirm and plan to strong.

[Red Gallagher]

Now listen Anna, I'm afraid the Marshall.

[Helen Curran]

Mr. You come to bed, India.

[Red Gallagher]

Oh, sure, sure mean good luck. Well, I didn't see where it was up to me to give Anna all the details about the hanging Monday and everything she tried out to now. Sure was a tough break though, after coming all this distance and marrying a man she'd never seen. Well, I strolled around town for an hour or so and then I headed over to George Billings house where I'd left my things. I was planning to spend the night with George and his wife, Ella. They offered me the use of the spare room. Nobody home. Well, I picked up the flower pot in the top porch step and I found the key under it. There's a note from Ella too. Said for me to go inside and make myself comfortable. There was a copy of the Smoke Falls Weekly Gazette on the hall table. I skimmed through it for a couple of minutes to. The main article was about the Quincy shooting. Pete Kilgram's trial, that is.

[Helen Curran]

Oh, well, they tell me I will find you here. He must talk to you. It's important.

[Red Gallagher]

Yes, well, come in, Anna.

[Helen Curran]

Thank you very much.

[Red Gallagher]

Won't you sit down?

[Helen Curran]

I would rather stand. Get too nervous if I say it. Mr. Poncet.

[Red Gallagher]

Yeah?

[Helen Curran]

What is wrong with Marshall Burke?

[Red Gallagher]

Oh, nothing, as far as I know.

[Helen Curran]

He says Peter must be hanged.

[Red Gallagher]

Yeah, yeah, I know.

[Helen Curran]

Well, it is not possible. They would not hang a man who is not guilty.

[Red Gallagher]

Well, Anna, maybe Pete is gully.

[Helen Curran]

No, he is not the Marshall. Let me talk to Peter. I ask him if he does this awful thing. He tells me no. Well, Anna, it is no lie. I can tell a man who lies. It is the truth what Peter says. Well, he is fine fellow. Better even than. I hope my sister. Voin Mayer should not expect too much. He will be disappointed. But Peter, he is good and kind and handsome.

[Red Gallagher]

Oh, he's a nice looking boy all right. No doubt about that.

[Helen Curran]

And he did not kill any man. He could not beat one.

[Red Gallagher]

Well, he's admitted stealing Seth Quincy's money for me.

[Helen Curran]

That is why he takes it so we can get married. It is very wrong to steal and he must be punished for it.

[Red Gallagher]

Well, if he was willing to steal.

[Helen Curran]

Steal is not to kill. That is why they hang him. Yeah, that's right.

[Red Gallagher]

Yeah.

[Helen Curran]

Then you must keep them from it. Yeah. I tell Peter that we meet, that you are very nice to me. He says you be a famous person with the funny name Dick Shooter.

[Red Gallagher]

Oh, yes, yes.

[Helen Curran]

He says you will prove he is not guilty. You will talk to Marshall for him.

[Red Gallagher]

Well, I don't see what talking to Marshall Burke would do.

[Helen Curran]

Please, Mr. Poncet. I tell you something now before I say I come to marry Peter because I'm in love with him because of letters that he writes. Maybe Annette, speak the truth. Maybe I just want to come to America. I think I get no other chance. But now it is the truth. I meet him and I talk to him and I am in love. I love him very much. You must believe me, Mr. Poncet.

[Red Gallagher]

Sure, Anna. Sure, I believe you.

[Helen Curran]

Then you will talk to Marshall? Yeah.

[Red Gallagher]

Well, all right. All right, I'll talk to him.

[James Stewart]

You are listening to the Six Shooter, starring James Stewart as Britt Poncet, the Texas cowpoke whose name has become legend throughout the West. Now, act two of the story. Anna Nordquist.

[Red Gallagher]

I left Anna at the hotel. I went over to see Ned Burke. His office was in the front part of the jail where they were keeping Pete Kilgren. Ned had only been marshalled for a few months, but he'd had a couple of years deputy experience, so he knew the job. And he was sort of a man that usually made a good marshal, too. He's quiet, not looking for trouble, but able to take care of it when the time came.

