transcript
Speaker 1:
[00:00] Get this and get it straight. Crime is a sucker's road, and those who travel it wind up in the gut of the prison of the grave. The story you are about to hear is true.
Speaker 2:
[00:15] Only the names have been changed to protect the innocent.
Speaker 1:
[00:18] The Adventures of Sam Spade, Detective.
Speaker 3:
[00:21] The Adventures of the Saints, starring Vincent Price. Bob Bailey in the Exciting Adventures of the Man with the Action-Packed Expense Account, America's Fabulous Freelance Insurance Investigator, yours truly, Johnny Dollar.
Speaker 4:
[00:55] Hello and welcome to Down These Mean Streets, and more old time radio detectives and crime solvers. Our month long salute to Jack Webb continues this week with his unique crime drama, Pete Kelly's Blues. Unlike the other shows we've heard this month starring Webb, Pete Kelly's Blues was a period piece set in Kansas City, Missouri during the Prohibition era. And the show incorporated Webb's love of jazz, with multiple musical numbers performed in each episode. Webb starred as Pete Kelly, a cornet player with a combo that performed in a speakeasy run by the often mentioned, but never seen or heard George Lupo, a penny-pinching character who had more than a few things in common with Anthony J. Lyon of Jeff Regan Investigator. Pete Kelly's world was full of gangsters, gun mauls, crooked cops, and other desperate characters. And in between sets, Kelly was pulled into murders, missing persons cases, and more. Now don't get me wrong, I love Jack Webb. And Pat Novak and Dragnet are two of my favorite radio detective shows. But Pete Kelly's Blues may be my favorite. The show had terrific writing from Richard Breen, who wrote Pat Novak and who co-created Pete Kelly with Webb. The other writers on the show were James Mosier, a veteran Dragnet writer, and Joe Isinger, whose work included the screenplays for Gilda and Night and the City, a pair of film noir classics. But what really makes Pete Kelly's Blues stand out is the music. Each episode featured multiple songs, sometimes played by Pete's band, which were actually a set of musicians fronted by Dick Cathcart, who provided Pete's cornet, and Meredith Howard, who played blues singer Maggie Jackson. The music is great, and it helps to draw you into the smoky, boozy world of speakeasies and dive bars where Pete Kelly lives and works. The show aired on NBC in the summer of 1951, concurrently with Dragnet. It had a very short run, but a few years later, Webb brought it to the big screen with an adaptation of Pete Kelly's blues that, like the radio show, put a premium on the music. Ella Fitzgerald played Maggie Jackson, and singer Peggy Lee was nominated for an Oscar for her performance as a struggling singer. The cast also included Edmund O'Brien, Janet Leigh, and Lee Marvin, along with Webb himself. Today we'll hear four episodes of the radio show. Gus Trudeau from August 15th, 1951, Zelda from September 5th, 1951, The Dutchman from September 12th, 1951, and June Gould from September 19th, 1951. We've got the blues, Pete Kelly's blues, and we'll hear them right after these messages.
Speaker 5:
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Speaker 3:
[04:53] Do you like rich, delicious chocolate-flavored malted? Well, you can make a malted just like that right in your own kitchen with Kraft chocolate-flavored malted milk. Just make a tasty paste of Kraft chocolate-flavored malted milk and a little milk in the bottom of a big glass. Fill the glass with chilled milk. Stir it once more and there. A Kraft malted is mighty nourishing, too, because it's filled with all the food values in milk. Get a jar of Kraft chocolate-flavored malted milk from your grocer and enjoy a Kraft malted offer. Next time you refresh, enjoy a frosty, ice-cold Pepsi Cola.
Speaker 6:
[05:33] Sociability, Charlie.
Speaker 7:
[05:35] All right, Kay, how's this?
Speaker 3:
[05:36] Pepsi is light, refreshes without filling. You like to refresh, have a Pepsi right now.
Speaker 6:
[05:42] We'll offer it to everybody, Charlie.
Speaker 3:
[05:44] I will. Enjoy Pepsi at the fountain. It's delicious at home too. Have one at lunch or with a snack.
Speaker 8:
[05:51] Charlie.
Speaker 3:
[05:52] At the beach or at dinner, wherever you go, wherever you're thirsty, Pepsi is there.
Speaker 8:
[05:58] It's here too, in our Be Sociable song.
Speaker 3:
[06:19] For the weekend, have plenty of Pepsi around. Pick up an extra carton today. CK, I'm sociable.
Speaker 6:
[06:26] With Pepsi, everyone is.
Speaker 2:
[06:34] Ed Stevens of Long Beach, California, is the Whistler fan who receives a $20 Signal Gasoline book this week as a token of our appreciation for sending in this limerick. There once was a driver named Abbott whose car took off like a rabbit. Signal F-hole, said he, is the fuel for me. From now on, I'll make it a habit. If like our friend Abbott, you like pick up that's quick as a rabbit, then Signal F-hole is a gasoline for you. But flashing pick up, mind you, is only one of the improvements you'll discover when you power your car with this super fuel. In addition, you'll enjoy Signal F-hole's extra power that makes cars fairly fly up hills and makes passing safer. And you'll be amazed at your engine's contented ping-free purr. For Signal F-hole is scientifically engineered to bring out the very peak of performance your car is capable of, regardless of age. So why not discover how much fun driving can be? Next time, treat your car to a tank full of the gasoline that's packed with more gold. Next time, fill up with Signal F-hole.
Speaker 5:
[07:51] I dedicate this program to the fight against crime. Not merely crimes of violence and crimes of dishonesty, but crimes of intolerance, discrimination and bad citizenship. Crimes Against America.
Speaker 8:
[08:08] This one's about Pete Kelly.
Speaker 9:
[08:10] This one's about him.
Speaker 3:
[08:26] It's about the world he goes around in. It's about the big music and the big trouble and the big roar of the 20s. So when they ask you, you turn around and speak up. You're telling them this one's about the blues.
Speaker 6:
[08:38] Pete Kelly's blues.
Speaker 5:
[08:55] Pete Kelly's Blues, starring Jack Webb.
Speaker 3:
[08:57] The story by Jim Moser, music by Dick Cathcart.
Speaker 10:
[09:15] Number 417 Cherry Street is a standard speakeasy. The help is paid in cash, and the books are burned at the end of the month. Every week, we use 30 cases of booze and a pound of coffee. After salaries, there's gas and lights and a payoff to the Prohibition Boys. In Kansas City, the price is good. For a hundred bucks, they steer in the drunks and make one rate a year. The place is run by George Lupo, who's a quiet little guy who wouldn't give you the sweat off an ice pitcher. The beer is green and the gin is as young as yesterday and the music is loud. I'm Pete Kelly. I play cornet. We start every night about ten o'clock and we play till they sweep out the broken glass. We don't draw any customers. We don't chase any away. The music is straight New Orleans. It started in the front parlor of Storyville and drifted north. Some of it laid over in Chicago. That's where I got on and rode it out here with a piano player named Rosie. He's still with the band, but last night he was barely with it. We took a break about eleven. Rosie was late getting back. He might as well have stayed in there because he kept looking around the room and the way the piano sounded you'd think he had on the catcher's mitt.
Speaker 7:
[10:31] All right, let's take five, huh?
Speaker 11:
[10:37] Sorry, Pete, I'm a little behind in my mind.
Speaker 10:
[10:39] You haven't left the station. What's the matter?
Speaker 9:
[10:41] I'm nervous.
Speaker 11:
[10:41] Take a look around.
Speaker 9:
[10:43] Near the door, back this way. The place is full of cunts.
Speaker 11:
[10:46] Forget it.
Speaker 10:
[10:47] Have Jake open a couple of windows. Take a walk. Get yourself in shape.
Speaker 3:
[10:50] Not until I find out which way to fall, these boys are here for heavy duty.
Speaker 9:
[10:53] I'm going to learn that out in the kitchen.
Speaker 10:
[10:54] All right, let's get behind the stand. Come on. All right, what about it?
Speaker 9:
[11:01] You know Dutch Courtney?
Speaker 10:
[11:02] I drink his beer, that's all.
Speaker 9:
[11:04] Somebody shot Courtney up tonight out near Highway 40. Well, that's too bad.
Speaker 10:
[11:08] He'd have drawn a good crowd downtown and killed him.
Speaker 9:
[11:10] I don't know, but whoever he is, he's in for a big night. The police are trying for him. So is his partner.
Speaker 10:
[11:15] Well, let him play. How does our place fit into it?
Speaker 9:
[11:17] I couldn't guess.
Speaker 11:
[11:19] We'll soon find out.
Speaker 9:
[11:20] See the big guy who just walked in the door?
Speaker 10:
[11:22] Yeah.
Speaker 11:
[11:23] Boss cop?
Speaker 9:
[11:23] Almost. It's Eddie Newman, Dutch Gartons partner.
Speaker 10:
[11:27] Come on. We better get back on the stand.
Speaker 12:
[11:30] All right. It won't be long now. Hold on now.
Speaker 7:
[11:45] All right, fellas, let's hit it.
Speaker 12:
[11:57] Goodbye 1921! Hello 1922!
Speaker 7:
[12:12] My name's Newman.
Speaker 9:
[12:13] Come on side.
Speaker 7:
[12:14] I will do the play. I'll hear you later.
Speaker 9:
[12:16] Come on.
Speaker 7:
[12:22] You hear about Dutch Courteney? They picked him out of the mud tonight.
Speaker 10:
[12:25] That means nothing to me.
Speaker 9:
[12:26] It does to me. Dutch was a friend.
Speaker 10:
[12:28] Well, if it'll help, cry.
Speaker 9:
[12:30] I'm short on time, kiddie. Give me a rundown on Gus Trudeau.
Speaker 10:
[12:34] There's nothing to say. He played for a while, and he went to the boneyard.
Speaker 13:
[12:37] You don't know him. You know his sister.
Speaker 10:
[12:38] You'll have to ask Courteney about that. I haven't seen her since the old days.
Speaker 13:
[12:41] You know Gus well enough to figure you didn't like Dutch Courteney.
Speaker 7:
[12:44] He didn't like it one pound.
Speaker 10:
[12:45] Well, you can't blame him. Dutch sidestepped and paid Trudeau's way to jail.
Speaker 13:
[12:48] You book-keep him.
Speaker 9:
[12:49] I don't know anything about it.
Speaker 10:
[12:50] All right, look, Newman, you're on the wrong track. Now, this is a job killing. Your boy got frisky and somebody sent down a Chicago gun. The price tag shows.
Speaker 9:
[12:56] Sorry, Trudeau's my pick.
Speaker 11:
[12:58] What did he hit him with? A high-powered rifle?
Speaker 10:
[13:00] Gus Trudeau's away up in Leavenworth.
Speaker 9:
[13:01] He used to be. He just went over the wall this morning.
Speaker 13:
[13:05] When he shows up, I want him.
Speaker 10:
[13:06] Well, why pick me?
Speaker 13:
[13:07] I ask around.
Speaker 9:
[13:08] He'll head for you. He's broke. He'll need train fare.
Speaker 10:
[13:11] No, not if he killed Dutch Courteney. Somebody will give him a railroad. When they dragged the blues out of the back room and moved them up front, there were three of the best leading the parade. They were all blowing cornets. One was Buddy Bolden, one was King Oliver, and the other was Gus Trudeau. There was a lot of music but not much man. He picked me up on a union date on the south side of Chicago and taught me how to play. He got into me for a Boston three-star cornet and gin for the rest of his life. When he got down to running errands for Dutch Courtney, I left for Kansas City. A couple of months later, Courtney needed a patsy and Trudeau was it. He wound up with a five-year stand at Leavenworth. But Gus never felt right unless he was in trouble. Only this time he cut me in for a piece too. I picked up a drink at the bar and fought my way back to this stand.
Speaker 3:
[14:14] Anything wrong?
Speaker 10:
[14:15] No. Did you finish the set?
Speaker 3:
[14:17] One more to go, sensation.
Speaker 10:
[14:18] All right, let's do it.
Speaker 9:
[14:20] What's wrong, Pete?
Speaker 10:
[14:22] A friend of ours killed Dutch Courtney. All right, sensation. One, two. Well, let's get off for a while, will we?
Speaker 3:
[15:46] Who did you say killed Dutch curtain?
Speaker 9:
[15:48] Gus Trudeau. In what, prayer? Trudeau's in jail.
Speaker 10:
[15:51] No, not since this morning.
Speaker 5:
[15:53] Which one of you is Kelly?
Speaker 7:
[15:54] I am. Son of yours in town wants to see you right away.
Speaker 10:
[15:56] Who is it?
Speaker 14:
[15:57] He's waiting up at your room.
Speaker 10:
[15:58] Did he give a name? Just Gus. An hour later, I was still looking for an out. The muscle man on the side door went to the bar a little after 2 a.m. Our bass man read, loaned me his keys, and I slipped out. I got on the 12th street, picked up his Erskine Coupe, and headed up for my room. All the way out Grand Avenue, the streetlights were spending the rest of New Year's alone. Some guys with wide brooms were pushing at the confetti, and the fog was loafing down in Washington Square. When I got to my place, I parked the car in back and headed up the stairs. The college kids down at the end of the hall had their door open. The party sounded young. I was looking for Gus when I opened the door, but he had a substitute. I knew her way back at 18th and Hall Street. She was pretty and the fastest break in town. I must have been a long time ago, but it was somewhere along the line she'd run into a batch of Wednesday weekends if she wasn't pretty anymore.
Speaker 8:
[17:09] Hello, Pete.
Speaker 10:
[17:10] Where's your brother?
Speaker 8:
[17:12] I don't know where Gus is, that's why I'm here. I knew he'd be the first one he'd come to.
Speaker 10:
[17:17] Yeah, now what about the break?
Speaker 8:
[17:18] I was up to see him two weeks ago, he didn't say anything about it. Pete, we gotta help him.
Speaker 10:
[17:22] I haven't heard that since I met him.
Speaker 8:
[17:24] You're the only one who remembers, Pete, you're the only one who cares.
Speaker 10:
[17:27] No, a lot of people care now. Eddie Newman wants him, the cops are looking hard.
Speaker 8:
[17:30] I gotta find him before they do. You gotta help Pete.
Speaker 10:
[17:33] He was supposed to meet me, that's all I know, I'll wait for him.
Speaker 8:
[17:36] He needs a hand, Pete, he's in deep.
Speaker 10:
[17:38] Yeah, well he's always in deep. Now you do what you want, Madge, I ran front for Gus too long, I'm out of the habit now.
Speaker 8:
[17:43] Please.
Speaker 10:
[17:43] Gus wants cover, he can look for a police station.
Speaker 8:
[17:46] Gus can get away, some money and a car, that's all he needs.
Speaker 10:
[17:48] Gonna take more than that to get out, every cop in town's working tonight.
Speaker 8:
[17:52] Give him a chance, Pete, help him.
Speaker 10:
[17:53] No, no thanks.
Speaker 8:
[17:55] Gus has been good to you, Pete, he taught you music, he's been nothing but good to you.
Speaker 10:
[17:58] I'm paid up, I bought his gin for him for five years.
Speaker 8:
[18:01] Well, then do it for me, for what I used to be worth.
Speaker 10:
[18:06] Now, Madge, it's old, it was 80 years ago, I can't help you, Gus.
Speaker 14:
[18:11] Do it for me, I haven't changed that much.
Speaker 10:
[18:14] I have.
Speaker 15:
[18:15] You're still the same.
Speaker 10:
[18:17] You've been working at it.
Speaker 11:
[18:19] You remember. Yeah.
Speaker 6:
[18:24] Oh, it's the same, Pete.
Speaker 8:
[18:26] It's just like the first time.
Speaker 10:
[18:27] You never had a first time. How about a drink?
Speaker 8:
[18:31] Will you help me, Pete? Find Gus, get him out of town.
Speaker 10:
[18:34] Ten bucks.
Speaker 7:
[18:36] As far as I go.
Speaker 10:
[18:38] Ten bucks and a quarter. Now I'm getting off.
Speaker 8:
[18:41] Where are you going?
Speaker 10:
[18:42] Back to work. Tell Gus to take care of himself.
Speaker 8:
[18:45] Hold it right there, Pete.
Speaker 10:
[18:47] You stayed too long in Chicago, Madge.
Speaker 8:
[18:51] I bought the gun in Kansas City. Don't go for the door.
Speaker 10:
[18:53] You better give it to Gus. He may need it.
Speaker 8:
[18:55] We're going to find him. You're going to help me.
Speaker 10:
[18:57] All right, come on. Give me the gun, Madge.
Speaker 8:
[18:58] If I shoot, it'll hurt.
Speaker 10:
[18:59] Put it away, Madge.
