Yours Truly Johnny Dollar: The Blue Madonna Matter (EP4940)

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Music

Welcome to the great detectives of old time radio from boys Seattle.

Hope this is your host Adam Graham in a moment.

We're going to bring you this week's episode of yours truly Johnny dollar.

But first, I want to encourage you if you enjoy the podcast,

please follow us using your favorite podcast software and remember as you're

making your travel plans to check out Johnny dollar air.com.

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So remember when making your travel plans, check Johnny dollar air.com first.

But now from February 22nd, 1959, here is the blue Madonna matter from Hollywood.

It's time now for Johnny dollar.

George read here, Johnny.

Well, George, I'm really glad to talk to you.

Oh, why do you say it that way?

Because every insurance case I handle for that company yours pays me a nice fat fee.

And right now I can use a little extra case.

Well now, John.

So tell me all what's Floyd's of England upset about this time.

Well, I'm not sure.

Uh-oh, here we go again.

But Johnny, I just received a transatlantic telephone call from Paris friends.

A man who wanted to contact you, but didn't know where to call you.

And he identified himself only as Le Shagri.

Oh, Le Shagri.

It's French, Johnny.

No.

And I believe it means the gray cat.

Yeah.

And George, the name fits him.

You know him then.

His real name is De Marseille.

He probably knows more about the dark alleys and backstreet of Paris.

Oh, yeah, and about the people.

In other words, the underworld.

What did he call about?

He mentioned the blue Madonna.

The what?

It's a painting, Johnny, a small oil painting by a modern artist named Vincent Bardot.

It's owned by Mr. Kingsley Holland Dunn in Philadelphia.

Yeah?

It hangs in the Gavin galleries and we've ensured it for $12,000.

Well, what did he have to say about it?

Only that you had to call him.

His number there in Paris is, uh, Orleans 57722.

Uh-huh.

That he has some very interesting information for you about that painting.

Oh, sure.

That he'll be glad to give me for a price.

Exactly.

I can for the life of me figure what his interest is in it.

If there were anything amiss, I'm sure the gallery would have called me.

George, if you knew that character as well as I do,

you'd okay my expense account without even looking at it and be willing to pay me

that big fee I was talking about.

What do you mean?

Want to make a bet?

What kind of a bet?

I'll give you a ride to attend a one that whatever's hanging in that gallery

down there in Philadelphia is not the blue Madonna.

What?

Now look, Johnny, good heavens.

George, I'll be talking to you.

Bob Bailey, in the exciting adventures of the man with the action-packed expense account,

America's fabulous freelance insurance investigator, George Truly, Johnny Dollar.

And now, act one of yours, Truly, Johnny Dollar.

Expense accounts submitted by Special Investigator, Johnny Dollar, to Floyd's of England North American

Office, Hartford, Connecticut, following as an account of expenses incurred during my

investigation of the blue Madonna matter.

Expense account item $1, $12, even, for a phone call to my underworld contact in Paris

France, a man by the name of Doomar Sack, who calls himself the grey cat.

We, Mr. Dollar, this is your old, your very dear friend, Lichagui.

Very dear friend, huh?

Now, listen, you telephone George Reed that you have some real hard information about

a painting his company insured.

Now, we, him or done have to, what did you call the blue Madonna?

OK, how much do you want this time?

Oh, Mr., you touch me to the crate while one might think that I slave and suffer and

risk my life on your behalf, only for money.

How much, DeMarseck?

See, $1,000, darling.

A thousand?

Look, if your info's worth anything, I'll send you a check for $50.

$50?

No.

$900?

OK, I'll make it $75.

$750?

How about an even hundred?

$500.

$4?

$3, that's final.

Oh, please.

It's $200.

OK, $200.

Which?

Hey?

No.

It's all settled, $200.

Now, what about the blue Madonna?

Aha, yes.

It is now here in Paris.

Yeah, where?

In the shop of Mr. Dupeson, on the rudy puddle in Moul.

Dupeson?

Huh?

You sure it isn't just a copy that he'll try to foist it off on some wealthy sucker?

Yeah, you'll be starting his crook and he will cook, but he's an honest one.

Oh, sure.

And he knows the works of art.

Also, he's very clever.

To get his price, he will wait until the real Madonna is discovered missing.

If it really is, that's what I'll check on now.

And then you will send me the $500.

My very dear foyer.

$200, remember?

Ah, we are cheated, myself.

But, Mr.

Yeah?

