FRANK LOVEJOY TRIBUTE

Written and produced by

John F. Barber

Creative Commons Attribution-Non-Commercial-NoDerivs 3.0 United States License.
2025 Re-Imagined Radio. All rights reserved (except those granted by the Creative Commons license)

Re-Imagined Radio
Season 13, Episode 05

Final draft

Frank Lovejoy Tribute

A productive, dependable voice actor

Re-Imagined Radio
Season 13, Episode 05
Final Draft

Premier broadcast: May 19, 2025

Written, Produced, Hosted by
John F. Barber

Sound design, Music composition, Post-production by Marc Rose

Graphics by Holly Slocum with Evan Leyden

Social Media by Rylan Eisenhauer

Synopsis
Re-Imagined Radio samples from This Is Your FBI, The Blue Beetle, Murder and Mr. Malone, and Night Beat radio programs to showcase Frank Lovejoy as a productive and dependable voice actor. From our Tribute series.

Credits
This Is Your FBI, "Espionage," Episode #1, April 6, 1945

The Blue Beetle, "Origin Story" and "Smashing the Dope Ring," Episodes #1 and #2, May 15 and 17, 1945

Murder and Mr. Malone, "The Paul Davis Case," Episode #20, May 24, 1947

Night Beat, "Elevator Caper," Audition and Episode #14, May 8, 1950

Color Code
Yellow highlighted text = sound effect(s), either pre-recorded or created for episode. Pre-recorded audio is used as content in this episode.