Speaker 11:
[19:01] Come on, drop it.
Speaker 7:
[19:08] Who is she?
Speaker 8:
[19:10] Little trade.
Speaker 7:
[19:10] Who are you? Cage.
Speaker 11:
[19:12] I worked on Town Homicide.
Speaker 8:
[19:14] Who you got on the floor?
Speaker 10:
[19:15] Mads Trudeau.
Speaker 11:
[19:16] Tell me about her.
Speaker 10:
[19:17] I knew her in Chicago. After that, I heard she did favors for Dutch Courtney. After that, I don't know.
Speaker 12:
[19:22] She tired? What you doing there?
Speaker 10:
[19:23] Looking for Gus Trudeau.
Speaker 12:
[19:25] Oh.
Speaker 3:
[19:26] Where is Gus?
Speaker 10:
[19:27] I don't know. I've been asked that twice tonight. Now, this is the third time around. I don't know.
Speaker 3:
[19:30] You probably will.
Speaker 10:
[19:31] Why? Why do I have to get into this?
Speaker 13:
[19:33] Because your Gus Trudeau is crying.
Speaker 10:
[19:34] Well, I'll let him get another one. I'm tired of the job.
Speaker 13:
[19:36] I don't blame you, fella. You're going to come out of this with a lot of trouble.
Speaker 10:
[19:39] For instance?
Speaker 13:
[19:40] I'll make it simple.
Speaker 16:
[19:41] If Gus Trudeau shows and you hide him, we'll book you for aiding and abetting.
Speaker 13:
[19:45] If he shows and you turn him over to Newman, we'll send you up as accessory to murder. If he shows and you turn him over to us, Newman will probably kill you.
Speaker 10:
[19:51] Well, that's good. In the meantime, what do you guys do for a living?
Speaker 3:
[19:54] We're busy.
Speaker 13:
[19:54] We couldn't prove Newman killed you.
Speaker 3:
[19:56] It's after two, get back to that club.
Speaker 11:
[19:58] And leave you here?
Speaker 3:
[19:58] I got work to do.
Speaker 11:
[19:59] Like what?
Speaker 3:
[20:00] This woman. See if I can get anything out of her.
Speaker 10:
[20:02] Yeah, it's been done before, but I'll bet ten to one in your case.
Speaker 3:
[20:06] Go on back.
Speaker 13:
[20:07] I'll tidy up here.
Speaker 10:
[20:08] All right. Good night, cop. Leave the rugs. I left Cade standing in the middle of the room looking down at Mads Trudeau. He didn't watch me leave, but I figured it wouldn't be too long before he turned that game back on me. I went back to 417, and I ran into our piano man, Rosie, outside in the alley, using a smoke for a chase hit.
Speaker 9:
[20:35] Happy holidays, Petey.
Speaker 3:
[20:36] How's Gus?
Speaker 10:
[20:37] I didn't see him.
Speaker 3:
[20:38] An odd hour in the morning, Petey, but I figure the fates are hard at work shaping up a few sordid futures.
Speaker 10:
[20:44] Cut the piano, huh?
Speaker 3:
[20:45] You've got a very limited selection.
Speaker 10:
[20:48] What do you mean?
Speaker 3:
[20:49] Before the general citizenry sits down to breakfast, you may get a reward, the eternal kind.
Speaker 10:
[20:54] Come on, what is it?
Speaker 3:
[20:55] I've got it all figured for the two of us, Petey.
Speaker 17:
[20:57] Today we'll spend our time dodging destinies.
Speaker 11:
[21:00] We'll hit for some small back room.
Speaker 7:
[21:02] I'll bring the bottled goods.
Speaker 3:
[21:03] We'll live on gin and sauerkraut and make the wall sit up and listen.
Speaker 11:
[21:07] One horn, one piano. The blues, Petey. We'll ride them into the middle of next year.
Speaker 7:
[21:11] All right, throw the bottle away.
Speaker 10:
[21:13] You just set me straight, huh?
Speaker 7:
[21:14] Across the river, there's two places, the High Life Club or Fat Annie's.
Speaker 10:
[21:18] You're sure he's there?
Speaker 7:
[21:18] That's what the word is. I'll pass the hat down at the Union Hall for both of them.
Speaker 10:
[21:22] Is Gus alone over there?
Speaker 16:
[21:23] Right now, but there's gonna be a crowd.
Speaker 11:
[21:25] What do you mean?
Speaker 7:
[21:25] I told you.
Speaker 11:
[21:26] Yeah.
Speaker 7:
[21:27] When Eddie Newman gets back, I gotta tell him.
Speaker 10:
[21:37] Well, I knew it was a silly move. Newman had a hundred guns on tour for Gus. Cage and the boys from headquarters were standing by for seconds. Helping Gus Trudeau was out of order, but I couldn't get one thing out of my mind. If Gus did kill Courtney, why didn't he pick up some travel money before he did it?
Speaker 12:
[21:54] It was backwards.
Speaker 10:
[21:56] You're gonna hang up your pants, you take them off first. Well, it was about 3 a.m. when I got down to the river and crossed over to the Kansas side. The High Life Club was smoked up and had a little of everything except Gus Trudeau. I looked in the kitchen and tried a back room and then I went to the bar to see if I could drill up some talk. I had one taker, a boy with wavy black hair. He got up from a table of 3 others, walked over and sat on next to me. How are you?
Speaker 9:
[22:24] Come in here often?
Speaker 10:
[22:25] Well, it's the first time.
Speaker 9:
[22:26] Welcome in. I'll buy you a drink.
Speaker 10:
[22:29] Well, I'm all set.
Speaker 11:
[22:30] You try one yourself.
Speaker 9:
[22:33] I think drinking is all right, but I hate people who drink too much.
Speaker 11:
[22:36] Don't you?
Speaker 9:
[22:38] You work here? Well, not regular. Sometimes I dance when the other act doesn't show up. You're here alone? You're waiting for someone?
Speaker 10:
[22:45] I'm waiting for a guy named Gus Trudeau.
Speaker 9:
[22:48] You're running this one?
Speaker 10:
[22:49] I'm it. Where is he?
Speaker 9:
[22:51] Well, he left a while ago. That's your worry, isn't it? That's your worry.
Speaker 10:
[22:53] It's important.
Speaker 9:
[22:54] You're gonna ask me for someone named Bessie.
Speaker 10:
[22:55] All right, hold it.
Speaker 3:
[22:57] What are you here, Kelly?
Speaker 10:
[22:58] Get away, Newman.
Speaker 7:
[22:59] Try another stool.
Speaker 10:
[23:00] What's he doing?
Speaker 9:
[23:01] If he asks you to leave, I think you should leave. Oh, well, a quiet boy, that's nice.
Speaker 10:
[23:05] Leave him alone.
Speaker 7:
[23:06] Who is he?
Speaker 10:
[23:06] I never saw him before.
Speaker 3:
[23:07] What does he know about Trudeau?
Speaker 10:
[23:08] Nothing.
Speaker 9:
[23:08] Now, don't kid me.
Speaker 13:
[23:09] You're not here to spend the time of day.
Speaker 3:
[23:10] You're here for Trudeau.
Speaker 9:
[23:12] You little friend. Where's Gus Trudeau? I don't have to talk to you. I'm a guest in this place.
Speaker 11:
[23:16] You're not anymore?
Speaker 9:
[23:18] Climb down and head to that door.
Speaker 11:
[23:19] Both of you.
Speaker 9:
[23:19] No, you can't make us do that. We're not gonna live.
Speaker 10:
[23:22] He's a split-boat buster. I don't like the way he pushes.
Speaker 9:
[23:25] That's why I just walk.
Speaker 7:
[23:26] I'll bet you look good.
Speaker 10:
[23:31] I knew right then as we walked across the floor, I knew Eddie Newman wasn't gonna leave him alone. He was gonna pick at him, whether he knew anything about Gus Trudeau or not. It was gonna get messy, and the boy with the nice eyes was gonna help. Outside, it wasn't snowing anymore, but the ground was covered right down to the river. There was a moon out, and it looked all right, if you like nature. We walked over toward a bunch of trees. Newman's car was parked there. It was a black touring sedan with a strong-armed guy in the back seat. There was another one sitting on the running board. He had a machine gun across his lap. This will do.
Speaker 13:
[24:06] All right, now let's hear about Gus Trudeau.
Speaker 9:
[24:08] I don't know anything about him. This man and I were just talking. Go easy, Newman.
Speaker 10:
[24:11] I never saw him before.
Speaker 13:
[24:12] Did you always talk to strangers or Betty?
Speaker 9:
[24:13] It's none of your business.
Speaker 5:
[24:15] Where's Gus Trudeau?
Speaker 3:
[24:16] I wouldn't tell you. Suppose I knew. I wouldn't tell you.
Speaker 5:
[24:18] Yes, you would.
Speaker 12:
[24:20] You keep your hands off of me.
Speaker 10:
[24:22] Stop pressing, Newman. You don't care about Trudeau now. You just don't like this guy.
Speaker 5:
[24:25] Stay out, Kelly.
Speaker 12:
[24:26] Come here, you. Let go! Let go!
Speaker 16:
[24:28] Stop screeching or I'll break your arm.
Speaker 12:
[24:30] You keep your hands off of me.
Speaker 17:
[24:32] You pig, you dirty pig.
Speaker 10:
[24:34] You're in trouble, fella. Shut up.
Speaker 6:
[24:35] Well, he is a pig.
Speaker 12:
[24:36] His hands are all dirty and his teeth are dirty. I bet even his clothes are dirty all about me. Now, lay there.
Speaker 13:
[24:46] All right, Dave, move in here.
Speaker 12:
[24:47] Back away, Kelly. You're up, poor boy. No, no.
Speaker 6:
[24:52] Please, Mr. Do-something. Don't let a thing like this happen.
Speaker 16:
[24:56] It already has, Buster.
Speaker 12:
[24:57] No, you're dead.
Speaker 10:
[25:03] Tell me, Newman, did you ever find out about Gus Trudeau? Newman didn't answer, he climbed into the car, and they drove off. Well, I stayed there for a minute to look at the guy in the snow. His face was unmarked. I did him a favor. I rolled him over so it showed in the moonlight. I knew his mother'd want him to look real good the night Eddie Newman's chopper squad cut him down. Well, it was getting cold out, and the name Bessie had to mean fat Annie's place up the river on the Kansas side. I made it there and found Bessie. She was back at the piano, wandering around somewhere in the middle of the blues. You couldn't miss that voice that she took up yodeling. Bessie Smith.
Speaker 12:
[25:53] I've got those Kansas City blues since my man has gone away.
Speaker 6:
[26:04] Hi, Pete.
Speaker 10:
[26:05] Bessie, what do you know?
Speaker 6:
[26:06] From back, Pete, you go up the stairs, the loft, way up there at the top.
Speaker 10:
[26:11] Thanks, Bessie. I felt my way out and around back and up a couple of flights of stairs that didn't creak in time of the music. There was a door at the top, and I pushed it open. He was hunched back on a pile of hay in the corner. He sat up and blinked a couple of times. There wasn't much left, just the frame. And rattling around inside, a lot of tired echoes that wouldn't lay down and die.
Speaker 11:
[26:41] There was an empty gin bottle on the floor.
Speaker 9:
[26:44] Petey, I knew you'd get here.
Speaker 10:
[26:46] Yeah, well, I didn't make it easy.
Speaker 9:
[26:48] You're looking good, Petey.
Speaker 11:
[26:50] Everything's six to an even, huh?
Speaker 10:
[26:51] You forget easy, Gus, you're in the jam. You broke jail.
Speaker 7:
[26:54] Yeah, I told them all about you after, Petey.
Speaker 11:
[26:57] I told them there's another Gus Trudeau blowing down to Kansas City.
Speaker 7:
[27:01] I'm proud of you, Pete.
Speaker 10:
[27:02] Yeah, sure, Gus.
Speaker 11:
[27:03] You're just like me, Pete.
Speaker 7:
[27:05] I told them all about you.
Speaker 11:
[27:07] You're the only good thing I ever done. I knew you'd come through.
Speaker 9:
[27:11] It costs some money, Pete.
Speaker 11:
[27:12] It'll do everything. It'll make it all new.
Speaker 7:
[27:15] Is it too much to ask?
Speaker 11:
[27:17] You tell me, Pete.
Speaker 10:
[27:18] They want you for Dutch Courtney.
Speaker 9:
[27:20] You're no better, Pete.
Speaker 7:
[27:21] I didn't kill Dutch.
Speaker 10:
[27:22] You had a reason.
Speaker 12:
[27:23] Did I?
Speaker 9:
[27:25] Forget.
Speaker 10:
[27:25] You hung a frame on you, Gus. Five years' worth, remember?
Speaker 9:
[27:28] I didn't kill Dutch.
Speaker 11:
[27:31] Get me a drink, huh, boy?
Speaker 10:
[27:32] No, not tonight.
Speaker 9:
[27:33] Don't preach at me.
Speaker 11:
[27:34] Just something to help me over.
Speaker 9:
[27:35] Oh, yeah.
Speaker 10:
[27:37] Now come out of the fog, Gus. You're going to get a drink or a train ticket from me. You take your pick, because it's the last time around.
Speaker 9:
[27:43] Just listen to that. Bessie's still going strong, ain't she?
Speaker 10:
[27:47] Yeah, and so are the cops. I got one idea for you, Gus. Get moving.
Speaker 7:
[27:51] You remember Chicago, Petey.
Speaker 11:
[27:53] You and Madge.
Speaker 9:
[27:55] Chicago always liked me.
Speaker 10:
[27:56] You checked out, Gus. Beiderbeck's got your chair.
Speaker 9:
[27:59] They'll remember me and you, Petey.
Speaker 11:
[28:01] I find you when you were nothing. What are you going to do? Where are you going?
Speaker 7:
[28:05] I got it all set up. It's big and brand new.
Speaker 9:
[28:08] A place in Mexico.
Speaker 11:
[28:10] What?
Speaker 7:
[28:11] The guy who bunked in my cell with me, his mother runs a place down there.
Speaker 9:
[28:15] Just like it used to be.
Speaker 10:
[28:17] You won't get there on a gin bottle.
Speaker 9:
[28:19] I got it set up, boy.
Speaker 7:
[28:21] Car and some money.
Speaker 11:
[28:22] It's not much to ask. You haven't got a drink yet.
Speaker 10:
[28:26] You can drink in Mexico. Where are you dreaming up the car and the dough?
Speaker 12:
[28:28] It's fixed, boy.
Speaker 11:
[28:30] You just see this guy and tell him I'm ready. Abe Gaffney.
Speaker 7:
[28:33] He's got a place on Pershing Road.
Speaker 9:
[28:34] You know it?
Speaker 10:
[28:35] Yeah, I know it. Abe's doing all this.
Speaker 7:
[28:37] Just tell him I'm ready. How's Madge, Pete?
Speaker 9:
[28:42] She's all right.
Speaker 7:
[28:44] Come and see me now, Pete.
Speaker 11:
[28:45] It's hot in Mexico.
Speaker 10:
[28:47] It gets hot here.
Speaker 11:
[28:48] What's the matter, Pete?
Speaker 9:
[28:49] You ain't sore, are you?
Speaker 10:
[28:50] No, I ain't sore. I'm just tired. I'll tell Gaffney that I'm checking out.
Speaker 11:
[28:55] Goodbye, Gus. You're not getting too big for your old friends, are you, boy?
Speaker 10:
[28:59] Friends are like everything else, Gus.
Speaker 11:
[29:01] Yeah?
Speaker 10:
[29:02] They wear out on you. Well, it wasn't any different than a dozen times before. I knew there wasn't very much left, but I wasn't looking for a second-rate ghost with an empty gin bottle. I crossed the river back to the Missouri side and headed down Main Street, and then swung over toward Abe Gaffney's place on Pershing Road. It was pushing close to 5:30 a.m. The sun wasn't up yet, and the night was too tired to care. I pulled up in front of the Murad sign in front of Gaffney's. Inside, a counterman with pimples and coffee was leaning on last night's paper. A beaded curtain shut off the hallway that led back to Gaffney's room.
Speaker 3:
[29:50] You want some?
Speaker 10:
[29:51] Yeah, Gaffney.
Speaker 3:
[29:55] Not here.
Speaker 10:
[29:55] Where do I find him?
Speaker 3:
[29:56] Not him.
Speaker 10:
[29:57] I was supposed to meet him here.
Speaker 3:
[29:59] Is so?
Speaker 10:
[30:01] Look, this is Gaffney's place. Where is he?
Speaker 9:
[30:03] I told you.
