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00:00The Adventures of Michael Cheyne, Private Detective.
00:11The people who make 76 gasoline and Triton motor oil, Union Oil Company present...
00:21The Adventures of Michael Cheyne, Private Detective, starring Wally Mayer and Kathy Lewis.
00:31The Adventures of Michael Cheyne, Private Detective, starring Wally Mayer and Kathy Lewis
00:39Excitement and danger are the salt and pepper in Mike Cheyne's recipe for life.
00:44But at this particular moment, Mike seems fresh out of spice and seasoning.
00:48Life is very dull for our detective friend.
00:51So dull, in fact, he almost yawns right in the very pretty face of his secretary, Phyllis Knight.
00:56Ten minutes to four. You've had that poetry book propped under your nose since lunch.
01:00Well, certainly. If I'm going to write poetry reviews, I've got to read them.
01:04Exactly. Three people have walked through that door today.
01:06One bill collector and two guys asking where they could...
01:08Mike.
01:09Where they could comb their hair.
01:11Three plus one equals four.
01:13You, sir, are Mr. Michael Cheyne, the private detective?
01:16If it's all right with you, ma'am.
01:18I am Madame Jolene Toulon.
01:20Uh, once again?
01:22Madame Jolene Toulon.
01:24But, of course, I shouldn't expect a detective to know and appreciate...
01:27Jolene Toulon, the opera star, of course. Won't you have a chair, please?
01:31The other one, Phyllis. Stronger. Uh, more comfortable.
01:34Young man, I weigh 230 pounds.
01:37If this chair won't hold me, I'll let you know.
01:40I'm sorry. I didn't mean to hurt you.
01:41A big voice means a big body.
01:44Did you ever hear a voice from one of those little musical comedy widgets?
01:47No?
01:48No more voice than a sick grasshopper.
01:51Madame Toulon, you wish to see Mr. Cheyne about some problem, a case?
01:55Of course. What did I come here for?
01:57It's in my purse.
01:59Here, read this letter.
02:01Thank you.
02:02Madame, this is your last warning.
02:05If the book is published, you will not be here to enjoy the pain it causes.
02:09That's all. It's unsigned.
02:11This is the second one I have received in the past two weeks.
02:14What on earth does it mean, the book?
02:17My memoirs.
02:18Everybody knows I am writing them.
02:20A lot of famous people will lose sleep when they read what I, Madame Jolene Toulon, has told about them.
02:27But I want to live to enjoy it.
02:29You wish me to investigate who's sending you these notes?
02:32I do.
02:33I'm sorry, Madame. I'm not a press agent.
02:35Writers have tried this publicity stunt before.
02:37Why, you young cochon!
02:39Very well. I'll go to a good detective.
02:42I wish you luck, Madame.
02:43Madame.
02:50I like you, young man.
02:52You talk back to me and don't apologize.
02:54Only in months spelt with an R.
02:56I admit I like publicity, Mr. Shane.
02:59I love to see my name in print, but not in the obituary.
03:02If you will take the case, I'll give you the names of the people that might have written these notes.
03:07Go ahead, Mike. We wouldn't want anything to really happen to Madame Toulon.
03:11Thank you, my dear.
03:12What is your name?
03:13Phyllis. Phyllis Knight.
03:14I remember hearing you sing Carmen when I was a little girl.
03:17You're older than I thought.
03:19You like opera?
03:20Oh, I love it, yes.
03:22I've got record albums at home of Aida and Carmen, Rigoletto, Cavalier Rusticana.
03:27Wait a minute.
03:28Didn't I see in the papers that you were singing that tonight?
03:31The Benefit Series.
03:33Yes. My fifth farewell appearance.
03:35Coming back to business, Madame. You were going to give me some names.
03:38Yes. The first one is Roderick Mackenzie of the Newport Mackenzies.
03:42An old suitor of mine.
03:43Would he threaten to kill you?
