Marlowe and Dollar

Summary

Podcast Summary: Case Closed! (Old Time Radio)

Episode: Marlowe and Dollar
Release Date: February 5, 2025
Host/Author: RelicRadio.com
Description: Case Closed! delves into classic crime stories from the golden age of radio, featuring tales of cops, robbers, and private investigators. This episode revisits the adventures of Philip Marlowe and Johnny Dollar, two iconic fictional detectives.

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Overview

In this dual-feature episode, listeners are treated to two gripping narratives featuring famed private detectives Philip Marlowe and Johnny Dollar. Marlowe tackles the mysterious case of the "Indian Giver," a tale woven with cultural intrigue and deceit. Concurrently, Johnny Dollar navigates the complexities of an impending murder, blending espionage with personal vendettas. Both stories showcase the sharp wit and resourcefulness that define these legendary characters.

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Part 1: Philip Marlowe - "The Indian Giver"

Timestamp: 00:00 - 27:54

Plot Summary:

Philip Marlowe, portrayed by Gerald Moore, is introduced to take on a perplexing case involving a stolen Indian bowl. The narrative begins with Marlowe visiting Alex Van Noord's curio shop after receiving a distressing call. Van Noord explains that an anomalous bowl, not listed in his shipment from Santa Fe, has caused a cascade of unfortunate events, including theft and violence.

Key Events:

1. Initial Consultation (00:00 - 06:10):
   Marlowe meets Alex Van Noord, who details the mysterious bowl with unique inscriptions. The bowl’s theft leads to confrontations with individuals like Jimmy Brown Bear and Mona Waters, an enigmatic woman claiming indigenous heritage.

2. Encounter with Mona Waters (06:10 - 13:00):
   Marlowe tracks Mona Waters to the Walker Hotel, engaging in a tense dialogue that reveals her deep connection to the stolen bowl. Their interaction hints at underlying motives tied to cultural preservation and personal gain.

3. Investigation Escalates (13:00 - 25:00):
   As Marlowe delves deeper, he uncovers connections between Mona Waters, the stolen bowl, and the murdered Jimmy Brown Bear. Clues point to a sophisticated mechanism where the bowl’s inscriptions act as a map to lost Spanish gold, adding layers of complexity to the case.

4. Climactic Revelation (25:00 - 27:54):
   The story culminates with the destruction of the bowl and the revelation of guilty parties. Marlowe deduces the true meaning of the bowl’s inscriptions and exposes Mona Waters’ deceit, resolving the mystery while reflecting on the proverb, "Never give a sucker an even break."

Notable Quotes:

• Philip Marlowe: "Crime is a sucker's road and those who travel it wind up in the gutter, the prison, or the grave." (00:00)
• Mona Waters: "I'm braced for that." (23:53)
• Philip Marlowe: "Never give a sucker an even break." (27:05)

Themes and Insights:

• Cultural Heritage vs. Greed: The bowl symbolizes the clash between preserving indigenous culture and the relentless pursuit of profit.
• Deception and Trust: The intricate interactions between Marlowe and Mona Waters emphasize the thin line between truth and deceit in detective work.
• Symbolism of the Bowl: The bowl’s inscriptions are a clever metaphor for hidden truths and the pursuit of knowledge.

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Part 2: Johnny Dollar - "The Weather or Not Matter"

Timestamp: 29:51 - 54:39

Plot Summary:

Johnny Dollar, voiced by Mandel Kramer, is embroiled in a case revolving around an impending murder linked to his expense account. The story unfolds with Dollar traveling to Sarasota, Florida, to investigate the potential threat to his client, T. Rockway Mayfield, a wealthy retiree with a penchant for extravagant parties and an unhappy family dynamic.

Key Events:

1. Introduction to the Case (29:51 - 37:00):
   Johnny Dollar meets Earl Foreman, who briefs him on T. Rockway Mayfield’s life and the suspicious behavior of his stepchildren, Betty and Frank Merritt. Foreman expresses concern over potential manipulations that could lead to murder.

2. Arrival at Mayfield’s Estate (37:00 - 46:19):
   Dollar attends a lavish party at Mayfield’s mansion, observing the strained relationship between Mayfield and his stepchildren. Suspicious activities and underlying tensions set the stage for impending conflict.

3. The Mysterious Blackout (46:19 - 51:35):
   A planned blackout orchestrated by Mayfield creates chaos, resulting in the murder of Frank Merritt. Dollar investigates the scene, uncovering discrepancies in testimonies and physical evidence, particularly focusing on a hidden weapon.

4. Climax and Resolution (51:35 - 54:39):
   The investigation leads Dollar to Sergeant Phil Phillips, revealing that Mayfield himself orchestrated the murder using a concealed weapon housed within a weather station. The motive is tied to financial gain and familial control.

Notable Quotes:

• Johnny Dollar: "Nothing fails. Whether it's a party evening or an ordinary weekday..." (29:51)
• Gerald Moore (as Mayfield): "Every pretty girl wants a shot at my money." (38:08)
• Clark Erskine: "Frankly, I think you must be." (42:26)
• Johnny Dollar: "A bottle of glue in a dust pan and hop to it." (20:08)
• Johnny Dollar: "If you drive a car, remember this..." (30:41) – Although this relates to an advertisement segment.

Themes and Insights:

• Appearance vs. Reality: Mayfield's outward generosity masks his manipulative and deadly intentions.
• Family Dynamics: The strained relationship between Mayfield and his stepchildren underscores themes of inheritance and power.
• Investigative Integrity: Johnny Dollar’s meticulous attention to detail and skepticism highlight the essence of effective detective work.

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Key Takeaways

• Character Depth: Both Philip Marlowe and Johnny Dollar exhibit profound depth, balancing professional resolve with personal introspection.
• Cultural Nuances: The Indian Giver intricately weaves cultural elements, enhancing the mystery with authentic indigenous references.
• Plot Complexity: The Weather or Not Matter presents a layered narrative, blending personal vendettas with premeditated crime.
• Moral Lessons: The stories impart lessons on trust, integrity, and the consequences of deceit.