Speaker 10:
[30:04] Now listen, Junior, maybe you think you'd do a good imitation of Calvin Coolidge, but I want an answer. Where's Gaffney?
Speaker 9:
[30:10] What's your name? You could have saved an argument this way. Through here.
Speaker 13:
[30:21] When do you go to bed, Kelly?
Speaker 10:
[30:23] You still looking, Newman?
Speaker 7:
[30:24] I'm still asking.
Speaker 9:
[30:25] Where's Gus?
Speaker 10:
[30:26] I don't think you'd give me time to answer.
Speaker 9:
[30:29] There's a good reason why I let you walk away tonight. I gave you two hours all by yourself on the cancer side. I don't think you threw him away. You got a line on Gus Trudeau. I want it.
Speaker 11:
[30:40] I got nothing for you.
Speaker 13:
[30:41] Don't be silly, Pete. The cops get him where I do. He goes either way.
Speaker 11:
[30:45] You get no help from me.
Speaker 13:
[30:46] I don't want no help. I want Gus.
Speaker 12:
[30:48] Now, come on.
Speaker 9:
[30:50] Come on.
Speaker 12:
[30:51] I'll make you part of the wallpaper.
Speaker 10:
[30:52] You better send for Dave.
Speaker 9:
[30:53] I don't need him.
Speaker 10:
[30:57] I think you do. Now, don't bother to get up. I'm leaving. I don't believe you.
Speaker 9:
[31:08] It wasn't your turn, Kelly.
Speaker 10:
[31:18] When I got up off the floor, the room was cold and the lights were out. Newman was gone, but I knew he was still in business. I knew if he didn't find Gus Trudeau this trip, he'd come back for me. I got into Red's car and followed the radiator cap back to 417. I found Rosie back at the stand having breakfast.
Speaker 3:
[31:37] Did you bring an egg, Petey?
Speaker 9:
[31:39] I hate to drink on an empty stomach.
Speaker 10:
[31:41] Newman been back here?
Speaker 3:
[31:42] I haven't noticed.
Speaker 11:
[31:44] You look abused. Yeah, anybody say anything? You were missed.
Speaker 3:
[31:48] You heard the news?
Speaker 10:
[31:49] What's that?
Speaker 11:
[31:49] They found the guy who got Dutch caught and he fell by the name of Doyle, East St. Louis. Cops got the goods on him, gun, fingerprints, the works.
Speaker 10:
[31:56] Yeah, well, it's been a long night.
Speaker 9:
[31:59] What was his beef with Dutch? Doyle owned East St. Louis.
Speaker 3:
[32:01] Dutch wouldn't believe it.
Speaker 10:
[32:03] Leave it to Gus. If there's a hole, he'll fall in it.
Speaker 11:
[32:06] Makes it easier on him now, doesn't it? Newman will call his boys off now.
Speaker 10:
[32:09] Somebody better tell him in a hurry.
Speaker 11:
[32:10] Did you see Gus?
Speaker 10:
[32:11] Yeah, I saw him. He's trying to get out of town.
Speaker 9:
[32:14] Pete Kelly?
Speaker 10:
[32:15] Yeah, that's right.
Speaker 7:
[32:15] Abe Gaffney, Pete.
Speaker 10:
[32:17] You're a hard man to find.
Speaker 7:
[32:18] Newman came in the front door, I went out the back.
Speaker 9:
[32:20] This won't take long. Car keys, money for Gus.
Speaker 10:
[32:23] You got the wrong guy, Abe. I quit an hour ago.
Speaker 7:
[32:25] Find it out with yourself. The car's out in the alley. It's a great chance.
Speaker 11:
[32:28] Tell him Gus needs gas.
Speaker 10:
[32:29] Wait a minute, wait a minute. You can take this stuff to Gus. You know where he is.
Speaker 11:
[32:32] No, thanks. You take care of Gus. He's an old friend.
Speaker 10:
[32:34] What's the matter with you?
Speaker 9:
[32:36] I hardly knew him.
Speaker 10:
[32:45] The clock over the bar was leaning on 6.15. We got back on the stand and started the last set. 80 pounds of stale cigarette smoke was holding up the ceiling and waving down on a dirty blue curtain over the dance floor. Behind the bar, one of the guys was wiping up. Two couples picked their way to the dance floor and pushed each other around a while.
Speaker 9:
[33:05] We finally gave up.
Speaker 10:
[33:08] Oh, the whole thing, it was all out of step. Wrinkles, stockings, brown guardians, torn paper hats, and Gus Trudeau. He walked in the door and stood off to one side just back of the stand. All right, it's the last one. Blues and B-flat. All right, that's it. Same call tonight, 10 o'clock. You can pack up.
Speaker 12:
[35:02] Hey, Pete. Pete, over here. I heard you.
Speaker 9:
[35:08] You sound good, Pete. It's just what I told them up there.
Speaker 17:
[35:11] You're on your way, boy.
Speaker 10:
[35:12] All right, now you heard it, Gus. I got the money for you in the car, geez.
Speaker 9:
[35:16] I'll see you, Gus, huh?
Speaker 11:
[35:17] You know what I told them?
Speaker 9:
[35:19] Another Gus Trudeau's blowing down against his ear.
Speaker 10:
[35:21] Yeah.
Speaker 9:
[35:22] I only got one thing to tell you, Pete. Don't forget it. Play like you talk. Don't lie.
Speaker 8:
[35:29] Happy New Year, Gus.
Speaker 9:
[35:31] Hi, Madge.
Speaker 8:
[35:32] Hold it there, Pete. It's a family fight. Stay out.
Speaker 10:
[35:34] I thought I took that gun away from you.
Speaker 9:
[35:36] What's the matter, Madge?
Speaker 10:
[35:37] What are you doing?
Speaker 8:
[35:38] Don't tell me that, Gus. Dutch can't hear you.
Speaker 9:
[35:41] What do you mean, Madge?
Speaker 8:
[35:42] You killed him. You blew your top and you killed him, just like you did everything else for me. You and the gin and that cheap brass horn of yours. You spent us all, Pete and me, and you ran through the whole bunch till you got to Dutch.
Speaker 9:
[35:53] Pete, I didn't do anything.
Speaker 8:
[35:55] You killed Dutch Courtney. I loved him. I loved him enough to square up.
Speaker 10:
[35:59] Well, you got it all wrong, Madge.
Speaker 8:
[36:01] Goodbye, Gus. I'll tell him to throw your horn in after you.
Speaker 10:
[36:09] You want to read the paper, Madge? You killed the wrong brother.
Speaker 8:
[36:11] Stay away, Peter.
Speaker 10:
[36:12] It's in the paper, Madge. A guy by the name of Doyle.
Speaker 11:
[36:15] He killed Dutch.
Speaker 8:
[36:17] They're not sure, are they?
Speaker 10:
[36:19] Yeah, they're sure.
Speaker 8:
[36:21] What'll I do?
Speaker 10:
[36:22] I got two things for you, Madge.
Speaker 11:
[36:25] And the car keys.
Speaker 10:
[36:27] And you see what you can do with 10 Minutes Start.
Speaker 9:
[36:34] You didn't have anything more for Gus, did you, Pete? No, no, I guess not. Well, he made it. Yeah, Gus finally got out of town.
Speaker 12:
[36:59] Pete Kelly's Blues.
Speaker 9:
[37:01] Starring Jack Webb was story by Jim Norsher, music by Dick Kafka.
Speaker 3:
[37:06] Scoring by Matty Matlock.
Speaker 9:
[37:08] Pete Kelly's Blues is based on characters created by Richard L. Breen.
Speaker 3:
[37:21] This is NBC, the national broadcasting company.
Speaker 13:
[37:27] This one's about Pete Kelly.
Speaker 1:
[37:46] It's about the world he goes around in. It's about the big music, and the big trouble in the big 20s.
Speaker 13:
[37:53] So when they ask you, tell them this one's about the blues. Pete Kelly's blues. Pete Kelly's Blues, starring Jack Webb, with story by Joe Isinger, and music by Dick Kefka.
Speaker 10:
[38:34] 417 Cherry Street, Kansas City. It's a standard speakeasy. The ceiling is low, the prices are high, and the whiskey is cut more times than a chin at a barber college. The entrance is just wide enough to handle one at a time, vertical or horizontal. My name's Pete Kelly. I play cornet. We start every night about 10, and we play till the last buck is home safe in Lupo's cash register. George Lupo owns the lease. He's a fat, friendly little guy. He can always count on for a 20 in exchange for two 10s. But that's all right. He lets us play the kind of music we like, and every once in a while, he'll let us duck out to make a couple of phonograph records. All he asks is that we're back in an hour and 15 percent of the take. Well, last night, Matty Wynn had been after us for two weeks to make another record for him to fill out one side. Matty ran a two-turn table recording joint and a loft over on Baltimore. During the day, he'd keep busy making two-buck personal records for the folks to send back home to the farm. At night, he'd rope a combo like ours to put out with some Dixie for the local market. We'd already pressed a few for his label under different names. The Spickardsville Sparks, the Grundy Growlers, the KC Cats. Maybe you got one or two in your collection. Hold on to them. They're pure. Well, it was getting on to 11 when I pushed the tempo on the last number in the second set. Lupo glared at us as we hustled out, packed up our instruments. We piled into a taxi in Reds Erskine Coupe and slammed out for Baltimore Street and Maddie's Loft.
Speaker 2:
[40:17] Come on, I'll help you with the bake.
Speaker 16:
[40:22] All right, all right.
Speaker 10:
[40:23] Let's keep it light, huh? This is a residential district now. Hold it down, boys, huh? Hold it down.
Speaker 16:
[40:27] Hey, fellas, quiet down now.
Speaker 10:
[40:29] Quiet.
Speaker 18:
[40:30] Pete?
Speaker 10:
[40:31] Who's that, Red?
Speaker 16:
[40:32] Looks like Zelda.
Speaker 18:
[40:33] Oh, Pete, I'm so glad I didn't miss you.
Speaker 10:
[40:35] Yeah, Zelda.
Speaker 18:
[40:36] I have to...
Speaker 15:
[40:37] Could I talk to you for a minute, Pete?
Speaker 10:
[40:38] All right, what's on your mind?
Speaker 18:
[40:40] Alone.
Speaker 10:
[40:40] I got a recording date, Zelda.
Speaker 15:
[40:41] I know, Pete. That's why I came here.
Speaker 10:
[40:43] We have to get back to 417.
Speaker 15:
[40:45] A minute, Pete? A half a minute.
Speaker 11:
[40:47] All right.
Speaker 8:
[40:48] Okay, Petey, we'll wait upstairs.
Speaker 3:
[40:50] All right, you guys, let's move.
Speaker 2:
[40:52] And Pete.
Speaker 11:
[40:52] Yeah, Red.
Speaker 17:
[40:53] We don't sound like much to out of corner.
Speaker 2:
[40:55] Make it snappy, huh?
Speaker 11:
[40:56] All right.
Speaker 18:
[40:57] Okay.
Speaker 15:
[40:59] Thank you, Pete.
Speaker 10:
[41:00] All right, come on, Zelda.
Speaker 15:
[41:02] Don't be mean, Pete. I've had my share of meanness.
Speaker 18:
[41:05] Away the newspaper.
Speaker 10:
[41:06] What did you expect? Rave notices for the way you divorced Maddie to marry a hood like Johnny April?
Speaker 18:
[41:10] I have a right to live my own life.
Speaker 10:
[41:11] Sure, no matter whose life you kick the shreds doing it.
Speaker 15:
[41:13] I love Johnny, and he loves me.
Speaker 18:
[41:16] Oh, Pete, of all people, I thought you would understand that you would...
Speaker 10:
[41:19] Now look, Zelda, I like a guy named Maddie Wynn. In my book, he didn't rate the kind of treatments you've dealt him.
Speaker 15:
[41:24] You like a guy named Maddie Wynn? How much do you really know?
Speaker 10:
[41:27] All right, Zelda, just funnel this down. Now, what do you want?
Speaker 18:
[41:30] Maddie refuses to see me, Pete.
Speaker 15:
[41:32] I want you to talk to him for me.
Speaker 10:
[41:33] Saying what?
Speaker 15:
[41:34] You and Maddie, you always got on well together.
Speaker 18:
[41:36] He may listen to you.
Speaker 10:
[41:36] Now, look, Zelda, I got a job to do. Get to it.
Speaker 15:
[41:39] Maddie's got a record that belongs to me.
Speaker 18:
[41:41] I want it.
Speaker 10:
[41:41] What kind of a record?
Speaker 18:
[41:44] It's a record you and the boys made once, June 9th.
Speaker 10:
[41:46] You're beginning to make a lot of sense, Zelda.
Speaker 18:
[41:48] You'll understand, Pete. Just tell him I...
Speaker 15:
[41:51] I'll give him anything he wants for the record. You just tell him that, Pete. You talk to him.
Speaker 18:
[41:54] Maybe he'll...
Speaker 10:
[41:55] Look, Zelda, just for the book here, I never liked you much.
Speaker 15:
[41:58] I know.
Speaker 10:
[41:58] I think you were grief for Mattie from the first day he met you until the day you dealt him the final foul. All right, now why don't you just leave him alone?
Speaker 15:
[42:05] For Mattie's sake, believe me, Pete, for his sake, I must have that record. And if you're a friend of his, Pete will advise him to give it to me.
Speaker 3:
[42:11] All right.
Speaker 10:
[42:12] I don't know what you want with an old disc of mine, but if it's something you need, it's something Mattie's better off without.
Speaker 3:
[42:27] Well, Pete, I've begun to think you deserted us to the Mount City Blue Blows.
Speaker 10:
[42:31] I just left Zelda.
Speaker 3:
[42:32] Of course, the wisest thing any man could do.
Speaker 10:
[42:34] She was waiting for me downstairs.
Speaker 3:
[42:36] Why is it, Pete, that we always assume the vulture to be male?
Speaker 10:
[42:39] She seemed more like a frightened rabbit.
Speaker 3:
[42:41] Zelda, rabbit? Me, yes, but never rabbit.
Speaker 10:
[42:44] All right, Matty, I'll tell you about it after the session, huh? All right, let's get it on the road, huh? Matty, what do you want us to do?
Speaker 3:
[42:53] Well, you've just got one side to fill. The last time you did me singing the blues, we never did get a good take on Dixieland One Steps.
Speaker 10:
[42:59] Okay, all right, come on, guys, let's like each other, huh? All right, let's do Dixieland One Steps.
Speaker 17:
[43:05] How do you want a routine, Pete?
Speaker 10:
[43:07] Well, let's see, like this, everybody going in. Nick, plug those brakes solid. Matlock, you take the first little brake on clarinet. Yeah. And Moe, you take the second and really blow it out, huh? Give me a good one.
Speaker 9:
[43:18] Everybody on the first course, huh?
Speaker 10:
[43:20] Yeah, that's right. And I'll take it for 16. Matlock, you take 16, everybody out.
Speaker 11:
[43:25] Good and bright, huh?
Speaker 8:
[43:26] Yeah, I'll keep mine.
Speaker 11:
[43:29] All right.
Speaker 10:
[43:29] Ready, Matty?
Speaker 8:
[43:30] Just a second.
Speaker 3:
[43:32] Okay, take it on the count, huh?
Speaker 11:
[43:35] All right.
Speaker 10:
[43:35] Now, here we go.
Speaker 3:
[43:37] Four, three, two, one.
Speaker 11:
[45:54] Well, felt good, huh?
Speaker 12:
[45:56] Yeah, it was good for me.
Speaker 3:
[45:57] Fine, my luck.
Speaker 10:
[45:58] Matty?
Speaker 3:
[45:58] That does it, Pete.
Speaker 10:
[46:00] All right, you can pack up. I'll see you back at 417, huh?
Speaker 5:
[46:03] You stand behind, Pete?
Speaker 10:
[46:04] Yeah, 10 minutes. Leave the earth thing for me, will you, Red?
Speaker 11:
[46:07] Sure.
Speaker 9:
[46:08] Look, Pete, you come here to take care of your business.
Speaker 11:
[46:12] Leave it that way, huh? Don't worry, Red.
Speaker 10:
[46:13] I aim to. Will you take my horn?
Speaker 9:
[46:15] Yeah.
Speaker 10:
[46:15] I'll see you later.
Speaker 3:
[46:18] Nice, Pete. One solo seemed a little long for time, but I think we can get it all on.
Speaker 11:
[46:22] Look, Matty.
Speaker 10:
[46:23] I know this is probably none of my business.
Speaker 3:
[46:25] The papers and her marriage to Johnny April has made Zelda everybody's business.
Speaker 10:
[46:28] Well, she asked me to talk to you about a record.
Speaker 3:
[46:29] Indeed.
