Detective and Mystery – Retro Radio Podcast

The story you are about to hear is true, only the names have been changed to protect the innocent. Joe Friday and partner, Frank Smith await their next robbery case, while Frank marvels at modern technology, and reviews some high points of a recent case. The young suspect of the robbery is brought in to be questioned. The rude and sassy guy doesn't offer up much info, but with what he does, Friday and Smith get busy following it up. At the housing projects, the synical woman tells about her husband, and brother of the mouthy kid. Through the veiled comments a story of a disfunctional family involved in crime and drugs is hinted at. Friday is even offffered a date from the woman who is tight lipped about her menfolk. Still there's enough leads to go on to keep tracking their main suspect. On the street, more details ermerge to help Joe Friday close in on his man,and to be wary of the suspect who is said to have a limp due to an artificial leg, and to be armed, and not afraid to get into a fight. That sounds like a pun waiting to hapen, a one legged, armed man. In voice over Friday tells all the arrangements that have been made to sweep the area with police coverage, but it still isn't enough to keep our bad guy from another robbery. Commercial break, removed. It's a tough neighborhood,and Friday hits a new wall when the latest shop owner refuses to talk. The robbers have threatened him if he goes to the cops, and he believes them. Can Joe talk the man into helping? Will extra police coverage be enough to satisfy the man's concerns over his family's safety? A stakeout is planned to ambush the bad guys where they live. It almost works. Friday nabs the partner who squeals like a rusty hinge. The next robbery is told,and Friday goes to break it up. Get ready for excitement when Friday takes them down in a fist fight.

Candy is on the Donna Dunham case. She investigates, and tries to get to the bottom of what happened to this hat check girl. Her questioning leads her to Chinatown. She sends her partner, Rembrandt, out to get some photos of a body. Along the way Candy has to fend off a collection of wolves. She runs into a problem when Rembrandt can't get into the apartment for his photographs. Candy is still able to put the clues together. The climax has a dramatic finish as Candy faces down the bad guy, and her policeman friend manages to rush in for a last minute rescue.

Mutual net origination, Mayfair syndication. "Death Is No Joke". Commercials added locally. A series of practical jokes threatens the life of an heir. Alan Ladd, Oran Blackstone (writer), Richard Sanville (director), Rudy Schrager (composer, conductor), Sylvia Picker, Vern Carstensen (production supervisor), Joseph Kearns. 26:37. Audio condition: Excellent. Otherwise complete. J. David Goldin

The unusual story of a letter that was registered by death. A young girl falls asleep reading a murder mystery novel. She awakens at the sound of gunshots. Was it just part of her dream? She thinks it's real enough to phone her boyfriend who is a newspaper reporter. The man is skeptical, but she is certain of what she heard, although she speculates on exactly what happened. The two snoop around, and the couple really do find that shots have been fired, and there's a body in the house. They only find evidence of one gunshot, although Mary heard two fired. The investigation heats up, and a suspicious letter is a key piece of the puzzle. What does the dead man's girlfriend know? What about his house servants? A huge inheritance is at stake. It's the somewhat dippy Mary who figures that the missing Frank might not be dead, but just wants people to think that he is. Mary and boyfriend, Barney, continue poking around a country cottage to find signs that their missing man is living there. The two investigators find themselves locked in the cabin, and now someone has turned on the gas. Meanwhile, the ruthless Hilda confronts Tom, and demands that letter. Does he have it? The two shady characters work a deal, but can either be trusted? Back at the cabin, Mary and Barney desperately make their break and emerge into fresh air. The ordeal has inspired Barney to figure a few things out, and he reviews more clues with Mary. There's a sell out, and blackmail going on. Barney begins a plan to trap the various suspects, as he poses as the dead man. In dramatic fashion, the killer shows himself, but has Barney lost control of the situation? The mystery is laid out, and the letter and other clues are explained. It isn't looking like a happy ending for our heros, but with the confession out in the open, there's a final twist to return control to the good guys.