03:45He's come clear out to the coast just to keep his name out of my memoirs.
03:49He wants to buy his letters back from me.
03:52Oh?
03:53My dear Jolene, he says, I was wild, a wild and foolish boy, but that was long ago.
04:00There is my family, my circle.
04:02You're writing this down, aren't you?
04:04Yes.
04:05And my ex-husband, Edwin Buck.
04:08He's got political ambitions, which my book might sour.
04:12And Leonora Baril.
04:14Madame Baril.
04:16To think I have to sing tonight with that Hungarian woot owl.
04:20Oh, and one other.
04:22Sabadal, our maestro.
04:24They're all in your memoirs?
04:26Any others?
04:27Yes.
04:28Sabadal, our maestro.
04:30He hates the air I breathe because I won't let Helen marry him.
04:34My secretary, Helen Smith.
04:36Oh.
04:37The girl thinks she's in love with him.
04:39She's too young, too good for him.
04:41Oh, you might add the secretary to the list, honey.
04:43Helen?
04:44Impossible.
04:45She couldn't.
04:46She's...
04:47No.
04:48Never.
04:49Well, we've got four names here.
04:50Now, where do I find these people?
04:51Come to the opera tonight, the Figaro Theatre.
04:53I will have them all there for you.
04:55Figaro Theatre.
04:56Okay.
04:57It's a double bill.
04:58Pagliacci, then Cavalleria.
04:59I sing in the second half.
05:01Let us meet in my dressing room during the intermission.
05:05One thing more, madam.
05:06Do we have to listen to the opera itself?
05:08Of course.
05:09Someday you can tell your children you heard Madame Jolene Torlo.
05:14You will never forget tonight.
05:17Uh-huh.
05:18That's what I'm afraid of.
05:32Mike, I wanted to hear the end of Pagliacci.
05:35Yes, so do I.
05:36It can't end quick enough.
05:37Oh, you're just being childish.
05:38You like music and singing.
05:40Yes, sure, darling.
05:41But when guys get up on the stage and insult each other, I want to enjoy it in English.
05:44Oh, Mike.
05:50Yes?
05:51Oh.
05:52Oh, we thought this was Madame Torlo's dressing room.
05:53I'm sorry.
05:54It is.
05:55Madame is no come here yet.
05:57Oh, well, we were to meet her here in her dressing room.
05:59Can we come in and wait?
06:00I am awaiting to see her.
06:01Okay, we'll make it a threesome.
06:04Uh, the names are Miss Knight and Mike Shane.
06:06So?
06:07I am Savadel.
06:09The maestro?
06:10But I thought you were conducting...
06:12Cavalleria only, madame.
06:15Oh.
06:16Diavolo, she is late, late.
06:17Excuse me.
06:21Hello?
06:22Hello?
06:23Madame, the time, I wait and wait and wait.
06:26So?
06:27See, they are here.
06:29You, Mr. Shane.
06:30She want to talk.
06:31Oh, thank you.
06:34Hello?
06:35Mr. Shane, I am going to be late.
06:37A certain person has been here at the house trying to tear up my memoirs.
06:42What?
06:43Who?
06:44I'll tell you when I get to the theater.
06:45Come back to the dressing room after the performance.
06:48Au revoir.
06:49Goodbye.
06:50I want to talk to her.
06:51I'm sorry, maestro, she hung up.
06:52Oh, that woman, that big girl will not stand this.
06:55I warn her.
06:56No, we do it.
06:57We do what?
06:58Hey, hey, just a second there.
06:59That, my dear, is what we artists call temperament fortissimo.
07:03Yeah, well, I've got a plainer name for it.
07:05Come on, darling, let's go back to our seats and join the other sufferers.
07:09Oh.
07:26Mike.
07:27Hmm?
07:28Hey, that man conducting the orchestra, he doesn't look like Sabadell.
07:31You're right.
07:32It's the same bald head who compiled the first opera.
07:34Yeah, but Sabadell said he would.