MUSIC = pre-recorded

MUSIC = bespoke, created for this episode

COLD OPEN
SFX: COLD OPEN, SAMPLES FROM "THIS IS YOUR FBI," "ESPIONAGE," EPISODE #01, FRANK LOVEJOY, NARRATOR, BEGINS WITH MUSIC
FRANK LOVEJOY
Early in February, three letters were brought to the attention of the FBI. Three pleasant letters, type written in English. Three innocent letters, intercepted on their way to Switzerland. Three friendly letters containing, among other bits of information, a report and description of the newest battleship launched by our Navy.
At 2:30 p.m. on the 5th of May, Willie Sebring left his house, walked to the corner and waited for a bus. He never caught that bus because two special agents from the FBI came up, identified themselves, and asked him to go with them to their New York office to answer some questions. At 3:15 that afternoon, he sat in Conference Room C on the Sixth Floor of the FBI office in New York.
[MUSIC]
ANNOUNCER
The incidents used in tonight's broadcast are taken from the files of the Federal Bureau of Investigation. The music for tonight's performance was under the direction of Van Cleave. The author was Lawrence McCarthur, and your narrator was Frank Lovejoy.
THEME AND ANNOUNCER
MUSIC: RIR OPENING THEME
ANNOUNCER
Welcome to Re-Imagined Radio, a program about sound-based storytelling. With each episode we explore how dialogue, sound effects, and music can engage your listening imagination and promote storytelling. Here to tell you about THIS episode is John Barber, producer and host.
MUSIC: RIR OPENING THEME OUT
HOST OPEN
HOST
Hello everyone. This is our "Frank Lovejoy Tribute."
Frank Lovejoy is not well known today, despite his appearances in MANY radio programs from the 1930s to the 1950s.
With this tribute, we sample from four programs in which Frank Lovejoy had continuing or starring roles: This Is Your FBI, The Blue Beetle, Murder and Mr. Malone, and Night Beat.
We hope to elevate awareness of Frank Lovejoy and his many contributions to radio storytelling. For more information, and the episode script, visit our website, reimaginedradio dot fm.
Thank you for listening as Re-Imagined Radio presents "Frank Lovejoy Tribute."
MUSIC: FOR TRANSITION
HOST INTRODUCTION
HOST
Frank Lovejoy's distinctive voice and acting skills were heard on several pioneering radio serials during the 1930s as well as several of radio's top dramas and anthologies during the 1940s and the 1950s.
For example, we heard him earlier as the narrator of the first episode of This Is Your FBI, April 6, 1945.
With The Blue Beetle, Lovejoy stepped up, from narrator to star, as Police rookie Dan Garrett who pursued criminals as a costumed vigilante known only as The Blue Beetle.
Let's listen to samples from the first two episodes of the series, May 15 and 17, 1945, to learn how Garrett becomes The Blue Beetle and how he single-handedly smashes a drug ring in The Great City.
ACT 1: THE BLUE BEETLE
SFX: SAMPLES FROM "THE BLUE BEETLE," EPISODE #01, FRANK LOVEJOY, STARS AS THE BLUE BEETLE, BEGINS WITH BLUE BEETLE SOUND EFFECTS.
ANNOUNCER
The Blue Beetle! In reality Dan Garrett, a rookie patrolman loved by everyone but suspected by none of being The Blue Beetle
MUSIC: STINGER
ANNOUNCER
As The Blue Beetle he hides behind a strange mask and a suit of impenetrable blue-chain armor. Flexible as silk but stronger than steel.
MUSIC: SUSPENSEFUL
NARRATOR
As our story opens, patrolman Dan Garrett, Mike Mannigan, and Charlie Stahl, ace reporter of the York City Sun, are standing on the corner, watching a hotel suspected of being the dope-ring headquarters.
GARRETT
Hey look!
MANNIGAN
What?
GARRETT
That shabbily dressed man. He just came out of that side entrance and gave a cigarette to that kid standing there.
MANNIGAN
So what?
GARRETT
Looks like the kid gave him some money for it.
MANNIGAN
He's a dope peddler. He's selling dope cigarettes. Marijuana!
GARRETT
Marijuana! Boy, here's where I make a pinch. Hey, you there. I want to talk to you.
MAN
Come and get me copper.
GARRETT
Oh, yeah? You got to travel fast to get away from me, brother.
STAHL
Hey, look. That car there. There's a machine gun! Look out, Danny!
SFX: CAR MOTOR, MACHINE GUN FIRE.
MUSIC: TENSE, SUSPENSEFUL
NARRATOR
Later, Danny was operated upon and a machine gun bullet removed from his abdomen. For days he hovered between life and death. And one night when all was quiet, a strange man slipped by the nurse and stood beside Dan's bed.
DR. FRANZ
Dan? Dan Garrett?
GARRETT
Who is it? Who's calling, Dan Garrett?
DR. FRANZ
It is I, Dr. Franz, your friend. I've got something for you.
GARRETT
Hello Doc.
DR. FRANZ
Now listen, Danny. I want you to take this capsule. It's my secret 2X formula. My formula will save your life, restore you to health in 24 hours. It will also give you greater vitality, keener eyesight, almost superhuman mentality, and will give you abnormal strength.
GARRETT
Give it to me. Got to get out of here. There's important work to be done, and I've got to do it.
NARRATOR
The next morning, to the surprise of everyone, Dan Garrett was completely recovered. Dan insisted on being released from the hospital and restored to duty. By mid-afternoon, he's back on his beat, fully recovered to health and strength by Dr. Franz's magic formula.
Out into the night went Dan Garrett. But a changed Dan Garrett. No longer is he in the blue uniform of the city's finest. He wears blue, but it's the blue chain armor of The Blue Beetle.
SFX: BLUE BEETLE SIREN
CRIMINAL
The Blue Beetle!
SFX: GUNSHOTS
BLUE BEETLE
It's no use. Your bullets can't pierce this chain armor I'm wearing.
SFX: SOUNDS OF A STRUGGLE
BLUE BEETLE
It's no use to struggle. The Blue Beetle is stronger than you are. I see you recognize my little calling card. The sound of my magic ray machine and the Little Beetle always signifies the presence of the Blue Beetle.
NARRATOR
Like a bloodhound on the trail once he gets the scent, The Blue Beetle sped on his mission. And like the bloodhound, he'll never let up till he runs his quarry to earth.
Through the silent night, down by the waterfront, two powerful cars are speeding along. The first car is full of men. Hard-looking men. Desperate men. Killers all.
But who is this lone occupant of the second car? Ah, yes. It is The Blue Beetle.
SFX: AUTOMOBILE SPEEDING ALONG HIGHWAY
BLUE BEETLE
They're slowing down. They're turning into that warehouse. That's my gang all right. Just the spot I was headed for. Closing the iron door to the warehouse. I'll soon blast them open the special bombs Dr. Franz made for me.
SFX: EXTERIOR, CAR STOPS, CAR DOOR CLOSES
BLUE BEETLE
All right, you mugs! Don't close that door or I'll blow you all to kingdom come.
CRIMINAL 1
That's The Blue Beetle. What's he got in his hands?
CRIMINAL 2
That's a bomb.
CRIMINAL 3
Go on and drill him!
BLUE BEETLE
Go ahead and shoot. Your bullets can't hurt The Blue Beetle.
SFX: MULTIPLE GUNSHOTS
Ah, ha, ha what did I tell you? Now it's my turn. Here goes your door. Here I come. You better drop your guns, or I'll let you have another bomb.
CRIMINAL
OK, Blue Beetle. You win.
BLUE BEETLE
That's a nice collection of dope you've got in these cans.
SFX: POLICE SIRENS HEARD IN THE DISTANCE, APPROACHING.
BLUE BEETLE
Here comes the law. Wait until the DA gets through with you, there'll be a few less criminals in this world.
MUSIC: FOR TRANSITION, FROM THE BLUE BEETLE.
HOST
You're listening to Re-Imagined Radio. Our episode is "Frank Lovejoy Tribute." For more information, visit the episode page at our website, reimaginedradio dot FM.
MUSIC: RIR FUSEBOX THEME FOR INTRO
THE FUSEBOX BREAK
HOST
This is John Barber, producer and host of Re-Imagined Radio. If you're concerned with the state of current events and news, "The Fusebox Show" podcast is definitely for you.
Produced by Marc Rose, Milt Kanes, Jeff Pollard, and Regina Carol, each episode features unique conversation and commentary. Here's a sample.
SFX: THE FUSEBOX SHOW TEASER
MUSIC: FUSEBOX THEME, FADE UNDER AND OUT FOR THE FOLLOWING
HOST
Learn more, and subscribe to the podcast at The Fusebox Show website, thefuseboxshow dot com.
MUSIC: FUSEBOX THEME, FADE UNDER AND OUT FOR THE FOLLOWING
ACT #2: MURDER AND MR. MALONE
HOST INTRODUCTION
HOST
You're listening to Re-Imagined Radio. Our episode is a tribute to Frank Lovejoy, who appeared in several radio serials, dramas, and anthologies from the 1930s to the 1950s.
We're sampling from those in which he had recurring or starring roles.
Our next sample is taken from Murder and Mr. Malone, a crime drama in which Lovejoy stars as John J. Malone, who has a reputation as the best criminal defense lawyer in Chicago.