[Ned Burke]

I sure felt terrible, Britt, when she came in here and told me who she was and what she wanted.

[Red Gallagher]

Yeah, I let her talk to Kellgren.

[Ned Burke]

Figured it was the least I could do. Just seemed to make things worse, though. He convinced her that he was innocent and I was out to get him.

[Red Gallagher]

Oh, well, no. Nobody's gonna believe that, Ned.

[Ned Burke]

That girl might believe it. Guess I wouldn't blame her if she did. That Kellgren's a pretty smooth talker.

[Red Gallagher]

Yeah, Ned.

[Narrator]

Yeah, Brad?

[Red Gallagher]

There couldn't be any doubt about it, could there? I mean, as I understand it, Pete says that Quincy was already dead when he got there.

[Ned Burke]

Well, sure he did.

[Red Gallagher]

And that he took the money because, well, it was just so darn tempting.

[Ned Burke]

It don't stand to reason that somebody'd murder Seth and then go off without breaking into a strong box, now, does it, British?

[Philip Carney]

No.

[Red Gallagher]

No, I guess it doesn't.

[Ned Burke]

Besides, Sarah Henderson seen Pete riding away from 6,000 out five minutes after she heard a shot.

[Red Gallagher]

Would you arrest him?

[Ned Burke]

The same day I came in town, right after I found Seth's body, Sarah had sent for me. She had a feeling something was wrong. Kellgren was at Bud Winkler's place. That's where I found him.

[Red Gallagher]

He still had the gun on him?

[Ned Burke]

No, no, he claimed he didn't own a.45 and that's what the slug insists chess was.45, I say. Of course, Pete had plenty of time to get rid of the gun. And there are plenty places between Seth's ranch and town where he could have ditched it.

[Red Gallagher]

Well, that's true enough. Does anybody ever remember seeing Pete with a.45?

[Ned Burke]

Not that I know of. Now wait a minute, Brit. You ain't taking Pete's side in this thing, right?

[Red Gallagher]

Well, I'm not taking anybody's side, Ned. I'm just curious, that's all.

[Ned Burke]

This was a cold blooded killing. You go on out to Seth's place, you'll see. He was an old man, but he sure put up a darn good fight for his life. And from the looks of things, he went on fighting me after he was shot.

[Red Gallagher]

You know, I just might take you up on that invitation there. Yeah, about going out to s place. See you later. It was getting on toward dusk when I reached Seth Quincy's ranch. Whoa. Whoa, boy. Wcar. Whoa. I walked up the front steps, tried the door. It wasn't locked. Seth had lived alone. That didn't look like anybody had in to straighten things up since the murder. Boy, there sure had been a whale of a fight in the parlor there. A couple of broken chairs, some stains on the sofa and pieces of a lamp that had been smashed against the fireplace strongbox didn't seem to be there. I figured they probably needed that for the evidence. Well, I poked around for about half an hour, then I headed back to town. The moon was starting to come up as we hit a bend in the trail and the doggonest thing happened. Now, Scar was usually as sure footed as a mountain goat. I'm not a bit skittish either, but when a bat came winging out of some cottonwood, I. I darn near sailed right out of the saddle.

[Narrator]

What?

[Red Gallagher]

The sand hill.

[Narrator]

He's going.

[Philip Carney]

Whoa, whoa, Scar.

[Red Gallagher]

Come on now. And that's when I saw it. Buried under a pile of leaves in a little gully. The first thing that caught my eye was the moonlight glinting off a piece of metal. Easy.

[Pete Kellgren]

Easy, Scott, easy.

[Red Gallagher]

Of course, it could have been almost anything. A broken spur, part of a farm tool, anything. But even before I pulled it out from underneath the leaves and the dirt, I know it was a gun.

[Helen Curran]

Yeah, who's there?

[Red Gallagher]

It's me, Brit Poncett.