Speaker 11:
[46:30] An old one of ours, June Night. Yeah.
Speaker 3:
[46:32] June Night.
Speaker 1:
[46:33] I remember it well, Pete.
Speaker 3:
[46:34] I always considered it a splendid achievement in jazz that should one day become a collector's item.
Speaker 10:
[46:38] Zelda doesn't know jazz from German measles and cares less, but she said she'd give you anything you want for that record.
Speaker 3:
[46:43] You can tell Zelda that she can purchase a copy of June Night at Lambert's for 35 cents.
Speaker 11:
[46:47] Yeah.
Speaker 10:
[46:47] That's why I don't get it.
Speaker 3:
[46:48] And if you're fortunate, Pete, you never will.
Speaker 11:
[46:51] Give me, Pete, I don't mean to be sharp with you, but you're young and carefree. Stay that way.
Speaker 3:
[46:56] And if Zelda should again approach you, take a trip around the world or someplace else, but go.
Speaker 10:
[47:00] All right, Maddie, she asked me to ask you and I asked.
Speaker 11:
[47:02] Good night. Good night, Pete.
Speaker 9:
[47:14] You're Pete Kelly?
Speaker 10:
[47:15] Who wants to know?
Speaker 11:
[47:16] Hear that, Perry?
Speaker 9:
[47:17] He wants to know who wants to know. All right, I'll tell you, I want to know. Feel better?
Speaker 11:
[47:21] Sure, I'm Pete Kelly, but I got a right.
Speaker 1:
[47:23] And I got a left. Let's ride.
Speaker 10:
[47:24] Thanks, but I got my own car here.
Speaker 16:
[47:26] Right now, ours is safer for you.
Speaker 10:
[47:27] It's bulletproof. Well, I was going to tell him I didn't need a bulletproof car.
Speaker 11:
[47:37] He showed me the gun.
Speaker 10:
[47:39] It was a.45.
Speaker 11:
[47:40] I know how to admit it when I'm wrong. That's how we got into the bulletproof car.
Speaker 10:
[47:46] During the ride, I cased the two artillerymen. Except for their faces, I'd seen them a couple of times before. At 417, over sour Sammies and fat Annies, the same tightly tailored blue suits, the same long itchy fingers, and the same razor edge lips and eyes. Oh, there's hundreds of them around. But they're pretty right, guys. You gotta know how to handle them. Just do as they tell you, and the chances are you won't lose more than one eye. Well, a car glided to a smooth stop in front of the Roxbury Apartments. The private elevator shot us up to the penthouse. My stomach caught up with me as the gunsels pushed me into a living room that was slightly smaller than Swope Park, but less crowded. One man, all shoulders, no hips, and rich black hair, a face that would make Wally Reed cut his throat. He was sitting at a table with earphones on. He was tuning a radio. He glanced once over his shoulder at me. I didn't jump more than 20 yards. Was Johnny April.
Speaker 7:
[48:46] Just a minute. I've been listening to something good on the earphones. Here, I'll plug in the speaker for you. Can you hear that music?
Speaker 5:
[48:58] Yeah.
Speaker 7:
[48:59] Nice reception, huh?
Speaker 5:
[49:00] Yeah.
Speaker 7:
[49:00] Just got it. 12-tube superheterodyne, Magnavox horn. Closed in Frisco without static. The best. Drink?
Speaker 10:
[49:08] No, no thanks.
Speaker 7:
[49:09] You sure?
Speaker 11:
[49:10] I'm sure.
Speaker 7:
[49:10] Canadian import. The best. You sure you want number one?
Speaker 11:
[49:13] Yeah, sure.
Speaker 3:
[49:14] Well, luck?
Speaker 11:
[49:18] Luck.
Speaker 7:
[49:22] Eh, it's good stuff. Got a joke. The best. You know who I am?
Speaker 11:
[49:28] Yeah.
Speaker 7:
[49:28] You sure?
Speaker 11:
[49:29] Sure.
Speaker 7:
[49:30] What's my name?
Speaker 11:
[49:31] April. Johnny April.
Speaker 7:
[49:32] That's right. You know my wife?
Speaker 11:
[49:34] Your wife?
Speaker 7:
[49:34] My wife.
Speaker 11:
[49:35] Yeah.
Speaker 7:
[49:35] You sure?
Speaker 11:
[49:36] Yeah.
Speaker 10:
[49:37] Mrs. April.
Speaker 7:
[49:38] Don't you know her better than that?
Speaker 11:
[49:39] Than what?
Speaker 7:
[49:39] Than Mrs. April? Well, well sure.
Speaker 10:
[49:43] I know her. I know her when she... Well, before she...
Speaker 7:
[49:45] When she was married to Maddie Wynn? Yeah. But you didn't call her Mrs. Wynn, did you? Well, I... What did you call her? By her name. Which is? Zelda. Zelda, that's right. That's all I wanted to fix. Now we both know what we're talking about, Zelda. You understand now? Yeah. That's why I invited you here, to talk about Zelda. And why you're bothering her.
Speaker 10:
[50:05] Well, you lost me, Mr. April.
Speaker 7:
[50:06] Not a bad suggestion, but first I want you to tell me what you and Winner Clubbing Zelda with.
Speaker 10:
[50:11] You're asking me to play without a cue sheet, Mr. April. I don't even know the tune.
Speaker 7:
[50:14] Tonight you stopped Zelda on Baltimore Street. You talked to her on a corner. You were sane. She was pleading with you.
Speaker 10:
[50:18] Now look, Mr. April, you're spinning it backwards. She stopped me, asked me to speak to Win.
Speaker 7:
[50:21] About what?
Speaker 10:
[50:22] Well, about a record she said belongs to her.
Speaker 1:
[50:24] What record?
Speaker 10:
[50:25] Well, it's a record, one that I made for Win. It's called the title. Yeah, I know. This sounds silly, but it's true.
Speaker 1:
[50:32] Half right, Kelly.
Speaker 7:
[50:33] It sounds silly because it isn't true. What do you want with Zelda?
Speaker 10:
[50:36] All right, April. You take it any way you like. All I want from Zelda is distance between us. Now, I got a date to play.
Speaker 17:
[50:41] Jake, teach him.
Speaker 5:
[50:45] What are you and Win cooking?
Speaker 10:
[50:46] Nothing.
Speaker 7:
[50:47] What do you want from Zelda?
Speaker 10:
[50:48] Nothing, I tell you.
Speaker 8:
[50:49] Johnny, Johnny, what are you doing?
Speaker 7:
[50:51] Is this the crumb who stopped you tonight?
Speaker 15:
[50:53] Yeah, he's the one.
Speaker 10:
[50:54] How much did Win pay you, April, to take Angel off his hands?
Speaker 7:
[50:58] What did he want?
Speaker 15:
[50:59] Money. Yeah, he said he and Win would make trouble for me, for you.
Speaker 7:
[51:02] What kind of trouble?
Speaker 18:
[51:03] My divorce, about my divorce.
Speaker 15:
[51:04] Open it up again unless I paid them.
Speaker 17:
[51:06] All right.
Speaker 7:
[51:07] Now listen to me, Ben Horn, you got luck, you got lots of luck. You should light a candle to your luck. Next time you fill a ditch, this time I only warn you. And these are the warnings on the way.
Speaker 2:
[51:16] Tomorrow morning, nine o'clock, you go to Union Station.
Speaker 5:
[51:18] You buy a ticket, east, west, north or south.
Speaker 1:
[51:20] You go.
Speaker 7:
[51:21] You go till the train runs out of the rails.
Speaker 1:
[51:23] No more room for you in Kansas City.
Speaker 7:
[51:24] Only in that ditch, you hear me? I hear you.
Speaker 10:
[51:38] Well, Jake and Perry drove me back to the Erskine. They dropped me on Baltimore. I sat on the curb, my head between my knees.
Speaker 11:
[51:47] After a while, I felt a little better.
Speaker 10:
[51:49] I could breathe again. The lights were still on up in Matty's loft. He was probably working on the master. Well, I navigated the long flight of stairs, trying hard to hold back the sudden anger kicking up in me. It wasn't Matty's fault. He warned me about Zelda. No use to take it out on him. Well, I went into the loft and made an effort to hold it down, but it was a wasted effort. Matty wouldn't have minded anything I said or did. Matty wasn't even there. Only his body, half covered with a burlap used on the walls to soundproof the joint. He'd been shot once through the head, clawed down enough burlap over himself to make a shroud. I picked up the phone in the office, gave Central a number of Sour Sammy's joint, and waited for Sammy to see if Bonnie Ricketts was under his favorite table. Bonnie Ricketts is the only ex-bootlegger I know who went broke in 1922. He set out to prove that a man could drink his gin without ill effects, but he never set a time limit on the experiment. No, Bonnie hadn't come in yet to Sour Sammy's. While I left word for him, meet me at Fat Annie's place. I started to leave. I hesitated and went back to Matty Wynn, spread a clean handkerchief over his face. I made the street three stairs at a time. I crossed the river, jolted the Erskine down Boulder Road to Fat Annie's place. Seemed like a waste of good singing, but Maggie Jackson was getting ready to do her number. I eased alone drunk out of a booth, draped him on the edge of the bar and sat and listened to Maggie.
Speaker 6:
[54:42] I'm just beat, Pete, right down to my shoes.
Speaker 10:
[54:44] Yeah, it's a noisy crowd, Maggie.
Speaker 6:
[54:46] Out of town wine buyers with gin chasers. Murder.
Speaker 10:
[54:50] Yeah, do you want a beer?
Speaker 6:
[54:51] Thanks, Pete, I could use it. All right.
Speaker 3:
[54:53] Hey, drop too, will you?
Speaker 10:
[54:55] Barney ain't been in yet, has he?
Speaker 6:
[54:56] No. You got trouble again, Pete?
Speaker 10:
[54:59] Where can I buy a new birthday? The stars are ganging up on me.
Speaker 6:
[55:02] Ain't nothing in that astrology, Pete.
Speaker 10:
[55:04] Well, there must be some explanation. Yes or no, hot or cold, I catch it.
Speaker 6:
[55:07] What's the misery this time, Pete?
Speaker 10:
[55:09] Only that Maddie Wynn caught a bullet in the head. No. And if I'm not out of KC by morning, he's going to have company. Look, Maggie, do you remember a disc I cut for Maddie? June night?
Speaker 6:
[55:18] Sure do. Good session.
Speaker 10:
[55:19] You got a copy of that one?
Speaker 6:
[55:20] Right on top of the pile.
Speaker 10:
[55:21] Where?
Speaker 6:
[55:22] In my room, just down the street a piece.
Speaker 10:
[55:24] Well, I'd go with you, Maggie, but I don't want to miss Barney.
Speaker 6:
[55:26] I'll get it for you, Pete.
Speaker 10:
[55:27] Thanks a lot.
Speaker 17:
[55:28] Ah, Pete Kelly, noted troubadour, bar of the barrel houses.
Speaker 6:
[55:33] Hi, Barney.
Speaker 17:
[55:34] And Maggie Jackson, canary of the cribs.
Speaker 6:
[55:37] I'll be right back, Pete.
Speaker 10:
[55:37] Thanks a lot.
Speaker 17:
[55:38] Pete, I've just suffered a great hurt. How sooner did I set foot in Sour Sammy's joint than Sour Sammy himself came a grinning and a smirking to tell me with undisguised glee that you were waiting for me here. He was openly delighted to see me go.
Speaker 10:
[55:53] Yeah, look, Barney.
Speaker 17:
[55:53] I was sorely tempted to ignore the message, merely to aggravate Sour Sammy, you understand. But since it was you, Pete, and in distress, I'll warrant, I came on the wings of Mercury.
Speaker 10:
[56:04] Thanks, Barney.
Speaker 17:
[56:05] Mercury, that's a thought, Pete. We've tried ether in our beer, chloroform, and even the teacher of Lordnum. Now, what would a soup spoon of Mercury do? No, too risky, unless, of course, one saw it.
Speaker 10:
[56:17] Barney, listen to me, will you? I'm breathing against the clock.
Speaker 17:
[56:19] Never will I forget Sour Sammy's attitude, and after all the credit he's given me, too. No, Pete, it proves only one thing. Man is essentially an asocial animal. We band together only because we find it impossible to survive alone.
Speaker 10:
[56:34] Yeah, I know.
Speaker 17:
[56:35] But there is no true affection anywhere. Like the wolf, yes, take the wolf, Pete. He too herds, but only in times of want and stress.
Speaker 10:
[56:43] Yeah.
Speaker 17:
[56:43] And as soon as he doesn't have to rely upon his fellow wolf for survival, off he goes to prey upon his own. Yes, Pete, like the wolf, man is a lone hunter, hating the herd because he is forced to depend upon it for survival.
Speaker 10:
[56:57] You all through?
Speaker 7:
[56:58] Very well, fellow wolf.
Speaker 10:
[56:59] Johnny April Barney, do you know him?
Speaker 17:
[57:01] Oh, yes, yes, a fine gentleman, Johnny April, who never kills on the Sabbath.
Speaker 10:
[57:05] Well, I can't wait that long. He gives me the morning to get out of town.
Speaker 17:
[57:08] Foolish man, right now, you should be naval deep in timetable.
Speaker 10:
[57:12] Look, I got sucked into this by his wife, Zelda. She asked me to get a record for Maddie Wynn that belongs to her. She told April I'm trying to shake her down. I got worked over and Wynn got a bullet.
Speaker 17:
[57:21] What's on this record?
Speaker 10:
[57:22] I don't know. It's just a disc I once made for Maddie. It's called June Night.
Speaker 17:
[57:25] Why did Zelda want it?
Speaker 10:
[57:26] I don't know.
Speaker 17:
[57:28] Why did Zelda lie to April?
Speaker 10:
[57:29] I don't know. Here's the record, Pete. Thanks, Maggie.
Speaker 17:
[57:32] Who shot Maddie?
Speaker 10:
[57:33] I don't know.
Speaker 17:
[57:34] Let's save time, Petey. Just tell me what you do know.
Speaker 10:
[57:38] All I know is that Zelda is after this record and she doesn't want April to know it.
Speaker 17:
[57:41] And that's the copy there?
Speaker 12:
[57:43] Yeah, June Night.
Speaker 10:
[57:44] I thought maybe we could spin it once and maybe it'll give us some kind of a message.
Speaker 6:
[57:48] I'll put it on the phonograph, Pete.
Speaker 10:
[57:49] Thanks, Maggie. I'll wind it up for you here. All right, listen to it, huh?
Speaker 17:
[60:01] Good quality. Mean anything?
Speaker 10:
[60:03] Nothing.
Speaker 17:
[60:04] No hidden meanings or codes or ciphers?
Speaker 10:
[60:07] Nothing there but the music.
Speaker 17:
[60:09] Tell me, Petey, how are these things made? What? A recording.
Speaker 10:
[60:13] Well, you record directly onto a round table of soapy wax, and then they dust this wax with graphite, and they dip it in a copper plating tank. From this, they make what they call a mother or the stamper, and that's what turns out the records that you buy in the store.
Speaker 17:
[60:28] I see. And the wax master, that's always kept in the recording studio?
Speaker 10:
[60:33] Yeah.
Speaker 17:
[60:34] Well, you finished a job, Pete. Can anything else be recorded on the master?
Speaker 10:
[60:38] Well, I suppose you could dub from one master to another, yeah.
Speaker 17:
[60:42] Petey, when I was a mere lad, my old father told me, when you seek an answer, child, always go to the master.
Speaker 10:
[60:56] Well, I pointed Barney for the door. We got into the Erskine and jolted back over Boulder Road and across the river. Barney insisted on expanding his wolf-man-herd theory all the way back to Baltimore Street. By the time we reached Matty Wynne's loft, my fangs were on edge. Barney looked away from Wynne's body as we headed for the file room. I yanked open a metal container. It was empty. The master of June night was gone.
Speaker 7:
[61:26] Yeah, your old father was right, Barney.
Speaker 17:
[61:28] He also told me the master will always be there for you. Notice the disarranged state of the files here. All the compartments.
Speaker 7:
[61:35] Yeah.
Speaker 17:
[61:36] Whoever came for the master of June night went directly to the right file as you did. Didn't find it there and ransacked the rest of the place.
Speaker 10:
[61:43] Well, then Matty hid it figuring something like this. But where?
Speaker 17:
[61:47] Let's look around the control room, Pete.
Speaker 10:
[61:50] Ah, there's no place there to hide a flea.
Speaker 17:
[61:52] Did you ever read a story called The Purloined Letter by Edgar Allan Poe?
Speaker 10:
[61:56] Not now, Barney.
Speaker 17:
[61:56] A wonderful little tale.
Speaker 10:
[61:58] Now look, Barney, some other...
