Marlowe and Dollar

Summary

Case Closed! — Marlowe and Dollar (December 3, 2025)

Overview

This episode of "Case Closed!" from RelicRadio.com features two classic crime dramas from the golden age of radio:
The Adventures of Philip Marlowe: "Life Can Be Murder" (originally aired July 21, 1951) and
Yours Truly, Johnny Dollar: "The Rat Pack Matter" (originally aired April 23, 1961).

Listeners are treated to hard-boiled detectives navigating dangerous cases involving murder, intrigue, and the darker side of human nature, all delivered in the witty, atmospheric style of vintage radio.

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Segment 1: The Adventures of Philip Marlowe — "Life Can Be Murder"

(00:41–28:12)

Main Plot & Atmosphere

Philip Marlowe begins his tale in a bar called Bell’s Trifle Inn, an "authentic" English pub run by Belle Smithers, a Nebraska native with a penchant for chatty nostalgia. Marlowe strikes up a flirtatious conversation with redheaded, green-eyed Marnie Carr after a playful close-call with a dart. What starts as a casual barroom interaction soon evolves into a night clouded with intrigue, guilt, and ultimately, murder.

Key Discussion Points & Story Beats

• Charming Banter and Setup

  • The chemistry between Marlowe and Belle sets the tone:

    "Yeah, well, I've tried to stay away from you, honey, but I can't. You're bigger than both of us." (02:30, Marlowe)

    • Barroom small talk leads to a playful meeting with Marnie Carr, capped by witty exchanges over drinks and darts.

• Introducing Intrigue

  • Marnie appears anxious, frequently glancing at the door, hinting at trouble or a possessive companion:

    "I'm not exactly a free agent. Someone brought me here, said he'd be back." (06:09, Marnie)

  • Despite the tension, she allows Marlowe to take her home, but an ominous car looms in the driveway.

• The Murder Discovery

  • The next morning, Marlowe is awoken by Lieutenant Matthews:

    "I'm already here, Phil. And you better come on out. The dame has been murdered." (11:22, Matthews)

  • Marlowe arrives at 2470 Bedford Drive to discover a woman named Ann Harkness from New York has been killed. Marnie is missing.

• Investigation and Clues

  • The evidence suggests a break-in, and Marnie’s connection is muddled. Marlowe uncovers a note (“Thanks for the lovely remembrance...”) and tracks Marnie through dogged legwork—from beauty salons to the home of Belle.
  • Peg, a salon coworker, provides Marnie’s address by letting her guard down:

    “She don't feel too well today. She called me first thing this morning. Your fault.” (19:26, Peg)

• Unraveling the Mystery

  • After hunting through salons and apartments, Marlowe finds Marnie tied up in a Malibu motel. The true culprit is Paul, Marnie’s troubled kid brother, who killed Ann Harkness during a bungled robbery.

    "You love him a lot, huh? Who? Who doesn't love their own kid brother?" (25:58, Marlowe & Marnie)

• Resolution & Reflection

  • Paul is apprehended, sobbing over what he has done. Marlowe muses on how people minimize terrible acts:

    "Funny how many people dispose of anything from mayhem to murder. With the phrase he's just a kid. I bet someone said that about Capone, Dillinger and Pretty Boy Floyd." (27:35, Marlowe)

Memorable Quotes

• "Crime is a sucker's road and those who travel it wind up in the gut of the prison or the grave." (01:03, Marlowe)
• “It was a nice evening. Short, but nice. Monica was a nice girl, and I decided to leave it at that. Nice girl.” (10:27, Marlowe)

Key Timestamps

• Intro to Marlowe story: 00:41
• Marlowe and Marnie meet: 03:33
• The murder discovered: 11:22
• Beauty salon investigation: ~17:20–20:14
• The reveal and rescue: 25:26–27:21

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Segment 2: Yours Truly, Johnny Dollar — "The Rat Pack Matter"

(29:24–52:58)

Main Plot & Atmosphere

Johnny Dollar, insurance investigator, is lured to Summit Hill, Texas, by the promise of a lucrative bonus (and the use of a fancy sports car) to solve a rash of malicious vandalism. Dollar’s unique approach involves blending in under the guise of a federal population surveyor, revealing the generational and societal fault lines behind a spree of destructive teenage pranks targeting wealthy residents’ cars.

Key Discussion Points & Story Beats

• The Case Setup

  • Dollar’s friend George Franklin outlines the problem:

    “Just call it vandalism… Hot-rodding them to death. Then wrecking whatever is left… in a ditch, up against a tree.” (33:25, George)

  • The local authorities are ineffectual; the “rat pack” always gets tipped off and escapes capture.

• Johnny Investigates Undercover

  • Dollar canvasses the town as a survey-taker, discovering a community of affluent but bored youth:

    “No baseball field, tennis courts, no movies, things like that... Not even a soda joint with maybe a jukebox.” (40:16, Dollar)

• Confrontation with the Rat Pack

  • Dollar is ambushed and almost stabbed by a switchblade-wielding youth in a grotesque mask, foreshadowing the antisocial seriousness of the vandalism.

    “Now you pick it up, Gene, like we add that one to our collection.” (43:03, the “Rat Pack”)

• The Heart of the Problem

  • Dollar has a tense confrontation with the Brierly family, revealing the privileges and aimlessness of their son Frankie:

    “They and me and all the rest of us haven't ever been given a chance to even think for ourselves… Now, can you blame the kids for wanting to let off a lot of steam?” (47:13, Frankie)

• Resolution

  • Dollar rallies the parents to address the neglect at the community’s core and, later, lectures the kids directly:

    “But again, by the time I'd finished with them... there won't be a kid in that town with an idle moment on his hands.” (49:08, Dollar)

  • He chooses to leave the solution as a matter of local correction rather than criminal punishment, showing faith in both generations to choose a better path.

Memorable Quotes

• "But their activities, their projects will be their own with as little parental advice and guidance as possible." (49:53, Dollar)
• "Have them all locked up for something that was only partly their doing? Try to make them into criminals? I don't think so." (52:03, Dollar)
• “I have seen you. Now, I can come back here and identify every one of you if I ever have to.” (51:34, Dollar)

Key Timestamps

• Johnny Dollar’s case begins: 29:24
• Local context and survey approach: 35:09
• Tense carport confrontation: 41:41–44:50
• Brierly family’s reckoning: 46:05–48:30
• Dollar’s speech to the kids: 50:05–51:51
• Philosophical wrap-up: 52:03

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Notable Episode Moments

• Marlowe’s Cynicism and Compassion:
  His narration continually threads hard-boiled sarcasm with empathy, especially in his view of both Marnie and her brother.
• Johnny Dollar’s Social Commentary:
  Tackles then-contemporary anxieties about juvenile delinquency with a mixture of criticism and understanding—remarkably modern for the early 1960s.

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Conclusion

“Case Closed!” delivers two masterful stories of crime and consequence: one a classic murder mystery tinged with bittersweet romance (Marlowe), the other a parable of societal neglect manifesting as youthful rebellion (Dollar). Both dramas resonate with timeless themes and memorable performances, making this episode a stellar representation of vintage radio noir.