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Notable Quotes with Attribution and Timestamps

• Philip Marlowe: "Crime is a sucker's road and those who travel it wind up in the gutter, the prison, or the grave." (00:00)
• Mona Waters: "I'm an Indian giver, remember? When I come to town again, I'll be rich and reckless..." (26:24)
• Johnny Dollar: "Expense account total, including the trip Back to Hartford. 247.92. Yours truly, Johnny Dollar." (25:57)
• Gerald Moore (Mayfield): "All they want is to get their pretty little grasping fingers on my money." (38:00)
• Philip Marlowe: "Never give a sucker an even break." (27:05)
• Johnny Dollar (Advertising Segment): "No doze, no doze, keeps you alert with the same safe refresher found in coffee." (43:35)

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Conclusion

Marlowe and Dollar offers a rich tapestry of mystery and intrigue, characteristic of golden age radio dramas. Philip Marlowe's cultural conundrum and Johnny Dollar's familial feud provide listeners with captivating narratives that emphasize the timeless appeal of detective stories. Through meticulous storytelling and memorable dialogue, this episode stands as a testament to the enduring legacy of classic radio crime tales.

For more engaging stories and classic radio dramas, visit RelicRadio.com and explore their extensive catalog available via Shoutcast, streaming 24/7. Support the preservation of these timeless tales by donating at donate.relicradio.com.

Transcript

[Philip Marlowe]

This is Case, an hour of mystery and crime from the golden age of radio. Every Wednesday@ Relicradio.com our first story comes from the Adventures of Philip Marlowe. This week we'll hear the Indian Giver from August 13, 1949. After that, it's yours truly, Johnny Dollar and the weather, or not matter. That story aired July 15, 1962. Get this and get it straight. Crime is a sucker's road and those who travel it wind up in the gutter, the prison or the grave. It started with an Indian gift of a piece of pottery and led to a brown bear in moccasins, an archaeologist, much laughing water and finally death in an alley. But just to make matters worse, the Indian Giver was a female and 100% genuine hot blooded Apache. From the pen of Raymond Chandler, outstanding author of mystery, comes his most famous character and crime's most deadly enemy as we present the adventures of Philip Marlowe. Now with Gerald Moore starred as Philip Marlo, we bring you tonight's exciting story, the Indian Giver. By day, the industrial heart of any city is just so much steel and stone in the streets jammed full with the raucous sounds of a thousand and one different machines. But by night, all of that is gone and there are only endless, smooth sided, lonely canyons that overflow with a steady humming silence that everywhere hangs like a distant echo of the day that's passed. And Los Angeles was no exception. At 9:00 at night, as I pulled up and parked in front of a Grace Curtain storefront on a deserted downtown street, it marked the showroom of the wholesale curio dealer who had telephoned my office an hour earlier. And in a Dutch accent laced tight with worry, it urged me to call on him at once. A raised gold lettering on a side door that showed a strip of yellow light at the threshold said Alex Van Noord, Private in an ornate 18th century script. So when I knocked, I was ready for something continental with thick bifocal glasses. When the door swung open, my jaw dropped to my chest and I couldn't help gaping because the huge V of a man in front of me in cheap snug clothes, white dark hair, dark skin and darker eyes had to be no less than a full blooded American Indian, moccasins and all. What you want, Mr. Van Nord? Is he in? Name your business. Well, it's personal. What's yours? Hate for those who would destroy our culture.

[Mona Waters]

Oh.

[Clark Erskine]

Hey.

[Philip Marlowe]

Oh.

[Alex Van Noord]

Mr. Marlow. Mr. Marlow. Let me help you up, sir. I'm Feno. Are you all right?

[Philip Marlowe]

Oh, sure, sure. I'm fine. Hey, that engine. He certainly can hit hard, huh?

[Alex Van Noord]

Yes, I know. He also struck me, darling. I tell you, Mr. Marlowe, it's terrible.

[Philip Marlowe]

Yeah, it's also a little confusing. Mr. Van Nord, exactly why did you call me in the first place?

[Alex Van Noord]

Oh, well, it began this morning when I received a shipment of Indian curios from my buyer in Santa Fe, New Mexico. Everything in the crate was in order except one extra piece of pottery. A bowl.

[Philip Marlowe]

Bowl? Indian bowl?

[Alex Van Noord]

Yes, yes, it appeared no place on the invoice. I didn't pay much attention to it till I noticed that the 2 inch wide band of inscriptions near the top were not like any others I'd ever seen.

[Philip Marlowe]

Inscriptions? No. You mean those Indian signs? Broken arrow, deer, wigwam kind of stuff?

[Alex Van Noord]

Yeah. So my curiosity was aroused and I called my representative in Santa Fe. However, he knew nothing of the bowl either. So finally, well, I put it in my display window there and forgot about it until about noon when a frail, sandy haired man stepped in.

[Philip Marlowe]

You know his name?

[Alex Van Noord]

No, no. Only that he said he was an archaeologist and that he wanted to buy the ball.

[Philip Marlowe]

You refused to sell it, huh? Why?

[Alex Van Noord]

For two reasons, Mr. Marlowe. One, I could see that he was fighting hard to control his enthusiasm. And two, I had no idea what to charge for the ball. I told him to come back tomorrow again. And then I removed the ball from the window. It wasn't until 5 o'clock that the second visitor appeared.

[Philip Marlowe]

Another archaeologist? No, no.

[Alex Van Noord]

A beautiful girl named Mona Waters. She was very sophisticated. Wore an expensively tailored white smart suit. No jewelry she wore whatsoever. She described the bowl I had placed in my storeroom. Perfect. And then asked if I had seen such a piece of pottery or if I had one for sale. I said no.

[Philip Marlowe]

Same reasons, more or less. Anything else, Mr. Van Oyn?

[Alex Van Noord]

Well, there isn't much more. The young lady gave me her address. The Walker Hotel on Wilshire Boulevard. Room 515.

[Philip Marlowe]

Walker Hotel.

[Alex Van Noord]

Asked me to call her if I came across a bull like the one she described. Then she left. Naturally, my interest at this time was near the bursting point.

[Philip Marlowe]

Naturally. What'd you do about it?