Speaker 17:
[61:59] In this particular story, Petey, a number of detectives were taking a room apart by the seam searching for a letter. They couldn't find it. And why? Because man is blind, Petey. He never recognizes the truth when his eyes fall on it. Just as our eyes now fall on this peculiar-looking record on the turntable.
Speaker 10:
[62:18] Barney wouldn't leave it out just like this.
Speaker 17:
[62:20] Prove me wrong.
Speaker 7:
[62:21] Play it. All right, let's listen to them and see.
Speaker 11:
[62:41] Do you understand what you're saying, Zelda?
Speaker 6:
[62:43] You're working good for me.
Speaker 11:
[62:44] Not that I don't trust you, of course.
Speaker 18:
[62:46] Let's get on with it, Maddie.
Speaker 11:
[62:47] A little closer to the microphone, shall we?
Speaker 18:
[62:50] This close enough, Maddie? This close enough, Pete?
Speaker 10:
[62:53] Don't be foolish, Zelda. Put that gun away.
Speaker 18:
[62:55] Give me the record, Pete.
Speaker 10:
[62:56] Sure, in exchange for that gun.
Speaker 15:
[62:57] You'll get what's in the gun.
Speaker 10:
[62:58] What, you dealt it to Maddie? The record here on the turntable all the time, and you broke three nails ripping those files apart?
Speaker 15:
[63:03] Face the law. Keep your hands up. Lean against it, both of you.
Speaker 17:
[63:06] Excuse me, madam, but I just dropped in to make a record for the folks.
Speaker 7:
[63:11] Shut up!
Speaker 15:
[63:12] One move and I'll give it to you in the back.
Speaker 7:
[63:13] That's my department, Zelda. Give me the gun. All right, Zelda, I told you here, I only bought a small piece of your yarn. Now I want the rest of it.
Speaker 8:
[63:20] I didn't want to involve you, Johnny.
Speaker 18:
[63:22] I came to pay them off.
Speaker 8:
[63:23] They killed Maddie. See? See there?
Speaker 18:
[63:25] And I got the gun away.
Speaker 10:
[63:26] No good, Zelda. Can't you see his face? He just ran out of mileage and ideas. Listen to this, April.
Speaker 18:
[63:31] No, no, darling. It's a frame.
Speaker 10:
[63:32] Shut up!
Speaker 7:
[63:33] All right, Kelly, I'm listening, and it better be good. All right.
Speaker 11:
[63:37] Here it is.
Speaker 10:
[63:38] It's all on the record.
Speaker 18:
[63:45] Is this close enough, Maddie?
Speaker 11:
[63:47] Perfect. Now, just in case anything goes wrong, this recording will be our protection from each other. To whom it may concern, my wife, Zelda, and I have entered into this agreement of our own free will.
Speaker 18:
[64:00] All right, just get to it, Maddie.
Speaker 11:
[64:01] Go ahead.
Speaker 18:
[64:03] I have told Johnny April that I want to divorce my husband and marry him. When this is accomplished, it is our intention that I be made a widow as soon as possible and then remarry Maddie Wynn.
Speaker 11:
[64:14] Just for the record, you agreed to decoy, said Mr. April, to a predetermined spot where you'll be unarmed and without bodyguards. I agree to shoot Mr. April. The police will not question your story that he was ambushed by a rival monster, identity unknown to you. You will then inherit the April money and return to me. You agree?
Speaker 18:
[64:33] I agree. Crazy enough to do anything for you. Even when you tell your own wife.
Speaker 11:
[64:38] All right, that's enough. This will be legal in the... Johnny.
Speaker 18:
[64:42] Johnny.
Speaker 11:
[64:42] Hey, Paul, don't.
Speaker 18:
[64:43] Don't shoot her. Johnny, don't. Don't, please, don't.
Speaker 16:
[64:45] Get over here, Zelda.
Speaker 7:
[64:46] Back up, so I won't miss you.
Speaker 18:
[64:48] Zelda!
Speaker 15:
[64:53] Johnny!
Speaker 11:
[64:57] He can't hear you.
Speaker 6:
[65:00] I should have let him kill me.
Speaker 9:
[65:04] You fell in love with him, didn't you?
Speaker 6:
[65:07] Yes, I did.
Speaker 15:
[65:10] Only one thing I didn't count on.
Speaker 11:
[65:13] Yeah.
Speaker 10:
[65:14] You can't dance at two weddings with one heart.
Speaker 13:
[65:33] Pete Kelly's Blues, starring Jack Webb, with story by Joe Eisenhower and music by Dick Gaffer, scoring by Matty Matlock. The music of Pete Kelly's Big 7 and Maggie Jackson is now available on Phonograph Record. Ladies and gentlemen, the Red Cross already has allocated more than a million dollars for emergency relief work in the flood-stricken areas of Kansas, Missouri, Illinois and Oklahoma. The biggest Red Cross job, however, will be rebuilding and refurnishing homes in the flooded areas. Cost of this job will run into the millions, more than present Red Cross resources can provide. That is why President Truman has issued a special appeal to all Americans to contribute generously to a special Red Cross flood fund of at least five million dollars. Send all contributions to your local Red Cross chapter.
Speaker 3:
[66:49] The preceding was transcribed. It's the Silver Jubilee on NBC. Tonight, one of your old friends is returning to NBC. Yes, there's fun for everyone tonight with Uncle Gildy, that happy bungling hero of the airwaves, The Great Gilder Sleeve. And later tonight, there's the best in recorded music on Meredith Wilson's Music Room. Meredith's special guest this evening is Frank Lesser, the composer of Broadway's musical Guys and Dolls. And make a note to hear Dragnet Tomorrow with another authentic story from the files of the Los Angeles Police Department. The Great Gilder Sleeve tonight on NBC.
Speaker 16:
[68:00] Pete Kelly's Blues, starring Jack Webb, with story by Joe Isinger and music by Big Kepna.
Speaker 10:
[68:18] My name is Pete Kelly. I play cornet. You'll find us at 417 Cherry Street, Kansas City. It's a standard speakeasy. The whiskey matches the color of your money. It's a fairly quiet crib, never any real serious trouble. The competing torpedoes in town are regarded as a sort of a neutral zone, a place to meet and maybe talk things over before going to the gun. The Switzerland of Kansas City. The lease is owned by George Lupo. He's a fat, friendly little guy who has only two things in his life, dollars and cents. We start grinding every night at about ten and we play till the cash register tape gives out. But that's all right with us. He lets us play the kind of music we like and pays off with a smile. Sometimes we even manage to get a few bucks. But last night we were dragging through the lull hour of the first set when the distinguished old guy came in. I'd seen him in the place many times before, always with the Dutchman and two or three of the Dutchman's guns. He'd sit at their table, letting their whispers float around his gray hair, never taking part, just sit quiet, gaining slowly on the open bottle in front of him, staring at a point that probably didn't exist. This was the first time I'd seen him without the Dutchman. He started to sit at the usual place, hesitated, looked around the half-filled room, took the small table in the corner near the bar. He smiled up at me as he poured his first drink. There was nobody behind it. We went into the wind-up.
Speaker 12:
[69:58] Man, we should drag heel tonight.
Speaker 5:
[70:02] What's up next, Pete?
Speaker 10:
[70:03] Nothing, my lips are raw. Let's get off for a while.
Speaker 5:
[70:06] You're burning that lip at both ends, Petey.
Speaker 7:
[70:08] Slow down.
Speaker 10:
[70:11] You want a beer at the bar, Ed?
Speaker 7:
[70:12] No thanks, Petey. I'll catch me a hunk of fresh air in the alley.
Speaker 10:
[70:15] All right, on your way out, throw some nickels in the piñola, will you?
Speaker 7:
[70:17] Right, see you later. Mr. Kelly? Yeah?
Speaker 9:
[70:24] Forgive me, I spoke quite an impulse. I find myself a sudden victim of an overwhelming desire for companionship.
Speaker 10:
[70:32] Yeah, so you're alone tonight.
Speaker 9:
[70:33] I'm alone every night. Please sit down, if only for a minute. All right. Thank you. What will you drink?
Speaker 10:
[70:42] A little of that ginger ale will do fine. You're expecting your friends?
Speaker 9:
[70:48] That's the one thing I can count on tonight, the arrival of my friends. I should like to compliment you, Mr. Kelly. On what? Your music. I must confess, I don't really understand it, but I do understand and recognize one thing, faith. You play your cornet as though you believe in it.
Speaker 7:
[71:07] Thanks.
Speaker 9:
[71:08] That is a priceless thing, Mr. Kelly, faith, and a belief in something. Never lose it, sir, because when you do, you lost yourself.
Speaker 7:
[71:17] Yeah. Well, I...
Speaker 9:
[71:18] No, please. Just sit another small minute. All right. I lied to you, Mr. Kelly. I told you I wanted companionship. No. What I really want is an audience. There are so many things I want to say, and there's little time left in which to say.
Speaker 10:
[71:36] Sounds like you're about to get married. Have another drink, huh?
Speaker 9:
[71:39] You think I'm drunk, don't you? Well, you're right.
Speaker 11:
[71:41] I am.
Speaker 9:
[71:42] But not on whisky.
Speaker 10:
[71:45] You're scared, aren't you?
Speaker 11:
[71:46] Is that it?
Speaker 9:
[71:48] I feel my heart expending enough energy to power a modest sight, Dan.
Speaker 10:
[71:53] What are you afraid of?
Speaker 11:
[71:54] Oh, evening.
Speaker 9:
[71:55] I've been asking myself that same question. What am I afraid of? Surely it can't be the loss of life. And yet... You're sick? With a disease for which neither man nor magician has yet been able to affect the cure. The wrath of a killer.
Speaker 14:
[72:14] You're a target, is that it?
Speaker 9:
[72:16] Aye, as you so graphically put it, I'm a target.
Speaker 14:
[72:19] The Dutchman?
Speaker 9:
[72:20] The Dutchman.
Speaker 10:
[72:21] Look, I don't make this. Right now you should be two yards the other side of Baffin Bay.
Speaker 9:
[72:25] Streets aligned with the Dutchman's gun.
Speaker 10:
[72:27] But you gotta make a pass at it. You can't just say, OK, here's my head with a 50 cent cigar in it. Don't you wanna live?
Speaker 9:
[72:32] I thought not. My adrenals refuse to concur.
Speaker 10:
[72:38] Look, isn't there somebody to help get you out of town? A friend?
Speaker 9:
[72:41] I have no friends, except the Dutchman.
Speaker 11:
[72:44] The law? Yeah.
Speaker 10:
[72:48] Now look, I gotta get back up there. Take this key. Hotel George, around the corner. Go up to my room. There's no reason for him to look for you up there. We'll think of something.
Speaker 9:
[72:57] Do you think so? Do you really think so?
Speaker 10:
[72:58] Now look, we're gonna try. If we can't, we'll need two 50 cent cigars. Now go on. Yeah, Red.
Speaker 9:
[73:10] What's the matter with the senator?
Speaker 10:
[73:14] Nothing a thousand miles won't cure. All right. Let's do goose pimples. All right, everybody ready? Oh, I don't know if I'm going to make it or not. Red takeover, I'm going to duck out for a while.
Speaker 9:
[75:50] What's wrong, Petey?
Speaker 10:
[75:51] My lip, starting to limp.
Speaker 9:
[75:53] Uh-oh, here comes trouble.
Speaker 7:
[75:56] Mr. Kelly?
Speaker 10:
[75:57] What's Mr. Kelly?
Speaker 9:
[75:59] How many Mr. Kelly's you got in this crib?
Speaker 7:
[76:00] Never mind, Jamie, I don't know.
Speaker 11:
[76:02] Yes, the punk nice is he, Mr. Kelly, so he gives you with a snide, which Mr. Kelly?
Speaker 7:
[76:05] All right, Jamie. Please forgive Jamie, he hasn't had much sleep lately.
Speaker 10:
[76:09] Yeah, well, you wake him up and tell him there's another Kelly, Bob Kelly, works downstairs in the plant, maybe he's the boy you want.
Speaker 7:
[76:13] No, we're looking for Pete Kelly.
Speaker 11:
[76:15] Yeah?
Speaker 9:
[76:15] Yes, Pete Kelly.
Speaker 11:
[76:17] Oh, not Bob Kelly?
Speaker 7:
[76:18] Not Bob Kelly, Pete Kelly. Yeah.
Speaker 10:
[76:20] Well, I'm Pete Kelly.
Speaker 11:
[76:22] I'm Pete Kelly.
Speaker 7:
[76:23] We'd like to talk to you for a minute. Sure. Outside. Outside? Disney Island.
Speaker 10:
[76:29] Yeah, well, I'd like to oblige you, but you see, friend, I got a job to do here.
Speaker 9:
[76:32] Outside.
Speaker 7:
[76:33] All right, Jamie. Mr. Kelly, you understand?
Speaker 9:
[76:36] Yeah.
Speaker 11:
[76:36] I'll be right back, Red.
Speaker 7:
[76:38] Yeah.
Speaker 15:
[76:48] Smoke, Mr. Kelly.
Speaker 14:
[76:50] Yeah, thanks.
Speaker 10:
[76:56] Thank you.
Speaker 7:
[76:57] You're welcome. You like my brand?
Speaker 10:
[77:00] Your brand?
Speaker 7:
[77:00] Gold tip, you like them?
Speaker 10:
[77:02] Yeah, sure. I never smoke anything else.
Speaker 7:
[77:03] There was an elderly gentleman inside this evening. He also smokes them. You smoke one of his?
Speaker 10:
[77:08] Elderly gentleman?
Speaker 9:
[77:09] Yes, about 55.
Speaker 7:
[77:10] My height, gray hair, blue eyes.
Speaker 10:
[77:12] He sat at your table.
Speaker 7:
[77:13] He had a nice drink with him.
Speaker 11:
[77:14] You smoked a cigarette of his.
Speaker 10:
[77:16] Sorry, I haven't seen anybody all night.
Speaker 11:
[77:18] All right, Terry, let's get to it.
Speaker 10:
[77:19] Stop with the circle talk. Easy.
Speaker 8:
[77:20] We got the rum when you was talking to him.
Speaker 10:
[77:21] Well, you're wrong. Were you?
Speaker 11:
[77:23] All right.
Speaker 10:
[77:26] Go on me.
Speaker 7:
[77:27] That's enough.
Speaker 11:
[77:28] Yeah, all right.
Speaker 10:
[77:32] Now, you listen, Junior. The next time you put your hands on me, you walk away without them.
Speaker 7:
[77:35] You deserve that, Jamie. You have to learn when to and when not to. Jamie's young, Mr. Kelly. He thinks he has to make his reputation in one night.
Speaker 11:
[77:44] Can he be friendly? Can he be nice? Can he be honest?
Speaker 5:
[77:46] Why can't he tell us the truth and let us go about our business?
Speaker 7:
[77:48] That's fair enough. Isn't that fair enough, Mr. Kelly? Isn't Jamie right this time? Yeah, sure.
Speaker 5:
[77:53] It's not just to me he's being fair.
Speaker 7:
[77:54] It seems to me he's right this time. I'm always fair.
Speaker 10:
[77:56] I just ask for cooperation.
Speaker 7:
[77:57] That's it. That's all. That's all we ask, just cooperation. And, Mr., you're going to cooperate? I'm a set less, Mr. This gun's been defancing back. Well, you what? Small hunk of truth. You sit and talk to this gentleman.
Speaker 10:
[78:12] You see?
Speaker 14:
[78:13] He ain't going to cooperate.
Speaker 10:
[78:16] Yeah, I talk to him.
Speaker 7:
[78:17] What about? Listen, Matt. What's this and what's that? What else?
Speaker 10:
[78:21] Horses?
Speaker 9:
[78:22] What else?
Speaker 7:
[78:22] Women?
Speaker 9:
[78:23] What else?
Speaker 10:
[78:23] That's all.
Speaker 7:
[78:24] You're lying.
Speaker 10:
[78:25] Terry says you're lying.
Speaker 5:
[78:25] He knows it's his business and all.
Speaker 9:
[78:27] Music?
Speaker 7:
[78:27] Yes. Horses and women? No, not him.
Speaker 5:
[78:30] You're lying.
Speaker 10:
[78:31] He was drunk.
Speaker 7:
[78:31] How drunk?
Speaker 10:
[78:32] Drunk enough to talk about horses and women?
Speaker 7:
[78:34] What's his name?
Speaker 10:
[78:34] He didn't say.
Speaker 7:
[78:35] Where's he now?
Speaker 10:
[78:36] I don't know.
Speaker 7:
[78:36] He saw him go.
Speaker 10:
[78:37] I left him at the table.