A lawyer calls on the police and Casey about a death threat letter he received. The lawyer is unconcerned, but feels publicizing the letter will make for good press for him. Responding to his invitation, Casey takes Ann to the lawyer's social event at the theater. Will the menace behind the threat make good on his promise? Gunfire breaks out, but bodyguards aren't in time to prevent Mrs avens from being gunned down. Is this just an unfortunate accident, or is Casey's hunch that double cross is behind it correct? In the Blue Note, Casey shares his doubts about the murder scene with Ethylbert and Ann. There's something fishy going on, and Casey thinks Havens set the stage to set his wife up as the real target of the shooting, not him. Will Casey discover the motive as he talks with his friends in the relaxed environment? Bodies pile up and Casey is off to interview a thug who might know something bout the shooting. Will the testimony of the drunken ex-con hold water in court? Will Casey be tortured by watching Havens get off with a perfect crime? A tip off sends Casey and Ann on the trail of justice. Gunplay breaks out, but will it bring satisfaction to Casey, or is he just being used again? Get ready for his summary of the case as he relaxes once again in the Blue Note.

Mutual net origination, Mayfair syndication. "Daytime Nightmare". Commercials added locally. Dan is railroaded into an asylum, framed for murder and winds up a hunted man. A good story. Alan Ladd, Richard Sanville (director), Rudy Schrager (composer, conductor), Russell Hughes (writer), Sylvia Picker (doubles), Vern Carstensen (production supervisor), Paul Frees, Herb Vigran. 27:02. Audio condition: Excellent. Otherwise complete. J. David Goldin

Late at night, in a large suburban home, a man is gunned down. The very next day in Mr Keen's office a man tells his story of how he was challenged two a duel. As the deed was going down, he somehow was knocked unconscious, and woke up with a smoking gun, and a body before him. Hmm... right. That'll look good for the cops. Mike phones in a report on the pistols, and both were fired. It's looking as bad as it can get, but Mr Keen asks the man to turn himself in while he investigates. Should Mr Keen believe him? He's at least giving the man the benefit of the doubt as he pours himself into looking into all the possibilities. On the murder scene Mr Keen checks the facts with what the police have found, and is able to interview both the housekeeper, and the girlfriend of the dead man. There's enough suspicious characters who are suddenly exposed to make it seem the jailed man at least has a chance. Both women have reasons to hold a jealous grudge, and might have a good motive for doing it. Mr Keens questioning digs up all the dirty details. The plot thickens when a large sum of money is involved. It's enough for him to figure the mystery out. Listen in and see if you can unravel the tangled mess too. It comes down to gunplay, but Mike proves to be the better man in that department.

Mutual net origination, Mayfair syndication. "One Of These Four". Commercials added locally. Afloat with a murderer, but who? Alan Ladd, Richard Sanville (director), Rudy Schrager (composer, conductor), Russell Hughes (writer), Sylvia Picker, Vern Carstensen (production supervisor). 26:45. Audio condition: Excellent. Otherwise complete. J. David Goldin

The story you are about to hear is true. Only the names have been changed to protect the inocent. On robbery detail, Joe Friday and Frank Smith take the call to interview a bar tender. He tells how events unfolded regarding the previous night's disturbance. A few suspects are forthcoming to get started on, but the info from the bartender and the victims have been pretty much picked clean. The cops are covering likely places for the robbers to spend the money, casinos, horse tracks, and the like. A hot tip comes in from an informant that one of the suspects is this woman's boyfriend. The drunk barfly talks to Joe Friday about all she knows. Armed with plenty of circumstantial evidence, Friday confronts the suspect to put together some hard evidence, and calls the man in to be part of a police lineup. Though he is identified, the suspect has an airtight alibi, so it's back on the streets for the cops. Time for a new strategy, and it looks like a winner for the cops when they find their man. Now they just need to get him to talk, and spill the beans on his accomplices.