07:36I wonder what it means.
07:37Believe me, darling, the only thing I know about grand opera is the price of our tickets.
07:47Hey, that's awfully funny.
07:49Yeah.
07:50Well, this is the last part of the prelude, and right now the tenor is supposed to be singing offstage.
07:54The curtain's going up.
07:55There's nobody on the stage.
07:56Somebody's coming out from the wings now.
07:58It's Sabadell.
08:00Ladies and gentlemen, ladies and gentlemen.
08:03Shh, quiet, please.
08:05I am regret to announce there will be tonight no Cavalleria Rusticana.
08:12I have to announce there is a tragedy.
08:14Our soprano, Madame Turlough, is dead.
08:29We'll return to Mike and Phyllis in just a moment.
08:36Many motorists blame poor mileage, sluggish pickup, and inferior engine performance on wartime gasoline.
08:45Now, it's true that all civilian gasoline must be restricted in quantity and quality due to government regulations.
08:52But if you've been having trouble with a rough motor, or your gas coupons don't seem to go quite as far as they used to, ask yourself this question.
09:00How long has it been since my spark plugs were checked?
09:04You see, spark plugs have a lot to do with engine performance.
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09:50You'll find Union Oil minute man ready to serve you wherever you see the sign of the big orange and blue 76.
10:03The sudden death of Madame Turlough has been announced from the opera stage.
10:07It's a few minutes later. Mike and Phyllis are at the home of the dead singer.
10:11As they hurry through the entrance hall, Inspector Faraday is explaining.
10:14Well, for once, Mike, I beat you to the scene.
10:17The old lady started to phone the police, but never completed the call.
10:20One of our operators heard gunshots over the phone.
10:23So you hightailed it right over.
10:24Yeah, and when somebody at the opera phoned for her, I gave them the news.
10:28Well, this is the living room. The bodies, well, you can see for yourself.
10:33But, but, Inspector, there are two of them.
10:37Yeah, mm-hmm. As bloody as Grand Opera itself.
10:40Oh.
10:41And when she came to our office, I thought it was a publicity stunt.
10:44Mike Shane, you're a hero.
10:46Oh, Mike, you couldn't possibly know.
10:48I haven't had time to identify the other body. It's a woman of, I'd say, 25 or 26.
10:53That's probably Helen Smith, the secretary.
10:55Only we knew who was here with Madame Turlough when she telephoned you at the theater.
10:59Yeah, the somebody who had just tried to destroy her manuscript.
11:03So that's what it was, a manuscript.
11:05One of my boys found a pile of paper over there in the fireplace.
11:08A lot of it was burned up.
11:10Uh-huh.
11:11Looks like some old photographs and letters, too.
11:14Oh, maybe that's the coroner. Be right back, kids.
11:16Okay.
11:18Look at these, Mike. Here, these pages didn't burn.
11:22Chapter 5, My Husband.
11:24There never was a more dashing gallant figure of a man than Edwin Buck.
11:28Hmm, there's something screwy here.
11:30She's giving him a gold-plated Oscar, unless it's supposed to be sarcasm.
11:33Her desk looks as if she'd been working on a manuscript, Mike.
11:36A lot of typewriter paper and carbon sheets.
11:38Only used a couple of times.
11:39Oh, good, good. You know what to do with them.
11:41Mike, what are you staring at?
11:43Bloodstains on the carpet.
11:45They trail from the phone over here to the piano where she died.
11:49Oh.
11:50She must have clutched at the music rack as she fell.
11:53There's music all over the floor.
11:54Uh-huh.
11:55She's got a couple of sheets crumpled in her hand.
11:57Looks like they were torn out of something.
11:59Let me see.
12:00That's part of an opera score.
12:02An aria from Rigoletto.
12:04Cort-I-G-On-I-Val-Rot-Z.
12:08Mike.
12:09Cort-Gianni-Val-Rot-Z.
12:10It's a baritone aria.