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Quick Reference: Key Segments

| Time | Story/Scene | Summary | |----------|-----------------------------------------|--------------------------------------| | 00:41 | Marlowe intro ("Life Can Be Murder") | Marlowe at Bell’s Trifle Inn | | 11:22 | The murder revealed | Matthews calls Marlowe to a homicide | | 24:02 | Marnie's note and investigation | Marlowe follows new leads | | 25:26 | Malibu showdown | Marnie rescued, culprit revealed | | 29:24 | Johnny Dollar case begins | Sports car and vandalism in Texas | | 35:09 | Dollar's survey cover | Gathers town intelligence | | 41:41 | Showdown at the Brierly’s | Encounter with the Rat Pack | | 46:05 | Parental confrontation | Reckoning with neglect | | 50:05 | Dollar’s speech to the youth | Direct appeal to reform |

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Find more episodes and classic radio mysteries at relicradio.com.

Transcript

[Johnny Dollar]

Foreign.

[Case Closed Host]

This is Case Closed Crime stories from the golden age of radio.

With another hour of mystery and crime from the golden age of radio, this is Case Closed. Welcome back. Thanks for joining me. This Wednesday we're going to start off with the Adventures of Philip Marlowe. This week we'll hear Life can be murder from July 21, 1951. After that, it's yours truly, Johnny Dollar and the Rat Pack matter. That story aired April 23, 1961.

[Philip Marlowe]

Most Saturdays at this time, we spent an exciting half hour of adventure in action with America's public hero number one, Hopalong Cassidy. Well, even two fisted cowboys take summer vacations when they can, and Hoppy is no exception. Hopalong and Topper will be back with us riding the CBS air trails again, nine weeks from tonight, September 22nd.

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. There's no other end, but they never learn.

From the pen of Raymond Chandler, outstanding author of crime fiction, comes his most famous character in the Adventures of Philip Marlowe.

Now with Gerald Moore starred as Philip Marlo, we bring you tonight's exciting story, Life Can Be Murdered.

A sign and a half light above the entrance reads Bell's Trifle Inn. If you say it fast enough, you may be right. It's authentic English script and it hangs over the door of an authentic English restaurant just south of the authentic Sunset Strip. Owned and barth, headed by Bell Smithers inside. From the paneling to the prime rib, from the Welsh rabbit to the dartboard at one end of the bar, it's the Union Jack all the way. And it figures. Belle's authentic too. 100% pure Nebraska. I always sit at the bar.

[Belle Smithers]

Milo, you old dog. You've been neglecting me.

[Philip Marlowe]

Yeah, well, I've tried to stay away from you, honey, but I can't. You're bigger than both of us.

[Belle Smithers]

Ah, you and your palaver.

[Philip Marlowe]

Yeah, me and what you said.

[Belle Smithers]

You want a drink, honey?

[Philip Marlowe]

Yeah, but make it with your own light hand for a change, will ya? I'm tired of walking out of here on my knees.

[Belle Smithers]

Just an ounce.

[Philip Marlowe]

The water'll float it.

[Belle Smithers]

Okay, honey.

[Philip Marlowe]

It's your poison and my stomach lining. Hey, looks like most of the regulars are here, huh? Not sure they get tired of looking at the same old faces.

[Belle Smithers]

I can stand it as long as they can. No, Milo, I kind of like it clubby. This way you get a few people who just come in to see what a lady barkeep's like. But most of them are just regular folk, you know, real people who like.

[Philip Marlowe]

The food and drink. Huh, Belle?

[Belle Smithers]

Oh, yeah, sure. Sometimes I forget. I get all carried away working my jaw.

[Philip Marlowe]

Cheers, baby.

[Belle Smithers]

Yeah, thanks, honey.

[Philip Marlowe]

Oh.

You know, sometimes you forget a lot of things, I think. Like teaching school in. Where was it? Nebraska?

[Belle Smithers]

Ogalalla. That name don't stick with you worth a darn, does it?

[Philip Marlowe]

Ogalala. Does that mean anything?

[Belle Smithers]

Oh, it does to the folks back there. County. See, the Keef county sits right there on the South Platte River. That's just south of the North Flat River.

[Philip Marlowe]

Yeah. Well, that's a nice arrival.

[Belle Smithers]

No, Milo, that's one thing I'll never forget. Teaching school back there in Ogallala. I declare, if I hadn't done that, I wouldn't be doing this now. You see, these reach cattle folks, they come through from Cheyenne. And what do they got but a 13 year old shaver?

[Philip Marlowe]

And where are they going with the shave?

[Johnny Dollar]

Up in England.

[Philip Marlowe]

And what do they need but a tutor?

[Belle Smithers]

And who do they draw but me? Right out of 10th grade Social Studies at Ogallowa High School. Now, I got a feeling you've heard this song before.

[Philip Marlowe]

Yeah, just a few thousand times, Belle. But don't worry, I like it. Matter of fact.

[Belle Smithers]

Excuse me, Mrs. Smithy. Oh, call me Belle, honey. What can I do for you? Well, the young lady said you kept the darts for the. Oh, for the darts. Oh, yeah, sure I do. Well, it is all right sewing darts, isn't it? I'm waiting for someone and I. Oh, it's perfectly all right, honey. Just make yourself at home. There you are. Thank you. Oh, I hope I didn't bother you.

[Philip Marlowe]

I'm so glad you did. In fact, if you want to build a house, I'd like that too.

[Belle Smithers]

Well, thank you for the dog.

[Philip Marlowe]

Hey, Bill. That red hair, the green eyes.

[Belle Smithers]

Marlow, you and your.

[Philip Marlowe]

Don't say it. Just pour me another palaver and water.

[Belle Smithers]

If you don't beat a hoe, I declare. Look out, Marlo. Bullseye. She made it, Marlo. Your head was right in front of the target and she still made it.

[Philip Marlowe]

Yeah, well, I'm very happy for it.

[Belle Smithers]

Frighten you. I had no idea your head was in the way.

[Philip Marlowe]

Neither did my head. As long as it's you.

[Belle Smithers]

I'm really sorry. Sorry? Why, we haven't had a bullseye all week. That rate's a drink and dinner on the house.

[Philip Marlowe]

A bell for two. Of course. A bell girl. Right now.

[Belle Smithers]

Tonight.

[Philip Marlowe]

Come again?

[Belle Smithers]

Where's Marlo? Here, naturally.

[Philip Marlowe]

That's my girl.

The red hair and green eyes. Smile. A nice smile went along with the gag. We toasted, throwing on my head and Bell's solid sense of judgment and putting the dartboard at head level at one end of the bar. By the time we moved to a table for two, I knew her name was Marnie Carr. Before dinner was over, I had a pretty good idea that everything about her was all right with me.

Hey, Marnie, you got that look again.

[Johnny Dollar]

Really?

[Belle Smithers]

Which one?

[Philip Marlowe]

The dark one. Happens every time you look toward the door.

[Belle Smithers]

Yes, I expect it does. You see, I'm not exactly a free agent. Someone brought me here, said he'd be back.

[Philip Marlowe]

Ah. Think he'll object to our little party? Is that it?

[Belle Smithers]

No, not really. I. I guess I hope he doesn't come back.

[Philip Marlowe]

I hope so, too. Tell me, can I play 20 questions?

[Belle Smithers]

I'd rather you didn't.

[Johnny Dollar]

Okay.