[Helen Curran]

Oh, just a minute. I think you never come, Mr. Poncet. I get so worried.

[Red Gallagher]

Well, I'm sorry it took me so long.

[Helen Curran]

It does not matter now that you're here. You talk to Marsha Burke?

[Red Gallagher]

Yeah, yeah, I talked to him.

[Helen Curran]

And you Tell him Peter did not kill this man. You tell him Peter is not guilty.

[Red Gallagher]

No, Hannah, I couldn't tell him that.

[Helen Curran]

What are you saying?

[Red Gallagher]

Pete is guilty? I found his gun. The gun he used to kill Seth Quincy.

[Helen Curran]

No.

[Red Gallagher]

It was hidden in a gully about a mile from the farmhouse. I gave it to Marshall Burke. You can see it for yourself. You want to go over there? Pete's initials right on the handle. Only one bullet had been fired. It's the right gun. There's no doubt about it.

[Helen Curran]

Not good. Not be.

[Red Gallagher]

Now, Anna. Now listen to me. The only reason I'm telling you this is. Well, after Monday there won't be anything you can do about Pete. It'll be better if you just forget him.

[Helen Curran]

I will not forget him.

[Red Gallagher]

Oh, it won't be easy. I know that. But as long as you know he's guilty, as long as there isn't any doubt in your mind, well, maybe it's for the best that you found out before.

[Helen Curran]

Why you try to tell me a lie?

[Red Gallagher]

Anna, this is the truth.

[Helen Curran]

No. You say you will show me gun. You say it belongs to Peter. Well, what does Peter say?

[Red Gallagher]

Well, of course, he denies it.

[Helen Curran]

Then I deny it too.

[Red Gallagher]

All right. All right. I guess there's nothing more I can do about it.

[Helen Curran]

You lie to me, you and Marshall. You try to make me think the one I love is a criminal. I do not understand. In old country, they talk about America. They say, best country in the world. But this is lie too. Faith, justice. Face freedom. They hang a man for what he does not do.

[Red Gallagher]

Now, now, Anna, listen.

[Helen Curran]

It's a terrible, terrible country. I wish I never come here. Maybe I shall never leave my home. I have no friend, no husband and be alone in countries that I hate.

[Red Gallagher]

I'm. I'm sorry. And if there's any way I can help you, if you need some money.

[Helen Curran]

I want no help from American. Well.

[Red Gallagher]

Good night, Anna. The light was still on in the marshal's office, so I stopped off and I asked Ned if I could go and have a little talk with Pete. He didn't seem to think it'd do much good. And to tell you the truth, I didn't think so either. But, well, I couldn't see it do any harm. Try so. Pete was a tall, stringy man, about 25 or so, toe headed, with a yellow mustache. Kind of a pointed chin.

[Ned Burke]

All right, Britt, I'll leave you here. You want out, just give me a yell.

[Red Gallagher]

Nice man.

[Pete Kellgren]

Sure, I'm popular today, ain't I, Brit?

[Red Gallagher]

Well, I guess you Might call it that, Pete. Well. Well, I thought maybe by now you'd feel like coming out with the truth. Told you the truth before.

[Pete Kellgren]

Never seen that gun my whole life. I ain't the only man with those initials, am I?

[Philip Carney]

Dud?

[Pete Kellgren]

What's the difference if I'm gonna be hung anyway?

[Red Gallagher]

Well, the difference is Anna.

[Pete Kellgren]

Anna.

[Red Gallagher]

She believes you, Pete. She believes you're innocent. And as long as you go on saying so, she's gonna keep on believing that even. Even after.

[Pete Kellgren]

It's kind of nice to have somebody believe in you, Brit. Nobody else does.

[Red Gallagher]

Now, Pete, you weren't railroaded. You had a fair judge and a fair trial. But Anna doesn't realize that. She's young, she's upset and she's in a strange country. She wanted to come here pretty bad. Had a lot of dreams about this country and knowledge. Now those dreams are turning sour and.

[Pete Kellgren]

It'S a good thing she woke up.