12:12I thought she was a soprano.
12:13Oh.
12:14Ellen, Ellen.
12:15Mama mia, Ellen.
12:16No, Sabato, no. Don't touch her.
12:18I don't know who these men are, but they all insist they're special friends of Madame Turlough.
12:22What's your name, sir?
12:23Edmund Buck.
12:24I was once her husband.
12:26And you?
12:27Roderick McKenzie.
12:28I've known Jolene for, well, a long time.
12:31I was supposed to meet all three of you gentlemen this evening about certain threatening letters sent to Madame Turlough.
12:36No, I understand.
12:37Have you got those letters, Mike?
12:38I have one, Inspector, here in my purse.
12:40Maestro Sabadell, when we were in the dressing room with you, you blew your top about Madame.
12:44You said you had warned her, and now you would do it.
12:47Do what, maestro?
12:48I was, I was a-meaning for Ellen.
12:51Madame, she say, we cannot marry.
12:53I say, Madame Turlough have no right to stop us.
12:57Tonight I'm a decide.
12:58No more talk.
12:59We do it.
13:00And where did you go when you slammed out?
13:01First, I go for a walk.
13:03Get over my temper.
13:04Then I phone Madame.
13:05She's a very late.
13:06They say she's a dead.
13:07Mr. Buck, you came here for some reason, but you're very quiet.
13:10Yes, I...
13:13It's so horrible.
13:14How long ago were you divorced from Madame Turlough?
13:16About 18 years.
13:18I understand you have political ambitions.
13:20Is that right?
13:21I hope to run for Congress.
13:22And what your ex-wife wrote about you might do your opponents more good than you.
13:26Why, no.
13:27From all Jolaine told me, she wrote rather well of me.
13:30From all she told us, that wasn't her idea.
13:32Can you tell us, Mr. Buck, where you were during the past hour?
13:35Why, certainly.
13:36At the opera, to hear Jolaine.
13:38Mr. McKenzie, I believe you made a special trip here from New York to keep your name out of these memoirs.
13:43There's no crime in that.
13:44You tried to buy your letters back from Madame.
13:46I did.
13:47I have my family to think of, my social standing.
13:49Some of my letters were, well, full of youthful enthusiasm.
13:53I was afraid Jolaine would distort them.
13:56Mr. McKenzie, where were you during the past hour?
13:58I was at the opera.
13:59No, no.
14:00That is one a lie.
14:01He was here.
14:02I'm a see him.
14:03All right, McKenzie.
14:04Drop the innocent act.
14:05What were you doing here?
14:06As you must know, I came to talk to Jolaine's secretary.
14:10And?
14:11I was going to bribe her to steal my letters for me, but nobody answered the door.
14:15I never got in.
14:16You can't prove anything on me.
14:18Except that you're a poor liar, sir.
14:20That goes for all of you.
14:22Any one of you three could have sneaked up here from the opera and killed these women.
14:25Inspector.
14:26Yes, Mike.
14:27Madame has some of the musical score in her right hand.
14:30I want to borrow it for an hour or so.
14:32But, Mike, that's evident.
14:33Nothing's going to happen to it, Inspector.
14:35And, honey, if you'll give me the keys to your apartment, please.
14:38What?
14:39I'll go with you.
14:40No, no, no.
14:41I want you here to sort of observe the proceedings.
14:43Mr. Shannon, please.
14:44I want to talk with you.
14:45It must be private.
14:46Inspector Faraday will be glad to hear anything you have to say, maestro.
14:49I'll be seeing you, children.
14:50Oh, Angel.
14:51You dropped your handkerchief.
14:53Huh?
14:54Oh, thanks.
14:55All right, Mr. Savineau.
14:57What was it you wanted to tell Mike?
14:59No, it's a like I say.
15:00It's a private.
15:01Okay.
15:02I suppose it's private why you came here earlier and saw McKenzie.
15:04I'm all ready to tell.