[Belle Smithers]

You know, I really feel pretty silly. It's. Well, it's so easy being with you. Like, I've known you a long time and I practically picked you up. You know, I've never done a thing like that in my life.

[Philip Marlowe]

Yeah, well, Belle picked us both up. I wouldn't worry about it.

[Belle Smithers]

I don't think you even heard me. It's very important to me that you know I've never picked anyone up.

[Philip Marlowe]

Sure, I believe you.

[Belle Smithers]

You know what I mean. It's like I'm doing something wrong and.

[Mrs. Brierly]

I should feel guilty about it.

[Belle Smithers]

But I don't. Oh, dear, I'm not making any sense at all, am I?

[Philip Marlowe]

Look, why don't you just forget about it, huh? You said you felt easy with me. That's enough, isn't it?

[Belle Smithers]

Yes, that's enough.

Well, I. I guess.

I really think I should go now.

[Philip Marlowe]

Oh, Bill. Never forgive you for not finishing the trifle. How special.

[Belle Smithers]

Do you know, Maybe I'll come back sometime. I'll eat a double order.

[Philip Marlowe]

Ah. Will you let me take you home?

[Belle Smithers]

I don't know.

[Philip Marlowe]

It'll be all right, Marnie. Very all right. Well, can I take you home? Yes.

[Belle Smithers]

Yes, you can.

[Philip Marlowe]

Good girl. We'll stop by the bar and slip Belle the grip, and then we'll be on our way.

[Belle Smithers]

Yes, I do want to thank. Who do they draw but me? Right out of 10th grade Social Studies at Ogallala High School.

[Philip Marlowe]

Yeah, yeah, you told me. Belle. Great story. You ought to change it a little, Belle, just for listener interest. Hi, Matthews. Oh, hello, Phil. What brings you? You are. Ms. Carr. Lieutenant Matthews.

[Belle Smithers]

How do you do?

[Philip Marlowe]

Ms. Car. Great dinner. Bell.

[Belle Smithers]

Dinner Bell.

[Johnny Dollar]

My head.

[Belle Smithers]

Honestly, Marlo. I declare. You say the darn.

[Philip Marlowe]

Just say yeah, I'm a regular. Yeah.

[Belle Smithers]

Yeah, it was a very nice dinner, Bell. Thank you. My pleasure, honey. You come again.

[Philip Marlowe]

She will. Night off, Matthew? Yeah, so far. Hey, you two have a drink with me. I think the young lady's anxious to go home.

[Belle Smithers]

Oh, I'm afraid I'm taking Phil out.

[Mrs. Brierly]

Of his way, Lieutenant.

[Belle Smithers]

But Bedford Drive isn't too far. Maybe he could get.

[Philip Marlowe]

Now, wait a minute. Wait a minute. I'll make my own arrangement.

[Belle Smithers]

I know some lovely folks on Bedford. The Dickinson 600 block. Do you know him? No.

[Mrs. Brierly]

No, I don't.

[Belle Smithers]

I'm north there, 2470.

[Philip Marlowe]

Oh, yeah. Well, we'll see you, huh? Night, Bell. Matthew.

[Belle Smithers]

Good night. It's nice to meet you both.

[Philip Marlowe]

Yeah.

[Belle Smithers]

Good night.

Turn right at this corner. The last house I know.

[Philip Marlowe]

Oh, say, Marnie, can we do this again?

[Belle Smithers]

Oh, I don't know. Still, I. Are you usually at Bell's? In case I get the urge to throw darts again.

[Philip Marlowe]

Yeah, well, I also have a home and I'll get a dartboard.

[Belle Smithers]

Let's keep it at Bell. Maybe later. Sometime I'll. Oh, wait a minute. Oh, hey.

[Philip Marlowe]

Looks like you got company car in the driveway.

[Belle Smithers]

Yes, I see.

[Philip Marlowe]

I wonder the guy who was supposed to come back and didn't.

[Belle Smithers]

I'll say good night here, Phil. Don't bother coming to the door.

[Philip Marlowe]

Oh, now, look, I think I. I mean it.

[Belle Smithers]

I. Well, maybe I'll see you at Bell's again.

[Philip Marlowe]

Don't call us, we'll call you. Is that it?

[Belle Smithers]

That's it, Phil. Thanks. I liked it.

[Philip Marlowe]

Great work, Marla. So crazy about you. She's running the other way.

[Belle Smithers]

Paul. What on earth are you doing there since I'd be back? Never mind Paul. It's going to die. Good night, Bill. Thanks again.

[Philip Marlowe]

Wasn't ideal, the way the evening ended. Not the way I'd planned it. But then how could you plan an evening like that? Girl meets dots, girl throws dart. Girl meets boy. Didn't make much sense, but it didn't have to. It was a nice evening. Short, but nice. Monica was a nice girl, and I decided to leave it at that. Nice girl. It was straight up 11 o' clock when I got home. I thought about the red hair and the green eyes. Several pleasant minutes. And then I went to bed to sleep.

A chance to dream. Oh, well.

Hello, Matthewsville. Yeah, yeah. That girl you were with last night, where was it she lived? Where did she live? Yeah. Look, it's not even 8 o' clock in the morning? You're asking? Take it easy, Phil. Was it 2470 Bedford Drive? Yes, it was 2470 Bedford Drive. And if you hurry, maybe you can get there in time for breakfast. I'm already here, Phil. And you better come on out. The dame has been murdered.

In just a moment we will return to the second act of Philip Marlow. But first. So you think this old world of ours is fresh out of miracles. Maybe you sort of long for the days of the Arabian Nights or folks of fable who possessed those magic wands, lamps, rings, talismans that all produced wonders. Well, if you do, you'll find CBS's Mr. Aladdin a refreshing gent to meet. He gets the name Mr. Aladdin from the fact that his exciting adventures have the atmosphere of miracles about them. Listen for him later this evening on most of these same CBS stations.

And now, with our star, Gerald Moore, the second act of Philip Marlow and tonight's story, Life Can Be Murdered.

All the Way to Beverly Hills. I tried hard to see the face of the guy in the doorway the night before. Paul Marty had called him. But it was no use. You can't remember a face you never saw. And the car in the driveway when I took her home? A chevy coupe, gray, two door, 49 of 50. There are millions of them. It had been blue and bright with stars the night before. The morning was hazy, overcast, and so was I. Matthews met me at the door. Come on in, Phil. Sure.

Tell me, how long you known her? Last night. You sure? I'm sure. Any idea what happened? Oh, yeah, yeah. Someone was looting the place. The back door was jimmied and some stuff missing. This dame must have interrupted it. Got herself killed. Where is she? At the corpse?

[Johnny Dollar]

Yes.

[Philip Marlowe]

The cops in here?

[Johnny Dollar]

I.

[Philip Marlowe]

Hey, that's not money. Did I say it was?

No, but I. I thought that.

[Johnny Dollar]

Never mind.

[Philip Marlowe]

Do you know who this is? Yeah. Ann Harkness. According to identification on her purse, huh? From New York. Taxi driver brought her here about 11 last night from the airport. And the coroner says she must have been shot shortly after that. You bring your girlfriend straight here from Bells? Yeah. That's new for you, all right. That would put her here by 10:30, easy. So? So the taxi driver says a redheaded gal answer the door and let the Harkness woman in. That doesn't prove a thing.

[Belle Smithers]

No, no, no.