Episodes of Murder and Mr. Malone follow a formula. The beginning introduces the characters and a crime. The middle follows Malone as he turns detective and questions everyone, using any tactic short of violence. The ending is Malone's recounting of how he determined the guilty party.
You'll hear this formula at work as we sample from "The Paul Davis Case," an episode of Murder and Mr. Malone, May 24, 1947.
SFX: SAMPLES FROM "THE PAUL DAVIS CASE," EPISODE #20,FRANK LOVEJOY STARS AS JOHN J. MALONE.
SFX: TWO GUNSHOTS . . . JIGGLING TELEPHONE RECEIVER. SOME ONE SAYS, "OPERATOR, OPERATOR, GET ME THE OFFICE OF JOHN J. MALONE."
MUSIC: SUSPENSEFUL
MALONE
Malone is the name. John J. Malone, attorney and counselor at law. They say one of the qualifications of a good lawyer is a sense of humor. I wouldn't know about that. For example, I never could appreciate the humor of a certain Mr. Charles Morgan. Morgan was a big-time gambler in Chicago, whose practical jokes I found a little too strong for my tastes, and on this Saturday afternoon, Morgan and a beautiful blonde model named Linda Stevens were planning one of his best in a car parked in front of the Club 86 on Chicago's South Side.
MORGAN
Now, you understand what you're supposed to do, Linda?
LINDA STEVENS
I'm not too sure, Mr. Morgan.
MORGAN
Just want to make a sucker out of Davis.
LINDA STEVENS
Davis?
MORGAN
Yeah, his name's Paul Davis. A thin little guy with red hair and pop eyes. You won't have any trouble spotting him. He owns the joint. He'll be in the corner booth.
LINDA STEVENS
But, uh, suppose your friend doesn't show any interest in me?
MORGAN
I'm not at all worried. When Davis sees you, he'll start baying at the moon.
LINDA STEVENS
But at the beginning, you want me to act insulted.
MORGAN
Right. That's so he shouldn't become suspicious. Then thaw out and let him buy you a couple of drinks.
LINDA STEVENS
And after that?
MORGAN
Well, he'll probably want to take you out for the evening. You tell him first you have to make a stop at your apartment.
LINDA STEVENS
I don't think I like that, Mr. Morgan.
MORGAN
What's there not to like? Perfectly on the up-and-up. When you get to your place, I'll be waitin' for you.
LINDA STEVENS
And that's where you're gonna tell Mr. Davis it's just a joke?
MORGAN
Yeah. I can hardly wait to see him when he learns it's a gag. Why, I'll bet he'll practically die laughing.
SFX: KEY UNLOCKS APARTMENT DOOR, DOOR OPENS
LINDA STEVENS
Well, come in.
PAUL DAVIS
Thanks. Hey, nice layout you got here, Linda. I, uh, think I'm gonna like this.
MORGAN
I wouldn't bet on that, Davis.
PAUL DAVIS
Morgan!?
LINDA STEVENS
Oh, then you do know each other. 
DAVIS
[TO LINDA] You dirty little double-crosser.
LINDA STEVEN
Oh, no. He told me it was a joke.
MORGAN
Oh, the joke's over now, honey, so you can beat it.
LINDA STEVENS
Now see here Mr. Morgan . . .
MORGAN
I said beat it. If you're a smart girl, you keep your trap closed. Now, go on.
DAVIS
I . . . Listen, Morgan . . .
MORGAN
Shut up. I don't want any conversation with you, Davis. I just want my dough. Sixty grand, you owe me.
DAVIS
Look, Morgan . . . suppose I pay you a little at a time.
MORGAN
What do you call a little?
DAVIS
I can give you a ten grand now. And the balance . . .
MORGAN
Take your hands down.
DAVIS
I was just gonna get my wallet.
MORGAN
You got that dough on you?
DAVIS
Oh, yeah, yeah.
MORGAN
Okay, let's have it.
DAVIS
Oh, sure, sure. I was gonna give it to you all the time. All right, Morgan, get 'em up.
MORGAN
Put away that gun, Davis.
DAVIS
Well, Mr. Morgan, who's the joke on now?
MORGAN
I guess it's me.
DAVIS
And you're not kidding.
SFX: DOOR OPENS
MORGAN
That's okay, Davis. I'll see you again. And I'll lay you odds. Next time, you won't be this lucky.
JOE HUDSON
[FADING IN] Get this, Mr. Lyons, 'cause you'll enjoy it. After Morgan goes to all that trouble, Davis pulls a gun on him and leaves him with his tongue hanging out.
RAYMOND LYONS
That's very amusing, Hudson. What happened after that?
JOE HUDSON
Oh,  Morgan started looking for him again.
RAYMOND LYONS
What do you think will happen if he finds him this time?
JOE HUDSON
The same thing, Mr. Lyons.
RAYMOND LYONS
You don't believe Morgan will kill him?
JOE HUDSON
Naaah. Morgan's all talk.
RAYMOND LYONS
You think so?
JOE HUDSON
I know so. Take it from me, Mr. Lyons. It's all a bluff.
RAYMOND LYONS
That's too bad, Hudson. It would be worth a lot of money to me if it weren't.
JOE HUDSON
Uh, what have you, uh . . . What have you got against Davis, anyway?
RAYMOND LYONS
That is none of your business. Either you want the job, or you don't.
JOE HUDSON
Well, as long as you put it on that basis, Mr. Lyons, let me think it over.
SFX: COINS INSERTED INTO PAY TELEPHONE. DIALING, RINGING.
PIERRE
(FILTERED BY TELEPHONE) Club 86. Good evening.
DAVIS
(ECHO FROM TELEPHONE BOOTH) Hello Victor? This is Mr. Davis.
PIERRE
Oh, yes, Mr. Davis.
DAVIS
I'm in a phone booth at the corner of State and 46th. Ahh . . . Anybody been around the joint asking for me?
PIERRE
Several gentlemen.
DAVIS
What did you tell 'em?
PIERRE
That I hadn't heard from you all day.
DAVIS
Oh, good. Good. Is Norma there?
PIERRE
Who?
PIERRE
My wife.
PIERRE
No. Mrs. Davis has not been in all evening.
DAVIS
Well, when she gets there, tell her that . . .
SFX: TAPPING ON TELEPHONE BOOTH
DAVIS
Hey, cut that out!
PIERRE
What's the problem, Mr. Davis?
DAVIS
Ah, some character wants to use the phone. Hold it a second, Victor, 'til I take care of this pest.
SFX: TELEPHONE BOOTH DOOR OPENS
DAVIS
Listen, you, how would you like a good punch in the nose, eh?
SFX: TWO GUNSHOTS. DAVIS CRIES OUT, FALLS TO FLOOR OF TELEPHONE BOOTH
MUSIC: DRAMATIC TRANSITION
MALONE
Well, as you've probably guessed, Paul Davis never did complete that phone call. Thirty-five minutes later, he was on a slab in the Morgue and the cops in Chicago were out looking for Charles Morgan.
But apparently they weren't looking in the right places, for when I came home that afternoon, I found my door unlocked. No sooner had I opened the door I was challenged with . . .
MORGAN
That you, Malone?
MALONE
What the devil?
MORGAN
Shut the door.
MALONE
Now listen, Morgan.
MORGAN
Shut it. Just keep your hands right where they are.
MALONE
What are you doing here?
MORGAN
I'm hot. Or haven't you heard?
MALONE
That still doesn't answer my question.
MORGAN
I don't see why not. I'm wanted for murder. You're the best lawyer in Chicago. Doesn't that add up?
MALONE
Not to my liking, Morgan. You'd better get somebody else.
MORGAN
Listen, Malone. Maybe I haven't handled it right, but I didn't kill Davis.
MALONE
Why don't you tell that to the police?
MORGAN
I don't think for a minute they'd believe me.
MALONE
Suppose I told you that I don't either.
MORGAN
Listen, Malone. I know you don't like me. But give me credit for a little intelligence. If I was gonna knock off Davis would I shoot my mouth off all over town.
MALONE
So?
MORGAN
I tell you I didn't kill him.
MALONE
And who did?
MORGAN
I have no idea.
MALONE
Okay Morgan I'll see what I can do for you but first I want you to surrender to the cops . . .
MORGAN
Oh, no . . .
MALONE
Then it's no deal.
MORGAN
Now wait a minute Malone, I'll make your proposition.
MALONE
I'm not interested.
MORGAN
Oh for Pete's sake give me a chance will ya? Thought a man is presumed innocent until . . . You lawyers just say that 'cause it sounds good.
MALONE
Well, we haven't...
MORGAN
I'm convinced with any luck, you can clean this up in a couple of hours. If you haven't by then, I'll give myself up.
MALONE
What'll you do in the meantime?
MORGAN
Stay right here.
MALONE
And what's to prevent me from walking out and calling the police?
MORGAN
Nothing.
MALONE
Oh, you, uh . . . Just trust me, huh?
MORGAN
That's right.
MALONE
Well, this is against my better judgment, Morgan. But you've got yourself a lawyer.
MUSIC: TRANSITION
SFX: EXTERIOR, STREET NOISE, DOOR BUZZER, DOOR OPENS
NORMA DAVIS
Yes?
MALONE
Mrs. Norma Davis?
NORMA DAVIS
That's right.
MALONE
My name is John J. Malone. I'm sorry to bother you at a time like this, but I'd like to ask you some questions about your husband.
NORMA DAVIS
I've told the police everything I know.
MALONE
I'm, uh, working on a different angle.
NORMA DAVIS
(EXASPERATED) Come in.
MALONE
Thank you.
SFX: INTERIOR, DOOR CLOSES, TRAFFIC NOISE OUT
NORMA DAVIS
Now, what is it you want to know?
MALONE
Do you have any ideas who might have killed your husband.
NORMA DAVIS
Yes. Charles Morgan.
MALONE
I mean, besides Morgan.
NORMA DAVIS
No. Paul didn't have an enemy in the world.
MALONE