Of course, I could find out who smuggled the painting into him, eh?

Why?

That would be worth a lot to you.

No?

Say, it sounds...

We'll see.

I'll be talking to you.

Item 2, 420.

I phoned my old pal Foster Harmon down in Sarasota, Florida.

Told him I'd pay his fare if he grabbed the first plane out and meet me in Philadelphia,

the Bellevue Stratford Hotel.

I knew that if anybody could identify the genuine painting he could.

Item 3, 940 for my own transportation of the city of brotherly love.

Item 4, 950 cocktails and dinner for the two of us there at the Bellevue.

Yes, the Blue Madonna's one of Vincent Bardot's best known works.

I don't think there's another living artist who could so effectively use various shades of just one color.

But what about it, Johnny?

Well, first thing in the morning, I want you to come along with me and take a look at it.

It's in the Gavin Galeries, isn't it up on Wall Street?

Yeah, at least it's supposed to be.

And all I want you to do is take a good look at it.

Then reserve any comments until after we get out of the place.

That's all.

Well, but Johnny, I want to check with the owner of that painting.

The telephone director gave me Kingsley Holland's address.

Item 4, 620 for a cab to a small apartment house out in West Philadelphia.

Holland turned out to be, well I'd say it was about 30, short, lean and nervous,

but the silly expression of a man who feels the world hasn't done right by him.

Yeah?

You mean you're interested in buying the Blue Madonna?

Well, it all depends, Mr. Holland.

Uh-huh.

Oh, look, dollar.

That's what you said, you name it?

Yes, that's right. Johnny Dollar.

Sounds familiar.

Oh, well, anyway, listen.

Yeah?

That Galeries got a price of $15,000 or $18,000 on it.

But if you want to buy it direct from me and right now, I'll give it to you for $12,000.

Save yourself a few thousand bucks.

And it'll save me having to pay them there 20%.

But if you've already commissioned the gallery to sell it for you,

so I'll tell them I changed my mind.

That I want to keep it.

Then when they find out that I've sold it,

well, I'm trying to catch up with me and collect.

Because me, I'll be right back in little old gay parry.

Back in Paris? Sure, I'd be there still only. I ran out of money.

12,000.

That's exactly what it's insured for.

And that's what they appraised it for when I got it from my uncle's estate.

With all his money, what is he die and leave me with but allows he painting?

Well, do you want it?

Let me think about it.

I'm staying at the Bellevue Stratford.

Sure, sure.

Just don't tell them that the Gavin Gallery about our little deal.

But those crooks don't know.

Won't hurt it.

Crooks?

If you think for a minute all that stuff they've got laying around the place is genuine.

But the blue Madonna is.

You're sure, huh?

What do you mean by that?

Just stick around, Mr. Holland.

Any reason why I shouldn't?

I don't know.

Is there?

Now, wait a minute, dollars.

I'll be in touch with you.

Act two of yours truly Johnny Dollar in a moment.

Now, act two of yours truly Johnny Dollar and the blue Madonna Matter.

At Kingsley Holland, the owner of the painting recognized my name.

I thought so.

And if a switch in that painting had been made and he knew about it,

well, I'd do well to look out for him.

Yeah, the more I thought about it, the more certain I became that whatever hung in the Gavin Galeries was not the blue Madonna.

Item five and other six bucks for a taxi back to my hotel.

Item six, five, eighty breakfast the next morning for Foster Harmon and myself.

By ten o'clock we were at the Gavin Galeries looking at a pretty modern, but I must say beautiful painting.

It's amazing, Johnny.

Amazing.

The most extraordinary.

Well, I just can't believe it.

Can't believe what Foster?

That it's the real thing or just a good copy.

Oh, good morning sir.

That's just it.

You see?

I've helped the Johnny.

Hold it for us.

That painting you know is a genuine Bardot.

Yeah?

My name is Johnny Dollar.

This is Mr. Foster Harmon.

Gentlemen.

I'm on little Gavin.

You're interested in buying the blue Madonna?

If this is really it.

Johnny, listen.

Wait Foster.

What is the price of it, Mr. Gavin?

Twenty thousand.

Mr. Dollar, did you say?

Yeah.

What?

Wow.

Haven't you got a Bardot that's a bit cheaper?

His laconic lagoon is priced at ten thousand.

Holy.

Well, how about a copy of this?

Bardot has never allowed his works to be copied.

Johnny, listen.

Yeah, Foster.

It looks like this stuff is too rich for our blood.