[Red Gallagher]

Well, I just don't happen to agree with you on that. I think this is a pretty good place to live. But Anna won't find that out. Not if she goes on feeling this way.

[Pete Kellgren]

Well, what do you expect me to do? Confess to murder and Seth Quincy just so as Anna can appreciate the good old usa yes, me. This country ain't so hot anyway.

[Red Gallagher]

Well, there are a lot of folks who put up pretty good argument about that. Your own father is one of them.

[Pete Kellgren]

You're just wasting your breath.

[Red Gallagher]

Yeah. Yeah. Yes, I am. Any man who killed Seth Quincy in cold blood, the way it wasn't cold.

[Pete Kellgren]

Blood, I didn't even.

[Red Gallagher]

Want Pete.

[Pete Kellgren]

All right, But I ain't telling you this because of. I don't even know why I'm telling you. I needed money for Anna so we could get married. I wanted to make a good showing, like I told in the letters I wrote her. Everybody said Seth had plenty of cash, that he wouldn't put none of it in the bank because he'd had a fight with Mr. Putnam and he kept it all in that strong box. I thought he'd gone to town. I never figured he'd come back and catch me while I was robbing him. I tried to hold him off with my gun, but he just kept coming. I. I had to fire even then. He didn't stop. Not until.

[Red Gallagher]

Well.

[Pete Kellgren]

Pete, what do you want now?

[Red Gallagher]

I. I want you to tell this to Anna.

[Pete Kellgren]

You can tell it.

[Red Gallagher]

I'm afraid that wouldn't do.

[Pete Kellgren]

She's real pretty, ain't she? I never figured on her being so pretty. Sure was surprised. Yeah, I've been writing her for the last two years. It's Pa's idea. He knew her, Ken, back in Sweden. Wasn't any girl around here that. Leastways none I was interested in, huh?

[Red Gallagher]

Well, Pete.

[Pete Kellgren]

I'll tell her. But it wasn't cold blood, Brit. Not the way you think.

[Red Gallagher]

Yeah, Ned. Ned, I'm all done here. Well, Pete finally explained things. Diana. And I guess she saw what had happened in kind of a different light. Anyway, she stayed on and smoked Falls. And last time I was through there, she was working over in Wendy Knight's cafe. She changed some too. Where she wore hair, was she dressed? But she. She was still just pretty. The picture, huh, Georgia? And you know something? Wendy had changed. He wasn't talking so much. A folk said that that was Ann's doing that she'd asked him to simmer down about. Well, sir, if she was able to get Wendy to stop talking, even for a couple of minutes, if she had that much influence on him. Well, you never know, do you?

[James Stewart]

The Six Shooter is a transcribed NBC Radio Network production in association with Review Productions. It is written by Frank Burt and is based on a character created by him. Mr. Stewart may currently be seen in the Universal International picture, the Glenn Miller Story. Others in the cast were Lillian Byoff, Bill Johnstone, Lou Merrill and Harry Killer Bartel. Special music for this program was by Basil Adlam and the entire production is under the direction of Jack Johnstone. All characters and incidents were fictitious. Any resemblance to actual characters or incidents is purely coincidental. Oh yes, and by the way, you'll be interested in knowing that the Six Shooter has been chosen for broadcast to our men overseas through the facilities of the Armed Forces Radio Service. This is Hal Gibney speaking. Hearing Time brings you the Senate committee hearings tonight on the NBC Radio Network.

[Host]

That's the Relic Radio show for this week. There's more from Voyage of the Scarlet Queen, the Six Shooter, the Relic Radio show and all the other podcasts AtRelic Radio radio.com you'll find our Shout Cast stream there as well with even more old Time Radio lots to listen to, all made possible by your support. If you'd like to help out, visit donate. Relicradio.com or click on one of the links on the website. Thanks to those who have helped out. Thanks for joining me this week. Be back tomorrow with an hour of mystery on Case Closed and next Tuesday with our next episode of the Relic Radio Show.