Well, that's not true, Mrs. Davis. Your husband wasn't exactly the most popular citizen in Chicago.
NORMA DAVIS
How dare you say that to me?
MALONE
Well, I only meant . . .
NORMA DAVIS
I won't have you talk that way about him. I'm tired of these insinuations. What do you know of the kind of man Paul was?
MALONE
I'm sorry.
NORMA DAVIS
You're sorry. Go on and get out.
SFX: INTERIOR, DOOR OPENS
MALONE
Mrs. Davis, I . . .
NORMA DAVIS
I don't want to hear any more about it. Leave me alone.
SFX: INTERIOR, DOOR SLAMS SHUT
SFX: INTERIOR, POLITE HAND CLAPPING FROM ANOTHER ROOM
RAYMOND LYONS
Permit me to congratulate you, Norma. That was a marvelous performance.
NORMA DAVIS
Thank you, Raymond. You think I convinced Mr. Malone that I was a heartbroken widow?
RAYMOND LYONS
How could you help it when you practically convinced me? Come here, darling. Let me console you.
MUSIC: TRANSITION
SFX: INTERIOR, KNOCK ON DOOR
HUDSON
Just a second.
SFX: INTERIOR, DOOR OPENS
HUDSON
Yeah?
MORGAN
I'm looking for a guy named Hudson.
HUDSON
Well, look no further, Mr. Morgan.
SFX: DOOR CLOSES
MORGAN
You Hudson?
HUDSON
That's right.
MALONE
One of my friends told me you wanted to see me.
HUDSON
He told you right. Care for a drink?
MALONE
Yeah, I could stand one.
HUDSON
Help yourself. The bar's in the corner. Pour me one while you're at it.
MORGAN
All right.
HUDSON
You're in a bad spot, Morgan.
MORGAN
You bring me up here to tell me that?
HUDSON
Yeah. You see, I know who killed Paul Davis.
MORGAN
What?
HUDSON
You heard me. That one mine?
MORGAN
Yeah.
HUDSON
How, uh . . . how you fixed for cash?
MORGAN
What do you mean?
HUDSON
I got a lot of information to sell and it's going to the highest bidder.
MORGAN
You mean you can clear me?
HUDSON
I'm not doing any more talking until I see the color of, ahh . . . the color of your dough.
MORGAN
How do I know you got merchandise?
HUDSON
Oh, I'll give you a sample. Did you know that Davis's wife was two-timing him?
MORGAN
With whom?
HUDSON
(LAUGHING) That's, that's all you get for free. But, uh, you can use that kind of stuff, can't you?
MORGAN
Listen, Hudson, I want you to talk to Malone.
HUDSON
Who?
MORGAN
John Jay. He's representin' me.
HUDSON
Are you kidding?
MORGAN
No. Can you talk to him?
HUDSON
Oh, sure. Providin', I can make a buck.
MORGAN
Don't worry. I'll take care of you. I'm going back to Malone's apartment. I want you to call him there in about 45 minutes. Tell him what you told me about Mrs. Davis.
HUDSON
Ahh, no good, no good. Get the dough up first.
MORGAN
Now, look, Hudson, I only got a grand on me. I'll give you another four the next time I see you.
HUDSON
Okay, Morgan, you got yourself a deal.
SFX: INTERIOR, APARTMENT DOOR CLOSES
MALONE
Morgan?
SFX: INTERIOR, DOOR CLOSES
MALONE
Morgan? Oh, great.
SFX: INTERIOR, JIGGLING TELEPHONE RECEIVER
VINCENT
Yes, sir?
MALONE
Vincent, this is Mr. Malone. There was a man waiting in my apartment . . .
SFX: INTERIOR, DOOR BUZZER
MALONE
By any chance . . .
SFX: INTERIOR, DOOR BUZZER
MALONE
never mind. Come in . . .
MORGAN
Hello, Malone.
MALONE
I was just asking for you, Morgan. Where the devil have you been?
MORGAN
Out.
MALONE
That tells me a lot. I thought you agreed to stay right here.
MORGAN
I know, but I had to see somebody.
MALONE
Who?
MORGAN
Suppose you tell me what you found out first.
MALONE
Well, not very much. Every lead I explored came back to you.
MORGAN
Did you see Mrs. Davis?
MALONE
Yeah, just for a few minutes.
MORGAN
What did you think of her?
MALONE
She seemed all broken up over her husband's murder.
MORGAN
She was kidding you, Malone.
MALONE
What makes you think so?
MORGAN
Because I've been doing a little checking up on my own. She's been holding hands with some guy who wasn't her husband.
MALONE
Where did you get that from?
MORGAN
Private Dick, named Joe Hudson.
MALONE
Oh, that lyin' thief . . .
MORGAN
I don't care what he is, Malone. He's got the evidence to clear me.
MALONE
Who did he say killed Davis?
MORGAN
He wouldn't tell me. But I made him promise to talk to you. Should be callin' you any minute.
MALONE
Morgan, I wouldn't trust that guy on a stack of Bibles. What did you give him?
MORGAN
Give?
MALONE
Yeah, a guy like Hudson doesn't talk for free. What did you promise him?
MORGAN
Five grand.
MALONE
Well, you better save your money.
MORGAN
I tell you, you can clear me, Malone.
SFX: INTERIOR, TELEPHONE RINGS
MORGAN
Probably him, now.
MALONE
Hello?
HUDSON
(FILTERED ON TELEPHONE) That you, Malone?
MALONE
Yeah, that's right, Hudson.
HUDSON
(FILTERED) I take it that you've talked to Morgan.
MALONE
Yeah?
HUDSON
(FILTERED) Well, what do you think?
MALONE
What I think is unimportant. Morgan tells me you can clear him.
HUDSON
(FILTERED) Sure, for a price.
MALONE
Oh, well, I'm not interested.
MORGAN
You gotta talk to him, Morgan.
MALONE
I don't like it, Morgan.
MORGAN
Neither do I, but if this guy can save me . . .
HUDSON
Well, make up your minds, boys.
MALONE
Okay, Hudson. We'll be over in an hour.
SFX: INTERIOR, FOOTSTEPS IN HOTEL HALLWAY
MALONE
Four A, Four B . . .
MORGAN
It must be down the hall.
MALONE
No, no, here it is.
SFX: INTERIOR, DOOR BUZZER
MALONE
I want you to let me handle Hudson, Morgan, and keep your mouth shut.
MORGAN
Ahh . .  . You're the doctor.
SFX: INTERIOR, DOOR BUZZER
MORGAN
What's keeping him?
MALONE
I don't know.
MORGAN
Maybe went out.
MALONE
Oh, I doubt that.
MORGAN
How can you tell?
MALONE
Take a peek at that keyhole.
MORGAN
Can't see a thing.
MALONE
Yeah, because the key's still in the lock. That means Hudson's gotta be in there.
SFX: INTERIOR, LOUD, FORCEFUL KNOCKING ON DOOR
MALONE
Hey Hudson, open up.
SFX: INTERIOR, REPEATED LOUD, FORCEFUL KNOCKING ON DOOR
MALONE
Hudson!
SFX: INTERIOR, EVEN MORE FORCEFUL KNOCKING ON DOOR
MALONE
All right, Morgan, give me a hand.
MORGAN
What do you got to do?
MALONE
Break it down. Shouldn't take too much effort either. Let's go.
SFX: INTERIOR, TWO MEN PUSH AGAINST DOOR
MALONE
One more should do it. Okay. Hudson! Hudson! Where the devil is that light switch?
MORGAN
Oh, it's somewhere around the door.
MALONE
Watch yourself, Morgan. Wait till I strike a match.
SFX: INTERIOR, MATCH STRIKE
MALONE
I got it.
SFX: INTERIOR, LIGHT SWITCH
MALONE
There we are.
MORGAN
(CRIES OUT) Malone!
MALONE
Uh, yeah.
MORGAN
Is he . . . dead?
MALONE
He's either that or asleep. With that knife in his back, what do you think?
(NARRATING) Twenty minutes after we found the body of Joe Hudson, Lieutenant McGraw of Cook County Homicide arrived.
You should have seen his face light up when he spied Morgan. He acted like a man who was prospecting for silver and found gold.
MCGRAW
There's a nice piece of work, Malone, a very nice piece of work. All right, Morgan, let's go.
MALONE
Hold it, Lieutenant, he's not the reason I called you.
MCGRAW
No, I know, but I'm not complaining.
MORGAN
Told you not to call him Malone.
MALONE
I'm beginning to think you're right, Morgan. For the same nickel, I could've phoned somebody with brains.
MCGRAW
Now what kind of a crack's that?
MALONE
Well, in case you haven't noticed, Lieutenant, there's a body lying on that sofa.
MCGRAW
Yeah, it'll keep. But as long as you raise the point, why did you kill him, Morgan?
MORGAN
Are you crazy? I just got here with Malone.
MCGRAW
Don't hand me that.
MALONE
It's the truth, McGraw.
MCGRAW
So you're gonna be his alibi.
MALONE
Yes, and you better listen unless you wanna look like a jerk when we go to trial.
MCGRAW
Oh, yes.
MALONE
How long would you say Hudson was dead?
MCGRAW
Not too long. The body's still warm. Could've been anywhere from fifteen minutes to three quarters of an hour.
MALONE
Well, that lets Morgan out.
MCGRAW
But I don't see how.
MALONE
Because he was with me every minute from the time I got Hudson's call . . . to the time we broke down the door. The whole business took at least an hour.
MCGRAW
Your word's not good enough, Malone.
MALONE
Okay, if you don't believe me, you can check with the switchboard at my place in the doorman downstairs.
MCGRAW
Yeah, I'll do just that.
MALONE
If that's not enough, I'll dig up the hackie who drove us over.
MCGRAW
Well, that still doesn't mean Morgan couldn't have killed Davis.
MALONE
Oh, use your head, Lieutenant. You know both these murders were committed by the same party. Hudson knew who it was, that's why he was killed.
MCGRAW
I still say it was Morgan.
MORGAN
You crazy, Hudson was going to clear me!
MALONE
Keep quiet, Morgan! All right, Lieutenant, I'll advise him to confess IF you can show me one thing.
MCGRAW
What's that?
MALONE
How did he get in here? You can see the only door was locked from the inside.
MCGRAW
So what? He could have used the window.
MALONE