Speaker 11:
[78:40] All right. That's it, Terry?
Speaker 7:
[78:42] For now. Mr. Kelly says he doesn't know where he is.
Speaker 9:
[78:45] Maybe he's telling the truth.
Speaker 7:
[78:46] You got it all, but if you're lying, Jimmy's gonna come back and see you alone.
Speaker 10:
[78:58] Well, I didn't need Einstein to figure it out for me. They were a couple of the Dutchman's guns. Assignment, rub out of one old party. Method burned down anybody in the way. And from here on in, they cuddled closer to me than a baby kangaroo to its mother. Well, I had to get that old party out of my room fast. I told Red to keep the boys working, and I went on the prowl for Barney Ricketts. Barney's an ex bootlegger. He went broke in 1922. Nobody's been able to figure out how a bootlegger could go broke in 1922, and Barney refuses to tell the secret of his failure. He did it the hard way, and he isn't going to make it easy for anybody else. He wasn't at Sour Sammy's joint. He hadn't shown at Papa Pastas, and I was starting to worry when I caught up with him at Joe Donaghan's over on 12th Street. As usual, he was boiled and loud.
Speaker 17:
[79:42] Ah, Pete Kelly, the Kansas City Gabriel.
Speaker 10:
[79:45] Listen, Barney, I need a favor.
Speaker 17:
[79:46] Without evasion, Petey, I tell you right out that your arrival is ill timed.
Speaker 10:
[79:49] A Major League favor.
Speaker 17:
[79:51] I was just about to pour a potion, and now I'm forced to ask you to share it with me.
Speaker 10:
[79:56] No, Barney, look, there's no time.
Speaker 17:
[79:57] That's your trouble, Petey. No true understanding of the meaning of time. Do you know what time in the life of one man really is? I mean the nature of it and its function.
Speaker 10:
[80:06] Yeah, I know all about it. Now listen, Barney, there's...
Speaker 17:
[80:07] Of course you don't, and it isn't many men who would so frankly confess their ignorance. That's what I admire most about you, Petey. Your honesty and admitting to your abundant ignorance.
Speaker 10:
[80:17] All right, Barney.
Speaker 17:
[80:17] No, no, you mustn't be disheartened. The very fact that you know that you don't know is a hopeful sign. It means that you are ready to learn, and I will be your guide, counselor, and teacher. Yeah. Now then, take time. And to properly understand the true nature of time, you must take time to understand it. Regard time as a valise. To each man at birth, such a valise is given, some large, some small, according to his destiny. That is the one thing which he cannot really choose, the size of the valise which we call time.
Speaker 7:
[80:49] We're all through now. Yes.
Speaker 17:
[80:51] What are we going to put into your valise this time?
Speaker 10:
[80:53] Maybe a hunk of hope for a guy who needs it.
Speaker 17:
[80:55] What's his problem?
Speaker 10:
[80:56] He was sitting in 417. I talked to him.
Speaker 17:
[80:58] A mobster?
Speaker 10:
[80:59] No.
Speaker 7:
[80:59] Educated, cultured, gentle. I see.
Speaker 17:
[81:01] A dangerous man.
Speaker 10:
[81:02] No. He was lost, Barney. Lost and frightened. The kind of fright that freezes you when you're on the other side of a gun.
Speaker 7:
[81:07] I see.
Speaker 17:
[81:08] Who fingered him?
Speaker 10:
[81:09] The Dutchman.
Speaker 9:
[81:10] The Dutchman?
Speaker 7:
[81:11] That's right.
Speaker 17:
[81:12] Tell me, is he about 55, gray hair, blue eyes?
Speaker 10:
[81:16] That's right.
Speaker 7:
[81:16] And you don't know who he is?
Speaker 17:
[81:17] No.
Speaker 10:
[81:18] I didn't say.
Speaker 17:
[81:19] Well, Petey, you're right and you're wrong. He's educated, cultured, gentle. But you're wrong about helping him. Nothing you or anyone else can do can stretch his beliefs.
Speaker 10:
[81:29] Why not?
Speaker 17:
[81:31] Because the Dutchman says no.
Speaker 11:
[81:33] That's all. But who is he?
Speaker 17:
[81:34] Dr. Jonathan Budd, an excellent surgeon and general practitioner.
Speaker 10:
[81:39] But what's he got to do with the Dutchman?
Speaker 17:
[81:40] For the last two years, he's been under exclusive contract to the Dutchman, sort of company medic for the Dutchman's torpedoes. On call, 24 hours a day. Remove an appendix or a bullet, as the circumstances may require.
Speaker 11:
[81:53] I don't make it, Barney, a man like that.
Speaker 10:
[81:55] Why would the Dutchman want to send him over?
Speaker 17:
[81:57] I don't know, Petey, and I don't want to know. Go back to Lupo's. Pick up your horn and forget all about Dr. Budd.
Speaker 10:
[82:03] I can't do it.
Speaker 17:
[82:04] Heed me, Petey. The Dutchman says drop dead, he'll drop dead. Don't be near him when he falls. Don't get into this, Petey.
Speaker 10:
[82:11] I'm already in, Barney. I sent him up to my room.
Speaker 17:
[82:13] You didn't.
Speaker 10:
[82:14] He's there now waiting for me.
Speaker 17:
[82:16] Get him out of there.
Speaker 10:
[82:17] I had to help him, Barney. You can't just stand by and send him into the street to be cut down. A man has to have somebody to worry about him, somebody to help him.
Speaker 17:
[82:23] Get him out of there.
Speaker 10:
[82:25] I can't.
Speaker 17:
[82:25] Why not?
Speaker 10:
[82:26] I'm being watched.
Speaker 17:
[82:27] By the gun?
Speaker 10:
[82:28] Yeah.
Speaker 9:
[82:28] You sure?
Speaker 10:
[82:29] They got the buzz I was sitting with them. They're keeping a string on me.
Speaker 9:
[82:32] Petey, Petey, you fool.
Speaker 17:
[82:34] How long do you think it'll be before they get into your room?
Speaker 10:
[82:37] That's why I came to you, Barney.
Speaker 17:
[82:38] No, no, Pete, not this time. Not with the Dutchman.
Speaker 10:
[82:41] Look, they're on my back, Barney. I'll draw the guns off, back to Lupo's. You get him out, Barney. You can do it.
Speaker 17:
[82:47] And what do I do with him once I got him? Ask him what he'll charge to cut you out of my life?
Speaker 10:
[82:53] Take him to the other side of the river, over to Fat Annie's. Tell Maggie Jackson she can fold him into the shed out back. You'll be safe there.
Speaker 17:
[82:59] Fine. He can make a new life for himself in Fat Annie's shed.
Speaker 10:
[83:03] I'll think of something. I'll shake the guns after I get back to 417, and I'll think of something.
Speaker 17:
[83:08] You do that, Petey, because if you don't, you'll be dragging up full release before morning.
Speaker 10:
[83:21] Well, I scuttled back through the streets, back to 417 Cherry. The guns were right behind me. My police was getting fuller and heavier by the minute, and I knew I'd added a few pounds to Barney's, but that's the way it is. The guy drifts into your light, holds out a finger for helpin. You take hold and you're near to drifting out of it with him. But what can you do? You gotta take hold or you don't sleep so good anymore. Well, Lupo glared at me with his, what am I paying you for glare as I ducked into the joint. I started for the bandstand. I didn't get past the bar.
Speaker 15:
[83:51] Mr. Kelly?
Speaker 10:
[83:52] Yeah?
Speaker 15:
[83:53] I've been waiting for you.
Speaker 7:
[83:54] Yeah?
Speaker 15:
[83:54] Could we, could I talk to you?
Speaker 11:
[83:57] Oh, go ahead. I'm listening.
Speaker 12:
[83:58] Someplace alone?
Speaker 7:
[84:00] What about?
Speaker 8:
[84:01] It's about my, my name is Mary Budd.
Speaker 10:
[84:05] Oh, come on. Behind the bandstand. Thank you.
Speaker 9:
[84:08] Let's go, Petey. Lupo's just docked his another thing.
Speaker 11:
[84:10] I'll be right with you, Red. All right.
Speaker 15:
[84:15] I, I was told you saw my...
Speaker 10:
[84:18] Saw who?
Speaker 15:
[84:19] My father.
Speaker 10:
[84:20] Lots of fathers come in here. Who's yours?
Speaker 12:
[84:22] Dr. Budd. Dr. Jonathan Budd.
Speaker 10:
[84:25] You drive a car?
Speaker 11:
[84:26] Yes.
Speaker 10:
[84:26] Your license with you?
Speaker 12:
[84:27] Yes.
Speaker 10:
[84:27] Let me see it.
Speaker 11:
[84:31] Thanks. All right.
Speaker 10:
[84:33] Now pay attention. Your father's in trouble. The big trouble.
Speaker 11:
[84:36] Why?
Speaker 8:
[84:37] What happened?
Speaker 10:
[84:38] The Dutchman took a dislike to him.
Speaker 8:
[84:39] Who's the Dutchman?
Speaker 10:
[84:40] You don't know?
Speaker 8:
[84:40] My father never told me anything.
Speaker 10:
[84:42] Well, you're a big girl now. The Dutchman's a man with a gun. He's pointing it at your father. All right. Now hold on. Maybe we can...
Speaker 15:
[84:47] Do anybody want to kill my father?
Speaker 10:
[84:49] I don't know.
Speaker 15:
[84:50] He's never hurt anybody in his life. But why would this man want to...
Speaker 10:
[84:53] Look, lady, I got no answers for you.
Speaker 15:
[84:54] Maybe if we could find out why. Maybe we could... Are you sure you have no idea?
Speaker 10:
[85:01] All I know is the Dutchman said drop dead. There's no court of appeals for that.
Speaker 15:
[85:04] Yes. I understand now.
Speaker 10:
[85:07] But we still got a chance. It's skinny, but it's there.
Speaker 18:
[85:09] Where's my father now?
Speaker 10:
[85:10] He's being taken across the river. Fat Annie's place. Boulder Road. Is your car out front?
Speaker 18:
[85:15] No.
Speaker 10:
[85:15] Out of downtown. Good. Go get it. Make sure you're not tailed. Go to Fat Annie's. See Maggie Jackson. I'll try to shake the Dutchman's guns after the next number. But if I can't get over to Fat Annie's, you collect your father out of that shed and back, hit the highway north on the Kansas side. Are you got it?
Speaker 15:
[85:30] I... I'll never forget you for this, Mr. Kelly.
Speaker 10:
[85:34] Yeah, sure.
Speaker 7:
[85:42] All right, all right, let's settle down.
Speaker 10:
[85:44] Settle down, huh?
Speaker 7:
[85:48] What's up? Newlywed's in from St. Joe, been asking for a cornet solo for an hour.
Speaker 10:
[85:52] All right, what do you think?
Speaker 7:
[85:54] How about pigeon-toed Joe?
Speaker 10:
[85:56] My lip and you ask for that?
Speaker 7:
[85:59] All right.
Speaker 8:
[86:00] All right, pigeon-toed Joe, you got it?
Speaker 7:
[86:03] All right.
Speaker 10:
[86:05] I'll give you the pickup. Well, that's all for me tonight, Red.
Speaker 7:
[88:27] Let me see that. Yeah, you ain't fooling me. Your lips bleeding.
Speaker 10:
[88:32] We'll do the next set without me, huh?
Speaker 17:
[88:34] Oh man, that Lupo, he's sure making the deducts tonight.
Speaker 10:
[88:37] Where's the Erskine Park, Red?
Speaker 5:
[88:38] Around on 10th Street.
Speaker 7:
[88:39] You better put the top up, looks like rain.
Speaker 11:
[88:41] Yeah, all right. How long you gonna be gone?
Speaker 7:
[88:44] I said how long you gonna be gone?
Speaker 10:
[88:46] Depends on how much room is left in my valise. Well, I left the stand and headed for the men's room, just like nothing was happening. I bolted the door behind me, crawled out through the small window, dropped into the alley and lit out for 10th Street over fences and through backyards. Reds Erskine was right where it ought to be. I slammed over to 12th, rattled across the bridge, jolted down Boulder Road to Fat Annie's place. Halfway there, it started to rain. Inside Fat Annie's business was slow. There was nobody there. Maggie Jackson was making for a piano when I got inside.
Speaker 6:
[89:20] Hi, Pete.
Speaker 18:
[89:21] I'm glad you got here.
Speaker 14:
[89:22] We've got a tenant we should outback.
Speaker 10:
[89:24] Yeah.
Speaker 6:
[89:24] Yeah, with a short-term lease. Just a minute, Pete. That was nice, Ray. The place is really good tonight.
Speaker 10:
[90:43] Yeah, business is bad all over. Look, Maggie, how about the guy in the shed? Is he all right?
Speaker 6:
[90:46] He ain't bleeding none yet.
Speaker 10:
[90:47] Where's Barney?
Speaker 6:
[90:48] He just dropped the package like it was hot shit and then dusted.
Speaker 10:
[90:51] The girl get here yet?
Speaker 8:
[90:52] What girl's that?
Speaker 10:
[90:53] The tenant's daughter.
Speaker 6:
[90:54] No girl showed yet, Pete.
Speaker 10:
[90:55] Well, the minute she shows, Maggie, send her outside, will you?
Speaker 8:
[90:58] You going to the shed, Pete? Yeah.
Speaker 6:
[90:59] Best to go through the kitchen, straight out the back.
Speaker 10:
[91:02] Sure, thanks, Maggie. Doc, it's Kelly. Pete Kelly, Doc.
Speaker 9:
[91:20] Come in. Yes, the roof leaks, and I've run out of cigarettes. Sure. Here. Thank you. I'll give you a light. That's good.
Speaker 10:
[91:36] Yeah, now look, I think we're home safe. I'm getting you out of here.
Speaker 9:
[91:39] Tell me, why do you bother? What? I said, why do you bother?
Speaker 10:
[91:41] Look, Doc, don't confuse me.
Speaker 9:
[91:42] You're an anachronism, Mr. Kelly, a moral man in the immoral jungle.
Speaker 10:
[91:46] Now, look, I talked to your daughter. She'll be here soon.
Speaker 9:
[91:48] You talked to my daughter?
Speaker 11:
[91:49] Yeah, that's right.
Speaker 10:
[91:50] She's coming to pick you up.
Speaker 9:
[91:51] The small girl that had her eyes?
Speaker 10:
[91:52] Yeah.
Speaker 9:
[91:53] Mr. Kelly, I have no daughter.
Speaker 11:
[91:57] You don't?
Speaker 9:
[91:57] You talked to the Dutchman's mom.
Speaker 10:
[91:59] Yeah, but the license, her driving license, she showed me her driving license.
Speaker 9:
[92:02] Yes, she did.
Speaker 10:
[92:03] I believed her.
Speaker 9:
[92:03] Yes, an excellent actress. And you told her where I am. And she asked you anything else, what you might know about the Dutchman and me.
Speaker 10:
[92:10] Well, she asked. I knew nothing.
Speaker 9:
[92:11] You're sure? You're sure you're told you know absolutely nothing?
Speaker 11:
[92:14] Yeah, that's right.
Speaker 9:
[92:15] Then you're safe.
Speaker 11:
[92:15] You'll be all right.
Speaker 9:
[92:16] They'll forgive you for trying to help me. I finally did tell them where to find me and for that, they forgive me.
Speaker 10:
[92:22] All right, come on.
Speaker 11:
[92:23] Now let's get out of here.
Speaker 10:
[92:23] Let's get warm.
Speaker 9:
[92:24] No, Mr. Kelly.
Speaker 14:
[92:25] You'd better go quickly.
Speaker 10:
[92:27] Oh, I got a car. We'll make a run for it.
Speaker 9:
[92:28] No.
Speaker 10:
[92:28] But they'll be here any minute.
Speaker 9:
[92:30] And I'll be waiting for them. No use to run any more. Yeah. In some strange way, I began to realize that I'll welcome their arrival, but I don't want to escape. You see, it's impossible for a man to escape from himself. I am nothing more than the works I have done. It is those works which decide the ultimate fate of a man. Mine, and rightly so, are about to kill me. No. We cannot escape from what we have made of ourselves.
Speaker 10:
[93:07] Yeah, but look, you can start all over again. There have been others like this before. They ran, took the chance and ran.
Speaker 9:
[93:13] Strange. Things taught me in my youth. Things unremembered for years. My freshman days at school, and the words of Socrates when Crito urged him to delay the drinking of the hemlock as others before him had delayed. Yes, Crito, and they of whom you speak are right in so acting, for they think that they would be gainers by the delay. But I am right in not following their example, for I do not think that I should gain anything by drinking the poison a little later. I should only be ridiculous in my own eyes for sparing and saving a life which is already forfeit. Please, then, to do as I say, and not to refuse me. And so I ask you, Mr. Kelly, don't refuse me. Go now, please, for your sake.