No.

Well, let's go back to the Bellevue Stratford.

No, listen.

Perhaps there's something else that might interest you.

No, I'm afraid not.

But thank you.

That's quite all right.

Now, let's move forward.

Let's go back, please.

Johnny, listen.

Come on.

Yeah.

I'll see you tomorrow.

Now, Johnny, just take it easy.

Well, Foster.

It's a fraud, Johnny.

It's a copy.

I'm sure of it.

Hey, hey, hey.

Did you say that blue Madonna's a copy, Mr.?

Yes.

I thought you were looking at it kind of funny there in the gallery.

Yes, sir. It's a fraud.

Foster.

Now, you don't mind my asking.

Who are you?

My name is Foster Harmon.

Harmon.

From the John Ringing Museum down in Florida?

That's right.

Well, and you ought to know.

Not just a minute, mister.

Say, aren't you Johnny Dollar, the insurance investigator?

So what? Who are you?

Me?

I'm Roop Alley of Transworld News Service.

New service.

Oh, fine.

Yeah, I'll see you, boys.

And thanks a lot.

Well, Foster, it looks like you opened your mouth and stuck my foot in.

Well, I'm sorry, Johnny, but what I said is true.

That blue Madonna is an imitation of phony.

That watch I already knew.

At least I was pretty sure of it.

But don't you see the amazing thing?

Well, Johnny, that copy is so perfect.

So exactly in the style of Vincent Bardot, even to little things,

little idiosyncrasies that even the finest copyist couldn't match.

Certain minute details about an artist's work are as distinctive

as impossible to copy as a man's own fingerprints.

Yeah.

What to say is that if I didn't know every brushmark on the original...

Okay, Foster, forget it.

Forget it.

Hey, listen.

Kingsley Holland, the owner, and I wouldn't trust him for a minute.

I think he knows who I am.

If so, and if he knows that painting is just a copy,

well, he's pretty sure to figure out what I'm doing here.

Johnny, he must know it's a copy.

If he gave it to the galleries to sell.

Perhaps.

Or maybe the switch was made after it was hung there.

Then what you're saying is that either one of them could be responsible for the fraud.

That's right.

How well do you know the Gavin galleries?

Well, they're not very big.

You could see that for yourself.

And, of course, they're rather new in the business.

I think I'd better get a rundown on this Arnold Gavin,

or we're waiting at the hotel.

Waiting?

What for?

Oh, yeah.

You're playing a couple of seats.

You're hoping one of them was sprouting.

I'm afraid I don't understand.

Plus, I told both of them who I am,

and the hope they'd guess it why I'm here.

I also gave them reasons to suspect I think that Bluma Don is a phony.

Well, I'm afraid that I may have led Arnold Gavin to feel that way.

Same thing.

I also made it very plain to them that I'm staying at the Bellevue Stratford.

In other words,

it happens, Johnny, if you mean what I think you do.

Yeah.

Like what, boss?

You think that one of them,

the crook, will come to the hotel and try to...

Don't you see Johnny knowing that you're onto him?

He might try to kill you.

Can you think of a better way to bring him out in the open?

Johnny.

Come on, let's get back to the hotel and wait.

Act three of yours truly Johnny Dollar in a moment.

And now, act three of yours truly Johnny Dollar.

After all, there was no reason to drag foster any further into this mess,

although I know he began to see it through.

So I paid him for all his expenses that's item 751,

even, and sent him on back to Sarasota.

Item eight cents for a phone call to Sergeant Jerry Hawkins,

a police headquarters,

about mid-air to know he'd call me back.

Boy, did you ever turn a riot?

Well, what'd you find out for me about Gavin and Hollen?

Hollen's just a lazy kid that's been trying to live off his relatives all his life.

And Gavin?

I don't know as far as we know, but listen, you've seen the papers?

No.

The story about that faulty painting is on every wire service in the country.

All you can see in the headlines, that name Bardot,

and I don't mean Bridget.

Johnny, you and that foster Herman ought to collect a publicity fee.

Are you holding Gavin or Hollen?

Well, what on?

Sure, the boys have questioned both of them,

but unless we can show some evidence that one of them pulled the switch.

Johnny, you got any ideas?

Yeah, Jerry.

Suddenly I think maybe I have.

I'll start talking so I can make a pinch.

No, I don't think you will.

What do you mean if you know who did it?

Why didn't say that?

But, uh, Jerry, I've got a hunch, a real potent one.