Oh, yeah? Well, take a look.
MCGRAW
Yeah, there's bars on it.
MALONE
That's right, and nobody but a midget could fit through the opening.
MCGRAW
Then there must be another door.
MALONE
Forget it, there isn't.
MCGRAW
Well, then it was a physical impossibility for anybody to have killed Hudson.
MALONE
Yet it was done.
MCGRAW
How?
MALONE
I can't tell you, but maybe I can take you to the little lady who can.
SFX: EXTERIOR, STREET NOISE AND TRAFFIC
MCGRAW
All right, now listen, Malone. If the D.A. ever finds out I let Morgan go, he'll have my . . . Wait a minute. Isn't this the house where Paul Davis lived?
MALONE
That's right, Lieutenant.
SFX: EXTERIOR, DOOR BUZZER
MCGRAW
Well, you can't bother his wife now.
MALONE
Why not?
MCGRAW
Because her husband was just murdered
MALONE
Oh. Well, she may surprise you with what she knows about it.
SFX: EXTERIOR, DOOR BUZZER
MALONE
Morgan told me she was being romanced by some character.
MCGRAW
Who's that?
MALONE
I don't know. Apparently neither did Davis. If you ask me, McGraw . . .
LINDA DAVIS
Yes?
MALONE
Hello, Mrs. Davis. Remember me?
LINDA DAVIS
Not too pleasantly.
MALONE
Well, may we come in?
LINDA DAVIS
I'm sorry, Mr. Malone. I'm busy.
MALONE
This gentleman would like to ask you a couple of questions.
LINDA DAVIS
This gentleman means nothing in my young life.
MALONE
You never can tell. He's a Lieutenant in the Cook County police.
LINDA DAVIS
Oh. Well, it's just that the house is in such a mess.
MALONE
Well, we promise not to stare.
RAYMOND LYONS
Who was it, Norma? Norma!
MALONE
I, uh, I think you're being paged, baby.
LINDA DAVIS
It's nothing, Raymond.
LYONS
For a moment, darling, I was . . .
MALONE
Hello, Lyons.
LYONS
Malone.
LINDA DAVIS
Lieutenant, I can explain everything.
MCGRAW
Sure you can, but suppose we do it downtown, huh?
LINDA DAVIS
Downtown?
MALONE
It's customary, Mrs. Davis, when the police are questioning suspects.
LINDA DAVIS
But we've done absolutely nothing.
MALONE
Nothing but murder your husband and a man named Joe Hudson.
LINDA DAVIS
That's a lie.
MALONE
Do you deny that you and Lyons were busy in the Romance Department behind your husband's back?
LINDA DAVIS
Yes!
MALONE
And what's Lyons doing here now?
LINDA DAVIS
He's just helping me.
MALONE
Like he helped you murder Joe Hudson?
LINDA DAVIS
No!
LYONS
Just a moment, Mr. Malone. I thought this gentleman was the officer of the law.
MCGRAW
Yeah, you're right, Lyons, but if you think my questions are going to be any less embarrassing, you're in for a bad shock. Joe Hudson was murdered at 10:45 tonight. Now, where were you at that time?
LYONS
With Norma, here.
LINDA DAVIS
That's right.
MALONE
Oh, now that's what I call a wonderful alibi, Lieutenant. Too bad there wasn't anyone else around to substantiate it.
LYONS
Oh, but there was, Mr. Malone. A justice of the peace in Cicero. I think he may remember us.
MALONE
Why should he?
LYONS
Because I gave him a hundred dollars to perform the marriage ceremony that made Norma here, Mrs. Lyons.
SFX: INTERIOR OF TRAVELING AUTOMOBILE AS IT SWERVES
MALONE
It doesn't make sense, McGraw.
MCGRAW
Hey, will you watch where you're driving.
MALONE
I tell you, there's something screwy about that marriage.
MCGRAW
You saw the license.
MALONE
Doesn't it strike you as strange that within twelve hours after her husband is murdered, Mrs. Davis marries another man?
MCGRAW
Of course it does, but there's no law against it. As an attorney, you ought to know that better than anybody else.
MALONE
Yeah, but an alibi like that must have a hole in it.
MCGRAW
Yeah, well, you show me where. And after you do that show me how either Mrs. Davis or Lyons could have murdered Hudson. If it was a physical impossibility for Morgan to kill him, it applies to them too.
MALONE
Hold everything!
SFX: INTERIOR OF AUTOMOBILE, TIRES SQUEAL AS IT BRAKES TO A STOPE
MALONE
Oh, what a chump I've been.
MCGRAW
Well, I say confession's good for the soul.
MALONE
I tell you, I've got the answer to all of it, Lieutenant.
MCGRAW
On the level, Malone?
MALONE
Yeah. I know who killed Hudson, and with the help of Morgan, I'm going to prove it.
MORGAN
I don't see what you're driving at, Malone. I don't know anything about Mrs. Davis, except what I told you before.
MALONE
Well, how did you discover she was seeing Lyons?
MORGAN
I didn't know it was Lyons. All Hudson told me it was with some man.
MALONE
Uh-huh. How well did you know Hudson?
MORGAN
I met him for the first time today. He got in touch with one of my friends and said he wanted to see me.
MALONE
Oh. Well, that, uh, puts us right back where we started.
MORGAN
Now look, why don't we drop the whole business, Malone?
MALONE
Yeah, you'd like that, wouldn't you?
MORGAN
Sure. Cops know now, I couldn't have killed Hudson.
MALONE
That's where you're wrong, Morgan.
MORGAN
You mean they still . . .
MALONE
No, no. But I do.
MORGAN
What are you babbling about?
MALONE
I know how you managed it.
MORGAN
Do you?
MALONE
Yeah, I was pretty clever. I can't blame myself for not seeing it sooner. No wonder you insisted I go and see Hudson.
MORGAN
Still waitin' to hear you explain how I killed him.
MALONE
I'm saving that for the cops.
MORGAN
Don't kid yourself, Malone. You've done all the talking you're going to.
MALONE
Oh, put away that gun, Morgan. You don't think I'd be fool enough to come up here alone?
SFX: INTERIOR, DOOR OPENS
MORGAN
Funny, I don't see anybody around.
MCGRAW
You're not looking in the right place.
MORGAN
What! . . .
SFX: INTERIOR, GUN SHOT
MCGRAW
Get down, Malone.
SFX: INTERIOR, GUN SHOT
MCGRAW
I'm warning you, Morgan. You better throw your gun in the middle of the room.
MORGAN
You want it, Lieutenant . . .
SFX: INTERIOR, GUN SHOT, BODY FALLS TO FLOOR
MCGRAW
Watch it, Malone. He may be acting.
MALONE
Well, with that hole in his forehead, Lieutenant, it doesn't call for much ability.
SFX: INTERIOR OF AUTOMOBILE
MALONE
You can drop me off at the corner, Lieutenant.
SFX: INTERIOR OF AUTOMOBILE, ITS SLOWS, THEN STOPS
MALONE
Well, it's, uh, been grand.
MCGRAW
Hold it just a minute, Malone. Aren't you forgetting something? I got a report to make.
MALONE
Well, who's stopping you?
MCGRAW
You are.
MALONE
Well, you know that Morgan killed Davis.
MCGRAW
Oh, sure. I was the first one to say so.
MALONE
(SOFTLY LAUGHS) You should have stuck to your guns.
MCGRAW
Well, when you tossed in all that razzle-dazzle about Hudson's murder, you kind of threw me.
MALONE
Don't feel too badly, Lieutenant. I was right with you. Of course, I'm reconstructing now, but this is what must have happened. Lyons tried to hire Hudson to bump Davis. Hudson said he'd think it over. When Davis was killed, Hudson knew immediately that if he didn't do it, Morgan must have.
MCGRAW
Well, I don't see how that follows. It could have been Lyons.
MALONE
No, if Lyons were willing to do the job . . . why did he approach Hudson in the first place? Oh, no, it had to be Morgan. When Hudson realized that, he tried to shake down Morgan. He even told Morgan if the price were right, he might be induced to frame Davis' wife. So Morgan played along with him. Asked him to get in touch with me.
MCGRAW
Now we're coming to the part I want to hear.
MALONE
Well, when Morgan went to meet Hudson, he knew it would be the first of many such meetings unless he took steps. So he, uh, slipped a mickey into Hudson's drink.
MCGRAW
Well, why didn't he kill him then and there and be done with it, huh?
MALONE
Well, because he needed an alibi, and I was it.
MCGRAW
Well, I don't get it.
MALONE
It's, uh, pretty simple. He needed someone with him while he murdered Hudson.
MCGRAW
What?
MALONE
Yeah. Remember you said it was a physical impossibility for anyone to get into that room and kill Hudson before Morgan and I broke down the door?
MCGRAW
Yeah, I remember.
MALONE
Well, you hit the nail right on the head. It WAS a physical impossibility. So that means Hudson was killed while I was in the room.
MCGRAW
All right, now let me get this straight, Malone. You mean while you were hunting for that light switch . . .
MALONE
. . . Morgan was hunting for a place to plant his knife.
MCGRAW
Wasn't he taking quite a chance there?
MALONE
How? Hudson was drugged, he couldn't make an outcry. A knife doesn't make any noise at all.
MCGRAW
Yeah. Well, that'll learn you. Now the next time I say something, you'll listen. I told you Morgan was the killer all along, didn't I?
MALONE
Yeah, well, you'll have to forgive me, Lieutenant. I've been hearing so many radio shows, I forgot it wasn't unconstitutional for a cop to be right. Let's hope this establishes some sort of a precedent.
MUSIC: FOR TRANSITION
HOST