[Johnny Dollar]

Does.

[Philip Marlowe]

I'd like to talk to her, though, Phil. You know where she lives? She lives here, doesn't she? House belongs to Mr. And Mrs. Orville Edwards. They're out of town. They called to Chicago yesterday with the death in the family, and the neighbors don't know anything about this. Ms. Carr, was it? Yeah, Mar. Yeah. Well, I got a call into Chicago for the Edwardses. They ought to clear it up.

[Belle Smithers]

Oh, hello.

[Philip Marlowe]

Hi, Mooney. Yeah, what do you got, Sergeant? Well, this address book, phone number from the phone desk in the hall. Nobody named Carlist it, though. Okay. This note might be something from the big bedroom upstairs. Another house. Let's see.

It's signed Marnie, Phil. It is. Let me have a look. Yeah. Dear Mrs. Edwards, thanks for the lovely remembrance. You're very thoughtful. I'll tell Miss Harkness magazine. Yeah, whatever that means. I'll keep looking around with Kenneth. Do that, Mooney, huh? Well, as soon as the Chicago call comes through, we'll get our hooks into something. Look, Matthews, you mind if I look around? Oh, help yourself. You got any ideas? Yeah, I don't think Marnie had anything to do with it, and I don't know where she lives.

[Belle Smithers]

Okay.

[Philip Marlowe]

Okay, Phil. Only leave the note with me, huh?

I looked around and tried to figure things that didn't figure out. Marnie didn't live here, but she knew the Edwards. That is, she knew Mrs. Edwards, and she addressed her as Mrs. Edwards and signed herself Marnie made maybe, huh? Paul could have been anybody. And I wanted to find Marnie before I took up the matter of Paul with Matthew. Upstairs by the phone in the master bedroom, I found something Sergeant Mooney had overlooked. Another address book. Smaller, with phone numbers. I flipped through it. There was nothing under C for car, but under M for money. There was a Crestview number, but no address. I decided to take the book with me.

Are you still here?

[Belle Smithers]

Still?

[Philip Marlowe]

Yeah, yeah, Just leaving. Oh, look. Hey, what about that car girl? Yeah. She may be the sweetest kid in town. And she may be a killer. You never know. Thanks for the tip. And I didn't call you to get in my way. If I find her, I'll tell you. Fair enough? Yeah, yeah, fair enough. Just don't get lost finding her.

It was kind of a break. Head start. At least I had a phone number for Marnie that Matthews didn't have. And I wasn't for her against him. He knew that I just couldn't think murder and Marnie in the same thought until I could. I'd string with her if I could find her. The morning haze was lifting somewhat as I stopped at a gas station on the strip and used the payphone.

[Belle Smithers]

Mr. Felixes. Good morning.

[Philip Marlowe]

Where'd you say this one?

[Belle Smithers]

This is Mr. Felix's beauty salon.

[Philip Marlowe]

Oh. Oh, is Marnie there, please?

[Belle Smithers]

I'm sorry, Ms. Marnie's not in today. Can someone else help you?

[Philip Marlowe]

No, I. Look, would you be kind enough to give me a home phone?

[Belle Smithers]

I'm sorry, sir, we're not allowed to give out phone numbers.

[Philip Marlowe]

Oh, but I'm an old.

[Belle Smithers]

It doesn't matter who you are. I can't give you her number.

[Philip Marlowe]

Okay, thanks.

[Belle Smithers]

May I help you, sir?

[Philip Marlowe]

I just talked to you a few minutes ago on the phone about Marnie.

[Belle Smithers]

I told you then, I tell you now, we are not permitted to give out numbers. How did you find us?

[Philip Marlowe]

Well, Mr. Felix is in the book and Marnie's not. Look, really, this is important. I'm doing this for her.

[Belle Smithers]

I've given Mr. Felix my word and I've never broken it.

[Philip Marlowe]

Yeah, well, I don't doubt it. Oh, Marnie's friend here, you know, the special one. She keeps talking about her all the time. Isn't it strange I can't remember her name? Yes, yes, Peg, sure, that's the one. Can I talk to him?

[Belle Smithers]

Well, I. Oh, all right.

36 desk, please. 36, please.

[Philip Marlowe]

Thank you.

[Belle Smithers]

I hope this never gets back to Mr. Felix. I can't imagine what he'd think.

[Philip Marlowe]

Oh, I can't either. But don't worry, my lips are sealed.

[Belle Smithers]

You blasphemy, Liz. Oh, yes, 36. Peg.

[Philip Marlowe]

This gentleman over here, Peggy. It's about money.

[Belle Smithers]

Ah. What about mine?

[Philip Marlowe]

Well, I don't have a home phone or her address.

[Belle Smithers]

She wouldn't give it to you, huh?

[Philip Marlowe]

Well, no, she.

[Belle Smithers]

She wouldn't. You look all right to me. What's wrong with you?

[Philip Marlowe]

Nothing. I'm a nice clean cut fella.

[Belle Smithers]

Yeah, looks like.

[Philip Marlowe]

Yes.

[Belle Smithers]

What do you want with Marnie?

[Philip Marlowe]

Well, I just want to see her. Good enough. Raisin?

[Belle Smithers]

Best in the world. She don't feel too well today. She called me first thing this morning. Your fault.

[Philip Marlowe]

No, no, no, I don't think so. No. Tell me, what did she say when she called?

[Belle Smithers]

But she didn't feel too well.

[Philip Marlowe]

Ah, well, now look, Peg, does Marnie go out to Mrs. Edwards often?

[Belle Smithers]

Just when she's called to do her hair.

[Johnny Dollar]

Good enough.

[Philip Marlowe]

Oh. Best in the world. Do I get that phone number?

[Belle Smithers]

Ridgely 004.

[Philip Marlowe]

0040.

[Johnny Dollar]

Yeah.

[Belle Smithers]

And that's 1637 North Vermont, apartment B. Ridgely 040.

[Philip Marlowe]

1637 North Vermont, apartment B. Huh?

[Belle Smithers]

And walk softly by A. That's the landlady.

[Philip Marlowe]

Yeah, well, I'll remember. Thanks, Peggy.

[Belle Smithers]

And if you don't find her. Come back. I'll give you mine.

[Philip Marlowe]

Peg was something of a prophet, among other things. Well, there was no answer to my knock at 1637 North Vermont, apartment B, and no answer to the phone call I placed in the lobby. So I quit walking softly by apartment A, not B, and the doorway was suddenly filled with a solid block of granite.

[Belle Smithers]

Yes, I'm a landlady, but if she don't answer the door, it makes sense to me.

[Philip Marlowe]

She ain't in. Well, have you seen her this morning?

[Belle Smithers]

Ain't seen her since she went to work yesterday morning. Ain't seen him either.

[Philip Marlowe]

Her husband?

[Belle Smithers]

Husband? Young man, even if I knew, I wouldn't tell you.

[Philip Marlowe]

And I was getting proud of my head. It could dodge anything from flying dots to door slams near the eyebrows. That was about all I was proud of at the moment. I wasn't exactly closing in on money. The landlady's snort didn't give me much of a line on Paul, if that's who she was exhaling about. And there was a matter of Ann Harkness, who flew into Los Angeles the night before just in time to be murdered. Well, I drove to a nearby drive in and mulled it over a sandwich. Coffee was grim, too. I was starting in on the routine that begins with, if I were Marnie, where would I go when I got a flash of an idea? Ten minutes later, I was banging on another door.