15:05I come to see Helen and say to madam that we get her married.
15:09But nobody's opened the front door.
15:11They're already dead.
15:12Inspector.
15:13Now what?
15:14This isn't my handkerchief.
15:15It's got the initials LB.
15:17Of course.
15:18Leonore Burrill, the singer.
15:20Her name was on our list, too.
15:21Then she must have been here.
15:23Whew.
15:24We're knee-deep in suspects.
15:25Well, maybe this one is the fish we're really after.
15:28See you later, Inspector.
15:29Hey, Phil.
15:30Where are you going?
15:31Where do you suppose?
15:32Right, Inspector.
15:34I hope you will excuse my appearance, but I'm, well, I am sworn strong from this shop.
15:54Yes, yes.
15:55I understand, Miss Burrill.
15:56Shelly and I, we were such good friends.
15:59She was like a mother to me.
16:01Yes, yes.
16:02Did you see her today?
16:03Today?
16:04Oh, no.
16:05No.
16:06Oh, my eyes.
16:07Mascara.
16:08Oh, here.
16:09Here.
16:10Use this, Frankie.
16:11Oh, thank you.
16:12You buy very expensive handkerchiefs, Miss Burrill.
16:15What?
16:16That handkerchief.
16:17It's yours.
16:18You dropped it in the living room.
16:20Jelaine Turlow's living room.
16:22Oh.
16:23You did see her today, didn't you?
16:25In fact, this evening.
16:26How did you know?
16:28I didn't.
16:29It was a shot in the dark.
16:32I see you use a typewriter.
16:35What are you doing?
16:37Just checking something.
16:38Will not be...
16:40Yep.
16:41It's the same.
16:42It is the same what?
16:43The letter E on your typewriter.
16:44Exactly like the E in the note threatening the life of Jelaine Turlow.
16:48All right.
16:49I was trying to scare her.
16:51She had me in her memoirs.
16:53I am trying to get my husband back.
16:55But if Salvador reads the malicious way she twisted things...
16:58Salvador.
16:59He's your husband?
17:00And our divorce became final last month.
17:02But I am going to get him back.
17:04Oh.
17:05He was going to elope with Helen.
17:07So you got rid of the girl.
17:09Then you had to kill the other woman.
17:11I...
17:12Get out of here.
17:14Get out of here.
17:15Gladly.
17:16Gladly.
17:17I think you've told me all we need to know.
17:18That's just the trouble with women.
17:19They tell it too much.
17:20Josefa, then.
17:21How did you get here?
17:22The inspector.
17:23He's a turn to lose everybody but Mr. McKenzie.
17:25Now, I talk to you.
17:27No, you don't.
17:28You stay.
17:29Josefa, I don't want to talk.
17:30You let go of me.
17:31Go.
17:32Get out of the way.
17:33Stop her.
17:34Stop her.
17:35She's getting away.
17:36Sister, I am away.
17:49Like she was lying every minute of the time...
17:51Wait a minute.
17:52Because everything that she said...
17:53Please, Angel.
17:54Please give it to me slow.
17:55I can't get it all at once.
17:56Well, listen.
17:57All right.
17:58Mr. McKenzie has turned everybody loose except McKenzie.
18:00He's holding the wrong man.
18:02Could be.
18:03But Inspector Farraday must have his reasons.
18:04But the handkerchief.
18:05Leonore Burrill admitted she was with Madam Tullow tonight.
18:08And she was married to Savadel.
18:10So you said.
18:11But doesn't all this mean anything to you?
18:13Savadel tried to keep me in that apartment.
18:16Men try that occasionally.
18:18By the way, did you check Madam's carbon paper?
18:21I did not.
18:22I found more important things to do.
18:24Phyllis, I told you...
18:25Mike, stop fiddling with that phonograph and listen to me.
18:28Leonore Burrill sent those threatening letters.
18:30She wanted Savadel back, but he was going to elope with Helen.