[Alex Van Noord]

The only sensible thing I knew of. At 6 o'clock I closed my place and went to the public library to borrow a book and hieroglyphics of the Indians of the Southwest. When I got back, I found the rear door forced and poof, the ball was gone.

[Philip Marlowe]

And you called me?

[Gerald Moore]

Yes.

[Alex Van Noord]

Then this Indian shows up. He claims I would rob his people of everything. And then he Hit me.

[Philip Marlowe]

Makes perfect sense to him though.

[Alex Van Noord]

Yes. No. Will you try to recover the bowl for me, please?

[Philip Marlowe]

Well, if you can answer one question without stumbling, yes. Why no police, Mr. Van Lord?

[Alex Van Noord]

Because objects of art, Mr. Marlow, aside from their intrinsic worth and the clay bowl has none, are only valuable for resale. Create a public disturbance such as the police and the thief will destroy the object and another day steal again. Now, please, please. You try, Mr. Marlowe.

[Philip Marlowe]

Yeah, I'll try, all right, Mr. Van Lord. And when it comes to our two fisted brave who's so crazy about the preservation of Indian culture, I'll try real hard. Good night. Sir Bernard's enthusiasm and the hundred bucks he pressed into my hand before I left were encouraging. And I drove straight to the Walker Hotel on Wilshire Boulevard, where a moment after I entered the plush lobby, encouragement came once more. Because gliding from a travel agency booth toward a cocktail lounge was what my client had described as beautiful girl, expensively tailored, smart white suit, no jewelry whatsoever. But when we were both inside and at adjoining stools at the bar, where the soft lights accented her high cheekbones and jet black hair, I knew that Mr. Van Nod had skipped something important. Because in spite of a full mouth, neatly rouged eyebrows, pencil come hither in a coiffure shingled vintage 1949, Mona Waters could also be full blooded American Indian, which is what I was working on when she turned, blew a smoke signal in my face and spoke with an accent that was about as Apache as Vassar.

[Mona Waters]

Don't let me make you lose your place, but do you mind telling me why you're staring? I collect the reasons for a hobby, you know, like some people save stamps.

[Philip Marlowe]

Uh huh. And others. Pottery pot.

[Mona Waters]

Who are you?

[Philip Marlowe]

A ceramics fiend named Smith. Now, Mona, let's talk about you, huh?

[Mona Waters]

Why?

[Philip Marlowe]

Because I've already been offered $10,000 for the bowl. Good enough.

[Mona Waters]

You have the bowl? Where?

[Philip Marlowe]

Well, not in my pocket, honey. It's too bulky. I've got it tucked safely away outside in my car.

[Mona Waters]

Oh yeah?

[Philip Marlowe]

You know, you didn't hide it very well after you stole it from Van Nord.

[Mona Waters]

You've been in my room?

[Philip Marlowe]

Could be. Now, do we talk business? Yes or no?

[Mona Waters]

Yes. What do you want to know?

[Philip Marlowe]

Well, for one thing, what's the bowl to you?

[Mona Waters]

Everything. It's mine. All mine. Via primogeniture.

[Philip Marlowe]

Which is Apache for what?

[Mona Waters]

Listen, Mr. Smith, I'm an Indian, all right, and an Apache at that. But I was born in a duplex, not a teepee. I drink martinis, not fire water. And I've got a Mills College diploma and an IQ that'll probably make yours look sick. So let's clear the air in a hurry.

[Philip Marlowe]

Yeah, well, let's. Clear enough now.

[Mona Waters]

Smart boy. My late uncle, George Waters, also known as Chief Laughing Waters. Giggle. If you want to own the bull, you want $10,000 for so so a long time ago he willed it to my father. However, my father died a year ago, leaving only me as heir apparent. Hence, that bull is mine, all mine, via primogeniture. Which brings us right back to where we were.

[Philip Marlowe]

Except you haven't mentioned why the bull means so much to you.

[Mona Waters]

And I won't.

[Philip Marlowe]

Nor will you pay the 10,000 bucks. Huh?

[Mona Waters]

I didn't say that. And I won't say anything more until I see that bowl. Now I've got to make a couple of calls. Should take about 20 minutes. After that, I'll be in my room. Please call before you come up. And if you don't have the bowl, don't come up.

[Philip Marlowe]

Okay, baby? Fair enough. So long it had been the kind of conversation piece wherein each party's quite sure that the other's a liar, but not quite sure why. So a moment after I was on the sidewalk and out of Mona's sight, I darted for the side of the hotel in the rear entrance, where I made my way to a self service freight elevator that got me to the fifth floor just as the Apache with Gloss closed the door to a room at the far end of the carpeted hallway. I was about halfway there when it came. The door to 515 wasn't locked and when I threw it open, I found about what I'd expected. Mona slumped in a corner of the room. Pride heard only. And opposite her a wide open window which I figured led to a fire escape until I was standing next to it and saw that there was nothing but sheer wall that plunged five stories to the sidewalk below. And on a line with the hotel's fourth floor, a rooftop that at best was a good 15ft away. When I closed the window and turned back to the room, Mona was already on her feet.

[Mona Waters]

That sly jerk. He waited till I had the door closed behind me and then he swung. Oh, brother, when we meet again.

[Philip Marlowe]

Oh, Mona. Who did he? Get the ball.

[Clark Erskine]

Get. Get the bull.

[Mona Waters]

I thought you had that, Smith.

[Philip Marlowe]

I was kidding and you know it. Now once more. Who was it? His name? Mona?

[Mona Waters]

Jimmy? Brown Bear Jimmy. Which Brown Bear? Smitty. A lot of Indians have Indian names. It's a custom. Try not to fall apart every Time you hear one.

[Philip Marlowe]

I will if you'll stop being persecuted. I think Indians are all good Americans. Now tell me about the big brown bear.

[Mona Waters]

Okay.

[Philip Marlowe]

All right.

[Mona Waters]

He's absolutely so. The bull's a priceless tribal heirloom the white man's trying to steal. He's playing nuts. Who else would try a jump like that from a fifth story window?