[Belle Smithers]

Belle?

[Philip Marlowe]

Belle? Anybody home?

[Johnny Dollar]

Belle?

[Belle Smithers]

Oh, Marlo, come in. I'll arrange for slinging doors first thing tomorrow.

[Philip Marlowe]

I'm sorry, Belle, but I got an idea.

[Belle Smithers]

I told you lately we're not open for lunch.

[Philip Marlowe]

I said I'm sorry, didn't I? It's just.

[Belle Smithers]

Oh, I'm sorry, Marlo. Guess I'm kind of off my feet today. I declare. You ought to see what that butcher sent me in the name of prime rib. And Charlotte Hall. Said she'd floundered like a beached whale all night. Bad tooth.

[Philip Marlowe]

She will you run down.

[Belle Smithers]

And when I got here, this was here for you.

[Philip Marlowe]

Oh. Oh, let's see.

[Belle Smithers]

Someone shoved it under the door, I guess. At least that's where I found it. Well, Land of Goan. Come in. Get enough people, we put on a floor show.

[Philip Marlowe]

You have been a busy boy, Phil.

[Belle Smithers]

Make yourself at home, Lieutenant. I got work to do.

[Philip Marlowe]

If you know that, you also know I'm getting nowhere. Yeah, maybe.

[Belle Smithers]

Hey, listen.

[Philip Marlowe]

You've been tailing me, Matthews. Tailing you? Yeah, that's what I said. No, no, just the boy's been going the same place as you have. Ah, a little bit later, all the way around and along about the second stop, the description began to fit you. It did. Now, look, tell me, how did your phone call to Chicago come out? Oh, we found out where your Marnie Carr fits in. Oh, yeah. Ed Harkness dame was a friend from New York who came to call in the Edwardses. And they tried to intercept her when they got the call about the family death in Chicago, only they couldn't reach her. Your money told Mrs. Edwards she'd stick around the house and wait for the Harkness name. That all? Well, they described some of the stuff that might be missing. We checked and it is. It is, huh?

[Belle Smithers]

Yeah.

[Philip Marlowe]

Tell me, how do you figure Marnie by now? How can I figure a. Phil, she's missing. Yeah.

She is missing, isn't she? Phil, I said if I found her, I'd tell you. You remember? Oh, yes, I remember, Phil. I just want to make sure you.

I had a reason for not telling Matthews about the note Belle gave me. It was signed Marnie, all right, but it wasn't the same handwriting I'd seen in the note she left for Mrs. Edwards. It said, Phil, meet me at 8:30 tonight in the park above the bluffs of Santa Monica. That was all, except 8:30 was like six hours away. And it's just dark here at 8:30 and a fellow can get killed keeping that kind of an appointment.

You ever wait six hours for something to happen? Oh, it's no fun. Neither is the thought that maybe something final has happened to a pretty nice person. I was almost sure now that Paul was my boy, but almost wasn't close enough. And I had to find Marnie, if she could be found. And I got to the park above the Santa Monica Bluffs about 15 minutes early, left my car a block or so away, and all the way to the park I watched for a gray Chevy coupe, 49 or 50. When you look for them, they're hard to see.

And then I saw it. Parking half a block down, a guy got out and headed into the park. I let him go, got to his car. By the time he reached the bluff, I don't know what I thought I'd find, but not in my wildest dreams did I expect what I found.

Three minutes later, I was put to floorboarding it up the coast highway toward Malibu. The Seaway Motel, 21245 Malibu Road. That's the way. The parking ticket I lifted from under the windshield wiper on the Chevy Rip. And that was good enough. For me. I hit two wrong doors before I found the one I wanted and I had to spring the lock.

Ronnie. He plays rough, doesn't he? Here, Hell, untie your wrists.

[Belle Smithers]

Knows he can get away with it. Phil, I've been such an idiot.

[Philip Marlowe]

You love him a lot, huh? Who?

[Belle Smithers]

Who doesn't love their own kid brother?

[Philip Marlowe]

All is your kid brother.

[Belle Smithers]

Yeah, all mine. Write it down somewhere. Big sisters don't make good mothers. Take it easy, honey.

[Philip Marlowe]

You're okay.

[Belle Smithers]

Sure, I'm fine. First I catch Paul stealing from the Edwards. Then I stand there like a zombie and watch him shoot down a woman he's never seen before.

Oh, Sal, I'm sorry. I didn't want to drag you into this. He asked me who you were when you brought me to the Edwards last night. I'd never heard of you. But Paul had and.

[Johnny Dollar]

Wait a minute.

[Philip Marlowe]

Wait a minute. That's probably him now. Be careful.

[Belle Smithers]

Billy's crazy.

[Philip Marlowe]

I'll be ready for him right behind the door.

Your bright boyfriend stood me up. We gotta get out of here. Hey. Hey.

[Johnny Dollar]

What is this? You.

[Belle Smithers]

Oh, phil.

[Philip Marlowe]

Yeah, just a kid.

I called Matthews and wounded up everything. Checked everything balanced. Paul cried like the baby he was and blabbed his head off. When he came to Marnie. Just cried.

Funny how many people dispose of anything from mayhem to murder. With the phrase he's just a kid. I bet someone said that about Capone, Dillinger and Pretty Boy Floyd.

Now take Marnie.

[Belle Smithers]

She's.

[Philip Marlowe]

What a kid.

The adventures of Philip Marlowe. Bringing you Raymond Chandler's most famous character star Gerald Moore are produced and directed by Norman McDonald and written for radio by Kathleen Height. Featured in the cast were Virginia Gregg and Joan Banks, with Paul Dubove, Jim Nusser, June Whitley, Shirley Mitchell and Marjorie Bennett. Detective Lieutenant Matthews was played by Larry Dobkin. Gerald Moore may soon be seen in the Santana production Sirocco. The special music is composed by Pierre Garag and conducted by Wilbur Hatch.

Be sure to listen again next week at the same time when Philip Marlo says.

This time a pair of cross telephone wires put the good neighbor policy into effect. The murderous accompaniment of an off key xylophone. One good neighbor almost kills another good neighbor fella named Marlo.

[Johnny Dollar]

It means just $700 more on the piggy bank and yours truly can start tooling around the countryside in a brand new fancy foreign sports car.

[Philip Marlowe]

Oh.

[George Franklin]

Oh, I see.

[Johnny Dollar]

So unless you can guarantee me a minimum of 700 bucks, why should I travel all the way to Corpus Christi? Possibly miss out on something lucrative around here?

[George Franklin]

A Sports car, huh?

[Johnny Dollar]

Oh, the Ultra Ultra, George. Slightly over $10,000 worth.

[George Franklin]

You know, it sounds like the little.

[Johnny Dollar]

Hunk of iron I keep stashed away in my garage. Well, you're talking about a Franzetti, aren't you? That's the one, all right. How do you like it? Great, now that I got used to it. What do you mean?

[George Franklin]

Well, have you ever driven one of these dream boats?

[Johnny Dollar]

No. The tight fisted dealer won't let me touch it until I lay the cash on the line. Why don't you run on down here.

[Philip Marlowe]

And give mine a workout, huh?