I know if it's right.

Yeah?

Well, read tomorrow's papers.

Huh?

Item 9, half a buck for an evening paper

and a tip for the bill boy who brought it up to me.

Yeah, the sergeant was right.

This was the most free advertising any artist has had in years.

Prices on genuine Bardo's were skyrocket.

As for the fake blue Madonna,

I put in a fast call for Paris,

but before the operator could get it through...

Yeah?

Honil Gavin, Mr. Dollar.

Well, Mr. Gavin.

Do you see what has happened?

Have you seen the papers?

I sure have.

And the police have closed my shop, my galleries.

In your blame?

But don't you understand?

I've had offers of up to 30,000 for the Madonna.

I've received wires offering me nearly 20,000 for the other Bardo.

The real one.

No kidding.

I'll show you how much I'm kidding.

I've cable Bardo to paint some more for me.

Paint anything.

Don't you see after all this publicity will make a million.

So it was you that rigged this whole thing, Gavin?

I'm Mr. Hollywood.

Of course not.

Sure, to raise the price of some of your lousy painting.

How can you say that?

You gave me that copy, expert.

You trying to tell me you didn't know that was a copy?

No.

There's only this morning, when the authority from Sarasota,

when I called in the people from the museum, shared in Philadelphia,

you know what they said.

What?

And it better be good.

They said the only one who could have made that copy.

The only artist in the world who could have put it.

Hold it.

Hold everything.

Holland, you said you got that penny from your uncle's estate.

That's right.

It was will to me.

Where did your uncle get it?

Why?

Well, listen.

I'm listening.

Dollar that Madonna was smuggled into.

Smuggled?

But by whom?

Well, believe it or not.

I think I can tell you who.

And if this is my call to Paris,

well, maybe I can even tell you where he is now.

Johnny Dollar.

This is your dear and faithful friend, Lysha Kree.

Good.

Now listen.

And for the information I can give you this time,

you will have to pay me a vast sum of money.

You're about to tell me that the blue Madonna was smuggled into Paris

by none other than the artist himself.

By Vincent Bardot.

Exactly.

So they should be worthy.

But how did you know?

All right.

All I want to know now is where is he?

You know?

He's not in Paris.

Where is he?

For a hundred bucks?

A hundred and fifty?

Three hundred.

Oh, for that much I'll find out for myself.

Goodbye.

No, no, no.

Okay.

Two hundred or I'll hang up on you.

Well, only for you, my best, my oldest friend.

Where?

He is aboard the plane for the United States.

I might have guessed it.

He has the Madonna with him.

He received the cable this morning.

Great.

I'll send you a check.

You hear any of that, Mr. Gavin?

Holland Villa.

Yes.

I'm afraid I don't understand.

I sure don't.

And maybe this call will help you.

Headquarters.

Sergeant Jerry Hawkins.

Yes, sir.

Sergeant Hawkins.

You can have the boys in New York pick him up

or wait for his plane to arrive here in Philadelphia.

Johnny.

If you're sure you really have any charges against him.

What?

He's on his way in from Paris.

The guy who paid at the copy of the Blumadonna.

Or maybe this is really the original over here.

Huh?

Well, anyway, he'll have the other copy with him.

So do you want to tell the papers or shall I?

Look, will you make sense?

Oh, and his name is Bardot.

Bardot?

That's right.

Vincent Bardot.

Wow.

You mean that he painted two of them?

Sure.

With probably something like this in mind.

I can't.

And look, look what it's done for him.

Put him on the map.

Anything he paints now will let him a fortune.

And I don't think you'll suffer particularly either, Mr. Gavin.

Well, no.

It's for you, Holland.

Well, you'll get a lot more than you thought for that penny, yours.

Man, what a fact.

Sure.

But you know something.

What is it all about?

Hmm.

I just wonder if Lachagri was in on this thing with him from the beginning.

Lachagri?

So help me.

I wouldn't put it beyond him.

Hmm.

Sure.

Sure he was in with Bardot.

And probably collecting plenty from him.

Anyhow, the insurance company is not anything.

But I hope there'll be a lot more careful the next time they ensure a penny.

Any so-called original.

Expense account total including 400 for Lachagri, the hotel and the trip back to Hypert.

620 dollars even.

Yours truly?

Johnny Dollar.

Your is truly Johnny Dollar, starring Bob Bailey, originates in Hollywood and is written,

produced and directed by Jack John Stone.