Speaker 11:
[94:16] I'm all right.
Speaker 10:
[94:17] You're not all right.
Speaker 9:
[94:18] They're going to kill you.
Speaker 10:
[94:19] Don't you understand that?
Speaker 9:
[94:20] I understand.
Speaker 11:
[94:22] Yeah, sure you do.
Speaker 10:
[94:27] There's nothing more I can do?
Speaker 9:
[94:29] Nothing, except perhaps a cigarette.
Speaker 11:
[94:32] Sure, take the bag.
Speaker 9:
[94:34] No, two will do.
Speaker 11:
[94:37] Yeah. Goodbye, Kelly. Yeah?
Speaker 9:
[94:50] Please leave the door open.
Speaker 11:
[94:53] Yeah.
Speaker 13:
[95:21] Pete Kelly's Blues, starring Jack Webb, with story by Joe Eisenhower, and music by Dick Capco, scoring by Maddie Matlin. The music of Pete Kelly's Big 7 and Maggie Jackson is now available on Phonograph Records.
Speaker 5:
[95:44] The proceeding was transcribed.
Speaker 3:
[95:45] Now join The Great Gilda Sleeve on NBC.
Speaker 16:
[95:55] This one's about Pete Kelly.
Speaker 7:
[96:12] It's about the world that goes around him. It's about the big music, and the big trouble, and the big 20s.
Speaker 5:
[96:18] So when they ask you, tell them this one's about the blues, Pete Kelly's blues.
Speaker 16:
[96:37] Pete Kelly's Blues, starring Jack Webb, with story by Joe Isinger, and music by Dick Keppner.
Speaker 10:
[96:54] My name is Pete Kelly. I play cornet. You'll find us at 417 Cherry Street, Kansas City, on the Missouri side. It's a standard speakeasy.
Speaker 7:
[97:03] The slot in the front door is regulation sized.
Speaker 10:
[97:06] Just wide enough to frame a suspicious eye, and the bottoms of the shot glasses aren't quite thick enough to reach the top. It's a well-run orderly crib, the kind of a place the local prohibition agents can bring their wives to. The lease is owned by George Lupo. He's a fat, friendly little guy who always has his hand in his pocket. We start grinding every night about 10 and we play til Lupo runs out of inventory.
Speaker 11:
[97:27] But that's all right with us.
Speaker 10:
[97:28] He lets us play the kind of music we like. And on the breaks, he doesn't care how many nickels we throw into the pianola. Our nickels, his pianola. We were winding up the second set last night when Little Izzy came in. Little Izzy's a cab driver who's been working the joints up and down Cherry Street. He's carted more drunks than Lupo ever counted in his wildest dreams. And once a week he lights a candle to Mr. Volstead. But last night Little Izzy wasn't hauling a lush. She was a white haired gentle old lady, the motherly type that Mary Carr plays in Over the Hill.
Speaker 11:
[97:58] She looked around the crib nervous and bewildered as Little Izzy eased her down at the small table near the bar.
Speaker 10:
[98:04] He smiled at her as gently as Little Izzy can smile and started for the bandstand. Hi, Izzy.
Speaker 11:
[98:48] How's the taxi business?
Speaker 16:
[98:49] Yesterday, I picked her up, and I've been hauling her ever since, from barrel house to barrel house, from crib to crib.
Speaker 7:
[98:54] What's she looking for?
Speaker 1:
[98:55] A girl. What girl? Her daughter. Who's her daughter?
Speaker 7:
[98:59] A singer.
Speaker 1:
[98:59] What's her name?
Speaker 7:
[99:00] June Gould. June Gould. You know? You know this male? Yeah, she's a beautiful girl.
Speaker 10:
[99:08] I haven't heard about her for almost a year. She used to sing over at Maury's.
Speaker 7:
[99:11] So where's she now? You know? You know how?
Speaker 16:
[99:13] Where is she now?
Speaker 10:
[99:14] I don't know.
Speaker 7:
[99:15] Six, two and nothing.
Speaker 16:
[99:17] Every crib we hit, yeah, sure, I remember June Gould. But where is she now? Six, two and nothing.
Speaker 10:
[99:22] Well, look, maybe I can... Look, tell the old woman to wait. Maybe I can send up a flare.
Speaker 11:
[99:26] Oh, thanks.
Speaker 16:
[99:27] Thanks, Petey.
Speaker 11:
[99:27] Boy, I got it.
Speaker 7:
[99:28] So good. All right.
Speaker 11:
[99:30] Pete.
Speaker 7:
[99:31] What's going on? Yeah, Red. That June Gould?
Speaker 9:
[99:33] Beautiful girl?
Speaker 1:
[99:34] Yeah.
Speaker 7:
[99:36] Ever hear of Nails Norton?
Speaker 11:
[99:37] Yeah.
Speaker 9:
[99:37] Used to torch for her with a thousand watt torch.
Speaker 11:
[99:40] So?
Speaker 18:
[99:40] Said she wouldn't give me coffee that spilled in her saucer.
Speaker 9:
[99:42] So?
Speaker 7:
[99:43] I wouldn't go asking around about it.
Speaker 11:
[99:44] Well, let's do the number, huh?
Speaker 9:
[99:45] For sure.
Speaker 11:
[99:46] All right. Questioning good and bright. Here we go. Everybody ready? All right. All right, take five.
Speaker 10:
[102:08] Use some nickels, all right?
Speaker 9:
[102:09] Oh man, that loo-po is gonna get rich off us.
Speaker 1:
[102:13] Hey, this is Mr. Gould.
Speaker 11:
[102:15] How do you do, Mr. Gould?
Speaker 1:
[102:16] Mr. Gould, this is Pete Kelly.
Speaker 15:
[102:17] Mr. Kelly.
Speaker 1:
[102:18] Mr. Kelly, here said he'll take care of everything for you, Mr. Gould.
Speaker 10:
[102:21] Well, I didn't exactly say that.
Speaker 16:
[102:22] Your worries are over now, Mr. Gould, so I'll leave you with Mr. Kelly, and good luck.
Speaker 10:
[102:26] No, Indy, wait a minute, wait.
Speaker 15:
[102:27] Mr. Kelly, I don't know how to thank you. You've given me new hope. I was ready to.
Speaker 7:
[102:37] Sure, all right. Now, come on, it's going to be all right, Mrs. Gould, don't cry.
Speaker 15:
[102:40] I'm sorry, but it's so hard.
Speaker 10:
[102:44] Well, come on now, let's unglue it.
Speaker 7:
[102:45] Tell me about it.
Speaker 15:
[102:47] Well, my little girl, June, she was always a very beautiful child. We lived alone in Cleveland. Her father died when she was a baby. She always had a lovely voice. She came here to Kansas City to get a start as a singer. When was this? Two years ago. Last I heard, she was working in a place called Morris. She would write to me every week. Always send me a check for support. She's a good girl, Mr. Kelly. I'm so worried.
Speaker 10:
[103:26] How long haven't you heard from her?
Speaker 15:
[103:28] It's been more than six, seven months now. No letters. No letters at all. But each week a money order. But no letter.
Speaker 10:
[103:38] Each week you get a money order from her?
Speaker 15:
[103:40] Well, I don't know. There's no letter, no name. Just a money order to support me. Now finally, it's safe enough to come here to look for us.
Speaker 7:
[103:50] Yeah, I see.
Speaker 15:
[103:51] Oh, I've tried everything, Mr. Kelly.
Speaker 7:
[103:54] Yeah.
Speaker 10:
[103:55] All right, you wait here, Mrs. Gould. I'll buzz around. Maybe I can come back with some answers for you.
Speaker 15:
[103:59] And Mr. Kelly.
Speaker 7:
[104:01] Yeah.
Speaker 15:
[104:02] I beg you to promise me, no matter what the answers are, you tell me the truth.
Speaker 7:
[104:10] Yeah, sure.
Speaker 10:
[104:19] Well, the way I figured it, I could have told her the truth then, without even leaving the joint.
Speaker 11:
[104:23] But it wasn't easy, not when you looked into her eyes.
Speaker 10:
[104:26] But where were the money orders coming from? Well, I had to make a pass at it, so I borrowed Red Verst and Coupe, drove out to the edge of town where Maury's Country Club balanced itself neatly on top of a well-kept hill. Nobody could get into Maury's front door unless he showed a white tie. I got in through the kitchen and made for Maury's private office up on the second floor. Can I buy a minute of your time, Maury?
Speaker 7:
[104:50] Come in, Pete. What can I do for you?
Speaker 10:
[104:53] Do you remember a singer who worked for you, June Gould?
Speaker 7:
[104:56] Yes. Cigar? No, no thanks. June Gould. I remember June Gould. Why?
Speaker 10:
[105:05] You got an idea where she is now?
Speaker 7:
[105:07] Why?
Speaker 10:
[105:08] I'm trying to get a line on her.
Speaker 7:
[105:09] Why? For her mother.
Speaker 10:
[105:11] She's in town looking for her.
Speaker 7:
[105:12] I heard.
Speaker 11:
[105:13] Did she see you? She tried. You wouldn't see her?
Speaker 7:
[105:16] No.
Speaker 11:
[105:17] Why not?
Speaker 7:
[105:17] I had no information for her.
Speaker 10:
[105:19] You got some information for me?
Speaker 7:
[105:21] No, no information. But if you ask me, do I have advice, maybe that I got.
Speaker 11:
[105:26] Like what?
Speaker 7:
[105:27] Like stay away from this old lady, Kelly, or maybe you'll never live to be as old as she is. Yeah, I see.
Speaker 11:
[105:34] Thanks.
Speaker 7:
[105:37] Maury? Yeah. Is Nails Norton still in town? You know something, Kelly?
Speaker 11:
[105:42] Yeah.
Speaker 7:
[105:43] I can't figure how you live to be as old as you.
Speaker 11:
[105:51] And that did it.
Speaker 10:
[105:52] As clearly as he could, Maury was trying to tell me to go back to Lupo's, pick up my horn and blow myself to a comfortable old age. And I agreed with him. That was a smart thing for me to do. Go back to 417 and forget all about June Gould. So I hustled the Erskine back downtown, cut across the 12th Street bridge to the Kansas side, jolted down Boulder Road to Fat Annie's place and Maggie Jackson. Maybe more than a few people in town knew what had happened to June Gould. But if there was anybody who knew and who would tell me, it would be Maggie Jackson. Maggie was just going into a number when I walked in.
Speaker 15:
[106:22] It's just in time, Pete.
Speaker 6:
[106:23] I need some strong support.
Speaker 10:
[106:24] Hi, Maggie.
Speaker 6:
[106:25] How about helping me through one course of what have I done?
Speaker 10:
[106:27] I didn't bring my horn.
Speaker 6:
[106:28] How about Artie Hamilton?
Speaker 15:
[106:29] He's in the back room.
Speaker 6:
[106:30] He won't mind.
Speaker 15:
[106:31] Here.
Speaker 7:
[106:32] Well, okay. Wait a minute.
Speaker 10:
[106:33] You better let me try an A here.
Speaker 7:
[106:45] All right, I guess we can try it.
Speaker 15:
[106:46] All right, what have I done?
Speaker 6:
[108:14] Nice, Petey. Thanks a lot.
Speaker 11:
[108:16] Sure, Maggie. Here's Artie's horn.
Speaker 10:
[108:19] Look, Maggie, I need some information. Maybe you got an open line.
Speaker 6:
[108:22] What's bothering you, Petey?
Speaker 10:
[108:23] Maggie, you ever hear of a gal named June Gould?
Speaker 15:
[108:26] June Gould?
Speaker 10:
[108:27] Yeah, she worked over at Maury's over on the hill.
Speaker 15:
[108:29] Oh, yeah.
Speaker 6:
[108:30] Tall, flaming red hair with real green eyes.
Speaker 15:
[108:33] Yeah.
Speaker 6:
[108:33] And a voice like red velvet. What has it became of her?
Speaker 10:
[108:36] That's what I'm trying to find out, Maggie.
Speaker 15:
[108:38] Ain't thought about her in a long time. She just dropped out of sight suddenly, like last year's calendar.
Speaker 10:
[108:42] You got any idea, any idea at all, Maggie? Anything you heard?
Speaker 6:
[108:45] No, Petey. Never did know much about that gal. Said she used to bunk with another gal.
Speaker 15:
[108:49] Who?
Speaker 6:
[108:50] Danced at Dr. Cuban Casino.
Speaker 15:
[108:52] Name of Flora Acosta.
Speaker 7:
[108:53] Flora Acosta. Thanks, Maggie.
Speaker 15:
[108:56] Sure.
Speaker 6:
[108:56] Good luck, Pete.
Speaker 10:
[109:02] Well, a Cuban casino is a minor league trap over in Spanish towns. They deal strictly for the natives who are homesick for their own rhythm. Flora Costa was just going into her big finish. I folded myself into a corner and waited. Mr. Concher?
Speaker 18:
[109:32] Yes?
Speaker 10:
[109:32] Can I talk to you for a minute?
Speaker 18:
[109:34] Why is it?
Speaker 10:
[109:34] Well, it's kind of noisy out here.
Speaker 15:
[109:36] Well, I'm sorry, but I just...
Speaker 10:
[109:37] Look, have you heard from June Gould lately?
Speaker 18:
[109:40] Come into my dressing room, please.
Speaker 10:
[109:41] All right.
Speaker 15:
[109:46] Hello, little bird. Oh, you're such a happy little bird. Excuse me, senora.
Speaker 14:
[109:51] Another costume for my next number.
Speaker 10:
[109:53] Sure, it's all right.
Speaker 15:
[109:54] Now, tell me, who are you?
Speaker 10:
[109:56] Pete Kelly. I play Coronet over 417 Cherry.
Speaker 15:
[109:58] Oh, yes.
Speaker 14:
[109:59] Now I know.
Speaker 10:
[110:00] Well, I was told that you used to live with June Gould.
Speaker 14:
[110:02] Yes, right.
Speaker 10:
[110:03] You know where she is now?
Speaker 14:
[110:03] No.
Speaker 10:
[110:04] When did you see her last?
Speaker 15:
[110:05] A long time ago. I don't know.
Speaker 11:
[110:07] Did she say where she was going?
Speaker 8:
[110:08] No.
Speaker 15:
[110:08] She said, pack up and go.
Speaker 8:
[110:10] Goodbye.
Speaker 18:
[110:11] Goodbye, floor, my darling.
Speaker 15:
[110:12] She say and she go.
Speaker 18:
[110:13] That's how she was.
Speaker 10:
[110:14] That's how she was?
Speaker 15:
[110:15] Yes.
Speaker 10:
[110:15] Not how she is. Well, you said was like you don't think she is anymore.
Speaker 15:
[110:19] Well, I'm very sorry.
Speaker 18:
[110:20] You make too much English for me.
Speaker 12:
[110:22] Hello, little bird. Look at your happy little bird.
Speaker 10:
[110:27] Do you know any of her boyfriends?
Speaker 18:
[110:28] Boyfriend?
Speaker 10:
[110:29] Yes.
Speaker 14:
[110:29] Oh, she has lots of boyfriends. Also many.
Speaker 10:
[110:32] Nails Norton? One of her boyfriends, Nails Norton?
Speaker 14:
[110:36] Sorry, senor.
Speaker 10:
[110:36] Yes, I know. I make too much English for you.
Speaker 18:
[110:38] Well, she has so many boyfriends.
Speaker 15:
[110:40] It's very confusing.
Speaker 10:
[110:41] Did you meet any of them?
Speaker 15:
[110:42] Believe me, senor. It's so confusing.
Speaker 7:
[110:44] Yes.
Speaker 10:
[110:44] Do you remember any of her boyfriends?
Speaker 15:
[110:46] She pack all her bags and she say, Goodbye, floor.
Speaker 7:
[110:48] Goodbye, my darling.
Speaker 15:
[110:49] I'm going to be a bride.
Speaker 10:
[110:50] She was going to be married?
Speaker 15:
[110:51] She was going to be married.
Speaker 10:
[110:52] Who is he? The man she was going to marry.
Speaker 15:
[110:54] Oh, he's a very rich man. And she love him very much. And she's so happy.
Speaker 12:
[110:59] Goodbye, floor.
Speaker 15:
[111:00] She say goodbye, my darling.
Speaker 10:
[111:01] Yeah, I know. What's his name?
Speaker 15:
[111:02] His name is Bishop.
Speaker 14:
[111:05] You have an English name, Bishop?
Speaker 11:
[111:07] Bishop.