A cabbie feels like he’s being pushed around by a thug, so he takes his story to the cops where Casey happens to be hanging out. Is the passenger a crook? Why would he be putting himself in a high profile, instead of laying low? Word comes in about the murder of a theater manager, and Casey joins the investigation. A suspect is quickly identified, and it’s the tough guy in the cab, who conveniently has set up his alibi. Do the cops have the right man or not? At the Blue Note, Casey reviews details of the case with Ethylbert and Ann. There’s something missing in the details so it’s back to the cops to figure out what doesn’t add up. The tough guy in the cab, Morris, is clearly setting up an alibi for the real killer. Fortunately, Casey has a plan, a corny one to be sure, but it just might work. He lays out a plan to make the players think their partner is betraying the other. Will Morris crack first, or his gal Betty? In the Blue Note, Casey shares how love and jealousy can work for the cause of justice.

Episode 36. A homicidal maniac gives Holiday four days to live.

A cabbie feels like he’s being pushed around by a thug, so he takes his story to the cops where Casey happens to be hanging out. Is the passenger a crook? Why would he be putting himself in a high profile, instead of laying low? Word comes in about the murder of a theater manager, and Casey joins the investigation. A suspect is quickly identified, and it’s the tough guy in the cab, who conveniently has set up his alibi. Do the cops have the right man or not? At the Blue Note, Casey reviews details of the case with Ethylbert and Ann. There’s something missing in the details so it’s back to the cops to figure out what doesn’t add up. The tough guy in the cab, Morris, is clearly setting up an alibi for the real killer. Fortunately, Casey has a plan, a corny one to be sure, but it just might work. He lays out a plan to make the players think their partner is betraying the other. Will Morris crack first, or his gal Betty? In the Blue Note, Casey shares how love and jealousy can work for the cause of justice.

Mutual net origination, Mayfair syndication. “Mexican Maze”. Commercials added locally. A frame for murder, south of the border style. Richard Sanville (director), Robert Mitchell (writer), Gene Levin (writer), Rudy Schrager (composer, conductor), Alan Ladd, Vern Carstensen (production supervisor), Sylvia Picker. 26:37. Audio condition: Very good to excellent. Otherwise complete. J. David Goldin

Homicide detail. An 25 year old man has been hiding in a boxcar with the body of an unidentified woman. Joe Friday, and his partner Bill Lockwood interview Gordon. The young man seemed to be in shock, and is silent to the questions from the cops. Does he think the cops are out to frame him? Who was the woman, and how long did Gordon know her? Laying his cards on the table, Joe tells all that is known about the case thus far. All indications point to Gordon dragging her from the murder scene, into the boxcar, but did Gordon kill her? Bill phones in a report on the woman’s identification, but the new details on connecting Elizabeth to Gordon still isn’t enough to cause him to break silence. The pressure is on, and it doesn’t take much more for him to breakdown. Emotions explode, but Gordon calms down enough to recount his evening gone wrong. His music teacher of 10 years was the love of his life, she had a drinking problem, but who could have wanted to see her dead? Gordon’s attitude turns sour when the mention of his family is made. Did they have a reason to keep the couple separated? To add extra detail, Bill enters with one more clue, poison was found in her kitchen sink, and bags were packed. gordon’s family shows up to try to help. Will the influence of the dad solve his son’s dilemma? What light will be shed on the relationship? It had been Gordon’s dream of being a concert pianist, but nobody showed any encouragement besides Elizabeth. Was it false hope? The teacher was like a mother to Gordon. Who or what killed Elizabeth? just as importantly, what will become of Gordon?

Having won some public notoriety, Barry finds himself in the company of Mona, a reporter. She’s less than thrilled to be doing the profile of the hard boiled detective. Then a parrot, screaming bloody murder enters the scene. Where did the blood on the bird come from? Who did it belong to? Turning the matter over to the cops, more unanswered questions emerge. The trail leads from a broken cage, to the meager personal affects of Vince, recently of Costa Rica. A circular that touts a wax museum display of the murder of Vince, draws Barry to it, with Mona at his side. A can of worms, full of clues is kicked over, and Barry has a full blown mystery to unravel. How did Dolly, the madam of the wax displays get informatioN on the fresh murder? A thug is on hand to melt down the display, but only ads to Barry’s determination. A thump on the head later, Barry learns the wax museum has been sold. What are the connections between the dead man, to Dolly, to the new owner of the museum, Mr Krump? Twists, turns, and dangers are ahead for Barry, and his latest side kick, Mona. Has her dull idea of the detectives life made a turn around?