[Philip Marlowe]

Yeah. Quite a hop if he actually made it.

[Mona Waters]

What do you mean if nobody fell.

[Philip Marlowe]

No, maybe nobody jumped either. Maybe you make up heap big story, baby. Hide bowl here in closet, then fall on floor, tell Wildtail a screwball Apache. That'd be smart.

[Mona Waters]

Yeah, heap. But also smart if you take long nose out of Injun girls affairs before it get blown off. Stand still, buster.

[Philip Marlowe]

Yeah. Oh. Tomahawk caliber.38. How unfriendly.

[Mona Waters]

But effective. Now, Smith, what's your real name?

[Philip Marlowe]

Sammy Blue Ox, my father calls me.

[Mona Waters]

Let me clear up a very important point. That Indian bowl, in some strange way, is the answer to the location of enough lost Spanish gold to keep you, me and everyone we ever met off the bread line from here on out.

[Philip Marlowe]

Okay, I'm intrigued with the points we're going to clear up. Just this.

[Mona Waters]

I've got a dandy idea where I can find both the bull and Jimmy Brown Bear. Right now that's something I wanted to buy my lonesome. Now back into that closet and keep.

[Philip Marlowe]

Quiet while you head where?

[Mona Waters]

On the war path via bus. I'm a hot blooded Apache, remember? How long, baby?

[Philip Marlowe]

There are times when things look black enough without staying put in a dark closet. So I kicked the lock splinter casing and walked out in room 515 just in time to hear a timid knock on a hall door. When it opened up, one frail, sandy haired man wanted information.

[Mona Waters]

Oh, I beg your pardon, sir. Can you possibly tell me where I can find Ms. Mona Waters?

[Philip Marlowe]

Who are you?

[Mona Waters]

My name is Clark Erskine. I'm an archaeologist.

[Philip Marlowe]

I'm sorry, friend, I can't say any more than Ms. Waters is out after a wildlight Apache who's got a piece of pottery tucked underneath his arm.

[Mona Waters]

What? Oh, not the bowl. It's supposed to be in Van Noel's place. Not Jimmy Brown Bear.

[Philip Marlowe]

Right on both counts, Mr. Erskine. But what makes the name Brown Bear ring a bell? You two met before?

[Mona Waters]

Well, we certainly have. Why, that idiot has hampered every archaeologist who is so much as set foot in New Mexico.

[Philip Marlowe]

Now that you've mentioned it, Mr. Erskine, why your keen interest in the bowl? What does it mean to you?

[Mona Waters]

What does it mean to me? Well, my good Men, those inscriptions circled around it are going to prove invaluable. Possibly another Rosetta stone. An open sesame to the countless undecipherable writings we've already collected.

[Philip Marlowe]

About Spanish gold, maybe.

[Mona Waters]

Spanish gold? Oh, sir, what are you talking about?

[Philip Marlowe]

Nothing. Look, Erskine, one question. How did you know that Mona Waters was staying here at this hotel?

[Mona Waters]

It wasn't simple to learn. When Mr. Van Lord refused to sell the bowl to me until tomorrow, I wanted to be certain that he also didn't sell it to anyone else. So I watched his showroom.

[Philip Marlowe]

Oh, that's smart, though.

[Mona Waters]

When I saw Ms. Waters there, I recognized her at once as an Apache. And I followed her here, where I found out her name and room number. Now I'm going to wait for her until she returns. I'm not going to give up that morning.

[Philip Marlowe]

Wait a minute. Wait a minute. Hold it. Erskine, you happen to know Jimmy Brown Bear's hometown? Come on, quick.

[Mona Waters]

Yes, I do.

[Clark Erskine]

It.

[Mona Waters]

It's Sacona, New Mexico.

[Philip Marlowe]

Sakona, New Mexico, by bus. Thank you, friend. I'm sorry to have to leave you to do your waiting alone, but I gotta catch a bus.

[Alex Van Noord]

But where, Mr. Marlow?

[Philip Marlowe]

At the downtown central bus depot to put cartw for a horse, to turn tables, a switch. In short, Mr. Erskine, to track an Indian. So long. In just a moment, the second act of Philip Marlow. But first, you meet many an old friend from the wide field of music every Sunday afternoon when the choral Ears and the Symphonet are heard on most of these same CBS stations. This Sunday, the fine voices of the Coraliers will recall such old favorites as I've Been Working on the Railroad. The Best Things in Life Are Free and Janine, I Dream of Lilac Time. The Symphonat will bring you the overture from the Bohemian Girl, a Strauss composition and a stirring March, among others. Be sure to hear the Symphonat and the Coraliers to find your old friends and favorites every Sunday. Now with our star, Gerald Moore, we return to the second act of Philip Marlowe and tonight's story, the Indian Giver. Tracking an Indian over the busy concrete of downtown Los Angeles sounds a lot tougher than it turned out to be. Apparently, a 6ft 4 Apache in a full crown black hat and moccasins was notity even in a city of oddities. And everyone who'd seen him remembered him from the guy behind the bus depot's ticket desk, the newsboy outside the flophouse and nearby where Jimmy Brown Bear had made camp. The next bus was still 45 minutes away. So I decided to visit the flop house. But Jimmy Brown Bear must have seen me coming and was expecting trouble, because when I stepped into the hall, I saw him duck out the back door to the alley. I ran after him and watched him turn down what would have been a dead end to a normal man. But Jimmy made a jump at a nine foot wall, caught the top and was pulling himself up when it happened. Jimmy stiffened on the wall when the second shot came. He dropped rigidly like a poisoned fly and lay very still. I started over to him, but stopped at the excited voice of a cabbie running toward me from the open end of the alley. Hey, mister.

[Clark Erskine]

Hey, what happened?

[Philip Marlowe]

I heard a couple of shots, him and I, uh. Oh, yeah, that's what you heard. Holy mackerel.

[Clark Erskine]

Hey, wait, wait. That's the Indian.