That was "The Paul Davis Case," a 1947 episode of Murder and Mr. Malone starring Frank Lovejoy, and a part of Re-Imagined Radio's "Frank Lovejoy Tribute."
For more information, visit the episode page at our website, reimaginedradio dot FM.
MUSIC: RIR THEME FOR BREAK
THE RIR BREAK
HOST
Re-Imagined Radio is a program about sound-based storytelling. Each episode explores how Voice, Music, and Sounds can engage your listening imagination and promote storytelling. Like this.
SFX: RE-IMAGINED RADIO AUDIO TRAILER . . . ENDS WITH "RE-IMAGINED RADIO. NOTHING TO SEE, EVERYTHING TO HEAR."
HOST
More information is available at our website--reimaginedradio DOT fm.
MUSIC: RIR THEME, ESTABLISH, THEN FADE OUT UNDER THE FOLLOWING
HOST
You're listening to "Frank Lovejoy Tribute," an episode of Re-Imagined Radio. Frank Lovejoy appeared in many radio programs from the 1930s to the 1950s. His most noted role is that of Randy Stone, the night reporter for a Chicago newspaper.
Every night, while most other people are sleeping, Lovejoy, as Stone, prowls the streets of Chicago looking for interesting characters and stories. Crime stories. Tender stories. Stories about everyday people. Some of them in trouble. Stories about races against time (Dunning 1998, p.507).
This next sample is a good example. Recorded in January 1950 as an audition for Lovejoy, it wasn't broadcast until May. Let's listen to "Elevator Caper," the May 8, 1950 episode of "Night Beat," starring Frank Lovejoy.
ACT #3: NIGHT BEAT
SFX: SHOW OPENING, DRUMS AND ANNOUNCER'S VOICE SAYS, "NIGHT BEAT
LUCKY STONE
(NARRATING) "Lucky Stone" is the name. I'm the guy that writes that column that's buried somewhere in the middle of your Examiner called "Night Beat."
They call me "Lucky" for the same reason they call a fat man "Slim." Because the best you can hope for in a job like this is chronic bronchitis, rings under your eyes, and the fact that you're awake when regular folk are asleep.
Sometimes the worst happens to you. A story grabs your heart and shakes it until it hollers uncle.
A corpse in a dark alley is the business at hand. It was early morning when I walked into the County Morgue. It was that same familiar ammonia smell stinging my nostrils, that gleaming tile, that cold, empty feeling you get, the way the Morgue always swipes across your face like the tail end of a nightmare.
The police lieutenant was waiting for me. He nodded for the attendant to pull back the white sheet.
POLICE
Well?
STONE
Yes that's him. That's Ted Carter.
POLICE
Okay that does it, we had to get positive identification, you were the only one we could reach. Sorry I had to get you out of bed.
STONE
That's alright.
POLICE
I guess that winds it up. Be seeing you, thanks for the trouble.
STONE
Wait a minute, wait a minute!
POLICE
Ehh?
STONE
What do you mean be seeing you and thanks? Who did it, who killed him?
POLICE
Lucky, go in any book joint, any gym, look in any back alley, any flop house, whoever you find there could have done it, take your pick.
STONE
Take my pick?
POLICE
Nobody talks, nobody remembers anything. In my book, it's murder by person or persons unknown.
STONE
Just like that?
POLICE
Just like that.
STONE
Maybe for you it's that way, but not for me, Lieutenant. I've known that guy since we were kids. I was lucky and he wasn't. I talked him into going straight and now he's dead for it and if I don't find out who it is, I'm going to start having some lousy dreams, Lieutenant. And I'm a guy that likes to sleep some.
STONE
(NARRATING) When I hit the street, it was raining. The sky was gray, and there was a cold chill in the air. When a cab showed up, I went over to see Ted's girl, Joan.
Soon as she opened the door, I knew she'd found out. Her face looked pinched, and pale, and her eyes were red like she'd squeezed out the last tear.
JOAN
Lucky, why did it have to happen like that?
STONE
I'm sorry, Joan, you didn't go down to see . . .
JOAN
No. No, I couldn't.
STONE
I understand. Who do you think did it?
JOAN
I don't know. He told me he was all through with the rackets.
STONE
Well, what was he doing? Who'd he been mixed up with?
JOAN
He never told me anything. I never asked him. I believed him when he told me he was going straight.
STONE
I'm going to find out who killed him, Joan.
JOAN
Look, Lucky, you and Ted lived in different worlds. He wouldn't want you to get hurt because of him. This is for the police, Lucky.
STONE
I'm sorry, the police aren't interested.
JOAN
Then why should you . . .?
STONE
Because he followed my advice, and now he's dead. Now, who was the last guy he worked for, Joan? Who got sore when Ted decided to go straight?
JOAN
I don't know, Lucky. I don't know.
STONE
(NARRATING) I went around to the old haunts. His former friends. They didn't know. The district attorney didn't know. The cops didn't know. Ted had kicked around in this city among all these people for twenty-eight years, and now suddenly it was like he'd never lived at all.
Then I remembered a little item from his old life. A little item with baby blue eyes and red hair. Laverne Clare. He'd gone with her before he met Joan, and even after he'd met Joan. I know he kept sneaking back to Laverne like a drunk trying to decide whether to spend his last coin calling Alcoholics Anonymous or buying a glass of Muscatel. I went looking for Laverne.
STONE
Now, Ted, uh . . . He spent a lot of time telling me how crazy he was about you, Laverne.
LAVERNE
(DRUNK) Yeah? He was a sweet guy. Ted was all right.
STONE
He liked to tell me about the way you looked when you danced.
LAVERNE
Yeah, sure. Look, Mr. Stone. You're a nice guy. So why don't you go back to your office and write your column? About pretty things, Mr. Stone. Nice harmless things. You donna want to get mixed up with Bailey or with that guy Jerry.
STONE
Bailey?
LAVERNE
I didn't say Bailey.
STONE
Oh, so it's Bailey. The character that parlays pin balls into diamond stickpins number rackets Bailey, so Ted knew something in here.
LAVERNE
Oh, I didn't say that. I didn't say anything. Get out of here. Right away. You understand?
STONE
Oh, yes. Yes, I'm beginning to understand.
STONE
(NARRATING) So I had myself a lead, George Bailey. Only it was like going fishing with the hope that you'll be lucky enough to catch a trout, and all of a sudden, look who's eating your worm. Moby Dick, the whale.
Before I told anyone else, I thought I'd go back and see Joan.
STONE
I think I know who killed him, Joan.
JOAN
You do?
STONE
I'm not positive, but it's a beginning.
JOAN
Who?
STONE
George Bailey. Know him?
JOAN
Bailey? Who told you it was Bailey?
STONE
You're getting pale, Joan, so you think it was Bailey, too.
JOAN
Listen, Lucky, stay away from Bailey. He's trouble.
STONE
Yeah? I'll let you know exactly how much trouble. I'll see you later.
JOAN
Lucky! It's dangerous. Please be careful.
STONE
The lieutenant told me anyone could have killed Ted. He invited me to take my pick. I'm going over and see that cop. I've taken my pick. George Bailey.
POLICE
Lucky you surprise me. You really expect me to arrest George Bailey? On what charge?
STONE
He's mixed up with Ted's killing. You know it and I know it.
POLICE
Outside of this Laverne girl I got nothing to go on. You have one shred of evidence pointing to Bailey?
STONE
Arrest him on suspicion. Sweat it out of him.
POLICE
And wouldn't I look fine against Bailey's high-powered sheister lawyers, trying to make an arrest stick because some drunkard dame shot her mouth off? Even then she'd deny it if I put her up on the witness stand.
STONE
So you don't want to touch Bailey?
POLICE
Look, get me one witness who saw 'em together. Find me one scrap of evidence, even circumstantial evidence. I'll arrest Bailey in a minute. You won't find anything. I know. I've tried. All you'll find is frightened people and blank walls. Bailey's had this town by the throat for 10 years. No, I'm sorry, Lucky. I can't help you.
STONE
(NARRATING) I was like a snowball somebody started rolling down a hill. I didn't know where I was going or what would happen when I got there, but I had to keep rolling. They've got a name for that. It's called a guilt complex, and I had it in Technicolor. Ted was dead because he believed in me. I couldn't forget that any more than I could forget my name.
Then I remembered my column. Sure, why not? The little poems to the first robin, the jokes about the smog, the stories of the happy winos, they'd have to move over. I was going to work on Bailey in the only way I knew, and keep my fingers crossed that something would happen.
MUSIC: STINGER
STONE