[Johnny Dollar]

You mean it? Sure. Well, okay.

[George Franklin]

I mean, come on down here and take over this insurance problem for me and the Franzetti is yours.

[Johnny Dollar]

Oh, now, wait a minute.

[George Franklin]

A couple of days, couple of weeks.

[Johnny Dollar]

As long as you like after handling a case for you.

[Philip Marlowe]

Anything wrong with that?

[Johnny Dollar]

No, no, I suppose not. And who knows, maybe in addition to.

[George Franklin]

Your expense account, I can dig up.

[Johnny Dollar]

A little extra for you. Say, $700. Georgie, you're a do.

[Philip Marlowe]

CBS radio brings you Bob Redick in.

[Johnny Dollar]

The exciting adventures of the man with the action packed expense account. America's fabulous freelance insurance investigator. Yours truly, Johnny Dollar.

Expense account submitted by special investigator Johnny Dollar to Eternity Mutual Insurance Company office in Corpus Christi, Texas. Following is an account of expenses incurred during my investigation of the Rat Pack matter.

Expense Account Item 1. 133.70. Taxi. Tips and Christi. It was early afternoon by the time the big silver bird sent me down a municipal airport here.

[George Franklin]

Johnny.

[Philip Marlowe]

Huh?

[George Franklin]

I kind of thought maybe that Beta mine would bring you down here in a hurry.

[Johnny Dollar]

Hi, George. Hi. Well, where is it?

[George Franklin]

The car, what else? My little sports car. That's right, the Franzetti.

[Johnny Dollar]

Juan, stop beating around the bush. Where is it?

[George Franklin]

Safely locked up in my garage.

[Johnny Dollar]

Are you kidding? Not a bit.

[George Franklin]

I came over here in the beat up old crate that I drive to work.

[Johnny Dollar]

Georgie, you're a dog.

[George Franklin]

But as soon as you've cleared up this mess for me, the Franzetti is yours.

[Johnny Dollar]

All yours. All right, all right, whatever you say. Now, what kind of a mess? Let's put these bags into your car, run on into your office in town or whatever hotel you picked out for me and on the way you can tell me what it's all. Did you say no? Somewhere along the line there, yeah. Why?

[George Franklin]

Because what you're going to use, pal, is one of the new compacts. I've arranged a rental for you and it's sitting right over there at the curb.

[Philip Marlowe]

What a guy.

[George Franklin]

Because you are taking this job on all alone. Over in a town called Summit Hill.

[Johnny Dollar]

Summit Hill.

[George Franklin]

Named after hunk of rocks digging up.

[Philip Marlowe]

Out of the ground.

[George Franklin]

Or maybe 40, 50 miles north and west of Skidmore.

[Johnny Dollar]

Where's skidmore?

[George Franklin]

Oh, maybe 40, 50 miles north of here.

[Johnny Dollar]

I see what's going on in Summit Hill. Murder, embezzlement, arson or what?

[George Franklin]

No, Summit Hill is a nice small, well to do residential spot. Lot of nice old folks who made enough in oil and gas to retire there with their families, so. But the last couple of months all we've been doing is writin checks to settle claims.

[Johnny Dollar]

The old folks are dying off.

[Philip Marlowe]

No, no, no, no.

[George Franklin]

But like I said, they all have nice homes and a bunch of nice cars and that's where the damage is being done.

[Johnny Dollar]

What kind of damage?

[George Franklin]

Malicious mischief. Only mischief is too mild a word. Just call it vandalism.

[Johnny Dollar]

Like what, George?

[George Franklin]

I like taking those nice new models out on the back roads and hot rodding them to death. Then wrecking whatever is left of them in a ditch up against a tree.

[Johnny Dollar]

Well, that sounds to me.

[George Franklin]

I mean, you should see what it does to a pretty sedan or limousine when it's been drag raced over some of those backcountry roads. And then our company has to foot the bill.

[Johnny Dollar]

You know what that sounds like to me, George?

[George Franklin]

Sure, pal, and you are 100% right. It's the work of a worthless bunch of kids. Some rat pack.

[Johnny Dollar]

What's the matter with the police up there?

[George Franklin]

Oh, the police department consists of exactly one sweet old man and a couple of half witted deputies just as helplessly scared and upset as the rest of the population. Even the police car has been taken out and wrecked a couple of times.

[Johnny Dollar]

But don't the state police get in on a thing like this? I mean, if these kids are using the roads and highways the minute they appear.

[George Franklin]

Even when they've made some careful stakeouts, Johnny, and they're pretty smart at that sort of thing. Why, everything stops. The whole town gets just as quiet as a churchyard.

[Johnny Dollar]

In other words, I better not let anyone know my reason for going there. Oh, you're right right, pal.

[George Franklin]

And you can see why I don't want you taking my pretty little franzetti along.

[Johnny Dollar]

Yeah, you got a point there. Who knows?

[George Franklin]

Try to cross up those crazy kids. I mean, try to protect your property. They could be killers, Johnny.

[Johnny Dollar]

You think they'd go that far?

[George Franklin]

I know this. Driving a nice car. I wouldn't even want to be in that town. Not after dark.

[Johnny Dollar]

But you're perfectly willing to send me up there to tangle with that Rat Pack?

[Philip Marlowe]

Well, I mean.

[Johnny Dollar]

Well, after all, pal, that sort of.

[George Franklin]

Thing is your job.

[Johnny Dollar]

Oh, sure, sure. Well, thanks, pal.

Expense Account, Item 2, 685. At a stationary store I bought a large, impressive looking blank book with a fancy binding for an extra buck. The stationer carefully stenciled on the COVID the words Official business, Federal, Suburban Population Survey. Then I drove north to Skidmore, took the cut off and finally ended up in Summit Hill. There, after going from house to house asking questions, conducting a mythical survey, I got the impression that this community of six or seven hundred people might have been a very nice place to live for the older people, that is, if it weren't for a gang of clever young troublemakers. Item three. $3 for some gas.

Well, tell you this though, mister.

[Philip Marlowe]

Want me to fill her up?

[Johnny Dollar]

Yeah, yeah, fill her up. Tell you this, those dirty, ornery kids try to mess around my car, take it out and rick it. Well, I got a gun, mister, and I'd shoot first and ask questions after. That's what I'd do. Pretty bad bunch, huh? Well, you ask me, we better organize some vigilantes around here. Old Chief Foster can't do anything. Never any trouble when the state police come around. How those kids always seem to know when there's cops around. I can't figure it out. Don't the folks around here keep their cars in garages? Most of them. But those fancy houses up on the hill, where the money is, have open carports. Well, certainly people don't leave the keys in their cars. Don't either. Kind of. Those kids used to jump a wire. They hot wire them. How do you know they're kids? Has anybody actually seen them? Plenty people, mister, plenty. Now then, if their descriptions were given to the police. Descriptions. Well, if you see those Halloween masks they wear and the false beards and hair and those crazy costumes like a Halloween parade. How could anybody identify em? I see. I tell you this, I Was that nice Mr. Brierly up on the hill with that nice new hardtop that was.

[Philip Marlowe]

Delivered to him today.

[Johnny Dollar]

Brierly?

[Philip Marlowe]

Yeah.