18:33Don't you think Leonore would be mad enough to kill her and Jelaine Tullow?
18:36If you think that, why were you so scared of Savadel?
18:39Because...
18:40Because they're in it together.
18:42Mm-hmm.
18:43Oh, by the way, honey, have you got some extra phonograph needles?
18:46This one's getting scratchy.
18:47Oh, Mike.
18:48What's wrong?
18:49Something wrong?
18:50Yes, you.
18:51I beat my brains out trying to help you on this case.
18:53You just stand there gawking at sheet music and phonograph records.
18:56Excuse me.
18:57Put the doorbell.
18:58That's the apartment phone, stupid.
19:00Down by the mailboxes.
19:02I'll get it.
19:03It's probably Inspector Faraday.
19:05Hello?
19:06Please.
19:07Mr. Phyllis and I...
19:08Well, who is it and what do you want?
19:10Senor Savadel.
19:11I must see her at once.
19:13Look, Mr. Look, this is Mike Shane.
19:14If you come around here to Pastor Phyllis, I'll put you...
19:16No, no, please.
19:17I want to talk to both of you.
19:18It's a secret.
19:19I have an idea.
19:20Who?
19:21Hello?
19:22Hello?
19:23Hello?
19:24Hello?
19:25Mr. Shane.
19:26Yeah?
19:27The aria.
19:28The aria.
19:29Savadel.
19:30Savadel, what's wrong?
19:31Savadel!
19:45In just a moment, we'll return to Michael Shane and his adventures.
19:50A few minutes ago, we mentioned some of the reasons why clean spark plugs are important
19:57to the efficient performance of an automobile engine.
20:00Now, while you're having your spark plugs checked,
20:03it's a good idea to ask the minuteman to look at your ignition cables too.
20:07These cables are the small, fine wires which deliver electricity to the spark plugs.
20:12If any of them are broken or frayed or the insulation damaged,
20:17even brand new plugs won't help your driving.
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20:25so that by the time the charge gets to the spark plug,
20:28there isn't enough juice left for the rich spark needed for instant firing.
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20:41Then you'll be sure of more power and better mileage.
20:45Just drive in wherever you see the sign of the big orange and blue 76
20:50and ask for Union Oil ignition service.
20:53Thank you.
20:59For the second time tonight, a phone call has been ended suddenly by a revolver shot.
21:04It is minutes later.
21:05Mike and Phyllis are standing on the sidewalk outside Phil's apartment house.
21:09Two men in white are lifting a limp body onto an ambulance stretcher.
21:13Mike, do you think he'll live?
21:15Well, the doctor says he will if they get him to the hospital quick enough.
21:18Even so, we won't be able to question him for days, and that may be too late.
21:21Not a soul in this crowd saw who did it.
21:23Somebody decided Sabadell shouldn't talk to us.
21:25Yeah.
21:26Oh, if I had only listened to him when he tried to tell me something at Madam Terrell's.
21:29Or you at Leonor Burrill's.
21:31Well, if we just knew what he wanted to tell us.
21:33I think I have a sneaking hunch, honey.
21:35You have?
21:36Yep.
21:37Well, come on, bright eyes.
21:38We're going to phone Inspector Faraday and send out the invitations.
21:40Invitations?
21:41Invitations?
21:42Mm-hmm.
21:43To a midnight reunion at Madam Terrell's.
21:45The guest list will be very select and slightly dangerous.
22:03Good evening, Inspector.
22:04Hello, Inspector.
22:05Did you round up everybody?
22:06I did. They're in the living room.
22:07Come on in.
22:08Okay.
22:10That package under your arm, Mike.
22:11What is it?
22:12Patience, me lad.
22:13Patience.
22:14Everything in due time.
22:15Mike, you tell me on the phone that McKenzie was innocent until we release him.
22:18Well, I haven't.
22:19You mean you've got proof on him?
22:20McKenzie came clear across the continent just to stop Madam Terrell from publishing that book.