[Philip Marlowe]

You mean you know him too? Yeah, I hauled him around in my cab tonight. Who did it, mister? You? Don't be silly, will you? The shots could have come from any place. Any one of those windows. His own fire. Oh, yeah, yeah, between those buildings there. That. Hey, that dame running for the street. Will you get out of my way? Not so fast, buddy. You know it. Yes, I know I'm on a Waters. Brother, will you get the cops over here right away, will you? I gotta catch that girl. No chance, mister. She's long gone. Oh, no, not you, Van Nord.

[Alex Van Noord]

Well, I certainly didn't expect to find you here. What in the world is going on here?

[Philip Marlowe]

Among other things, murder. Yeah, it's that Indian, Mr. Van Nord. The same one.

[Alex Van Noord]

Good heavens, Mr. Marlowe, did this happen because of the bowl?

[Philip Marlowe]

No, Doug. Mona Waters just got away between those two buildings. I'm pretty sure she's the one who took the bowl out of your place tonight. Because Jimmy Brown Bear got it away from her later, she's got it back again and he winds up like that.

[Alex Van Noord]

Then you think the girl killed him to recover the bull?

[Philip Marlowe]

Right now I'm too balled up to think anything. Say, just a minute. How do you manage to show up here?

[Alex Van Noord]

Why, I. I started home in this man's taxi and found out that he was the one who brought Mr. Brown Bear to my shop tonight.

[Philip Marlowe]

Yeah, that's right. I picked the Indian up right out.

[Clark Erskine]

Here on the corner.

[Alex Van Noord]

So we came down here because I thought if we found where the Indian was staying, it might be a help to you.

[Philip Marlowe]

Marlow, you were waiting in the cab when he was shot.

[Alex Van Noord]

No, no, I started into this place alone and then I thought better of it and came out to get you. Cabbie to come in with me. Then I heard the shots.

[Philip Marlowe]

Now look, Mr. Van Oyd, you better keep your nose out of this mess. Go on home and sit on your curios. I'll call you when I got something. Assuming that my client story was true and that he did have the cabbie to back him up, I got in my car and headed back to the Walker house. I parked at the side of the hotel and started for that convenient rear door again when I saw the commotion of half a dozen excited passers by. Bending over a man stretched out on the sidewalk. Hey, how do you like, dad? It's enough to make a fatalist out.

[Clark Erskine]

Of you, ain't it?

[Philip Marlowe]

Absolutely. What happened? Why, that poor guy there is walking along minding his own business and practically gets his back broke by a hunk of pottery some jerk must have heaved out of one of them windows up there. Pottery? You mean a bowl? Maybe?

[Clark Erskine]

A bowl?

[Philip Marlowe]

I, I, I don't know. It broke all the smithereens. It was plenty heavy, though. It was about. Hey, hey, look, look. Here's a chunk of it. Let me see that. Oh, sure. Brown clay with symbols. Card on it. Indian symbols. Listen, buddy, what window that come out of? Anybody see anybody? No, no. They're all dark up there. We can't figure it out. Hey, what's the matter? Where you going? There was no doubt about it. The broken piece of pottery I'd clenched in my hand must have come from the Indian bowl. I ran inside, rode the elevator up to the fifth floor again and beat it down the hall to 515. Sprawled out on the floor inside was Clark Erskine, the archaeologist, making a valiant but wobbly effort to get back on his feet. I dropped the chunk of bowl in my pocket and gave him a hand. Come on, fella. Up you go. Come on. Take it easy. Sit over here and tell me what happened to him.

[Mona Waters]

Where am I? Who are you?

[Philip Marlowe]

Marlow. Marlow, remember? You're in room 515 of the Walker house. When I left, you were waiting for Mona Waters. But I came back to find you spread out on the floor, as flat as that puddle of ink there on the death blotter. Now you take it. How come all this?

[Mona Waters]

Oh, yeah, yes, I, I remember now. I was struck. Yeah, yeah, but, Marlowe, the lights are.

[Philip Marlowe]

Out and they're better left that way unless you want the room full of irate citizens. Who struck you?

[Mona Waters]

I have no idea. I was sitting at the desk there writing Ms. Waters a note because I had decided not to wait any longer. When I Was hit from behind.

[Philip Marlowe]

That explains the spilled ink. What about the open window? It was closed when I left.

[Mona Waters]

Open window?

[Gerald Moore]

Where?

[Mona Waters]

Why, that's strange.

[Philip Marlowe]

Strange? It's screwy. Nuts.

[Alex Van Noord]

What do you mean, Mr. Marlowe? Just what is your position in this business?

[Philip Marlowe]

I'm a private detective working for Mr. Van Norden. I'll tell you something else. Whoever slugged you open that window and sailed the precious Indian bowl right out into thin air. Five stories high. Smashed down there on the sidewalk.

[Alex Van Noord]

Oh, the bowl is gone.

[Philip Marlowe]

Destroyed. Oh, no. Oh, yes.

[Mona Waters]

Well, that's hideous. The markings of that bowl were priceless. Why, Marlow. Great Scott. Why was it destroyed?

[Philip Marlowe]

That's what I mean. See? It's screwy. Oh, wait a minute. I'll get it. Hello?

[Mona Waters]

Ms. Mona Waters, please. It's urgent. Interstate Airlines calling.

[Philip Marlowe]

She's out. I'll take the message.

[Mona Waters]

Oh, thank heavens. Well, we want to rectify a perfectly ghastly mistake. We're afraid the relief operator may have given Ms. Waters 2:12am instead of 1:12am as the departure time of our plane tonight.

[Philip Marlowe]

But, baby, it's 12:30 now. If she leaves at 1:12.

[Gerald Moore]

Oh, no.

[Mona Waters]

We're just sick about it. Can she make it?

[Philip Marlowe]

I hope not. But I'll do my best to deliver you a message in person. You're a dear girl for calling. Goodbye.

[Mona Waters]

What was it, Marlo? Something important?

[Philip Marlowe]

Not archaeologically. I'll see you later.

[Mona Waters]

Oh, wait, wait. Isn't there anything we can do? About the bowl?

[Philip Marlowe]

Yeah. Oh, sure. Get a bottle of glue in a dust pan and hop to it. So long, Erskine. I'm off to the field of the Thunderbirds. All right, you don't fall over. Oh, fine. Now, look, officer, I was. Never mind. Well, Mac, you're batting a thousand. You pulled out of the hotel driveway two blocks back, ran one full stop and a red signal. Getting this far, that's great. So, what's your story?