What big shot racketeer sends for his aspirin every time someone mentions the back alley murder of Ted Carter?
MUSIC: STINGER
STONE
When is the district attorney going to get wise and change the address of Mr. B from a downtown penthouse to an upstate death house?
JERRY
Listen to this, boss.
BAILEY
Huh?
JERRY
Stone's latest little offer. (READING) When are the police gonna bring in the Carter killer?
BAILEY
Let me see it. (READING) If they don't know who it is, I'll give 'em a hint. Think of "Daily" and reach for the letter "B."
JERRY
How long's he gonna get away with that?
BAILEY
Hand me the phone.
JERRY
Sure.
SFX: TELEPHONE DIALING, RINGING
STONE
Hello?
BAILEY
(FILTERED BY TELEPHONE) I want Lucky Stone.
STONE
You got him.
BAILEY
I'll say it only once, Mr. Stone.
STONE
Hmm?
BAILEY
I don't like this kind of publicity.
STONE
Oh, you must be Bailey.
BAILEY
I'm asking you to lay off.
STONE
Real polite like, huh?
BAILEY
That's right. REAL POLITE. Ehh, What's the good word, Mr. Stone?
STONE
This Good word, I got a whole sack full. You'll get a copy of The Examiner the first thing tomorrow and you'll see 'em right under my byline.
BAILEY
Now listen, Stone, I . . .
STONE
It'll be something like this . . . One of the local gendarmes gonna knock on Mr. Bailey's door with a warrant for his arrest . . .
SFX: BUZZING OF DISCONNECTED TELEPHONE LINE
STONE
(NARRATING) Okay, he doesn't want a preview. So let him pay seven cents.
So Bailey was beginning to squirm. Well, well, well, on him it looked just fine. I worked late on the column that night, giving Bailey enough needles to sew a circus tent. I was feeling pretty good. That guilt complex about Ted Carter wasn't hurting quite so much.
SFX: INTERIOR, DOOR BEING UNLOCKED, FOOTSTEPS INTO APARTMENT
STONE
I unlocked my door and stepped inside. I didn't have to shut the door, it was shut for me.
JERRY
I've been waitin' for you, Mr. Stone.
STONE
Well, as long as you're here, make yourself at home.
JERRY
You're a wise cracker, ain't you? Like your friend, Ted Carter.
JERRY
What do you know about Ted Carter?
JERRY
Oh, he was a regular card.
STONE
Okay, what do you want?
JERRY
My boss sent me over to take a look at you.
STONE
Your boss?
JERRY
Mr. Bailey.
STONE
And you, you're a Little Boy Blue, huh?
JERRY
(SNICKERS) Yeah, wise cracker alright?
STONE
Well, tell that boss of yours I'll be dropping around to see him for an interview.
JERRY
Uh-uh.
STONE
Huh?
JERRY
He don't want it that way. He sent me to see you instead.
STONE
Yeah?
JERRY
He don't like people who don't pay attention to his telephone messages. He thinks you're very nasty yappin' all the time that he had somethin' to do with the Ted Carter killin'.
STONE
So?
JERRY
So, like I said. Mr. Bailey don't like it.
STONE
Okay, Buster, now get out of here.
JERRY
Not right now. Mr. Bailey wants me to teach you a lesson . . . with this blackjack.
SFX: BLACKJACK HITS STONE'S BODY
SFX: STONE GROANS
JERRY
Mr. Bailey don't like smart guys.
SFX: STONE HIT AGAIN WITH BLACKJACK
JERRY
(Chuckles) Wisecracker.
STONE
(NARRATING) I woke up with a nice view of my ceiling. All of a sudden I wanted to feel a gun in my hands. I washed up, changed clothes, and found a cab. It was a quarter to eleven when I reached Joan's apartment. I had to knock a long time before she came to the door. She was rubbing the sleep out of her eyes.
SFX: INTERIOR, APARTMENT DOOR OPENS
JOAN
Lucky? Come on in.
STONE
Thanks, honey.
SFX: INTERIOR OF APARTMENT, DOOR CLOSES
STONE
When Ted quit the rackets, what did he do with his gun?
JOAN
He asked me to keep it. He said then I'd know he was on the up-and-up. Why?
STONE
I want Ted's gun.
JOAN
(ALARMED) What are you gonna do with it?
STONE
Never mind. Just get me the gun.
JOAN
No, Lucky. You'll only get the . . .
STONE
The gun. The gun.
JOAN
It's in the bottom drawer of the dresser. I'll get it.
SFX: INTERIOR, FOOTSTEPS WALK INTO ANOTHER ROOM, DRAWER OPENS, FOOTSTEPS RETURN
STONE
Think you're, crazy. Here.
STONE
Thank you.
JOAN
Where are you going?
STONE
Wentworth Towers. Bailey has an office there.
JOAN
Lucky you are, crazy. You're walking right into a trap. They'll kill you like they killed Ted.
STONE
Well, if I don't go, Jerry will be coming around again. You see, either way, it's no good. At least this way, I say when. Wish me luck.
JOAN
Luck? Oh, you fool, you poor fool. You'll end up like Ted with five bullet holes in your back.
STONE
(NARRATING) When I got to the Wentworth Towers it was almost midnight. The streets were deserted. The only sounds were distant traffic. The front door was locked, and the only light in the lobby came from the night elevator. An old man sat inside the elevator dozing. I pounded on the window.
SFX: EXTERIOR, FIST KNOCKING ON GLASS WINDOW
STONE
He reluctantly got to his feet and started walking toward me. He snapped the lock and pushed open the front door.
SFX: DOOR OPENS
POP
Nobody in this building now. All the offices are closed.
STONE
I'm not all of them, Pop. I have an appointment with Mr. Bailey.
POP
Ya has?
STONE
Yeah.
POP
Okay. I'll take you up. Thirty-fourth floor. Come on.
SFX: INTERIOR OF ELEVATOR, DOOR CLOSES, ENGINE ENGAGES AND IT RISES UP THROUGH THE BUILDING.
STONE
(NARRATING) as the elevator rose I dipped my hand in my coat pocket. The cold touch of the gun had the comforting sensation of a boy holding his father's hand. The elevator came to a stop on the 34th floor.
SFX: INTERIOR OF ELEVATOR. ENGINES STOPS, DOOR OPENS
STONE
(NARRATING) The doors opened and Little Boy Blue stepped out of the darkness. He had a gun too. Only his was in his fist.
JERRY
Take us downstairs pop.
POP
Sure thing, Jerry.
STONE
I wanna see Bailey.
JERRY
We know but Bailey don't want to see you. Hey, keep your hands out of your pockets. Let me see what you got there.
(SARCASTIC) A gun. Pretty nice. Thanks.
STONE
Don't mention it. I'm always handing out souvenirs.
SFX: INTERIOR OF ELEVATOR, DOOR CLOSES
SFX: INTERIOR OF ELEVATOR, "DING" OF ELEVATOR FLOOR INDICATOR, DOOR OPENS
JERRY
You go out first, Pop, and open the street door.
POP
All right, Jerry. I'll get it open for ya.
SFX: INTERIOR OF BUILDING LOBBY, FOOTSTEPS FROM THE ELEVATOR TO THE FRONT DOOR, DOOR OPENS
JERRY
Is everything all right, Pop? Is it all clear?
STONE
Why don't you go out there and see? Here, I'll help you.
SFX: INTERIOR OF ELEVATOR, JERRY GRUNTS AS HE IS PUSHED OUT, ELEVATOR DOOR CLOSES, MOTOR ENGAGES, ELEVATOR BEGINS RISING, DUCKS UNDER THE FOLLOWING
STONE
(NARRATING) I shoved the kid out. I pushed the lever that slammed the door shut and started the elevator going up. I could see little lights blink on the instrument panel as I passed each floor. Bailey was on the thirty-fourth floor and I was getting closer. Closer . . . Closer.
SFX: INTERIOR OF ELEVATOR, AS IT STOPS
STONE
(NARRATING) All of a sudden the elevator stopped. I was stuck between the eleventh and twelfth floors. I didn't have to be a mastermind to figure out what had happened. Little Boy Blue and the old man had gone to the basement and switched off the power on my elevator. They'd bring up one of the other elevators and come after me. I began to feel like an animal trapped in a cage.
Then I noticed a little door on top of the elevator. I climbed up on the old man's stool. I pushed the door upward and grabbed the sides of the opening, and I started pulling myself out.
SFX: INTERIOR OF ELEVATOR, LUCKY STRUGGLES TO CLIMB THROUGH THE ELEVATORS SMALL ROOF DOOR
STONE
(NARRATING) And now I was standing on top of the elevator, hanging on to a greasy cable that ran down from the roof of the building.
Far below, I heard the other elevator with Jerry and the old man start climbing. I leaned forward to reach the door to the twelfth floor. I couldn't reach it.
The other elevator was coming up fast. As I lunged for it again, their elevator stopped at the eleventh floor.
JERRY
(BELOW AND UNDERNEATH) How we gonna get that elevator door open?
STONE
I was trapped good, but as long as I was between floors, they couldn't get to me either.
Little Boy Blue figured it that way, too.
JERRY
How are we going to get his elevator down here so we can get on him?
POP
You wait here. I'll go down to the basement and get him down to the eleventh floor with the emergency brake.
JERRY
All right, but hurry.
STONE
(NARRATING) In a couple of minutes, I could feel my elevator inching down toward the eleventh floor and me going right along with it perched on the roof.
JERRY
How coulda he got out of here?
POP
Jerry, look there. The hatch door is open.He's on top of the elevator
JERRY
How many floors in this building, Pop.
POP
Thirty-five. Why?
JERRY
I've always wanted to run an elevator. Let's see how fast we can get to the roof.