22:25He admits he was going to bribe her secretary to steal the stuff for him.
22:29And Sabadell placed him here at the house at or about the time of the killing.
22:33That's enough for me.
22:34There's just one hitch, Inspector.
22:35What?
22:36How about the killer trying to remove Sabadell, too, at the very time you had McKenzie at headquarters?
22:41Say, that's right.
22:42Yeah.
22:43Unless Sabadell's ex-wife did it in a fit of anger.
22:47Oh, Miss Burrill, this is Mr. Shane.
22:49So, I understand I have you to thank for dragging me out at this unearthly hour.
22:54Yes, Miss Burrill.
22:55Mr. Buck, how are you?
22:56As well as could be expected.
22:57Phyllis, will you look up those carbon papers now?
22:59Yeah, yeah, right away.
23:00I believe Inspector Faraday has told you of the shooting of Maestro Sabadell,
23:04so the first thing we want to know from both of you is where were you during the past hour?
23:08Well, I was at home, reading the newspaper story about tonight.
23:12Oh, an incomplete story, I'm afraid.
23:13And you, Miss Burrill?
23:14Also at home.
23:16When Miss Knight left you and Sabadell, or should I say escaped from you, what happened?
23:20Nothing.
23:21You and Sabadell had a fight.
23:22He accused you of killing Helen so he couldn't marry her.
23:25I told him I didn't, and it's the truth.
23:27All right, all right, all right.
23:28Now, honey, how about the carbons?
23:29All checked.
23:30Madame Terlot was still working on the chapter, my husband.
23:33And?
23:34We were right the first time.
23:35She's anything but flattering to Mr. Buck.
23:37Rubbish.
23:38She was very kind to me.
23:39Well, here's the carbon sheets.
23:40We found them on Madame's desk, and they were used only twice.
23:42I just held them up in front of my vanity mirror and read what she'd typed, and it was not flattering.
23:47How was I to know that?
23:48I thought it was all favorable to me.
23:50Well, that's a minor issue now, anyway.
23:52The real key is Helen Smith, the secretary.
23:54How do you mean, Mike?
23:55Madame Terlot was against a marriage between Helen and Sabadell.
23:58She told us it would never happen.
24:00Now, doesn't that strike any of you as a little strange?
24:03Employers usually don't have such control over the lives of their secretaries.
24:07Okay, Mike, but get to the point.
24:09Ah, that is the point, Inspector.
24:11And now you wanted to know what I have in this package.
24:13Yeah, yeah.
24:14First, the music score we found in Madame Terlot's hand.
24:18A baritone aria from Rigoletto.
24:20The Cortegiani Vilazzi.
24:21Pronunciation by courtesy of Miss Phyllis Knight.
24:23Thank you.
24:24Thank you, darling.
24:25And next we have Phil's record album of the same opera.
24:28Angel, will you warm up the Madame's phonograph for me?
24:31If you ask me, this is all very cheap and dramatic.
24:34Operatic is the word, Miss Barillo.
24:36You see, when Madame Terlot was shot,
24:38she made a dying effort to tell us who killed her and Helen, especially Helen.
24:42She tore a very special aria from the score of Rigoletto
24:45in a desperate gamble somebody would understand it.
24:48Mr. Shane, I don't believe you are the man to give us a course on opera appreciation.
24:53Well, we shall see, Miss Barillo.
24:54Phonograph's ready, Mike.
24:55Okay, darling.
24:56Now, do you people know the plot of Rigoletto and what this aria means?
24:59Well, of course.
25:00I have sung Rigoletto.
25:01I'm afraid I have only a hazy idea.
25:04All right.
25:05This is the setup.
25:09A gang of the Duke's courtiers have just kidnapped a girl.
25:16Now this guy Rigoletto is cursing them.
25:21Now he's begging them to give her up and they won't.
25:27Now he tells them the secret.
25:28The girl is his own daughter.