Speaker 18:
[111:07] Yes, Tom Bishop.
Speaker 15:
[111:08] Very rich man.
Speaker 7:
[111:09] You know where he lives?
Speaker 18:
[111:10] In a big house, a very rich house.
Speaker 11:
[111:12] The street?
Speaker 14:
[111:13] Well, I don't know, but a very rich street.
Speaker 7:
[111:14] Yeah.
Speaker 11:
[111:15] Well, thanks.
Speaker 15:
[111:15] Senor. Oh, you come to me with all these questions. You make me very sad, very worried about my friend.
Speaker 18:
[111:22] You think she's all right?
Speaker 11:
[111:23] Sure.
Speaker 18:
[111:24] Will you please let me know, Senor?
Speaker 15:
[111:26] I will be very sad, very worried about her.
Speaker 10:
[111:28] Sure.
Speaker 18:
[111:29] Thank you, Senor.
Speaker 12:
[111:31] Hello, little bird.
Speaker 15:
[111:33] Such a happy little bird.
Speaker 10:
[111:41] Well, I left the happy little bird and found me a city directory. Thomas Bishop, Vice President, Grundy Savings Bank and Loan. Residence, 440 North Camberwell. Well, the house was set well back from the street, surrounded by an ornate iron fence and a million dollars worth of shrubbery. I made the long trip to the front door on foot, punched the door buzzer.
Speaker 11:
[112:00] Yes? Mr. Bishop?
Speaker 14:
[112:02] Yes.
Speaker 11:
[112:02] My name's Pete Kelly.
Speaker 10:
[112:03] Is Mrs. Bishop at home?
Speaker 14:
[112:05] What do you want with her?
Speaker 10:
[112:06] Her mother's in town.
Speaker 14:
[112:07] Her mother?
Speaker 11:
[112:07] Yeah, she'd like to see her.
Speaker 14:
[112:09] Are you sure you have the right bishop?
Speaker 10:
[112:11] You're Thomas, Bishop, aren't you?
Speaker 14:
[112:12] Yes, but my wife's mother is dead.
Speaker 11:
[112:14] You sure?
Speaker 14:
[112:15] Of course I'm sure. I buried her.
Speaker 11:
[112:17] You buried her?
Speaker 14:
[112:18] Ten years ago. I'm sorry, young man. You must have the wrong bishop. No, no.
Speaker 10:
[112:21] I got the right bishop, but the wrong wife. What'd you do with June Gould?
Speaker 14:
[112:24] Be quiet.
Speaker 11:
[112:25] Afraid your wife will hear?
Speaker 14:
[112:26] What do you want?
Speaker 10:
[112:27] I want to know what happened to June Gould.
Speaker 14:
[112:28] Please, Mr. Kelly, not here.
Speaker 11:
[112:29] Police headquarters suit you better?
Speaker 14:
[112:30] I beg you, come away from the house.
Speaker 11:
[112:33] All right.
Speaker 10:
[112:34] Now come on, tell me about it.
Speaker 14:
[112:35] Mr. Kelly, I assure you...
Speaker 10:
[112:36] I don't want assurances. I want information. Where's June Gould?
Speaker 14:
[112:39] I don't know.
Speaker 10:
[112:40] You were going to marry her?
Speaker 14:
[112:41] It was a misunderstanding.
Speaker 10:
[112:43] You mean you already had a misunderstanding, right?
Speaker 14:
[112:45] June knew I was married, but we loved each other. We were going to run away.
Speaker 10:
[112:48] And what happened?
Speaker 14:
[112:49] I don't know.
Speaker 10:
[112:50] Now come on, you're going to have to do better than that.
Speaker 14:
[112:51] We decided we'd made all the arrangements and I never saw her again. I never heard from her. I searched everywhere, tried everything, but without success. Please believe me, Mr. Kelly, I'm telling you the honest truth.
Speaker 10:
[113:02] And you never got a line on her? No lead at all?
Speaker 14:
[113:04] Nothing, except a vague rumor that she'd been seen with a man named Maxie Finn.
Speaker 10:
[113:09] Maxie Finn?
Speaker 11:
[113:10] The two bit bookie?
Speaker 14:
[113:11] Yes. I was shocked when I learned what he is. I couldn't believe that she would-
Speaker 10:
[113:15] Yeah, leave the great Mr. Bishop for a mouse like Maxie Finn. That's what needled you, huh?
Speaker 14:
[113:20] No, Mr. Kelly. I don't blame you for thinking that. But the truth is, I loved her. She was the most beautiful woman I'd ever seen. And for the first time in my life, you see, I married when I was very young, calculatingly, to put myself ahead in the world. Well, my marriage gave me what I thought it would, great financial success. But I didn't realize I was only living half a life until I met June.
Speaker 10:
[113:47] Yeah. Did you talk to Finn?
Speaker 14:
[113:50] No, not directly. But I did have communication with him.
Speaker 7:
[113:54] Cautious, huh?
Speaker 14:
[113:55] Yes. But for June Gould, to spend the rest of whatever life I have left with her, I was ready to throw away all caution.
Speaker 11:
[114:02] You asked Finn about her?
Speaker 14:
[114:04] Yes.
Speaker 10:
[114:04] What word did he send back?
Speaker 14:
[114:06] Only two.
Speaker 11:
[114:08] Yeah. All right.
Speaker 10:
[114:10] I'm going to buy your story, but if it doesn't hang together, I'll be back for another one. Well, I knew where to find Maxie Finn at the dice table in back of Sartori's garage. I pointed the Erskine for downtown KC. Maybe Bishop's story would hang together and maybe it wouldn't. Traffic in back of Sartori's garage was heavier than out front. The crapped table was getting a big play. I spotted Maxie Finn's pasty face hanging over the one buck line.
Speaker 3:
[114:39] And the number is five.
Speaker 11:
[114:40] Make the pointer, break the joint.
Speaker 1:
[114:45] And the man throws.
Speaker 5:
[114:46] Days in the week, pass the dice and make some ice.
Speaker 7:
[114:49] All right, get aboard, boys.
Speaker 11:
[114:50] Get aboard. Get aboard.
Speaker 10:
[114:52] I got to talk to you.
Speaker 7:
[114:53] On the roll.
Speaker 5:
[114:54] And the dice read, days in the week, seven of the man's down.
Speaker 11:
[114:56] Pass the dice and make some ice.
Speaker 5:
[114:58] Everybody wins.
Speaker 10:
[114:58] Everybody plays.
Speaker 11:
[115:00] Lay it on the line.
Speaker 7:
[115:01] We pay it on the line.
Speaker 14:
[115:02] Nothing but throw out the line.
Speaker 10:
[115:03] All right, let's get over here, Finn.
Speaker 11:
[115:04] It's important.
Speaker 14:
[115:05] What's your problem, Kelly?
Speaker 18:
[115:06] I let you take it right or wrong, I go along.
Speaker 7:
[115:08] All right, Kelly, I'm on the sock.
Speaker 11:
[115:09] My arm's cooling off.
Speaker 7:
[115:10] What's the hustle? June Gould. What? June Gould. You lost me.
Speaker 11:
[115:14] You sent word to Bishop Drop Dead. I send you the same. All right, come on.
Speaker 10:
[115:17] What happened to June Gould, Maxie?
Speaker 7:
[115:19] To me, you read like boxcars.
Speaker 11:
[115:20] Goodbye, Kelly.
Speaker 7:
[115:21] Come here. Now where is she?
Speaker 10:
[115:23] All right, come on.
Speaker 11:
[115:23] What did you do to her? Nothing.
Speaker 7:
[115:26] I see her for maybe a couple of months, that's all.
Speaker 10:
[115:28] Why didn't she meet Bishop?
Speaker 7:
[115:29] She never said.
Speaker 11:
[115:30] Where'd she go after she left you?
Speaker 7:
[115:31] I don know.
Speaker 10:
[115:31] But you got a pretty good idea. You got all I know.
Speaker 11:
[115:35] All right.
Speaker 7:
[115:37] Maybe I can get a lie.
Speaker 14:
[115:38] I'll call you.
Speaker 7:
[115:39] I'll try and I'll call you.
Speaker 10:
[115:40] All right. At Lupo's.
Speaker 7:
[115:41] Yeah.
Speaker 14:
[115:41] Yeah, I promise.
Speaker 7:
[115:42] At Lupo's.
Speaker 10:
[115:42] Just to make sure you keep your promise, Max. Here's a nickel. If you don't use it, I'll be back to take it away from you. Well, I had to leave it that way. I knew that by pushing Maxie Finn around, I'd started something in motion. There'd have to be a reaction. Back at 417, I found Mrs. Gould right where I'd left her. She looked up at me anxiously as I went over to her table.
Speaker 15:
[116:06] Any news, Mr. Kelly?
Speaker 7:
[116:07] I'm waiting for word now, Mrs. Gould.
Speaker 15:
[116:10] Do you think that...
Speaker 7:
[116:11] Mrs. Gould, I don't think.
Speaker 10:
[116:12] This is the time for waiting. It's the toughest time of all.
Speaker 11:
[116:14] Where are you stopping?
Speaker 15:
[116:16] The Jefferson Hotel.
Speaker 10:
[116:17] All right, now look, you go back there. Don't argue. You're sitting in this trap the rest of the night.
Speaker 11:
[116:22] Get yourself some rest.
Speaker 10:
[116:23] I'll call you as soon as I get word.
Speaker 15:
[116:25] All right, Mr. Kelly, I'll do as you say. Somehow I feel you're the only one who could help me.
Speaker 11:
[116:32] All right, Mrs. Gould, bye.
Speaker 10:
[116:39] All right, let's hold it down, hold it down.
Speaker 9:
[116:40] Come on, Peter, let's get with it.
Speaker 7:
[116:42] We lost all our business and we're out of nickel.
Speaker 11:
[116:44] All right. What's up?
Speaker 9:
[116:47] Blues and B-flat.
Speaker 7:
[116:48] All right, I'll give you the pickup. All right. Feedy.
Speaker 11:
[118:14] Yeah. Nailed Norton.
Speaker 7:
[118:16] Heading this way. Yeah. Kelly.
Speaker 11:
[118:19] Yeah?
Speaker 18:
[118:20] Come on, come on, come on.
Speaker 11:
[118:22] What for?
Speaker 15:
[118:36] Now, you forget all of our June Gould things.
Speaker 14:
[118:39] Next time I drop you, you won't get up ever.
Speaker 10:
[118:46] Well, I pulled myself together from all corners of the joint, raced for the Erskine, walloped it downtown to Sartori's garage. I felt no pain, nothing but a wild flaming anger. I had all my connections from Maggie to Floor to Bishop to Finn to Nails. Finn to Nails Norton. Finn kept his promise all right. He used the nickel, but not to call me. The crap game was still hot, but Maxie Finn had lambed.
Speaker 11:
[119:08] I tore around town and finally caught up with Finn in the back room at Joe Donaghan.
Speaker 10:
[119:11] He saw me coming, turned a dirty gray, and tried to duck out the back. He never made it. The first word I threw at him was a right from the floor.
Speaker 18:
[119:18] All right, Maxie.
Speaker 12:
[119:20] Please, please, Kelly.
Speaker 14:
[119:24] Stop it, Kelly, stop it.
Speaker 10:
[119:25] All right. You called Nails Norton.
Speaker 14:
[119:29] I had to.
Speaker 10:
[119:29] You told him I'm looking for June Gould. Now give me the truth.
Speaker 14:
[119:32] 725 Baltimore.
Speaker 10:
[119:34] Louder.
Speaker 7:
[119:35] June.
Speaker 14:
[119:37] 725 Baltimore.
Speaker 7:
[119:38] The truth, Kelly. The truth. 725, room 6.
Speaker 10:
[119:42] All right, Maxie. If you ain't leveling this time, I'll break you in two. 725 Baltimore was only three traffic violations away from Joe Donaghan. It wasn't much of a place and never was. I found room 6 on the second floor.
Speaker 1:
[119:59] I wrapped in the door and waited. I wrapped again. The door was opened wide. First thing I saw across the room was something popped up in a chair. It was all wrapped up in a quilted bathrobe that the house dog probably refused. Long lifeless hair straggled down onto the shoulders. It must have been a woman, but I wouldn't swear to it in the court of law. You couldn't tell by the face, a mass of gnarled scarred tissue, the mouth pulled into a permanent sixth grin. A bottle of gin was held on a broomstick hand. The first shock over, I looked at the man behind the door. That was the second shock, the one I didn't get over, Nails Norton. All right, Nails, tell him to come all the way in.
Speaker 4:
[120:37] Go ahead. You got a strong stomach, Kelly? Says if you ain't, you better look the other way. Nails here, he's got a good strong stomach, ain't he, man?
Speaker 1:
[120:52] Yes, June. June.
Speaker 4:
[120:54] Yeah, I'm June. June Gould, the beauty.
Speaker 1:
[120:58] Yeah.
Speaker 2:
[120:59] Well, you finally found me, Kelly.
Speaker 4:
[121:01] You'll take a good look. Let me remember on those long nights when you can't sleep.
Speaker 1:
[121:08] What happened?
Speaker 4:
[121:10] You want to know what happened, then?
Speaker 3:
[121:11] I'm good for you, dear. Let me take you home.
Speaker 4:
[121:13] No, I'll tell him. Acid.
Speaker 3:
[121:15] That's what happened. Who?
Speaker 4:
[121:17] Some bishop's wife.
Speaker 2:
[121:19] But he doesn't know.
Speaker 4:
[121:20] Nobody knows. Except his wife, Maxie Fennanayle. Now you.
Speaker 1:
[121:26] Yeah.
Speaker 4:
[121:27] She knew about me and Tom. He came before I could meet him with the acid.
Speaker 1:
[121:33] You never did anything to her. Never.
Speaker 4:
[121:35] What could I do that would give me back my face? No. Let her live with it. Maxie Fennanayle found me like that, took care of me. All the while, Nails here, he was looking for me. Nails, he always cared for me. Didn't he, Nails? Yes, he did.
Speaker 2:
[121:54] Now, Nails takes good care of me.
Speaker 4:
[121:56] He said, I have everything I need. And all I need is a quarter day.
Speaker 2:
[122:02] All I need and all I want.
Speaker 4:
[122:05] Nails is a good boy.
Speaker 2:
[122:07] He can send my mother money every week.
Speaker 4:
[122:09] You're a good boy.
Speaker 1:
[122:11] Yeah, he's in Kansas City, your mother.
Speaker 2:
[122:14] Yeah, I heard.
Speaker 4:
[122:16] Why, Nails tried to stop you.
Speaker 1:
[122:19] Well, why don't you? You could write to her.
Speaker 4:
[122:22] No, letters can be traced.
Speaker 1:
[122:23] Yeah, but she's worried sick about you. If you could only let her know. What?
Speaker 4:
[122:27] Let her know what? You think I want to let her see me like this? You think she can see me like this? Yeah. Go ahead, Kelly. You'll find me. Tell her. Bring her to see me. Make the rest of her days happy. Yeah.
Speaker 1:
[122:55] Kelly.
Speaker 2:
[122:57] Yeah.
Speaker 1:
[122:58] What do you got to do? Apologize to Maxie Finn.
Speaker 3:
[123:22] Pete Kelly's Blues.
Speaker 2:
[123:24] Starring Jack Webb, with story by Joe Isinger, and music by Nick Katzger. Scoring by Matti Matlock.
Speaker 3:
[123:53] The music of Pete Kelly's Big 7 consists of Dick Cascard on clarinet, Matty Matlock on clarinet, Nick Patuul on drums, Ray Sherman on piano, George Bannett on guitar, Judd Benoist on bass, Mo Schneider on trombone. The songs of Maggie Jackson were written by Arthur Hermogen.
Speaker 5:
[124:26] We just heard Jack Webb in Pete Kelly's Blues. That will do it for this week's show. Thanks so much for joining me. I hope you'll be back next week for more Old Time Radio Detectives. In the meantime, you can check out Stars on Suspense, my other Old Time Radio podcast. New episodes of that show are out on Thursdays. If you like what you're hearing, don't be a stranger. You can rate and review the show on Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com/meanstsotr. I'll be back next week with more Old Time Radio Crime Solvers, but until then, good night and happy listening.
Speaker 4:
[125:41] Now here is our star, Vincent Price. Ladies and gentlemen, in a prejudice-filled America, no one would be secure in his job, his business, his church or his home. Yet racial and religious antagonisms are exploited daily by quacks and adventurers whose followers make up the irresponsible lunatic fringe of American life, refuse to listen to or spread rumors against any race or religion, help to stamp out prejudice in our country. Let's judge our neighbors by the character of their lives alone and not on the basis of their religion or origin.