Heard in our cast were G Stanley Jones, Horace Lewis, Harry Bartell, Joseph Kerns,

Bert Holland and Byron Cave.

Be sure to join us next week, same time and station, for another exciting story of yours truly,

Johnny Dollar.

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Welcome back.

Well, from that one negotiating scene with Lushar Grey, I would say that Johnny Dollar may not know any martial arts specifically,

but he does know his bug's bunny.

But if, as Johnny theorized, Lushar Grey was behind or part of the conspiracy with the painting,

then he created the situation where he used an insurance company to get him publicity

and sent them on a wild goose chase and got them to pay him for it.

I mean, that's the Grey Fox all over.

I also had to chuckle about the, be more careful the next time you approve a painting for coverage statement.

Like, this is a really common thing.

You know, you should have caught that it was the artist forging a copy of his own painting as a publicity stunt.

Question or comments and feedback and we turn to Spotify and some comments on the date with Death Matter.

Elwood writes the plot device of dialing a certain sequence and then hanging up to call any other phones in the house,

brought back good memories.

My father worked his entire career at the phone company and he taught me this in the early 90s.

I forget how I figured out how to do it, but I did figure out to do it and did so until my parents told me to stop.

It wasn't using.

Dawn writes in 1959 only about 75% of you as households had any phone, but Johnny and Betty have two and an apartment.

Proto-yappies?

Johnny's expense account prowess is on full display, charging the insurance company for doing nothing for them.

Well, I kind of think Johnny might have a good case for having multiple extensions.

Because I gather his apartment's not a studio, so I can see him having one by his bedside, so if he gets an emergency call on the night,

he can pick it up and respond to it, but then also having one closer to his living area.

As to the expense account, yeah, I'm not certain what's that for.

I mean, the previous weeks as detailed by John Abbott had a $0 total, which makes sense.

Yeah, he didn't do any work for them.

I just didn't want two weeks with zero expenses.

And then some comments regarding the Henderson Man or Omnibus doctor who done it wrote,

I love Johnny Dollar Omnibus's or Omnibus as much as the five partners. It's going to be a good day.

Well, thanks so much. I think it is Omnibus's that seems to be the consensus,

although when it comes to book Omnibus's, which tends to be the more common usage,

some people use the slang omnis, but the proper word is Omnibus's.

And I'm glad you enjoy them. And I know that there were some people,

it's been a few years, who were not happy that the episodes were divided up on the podcast.

And so for those who were patient to that and preferred the other way,

I think both ways are great. And you kind of experience the show differently

with the weights between parts, then all together.

And it's fun to explore these in different ways.

Peter writes, I've heard the large animal add many times and it brings a smile to my face every time.

Thank you for including the Kimperry ad items they are and like to hear.

Well, you're welcome, Peter. And I know that there are actually some books that have actually

called out the John Anomaly ad. And a lot of people don't care for them.

And so I try to make space without oversaturating the program by keeping every single one of them in.

I think there was four or five in the two episodes.

So I didn't leave all of them in, but we did leave one in for those who enjoyed them

or those who just wanted to hear an ad that went with the programs.

And then we have a comment from Bob and Paula who write,

my wife and I love to listen to both Johnny Dollar and Drag Network.

Thanks so much for listening.

And now it's time to thank our Patreon supporter of the days.

I thank you to Greg Patreon supporter since January 2023,

currently supporting the podcast at the sharpest level of $4 or more per month.

Thanks so much for your support, Greg. And that will do it for today.

If you're enjoying the podcast, please follow us using your favorite podcast software.

And be sure to rate and review the podcast wherever you download it from.

We'll be back next Friday with another episode of yours, truly Johnny Dollar.

But join us back here tomorrow as we give way to counterspy aware.

Well, pictures are very good like this of you.

Yes. You've got a picture of me. When was it taken?

The important part is that it was taken for identification.

So you, you as the name Charles Pierce,

you wish them a identification Mr. Burley?

Unnecessary.

I was standing unobserved right at the desk of hotel when you signed in last night.

I wanted to feed your handwriting.

Well, no wonder Mr. Burley, you're famous for your precautions.

From now on you two will take orders from me.

Come along.

Now I ask where we are going.

The eighth floor balcony there of a certain building.

I hope you'll be with us then in the meantime.

Send your comments to box 13 at greatdetectives.net.

Follow us on Twitter at radio detectives and check us out on Instagram Instagram.com slash great detectives.

From boy see out of home.

This is your host Adam Graham signing off.

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