[Clark Erskine]

Been drinking?

[Philip Marlowe]

Not a drop. Believe me. Now, look, I've got to get to the airport in a hurry. Why? To catch an Indian girl. A guy named Jimmy Brown Bear was murdered tonight because a bowl was stolen. Wait a minute.

[Clark Erskine]

Wait a minute.

[Philip Marlowe]

Hold it. Who was murdered? Oh, I know. What's he. There's no use in going into it, Officer. My name is Marlow. I'm a private detective working on a case and I gotta get to the airport. Private eye, huh? Let's see your paper. Oh, sure, sure. Here. They're all here. I, I, Philip Marlow. License number. Hey, what's eating you? What are you staring at? Blue black lines on the palm of my hand. They look just like. Holy smoke. They are. That's the answer. I gotta get back to that hotel. It's a matter of life and death. Now just please give me a ticket. Give me three tickets only. Let me get back to the Walker house right now. Will. Your life depends on it. You better be right, Marlow.

[Clark Erskine]

Wait till I stop the traffic, then.

[Philip Marlowe]

Make a U turn. Now, go ahead. I made it back to the hotel in something under seven minutes for the round trip. I ran for the elevator, waited for the car to come down, and when the gate opened, bumped head on into Clark Erskine himself. I backed him into the elevator again at gunpoint and pushed the fifth floor button. I didn't say a word. By the time the elevator stopped and the gate slid open, he was beginning to sweat.

[Mona Waters]

Marlow, I, I, I just don't understand this.

[Clark Erskine]

Why the gun?

[Philip Marlowe]

Take a guess, Erskine. I want to know what happened to Mona Waters.

[Mona Waters]

Where? I don't know. She didn't come back here.

[Philip Marlowe]

This is 5:15, remember? Go on, open it up and get inside. Now listen, you. I know who killed Jimmy Brown Bear. And I found out plenty about the bull. So talk. Where's Mona?

[Mona Waters]

Behind you with a gun in my hand. So don't move.

[Philip Marlowe]

Oh, great. Well, at least you're okay.

[Mona Waters]

Except for a headache. Yes, I just woke up in the bedroom with a heap big lump on my scalp and I know a pale face who's gonna pay for that. Drop your gun, Marlowe. Drop it. Who's this character here? And where's the bowl Marlow headed?

[Gerald Moore]

Ms.

[Mona Waters]

Waters, I saw him hit you and take it. I tried to stop him, but he hit me too. My name is Erskine. I'm an archaeologist. I only wanted to make a scientific study of the bowl, but this vandal here has destroyed it. Destroyed it, Marlowe?

[Philip Marlowe]

Pipe down, Red Wing. And listen before you start shooting. There's a lot of wampum at stake if nothing else. Now keep that in mind.

[Mona Waters]

Okay, big wind, start blowing. Speak your piece and keep it straight. He's a treacherous liar, Ms.

[Philip Marlowe]

Waters.

[Mona Waters]

I know. I'm braced for that.

[Philip Marlowe]

Oh, you sweetheart, you. All right. The inscriptions on that bull with a key to the treasure. Which is probably no news to you too. You didn't know how to work it, Mona. But Erskine here did. He found out that some of the lines were etched into the clay and others were raised like the face of type in a printing press. Do I go on?

[Mona Waters]

Pray do, Professor.

[Philip Marlowe]

All right. Now look, if you look closely, Beautiful, you'll see ink on his fingers. Also, you'll notice that a bottle of ink poured out on your desk blotter there, made the same kind of ink pad you used for a rubber stamp.

[Mona Waters]

That ink was spilled by accident. Now, don't listen to him because.

[Gerald Moore]

Shut up.

[Mona Waters]

Go out, Marlow.

[Philip Marlowe]

Well, after he knocked you out and left you in the bedroom, all he had to do was roll that wide, flat border of the bowl through the ink, then roll it again over blank paper and it printed. What's more, baby, if we look real close, we'll find a perfect printed map on your hotel stationary stuck in one of his inside pockets. No, you don't.

[Clark Erskine]

You'll never get the chance.

[Mona Waters]

Mola.

[Philip Marlowe]

The gun on the floor. Jack Mooner.

[Clark Erskine]

Lights out.

[Mona Waters]

Marlo. Marlo, are you all right?

[Philip Marlowe]

Yeah. Yeah, I'm okay.

[Mona Waters]

Then I did shoot the right man.

[Alex Van Noord]

Cream and sugar, Ms. Waters?

[Mona Waters]

Thanks.

[Philip Marlowe]

Well, that's about the story, Mr. Van Norden. Mona here slipped the Indian bowl into your shipment to keep it away from the guys she knew were after it. And of course, she had to follow the bowl here to la. Erskine followed her.

[Alex Van Noord]

I see. It's amazing, isn't it? Positively amazing. Marlow, how did you discover that the intricate pattern on the bowl worked like a printing press?

[Philip Marlowe]

Oh, well, after Erskine had made his print of the map, he threw the bowl out the window to smash it, so no one else could duplicate it. I got hold of a chunk of it and clenched it in my hand. I found out later, when I passed that cup, my credentials, that a chunk of pottery had left separate, distinct lines of ink on my palm.

[Mona Waters]

Terribly clever, isn't he, Mr. Van?

[Philip Marlowe]

Oh, take it easy.

[Alex Van Noord]

Baby is clever with Waters, but what the poor Jimmy Brown Bear?

[Philip Marlowe]

Well, Erskine followed me from the hotel at Jimmy's place and shot him so I'd never have a chance to talk to him. He was a ruthless little guy, Clark Erskine. But if he survives that bullet wound, the State will get him for murder.

[Alex Van Noord]

Yes, Ms. Waters, you'll have to hurry and finish your breakfast so that you can catch your plane. But before you go, I have a little gift for you. Excuse me. I'll get it.

[Mona Waters]

And, Marlow, speaking of gifts, I have one for you. Come here.