[Johnny Dollar]

Well, I sure wouldn't keep it around this town, tell you that. That'll be 286. Compacts don't hold very much. Right. There you are. I don't bother with the change. Oh, thanks. Well, now you can get on with that survey you're making. Be out of town before dark. Now. You said Brierly? Yep. Well, I. I seem to have missed that family in my survey. Top of the hill, 27 summit, please. Okay, thanks. But I tell you this, I wouldn't bother tonight. I'd come on back in the daytime.

By the time I could grab a bite to eat, that's item four, $75 and get up to the Brierly home on the hill. It was well after dark.

The brand new, expensive hardtop was there in a carport at the side.

[Mrs. Brierly]

Yes? Who is he?

[Johnny Dollar]

Mrs. Brierly, I see by that book.

[Mrs. Brierly]

In your hand you're the survey man I heard about.

[Johnny Dollar]

Well, I know it's late, but may I come in?

[Mrs. Brierly]

Well, all right.

I guess it's safe to let you in.

[Johnny Dollar]

Who is it, Mother?

[Mrs. Brierly]

It's the survey man, Henry.

[Johnny Dollar]

Oh. My name is Dollar. Johnny Dollar.

[Mrs. Brierly]

His name is Mr. Johnny Dollar.

[Johnny Dollar]

Oh. Oh, well, you must excuse me holding a shotgun this way.

But, Mr. Dollar, I'm always so worried when somebody comes around at night. From what I hear, I can't say that I blame you.

[Mrs. Brierly]

Oh, dear Henry, I hope that Frank and his nice girlfriend are all right.

[Johnny Dollar]

At a dance over in Pleasanton. Of course they're all right, Mother. We're really worried about ourselves, Mr. Dolly. Why do you say that, sir?

[Mrs. Brierly]

I just don't think we should have bought that nice new car. I mean, with all those horrible children around doing such awful things with people's cars.

[Johnny Dollar]

Isn't the chief of Police, Chief Foster, any help?

[Mrs. Brierly]

Oh, he tries, but whenever he puts on extra men to look after folks like us, nothing ever happens.

[Johnny Dollar]

Oh, yes, it does, Mother, but somewhere else in town, to somebody else's car.

[Mrs. Brierly]

Well, I'm just. I'm frightened.

[Johnny Dollar]

If only there was something could be done about it, Mr. Dallery. Or maybe something is going to be.

[Mrs. Brierly]

By whom? Even the state police haven't been able to do anything.

[Johnny Dollar]

Sure, because somebody's apparently been able to tip off this rat pack. And that means local knowledge. Local knowledge of everything that goes on in this town. You think they're local boys? What else?

[Mrs. Brierly]

That couldn't be?

[Johnny Dollar]

Couldn't they? Well, I've looked over this town pretty carefully. I've done a lot of thinking about.

[Mrs. Brierly]

It because of your survey.

[Johnny Dollar]

It looks like a mighty nice place to live.

[Mrs. Brierly]

Oh, it is, it is.

[Johnny Dollar]

It was sure, for people of your age. But no baseball field, tennis courts, no movies, things like that. Well, I know. Not even a soda joint with maybe a jukebox. No place where the kids can gather and talk and laugh and dance and let off steam.

[Mrs. Brierly]

Oh, we make up for that, Mr. Dollar. We parents, all of us, by giving them everything they want. Our Frankie has a nice home with us. And nice clothes and all the money he wants.

[Johnny Dollar]

I see.

[Mrs. Brierly]

And his hi fi and his records and things and all the good books he needs. And all the others of his age have everything, too.

[Johnny Dollar]

That's true, Mr. Dog, except perhaps for cars. Oh, well, after all, we don't want to spoil them. You don't want to spoil them? How much do you check up on their activities, say, at night?

[Philip Marlowe]

Well, they are pretty grown up.

[Johnny Dollar]

How old is he, this son of yours?

[Mrs. Brierly]

Oh, well, Frankie's 22.

[Johnny Dollar]

And what does he do for a living?

[Philip Marlowe]

You mean work?

[Johnny Dollar]

Well, does he? He doesn't have to, Mr. Dollar. Why should he? And how many other families are they with the same situation? Kids about the same age, plenty of money. Nothing to do with, well, practically all.

[Mrs. Brierly]

Of us up here on the hill.

[Johnny Dollar]

Well, then, what is the matter with you people? I beg your pardon? Don't you see? Haven't you got brains enough? Wait a minute. Listen.

[Philip Marlowe]

What?

[Johnny Dollar]

Outside the house. All right, now both of you stay right there. I hear, too, Mother. Somebody out at the carport.

[Mrs. Brierly]

Oh, no. Is that a pistol you have there?

[Johnny Dollar]

That's right. What's the matter with this thing? I can't get the chain off. Hey, it's that little pin I put on underneath there. Put that gun, mister, for me, will you?

[Mrs. Brierly]

Maybe that awful gang out there.

[Johnny Dollar]

Of course it is. Will you open this door, Mr. Brierly, or do I shoot the chain away?

[George Franklin]

No, I'll.

[Johnny Dollar]

I'll open it. Now lock it again after me. Yeah, but if you go out there, if you try to stop me. Now, just stay inside.

All right, you kids.

Come on back here with that car. Okay, then, just one tire. Just one of those.

So now your gun is empty, huh? What? No, no, don't try to turn around, mister. This switchblade is very sharp. You turn around, it might just cut your throat.

The switchblade knife at the back of my neck was moved just enough to prove it was razor sharp. I could feel a trickle of blood go down the inside of my collar. You see, man, I don't fool. I drop the rod. Drop it? Sure. Now you pick it up, Gene, like we add that one to our collection.

[George Franklin]

That's right.

[Johnny Dollar]

Moving only my eyes, I could see this other one plainly. First, the heavy cotton gloves that picked up my gun.

And then, standing there in front of me, the tattered blue jeans and sneakers. The grotesque rubber mask, sloppy dirty sweatshirt on the figure of a girl.

Now, why you try and spoil our fun, man? Okay, tough guy. Oh, you mean.

[Philip Marlowe]

No panic.

[Johnny Dollar]

You're not afraid of me? You're pretty big with that knife in my neck, aren't you? Well, it seems like you thought you were pretty big when you had that gun. Too bad you used up all those pretty bullets, man. But Genie knows what to do with it. Well, then you listen to me, Genie, whatever your name is. Oh, now you think we use our real names on a caper like this anymore? We use our real faces, huh? Well, turn around real slow and see how you like my face.

Don't you hear good? I said turn around, but slow and careful so maybe you don't cut your throat.

So I started turning slowly.

Slowly.

Then as I felt the edge of the knife leave the back of my neck, I swung out with my left and sent it spinning away. And then I drove a hard right into his midsection. Before I could turn again, my own pistol came crashing down on the back of my head.

When I came to, I was stretched out on the sofa there in the Brierly's living room, an ice pack on my aching head, the taste of bourbon burning in my throat. How are you? Are you all right, Mr. Dull?

A little more of this Burberry? No, no, thanks.

[Mrs. Brierly]

Oh, when everything was quiet out there and you didn't come back in.

[Johnny Dollar]

Yes. And when Chief Foster called to say our car had been rammed into a tree in front of his place, Sir.

[Mrs. Brierly]

Henry went outside and found you lying there.

[Philip Marlowe]

Yeah. And?