POP
Ahh . . . Jerry . . .
JERRY
Shut up! Hold on to your hat, Stone.
SFX: INTERIOR, ELEVATOR SHAFT, ELEVATOR BEGINS RISING TO THE ROOF, DUCK AND CONTINUE UNDER THE FOLLOWING
STONE
(NARRATING) We were rising a mile a minute. All I could do was sprawl down and watch the roof of the building coming at me, faster and faster. The top pulleys singing around and around, louder and louder. The roof was rushing to meet me like we were lovers from way back. Faster and faster, almost to the top, almost!
SFX: INTERIOR OF ELEVATOR SHAFT, METAL HITS METAL AS THE ELEVATOR STOPS AGAINST THE GIANT SPRINGS AT THE TOP OF THE SHAFT, CROSS FADE TO . . .
MUSIC: DRAMATIC EMPHASIS
STONE
(NARRATING) The shock of the elevator smacking against the huge top spring shook me up like a bag of cement in a concrete mixer.
JERRY
You must be the original Indian rubber man, Stone. (LAUGHS) Come on, climb out here.
STONE
Well, how can I refuse such a nice invitation? Especially when you're holding a gun.
JERRY
Come on, back up, Pop.
SFX: INTERIOR OF ELEVATOR SHAFT, AN ELEVATOR RISES TO THE TOP OF THE BUILDING
CLEANING LADY
Elevator! Wait! Wait a minute, will you please?
JERRY
(WHISPERING) Who's that?
POP
(WHISPERING) One of the cleaning women. Better put your gun away.
CLEANING LADY
(OUT OF BREATH FROM RUNNING) Well, this is for a break. I thought you'd be taking a snooze.
POP
All right, all right.
STONE
Yeah, let's all get in. It's hard to get an elevator this time of night.
SFX: INTERIOR OF ELEVATOR, DOOR CLOSES, MOTOR ENGAGED, BEGINS TO DESCEND
STONE
(NARRATING) We rode down, the four of us. No one said anything. The cleaning woman was half dead on her feet, her head bobbing, half asleep. Oh, that lovely, innocent, tired old gal was saving my life. So long as she was with us.
CLEANING LADY
I'll get out on the third floor, Pop. I'm going to the dressing room.
POP
Three it is.
SFX: INTERIOR OF ELEVATOR, BEGINS TO SLOW AS APPROACHING THIRD FLOOR, STOPS, DOOR OPENS.
POP
Here you are, number three.
CLEANING LADY
Thank you. Good night, Pop.
STONE
Good night, Pop. I get off here, too.
JERRY
No, you don't. This ain't the main floor.
STONE
For me, this is the main floor.
JERRY
Stone! Come back here, Stone!
STONE
(NARRATING) I raced down the dark hall, past the cleaning woman who stared at me with her mouth wide open. In the distance, I saw what I was looking for, a little red sign that said "Stairway." My little pal was right after me.
SFX: INTERIOR OF BUILDING HALLWAY, FOOTSTEPS RUNNING
STONE
(NARRATING) I got to the stairs, darted down four at a time. He's right on my tail.
JERRY
(SHOUTING) You're not gettin' away, Stone!
SFX: INTERIOR OF STAIRWAY, GUNSHOT, ECHOES AND RICOCHETS IN STAIRCASE
STONE
(NARRATING) I got out of here fast.
SFX: INTERIOR OF STAIRWAY, ANOTHER GUNSHOT
STONE
(NARRATING) This party was getting rough.
SFX: INTERIOR OF STAIRWAY, ANOTHER GUNSHOT
STONE
(NARRATING) I reached the main floor. Instead of going through the lobby and into the street, I ducked behind a cigar cart.
SFX: INTERIOR OF BUILDING LOBBY, FOOTSTEPS RUNNING ACROSS THE LOBBY FLOOR, HEADING FOR THE DOOR
STONE
(NARRATING) The kid raced by. He went out through the front door looking for me on the street outside.
MUSIC: SUSPENSEFUL
STONE
(NARRATING) Right then I started thinking of Joan . . .
JOAN
(FILTERED TO SOUND LIKE A MEMORY) You'll end up like Ted, with five bullet holes in your back.
STONE
(NARRATING) Five bullet holes in my back, his back. I went to the stairs again and down into the basement. I was beginning to feel those bullets tearing into my back.
JOAN
(FILTERED TO SOUND LIKE A MEMORY) You'll end up like Ted, with five bullet holes in your back.
STONE
(NARRATING) I didn't want to kill Bailey anymore. I only wanted to get to Joan.
MUSIC: SUSPENSEFUL
STONE
(NARRATING Joan was waiting for me when I got to her apartment. She wanted the whole story, everything that happened. When I'd finished, I watched her relax a little.
JOAN
Then you didn't kill Bailey.
STONE
No, Joan, I didn't kill Bailey.
SFX: POLICE SIREN IN BACKGROUND, GETTING CLOSER
JOAN
Police siren. It sounds like it's stopping in front of the house.
STONE
Yeah. They came here sooner than I expected.
JOAN
Sooner than you . . . Lucky you've been lying to me. You did kill him. They've come to arrest you. You lied.
STONE
I haven't lied, John. They haven't come to arrest me. They've come to arrest you, for the murder of Ted Carter.
JOAN
What are you talking about? I didn't . . .
STONE
Oh, but you did. You said the wrong thing tonight when I went out to get Bailey.
JOAN
What do you mean?
STONE
You said I'd end up like Ted with five bullet holes in my back. How would you know about that?
JOAN
I . . . I . . .
STONE
It wasn't in any of the newspaper stories. You never went to the morgue. There was no way on earth you could have known unless you killed him.
SFX: INTERIOR OF APARTMENT, KNOCK ON DOOR FROM OUTSIDE
STONE
Be right with ya. That's the Police, Joan, any more questions?
JOAN
Yes. Don't you know what it's like to love somebody? I was willing to do anything for him. Scrub his floor, wash his clothes, give him a good home, anything. But he always kept going back to Laverne.
(CRIES BRIEFLY)
The way I loved him do you think I could let any other woman . . .
SFX: INTERIOR OF APARTMENT, KNOCK ON DOOR FROM OUTSIDE
STONE
(TO POLICE OFFICERS ON OTHER SIDE OF DOOR) All right boys, all right I'll let you in.
(TO JOAN) I want you to know one thing, Joan. No matter what you thought, Ted really loved YOU. You see, Laverne represented his OLD world. But with you, he was going to have a new life. You remember that, will you?
SFX: INTERIOR, FOOTSTEPS TO DOOR, DOOR OPENS
STONE
(TO POLICE OFFICERS) Okay, boys, she's all yours.
MUSIC: "NIGHT BEAT" THEME
STONE
(NARRATING) Yeah, that's the story of Ted Carter. Murdered in the name of love. Okay, if that's what love does to you, I'll string along with Penuchle.
(LAUGHS) Ahh . . .I'm just feeling low tonight. Because murder is only a symptom of what we're suffering from. The disease is selfishness and jealousy and greed. Too many of us have decided that the golden rule may have been all right for Grandpa, but nowadays the fashionable thing is dog eat dog.
But then I think, how can that be? How can any of us hurt or hate or even be indifferent to those around us when in this whole crazy world all any of us ever really have is each other.
Well, that does it for the night. I called Bailey, and I told him I'd made a mistake, but then he'd made 'em too, so it was a Mexican standoff.
It's a nice job. You finish up, you yell for the copy boy, you grab for a second-ham sandwich and a third cup of coffee, and then you start all over again. Because tomorrow you've got another night beat. You don't know where the story's coming from or where it's going to take you, but you know it's somewhere out there in the dark waiting for you. I'll tell you all about it next week.
MUSIC: FROM "NIGHT BEAT" TO CLOSE
HOST CREDITS/CLOSE
HOST
Well, that's it. Re-Imagined Radio's "Frank Lovejoy Tribute." It was our way of offering a tip of the microphone to a solid radio actor from the 1930s to the 1950s.
We sampled from four radio programs of which Lovejoy was either the narrator or the star: This Is Your FBI, The Blue Beetle, Murder and Mr. Malone, and Night Beat. We hope you enjoyed listening.
This episode was written and produced by John Barber.
Sound Design and post-production by Marc Rose.
Graphic design by Holly Slocum with Evan Leyden.
Social media and announcing by Rylan Eisenhauer.
Support comes from KXRW-FM (Vancouver, Washington), KXRY-FM (Portland, Oregon), KMWV-FM (Salem, Oregon), and the Electronic Literature Lab at Washington State University Vancouver.
Episodes are archived and streamed on demand at our website, reimaginedradio DOT fm. Podcasts are available from the major distribution platforms.
Follow Re-Imagined Radio on social media, especially our YouTube channel . . . [at sign] reimaginedradio.
Re-Imagined Radio acknowledges the debt we owe to previous and contemporary radio artists and we hope our curation and stewardship of their artifacts and efforts demonstrates our sincerity.
This is John Barber, producer and host. Thank you for listening.
MUSIC: RIR THEME UP, THEN DUCK UNDER THE FOLLOWING
ANNOUNCER CLOSE
ANNOUNCER
This is a production of Re-Imagined Radio. To learn more, visit our website, reimaginedradio (all one word, no punctuation) DOT fm. 
Please join us for another episode of Re-Imagined Radio as we continue our exploration of sound-based storytelling.
MUSIC: RIR THEME UP, AND TO END.