[Philip Marlowe]

Oh, baby. That's nice. Is it for keeps?

[Mona Waters]

Of course not, silly. I'm an Indian giver, remember? When I come to town again, I'll be rich and reckless and loaded with all that old Spanish gold. That's when I'll take my gift back again with interest. So long, filthy.

[Philip Marlowe]

Well, when I finally got home, completely fagged out. At 10 o'clock in the morning, I took one look at my favorite chair, the big, deep, soft one, and then sank down into it good and hard.

[Gerald Moore]

Ow.

[Clark Erskine]

Ooh.

[Philip Marlowe]

Something that felt like a broken beer bottle st stabbed me. I reached for it and it turned out to be the jagged chunk of the Indian bowl I dropped in my pocket earlier. The first time I really looked at the hieroglyphics on it, there were three Indian figures. The first was breaking sticks into uneven lengths, second was holding a small fish, and the third was running away with all the wampum. It took me a long time, but I finally got it. I think the Indian picture message could only be translated one way. It had to mean never give a sucker an even break. And right then and there, I thought about Mona and what she'd said.

[Mona Waters]

That's when I'll take my gift back again with interest. So long, pale face.

[Philip Marlowe]

So long, baby. The adventures of Philip Marlowe. Bringing you Raymond Chandler's most famous character and crime's most deadly enemy star Gerald Moore. Tonight's story was produced and directed by Cliff Howell. Script is by Mel Danelli, Robert Mitchell and Gene Levitt. Featured in the cast were Betty Lou Gerson, Hans Con, Reed Clark Gordon, Howard Culver, Peter Leeds, Jane Webb and Jane Ofello. This special music is written and conducted by Richard Orant. Be sure and be with us again next week when Philip Marlow Sundays. Inside of two hours, a lavish mansion seethed with suspicion. A sealed cabin filled with gas and an artist's retreat had a copse on the floor. All because one man was too good looking to be true to anyone. There will be a couple of unusual twists for mystery fans on Gangbusters and on Basil Rathbone's adventure. Tonight, Gangbusters will present a former chief of detectives on the New York City Police narrating the case of a bet on a long shot that ended in murder. Basil Rathbone's drama will find that suave gentleman going to jail himself in order to deliver a man to the police. This is Roy Rowan speaking. Now stay tuned for Gangbusters, which follows immediately over most of these same CBS stations. This is CBS, the Columbia Broadcasting System.

[Clark Erskine]

N.C. it's 6:10 Johnny Dollar. Hi, Johnny. This is Earl Foreman. Hello. How are you? How are things in Los Angeles?

[Philip Marlowe]

Why?

[Clark Erskine]

Didn't you know we moved back here to Sarasota in Florida. No kidding. Yep. But now we think we'll make another move. Where to this time? Oh, back to California. Why don't you make up your mind. It's more fun this way. Hey, why don't you come down here and see us? At whose expense? Companies. Another investigation? Yes. What this time, Earl? Of a murder, Johnny. A murder that hasn't happened yet. But believe me, if I'm reading the signs right, there's certainly one in the making. Okay, Earl, I'll grab the first plane I can get.

[Philip Marlowe]

The CBS Radio Network brings you Mandel.

[Clark Erskine]

Kramer and the exciting adventures of the man with the action packed expense account, America's fabulous freelance insurance investigator, Yours truly, Johnny Dollar. It never fails. Whether it's a party evening or an ordinary weekday, people always drink more light, bracing, clean tasting Pepsi Cola than you expect. That's why the smartest Pepsi you buy is the extra carton.

[Gerald Moore]

Buy extra cartons of the drink. Dad lets you drink. Young as you think. Yes.

[Philip Marlowe]

Get the right one.

[Gerald Moore]

The modern light one. Now it's Pepsi. For those who think young.

[Clark Erskine]

Expense accounts admitted by special investigator Johnny Dollar to Tri State Life and Casualty Insurance Company office in Sarasota, Florida. The following is an account of expenses incurred during my investigation of the weather or not matter. Expense account, item one, $6 for a taxi out to the airport. Item two, 9796. Plane fare and modern jet transportation being what it is, I got to Sarasota just before noon. Item three, 50 bucks deposit on a rental car. And 20 minutes later, I walked into the office at 1306 Main street that Earl Poorman shares with another old friend, Don Boomhauer, a prominent realtor. Five minutes after the usual howdy do's, Earl and I were tearing into a plateful of shrimps cooked in beer at the famous Plaza Restaurant. Ah, those are delicious. Think you can manage another order of them, Joey? Not a chance, Earl. But they are great. Specialty of the house, you know. Well, they deserve to be. Well, while you're making a pig of yourself, let me tell you why I called you. Oh, go ahead. Our client's name is T. Rockway Mayfield, a wild old character who made his pile up in New England. He retired and moved down here last fall. He has a big home in St. Armand's Cay. What's he do to keep busy? Fish golf? No, he spends most of his time with a jug beside him, sunning himself or feeding the seagulls and then shooting at them with an air pistol. Isn't that illegal? It would be if he ever hit one of them. But he never does. And he does throw big parties. Always lots of pretty girls around. And don't think he doesn't Go for him too, in spite of his age. What a life. The point is, he tells me that he came down here to retire. To get as far away as he could from his wife's kids. You know, stepdaughter and stepson. Names were Betty and Frank Merritt. How come, Earl? Well, as long as his wife was alive, she made him support them. I see. But he felt they ought to be out earning their own living. And Johnny, I happen to agree with him. If they're growing up, I agree with you. Anyhow, when his wife died and he retired, he left him flat there on their own. Until he goes, of course. So, what's happened? Well, tomorrow is old Mayfield's birthday, and that means another big party. And Johnny, the kids have told him that they're coming down here to celebrate. Told him that he can't refuse them now because they're standing on their own feet. You think that's true? No, sir. I think they're coming for something else, like water. Oh, that nasty word I mentioned to you on the phone. Murder. Murder. Now, let me pay the check and I'll drive you over to see him. Okay, by all means. Tell me, Earl, have Betty and Frank arrived here in Sarasota yet? I don't think so. I hope not. But you can understand why I was so anxious for you to get on down here. Well, Earl, if something should happen to him while they're here, wouldn't it be just a little too obvious? Would it? Those kids are no fools, not by a long shot. Well, even so. And with the drunken mobs that he has at his parties where somebody could be knocked on the head and tossed into the swimming pool and nobody'd pay any attention till it was too late or. Okay, okay, I could be all wrong. I think you must be. But is there any reason why you shouldn't stick around long enough to keep an eye on them while the kids are here? Well, dawn. Expense account. I suppose not. And then maybe after they've left, I'll break down and take you out fishing. Now, there is a sensible inducement. Look, there's this place just ahead. Now that. The big one. Oh, brother. And you don't think money that can afford a place like that would be worth killing for? Oh, Earl, maybe you have a point there. This ever happened to you? You're driving down a long highway or working late, and then monotony makes you feel drowsy. Perk up with no doze, no doze. Keeps you alert with the same safe refresher found in coffee. Yet no doze is faster, handier, more reliable. Absolutely not. Habit forming. The safe way to stay alert without harmful stimulants. No, do old Mayfield's home there on the Gulf of Mexico side, a fashionable St. Armand's Quay, was quite a place. To ensure privacy, all three of the landward sides were protected by a high wall. The big house of concrete, stucco, aluminum and glass was surrounded by a broad patio full of plants, stables, chairs and lounges. And more important, with a large, fully equipped bar, complete with bartender. Even at this time of day. Beyond the patio, a swimming pool and then a clean, wide stretch of beach. It was obvious Mayfield had plenty of entertaining. As for the man himself.