[Johnny Dollar]

Well, I went through your pockets, Mr. Dollar. Oh, you're a special investigator, aren't you? Yeah.

[Mrs. Brierly]

You're really here on account of the children, aren't you? And I hope and pray that all Frankie isn't one of them.

[Johnny Dollar]

Well, so do I, Mrs. Brierly. But don't bank on it, Mr. Dollar. I've given a good deal of thought to what you said earlier. Well, it's about time you and a few of the other people around here do more than just think and talk about it, Mr. Brierly. I know. I know we shall. And meantime, Mother and I can only pray that.

[Mrs. Brierly]

What's that?

[Johnny Dollar]

Back door. All right, now listen. Hey, Mother. Huh? Frankie, what happened to the car? Where is it? I mean, you're snazzy new.

Who's this? Frank here's Mr. Johnny Dollar.

[Philip Marlowe]

Dollar?

[Johnny Dollar]

You mean the big insurance investigator? Hey, this is a privilege. Well, what happened to you, Mr. Dollar? Where have you been tonight, Frank? Why, the girlfriend and I took a bus over to.

[Philip Marlowe]

Hey, Mother. Pop, what's wrong?

[Johnny Dollar]

Those kids again.

You didn't know? Frankie, you don't think I'm one of those crazy kids? Mr. Dollar, are you? No, sir. And believe me, I hope not. I swear that. Really, sir.

But you. You know something, Mr. Dollar? Yeah. Well, maybe. Maybe Pop and Mother won't like hearing this.

[Mrs. Brierly]

Well, what is it, Frankie?

[Johnny Dollar]

Yes. Huh? Well, if you find out who they are, Mr. Dollar, then maybe you can.

[Philip Marlowe]

I've.

[Johnny Dollar]

I've heard a lot about you, Mr. Dollar. Well.

Go on, Frank. Well, you can't really blame them. Oh, I know that what they're doing is wrong. It's wrong, all wrong. But what else have they got to do around this place? They've got to get their kick somehow, don't they? I mean, instead of rotting away in a place like this where there's nothing for kids to do. And they're afraid to go away and be on their own because with their loving parents keep preaching to them and it'll break their hearts. And how could they get along on their own anyway? They and me and all the rest of us haven't ever been given a chance to even think for ourselves. Just tied down here, all of us, because they won't ever let us do anything else. Now, can you blame the kids for wanting to let off a lot of steam?

[George Franklin]

Frank?

[Johnny Dollar]

Can you blame them for trying to. Oh, I don't know what to say. But don't you see, Mr. Dollar? It's okay, Frank. We understand.

[Mrs. Brierly]

Of course we do, Dolan. But now, please, you've become so overwrought.

[Johnny Dollar]

Perfectly all right, Mother.

[Mrs. Brierly]

I'll fix you a nice warm cup of tea. Cane, brick, Tea, dog.

[Johnny Dollar]

No, Mother, please, just let him work things out for himself, Mrs. Brierly. Just once, it put the poor boys all up so. No, Mary, no. Mr. Dollar is right.

Now, Frank. Thanks, Mr. Dollar.

[Philip Marlowe]

It's all right.

[Johnny Dollar]

Now, it's pretty obvious that you know who the members of the Rat Pack are, even if you aren't one of them. I'm not, sir, on my word. But you know them.

You want to tell me who they are?

Would you think much of me, Mr. Dollar, if I did?

These cases of mine usually have big, fat, dramatic endings. And the devil with any kind of a message. Well, not so this time.

I honestly don't know whether I did the right thing or not on this one. Too much faith in the younger generation. Well, maybe I have. But the next evening, there at the home of the Brierlys, there was a meeting of parents of all the wealthy, doting, indulgent parents of all the kids in their late teens and early twenties. Well, I tore into those parents, and by the time I'D finished. There were plenty of red faces among them. Incidentally, a couple of times, out of the corner of my eye, I thought I saw the face of a teenager in the shadows outside one of the windows. What I said to those people in laying down the Lord of the well, I honestly don't remember exactly. But it must have given them a jolt. And if they carry out their plans, there won't be a kid in that town with an idle moment on his hands. But their activities, their projects will be their own with as little parental advice and guidance as possible.

Then the following night, thanks to a tip off by young Frank without the knowledge of his parents, I barged in on a meeting of the kids. Seven or eight of them. As I might have expected, they were there in their foolish masks and makeup, knowing that I'd be among them. And if you think I'd been rough on their parents. But again, by the time I'd finished with him. I guess you're the only one in this town Mr. Dollar ever remembered. He was a kid once.

[Philip Marlowe]

Yeah, I told him.

[Johnny Dollar]

But even if you're right, even if you got somewhere with the old folks, what happens now? We all go to jail for all those crazy things we did? Well, I'd say that depends on you. You certainly might if you keep on with this silly juvenile masquerading. Or what do you say, whoever you are behind that corny mask.

Okay, I'll take it off. Me too. See, Mr. Dollar, maybe you don't know it, but some of us heard what you said to our folks last night. Did you? Yes, sir, we did. We heard what they're gonna do. Not for us, but with us. I mean, if they really do. Sure they will. I'm betting on them. But what'll you kids do? Well, sir, if it means anything, I'll somehow earn the money. And I don't mean for my folks. Pay for all the damage I've done. You got my word on it, Mr. Dollar.

Now, as long as you know who we are and as long as you got to report us to the police and all that, well, my name? Why?

[Philip Marlowe]

Huh?

[Johnny Dollar]

Well, you gotta know who we are, don't you? Well, like I said, that depends on you. And I mean from here on out. I have seen you. Now, I can come back here and identify every one of you if I ever have to. Believe me, Mr. Dollar, believe me. Yes, sir.

[Philip Marlowe]

We promise you.

[Johnny Dollar]

All right. Now it's up to all of you.

Well, I sure hope I did the right thing by simply leaving it the way it stood and yet, what else could I have done? Have them all locked up for something that was only partly their doing? Try to make them into criminals? I don't think so.

Incidentally, because of a call to get right back to Hartford, I never did drive George Franklin's Franzetti. But I did get that $700 fee and that'll help me buy one of my own expense account total, including.

Oh, what am I talking about? This one is on the cuff. Yours truly, Johnny Dollar.

And now here is our star to tell you about next week's story for next week. A doll, a purple doll and all that goes with it. Join us, won't you? Yours truly, Johnny Dollar.

Yours truly, Johnny Dollar, starring Bob Redick.

[Philip Marlowe]

Is written by Jack Johnstone, produced and directed by Bruno Zarato, Jr. Heard in our cast were William Redfield as George, gerTrude Warner as Mrs. Brierly, Bill Meter as Frank, Jack Grimes as the kid.

[Johnny Dollar]

Roger Deoven as the gas station attendant.

[Philip Marlowe]

And Bob Dryden as Mr. Brierley. Be sure to join us next week, same time, same station, for another exciting story of yours truly, Johnny Dollar. This is Dan McDonald speaking.

[Case Closed Host]

That's case Closed for this week. There's more Philip Marlo, Johnny Dollar, this podcast and all the rest of the Relic Radio shows at the website relicradio.com. there's a shoutcast stream there with even more old time radio and a donate button if you'd like to help support this and all of the shows. Thank you as always to those who have helped out. Thanks for joining me this week. Be back again next Wednesday with another hour of Case Closed.