25:31Well, does that mean anything to you, Miss Barillo?
25:34Not a thing.
25:35You, Mr. Buck?
25:36I can't say that it does.
25:38Okay, then I'll put on the other record.
25:42Now, this is the end of the opera, the payoff.
25:48Miss Barillo, as an opera star, tell us what's happening on the stage right now.
25:52Well, Rigoletto had planned to kill his enemy, the Duke.
25:55Right.
25:56He has the body in a sack and then he makes a discovery.
25:58Now listen carefully, Mr. Buck.
25:59Rigoletto opens the sack and sees a girl's body.
26:01He cries,
26:02Speak, oh, speak to me, my darling daughter.
26:04Oh, awful fate.
26:06By my hands she hath fallen.
26:08What?
26:09What?
26:10My, my child.
26:12Helen was my child.
26:15Helen was Elaine's daughter?
26:17Then, then Buck is her father?
26:19I, I didn't know.
26:22I didn't know.
26:23Yes, her father.
26:26And her murderer.
26:41Ah, there you are, Maestro.
26:43Very well.
26:44Well, are you feeling better?
26:45Ah, Mr. Shand, to you, bigger congratulations.
26:48Your work, bravo.
26:49She's the most brilliant.
26:50Well, thank you, Maestro.
26:52I thought I was pretty good myself.
26:53Good?
26:54Buck could hardly add anything to his confession.
26:56He hadn't seen his daughter Helen since she was six years old.
26:59Buck says he just wanted to scare her.
27:01Madam, I'm publishing a book.
27:03Helen tried to grab the gun.
27:04It went off.
27:05Then he had to shoot again.
27:06Mr. Sabadel, you had something you wanted to tell me privately.
27:09Can you talk now?
27:10Yes, yes, I can.
27:11Tonight, I see Aria from Rigoletto in a madam's hand.
27:14Mm-hmm.
27:15The ideas that come to me.
27:16Maybe Helen is not often the way she should think.
27:19Maybe she is the daughter of madame and Mr. Buck.
27:22The same idea Mr. Shand have.
27:24But I must tell in private.
27:26Well, why under the sun would Jolene Tello keep such a secret from her husband and her own daughter?
27:31We in opera are stranger people.
27:34Mm.
27:35Madam Tello live and breathe opera.
27:37She is very dramatic.
27:39She can enjoy secret just like a storybook.
27:42Speaking of opera's angel, I notice you've got another record album up at your apartment.
27:46Maybe if I studied it, I might get the answer to another problem.
27:49Mike, not another crime.
27:51Well, a different sort.
27:52It's The Marriage of Figaro.
27:54Catch on, Miss Knight?
27:55Then, Mr. Shand, you must translate better than your Rigoletto.
28:00But just a minute ago, you were complimenting me about...
28:02See, on your thinking.
28:04But, Aria, no.
28:06I have never heard such a bad translation.
28:08Oh, Mike.
28:09Dear, I was so proud of your learning and your culture.
28:12Well, what about you?
28:13You didn't correct me.
28:14You're supposed to be the highbrow in this partnership.
28:16Oh, I am?
28:17Opera, music, books, poetry, reviews.
28:20Climb down off that pedestal, you fake.
28:22Why, Michael Shand...
28:24Bill, there's only one book a man wants a woman to review.
28:27I know, I know.
28:28A cookbook.
28:29Ah, right.
28:44June and again next week at 8.30 for another adventure
28:57with Michael Shand, Private Detective,
28:59starring Wally Mayer and Kathy Lewis,
29:01with Joe Forte as Inspector Faraday.
29:04Tonight's story was written by Richard DeGraff
29:07and based on the character created by Brett Halliday.
29:10Music was composed and directed by Bernard Katz.
29:13This is John Lang saying goodnight
29:15for the people who make 76 gasoline
29:18and Triton Motor Oil, Union Oil Company.
29:24This is the Mutual Don Lee Broadcasting System.
29:43.