[Gerald Moore]

Dollar. Did you say Dollar?

[Clark Erskine]

That's right. Johnny Dollar.

[Gerald Moore]

A man with lots of sense then, eh? Poor man. What? What do you mean, what? What's the matter with you? It's a joke. A hundred cents to the dollar, aren't there? So if he said $, he's got lots of cents, hasn't he? Get it?

[Clark Erskine]

Yeah, sure, sure.

[Gerald Moore]

Besides, I know all about you, $. I've been listening to you on the radio for years, so I. Johnny, thank you. Now let's celebrate by having ourselves a little drink.

[Clark Erskine]

Well, it's a little early in the day, Mr. Mayfield, I don't think.

[Gerald Moore]

Nonsense, nonsense. It's never too early for a drink. Samantha, where are you? Yes, Mr. Mayfield.

[Clark Erskine]

Right here, sir.

[Gerald Moore]

Bring a scotch and soda for Mr. Dollar. And Mr. Poorman will have a gin and tonic. Yes, Mr. Mayfield.

[Mona Waters]

And how about you? Another one of what you've been having?

[Gerald Moore]

No, no, this time I believe I'll have. How does cognac and root beer with a dash of mint sound to you?

[Mona Waters]

That sounds terrible, Mr. Mayfield.

[Gerald Moore]

Good, good. I'll have it.

[Mona Waters]

Yes, Mr. Mayfield.

[Gerald Moore]

So that's that. By the way, poor man, you're bringing Johnny to my party tomorrow night, aren't you?

[Clark Erskine]

Well, now I'll tell you, I.

[Gerald Moore]

Good, good. Johnny, my boy, you'll have the time of your life. There'll be more good looking girls around here tomorrow night than you ever saw. I really know how to play. Really know how to pick them.

[Clark Erskine]

Wow. Good for you.

[Gerald Moore]

Yeah, but, oh, me? Do you know why they always come? The real reason? And why they always turn on their charm for me? Why, sir, hate to admit it, yeah, I really do. But all they want is to get their pretty little grasping fingers on my money. That's all. But they won't. Don't you worry about that. Nobody will. Not until I'm dead and gone. Did poor man tell you about those Lazy, shiftless, worthless stepchildren of mine.

[Clark Erskine]

Well, he.

[Gerald Moore]

He mentioned them, and you'll see them too. They get in here tomorrow afternoon on the 4:30 plane.

[Clark Erskine]

Oh, well, then perhaps I, uh.

[Gerald Moore]

Oh, that reminds me. I better arrange for Samantha or Charles or somebody to meet them.

[Clark Erskine]

Why don't you let me pick them up for you? Why, yes, Mr. Mayfield. That's a good idea.

[Gerald Moore]

Eh? Well, of course. Fine, fine. Pick them up at the airport, bring them here if you can't lose them, and then stay on for departure.

[Philip Marlowe]

All right.

[Gerald Moore]

And now, Johnny, now let me show you my pride and joy. You see it there on the far side of the swimming pool?

[Clark Erskine]

That. That sort of pool house with all the gadgets on the roof.

[Gerald Moore]

Pool house?

[Clark Erskine]

Yes. Well, it's a bath house for the swimming pool.

[Gerald Moore]

Isn't it ridiculous for me and utterly ridiculous. I mean, that's all you think of it.

[Clark Erskine]

What is inside that little building then?

[Gerald Moore]

You'll see. You'll see. Now, come along.

[Clark Erskine]

I'll be doggone.

[Gerald Moore]

Yes, Sarah. Weather station bother.

[Clark Erskine]

Certainly. Fool me.

[Gerald Moore]

Complete one too. You see, Johnny, Rain cages, Electronic weather vanes, anemometers, barometers, barographs, Charts with isobars, snow gauge, snow gauge, maps. Everything. Everything a regular weather bureau would have everything. Even a correspondence school course in forecasting. Anything you want to know. Here's the answer.

[Clark Erskine]

Well, it is interesting to say the least.

[Gerald Moore]

Why not, eh? How could I ever plan a party unless I know what the weather's going to be like? Hey, answer me that.

[Clark Erskine]

About this party tomorrow night, Mr. Mayfield.

[Gerald Moore]

Johnny. Johnny, tell me something.

[Clark Erskine]

Yeah?

[Gerald Moore]

How good a shot are you with a pistol?

[Clark Erskine]

What makes you ask that, Mr. Mayfield?

[Gerald Moore]

Answer my question, boy.

[Clark Erskine]

Oh, I'm fair to middling, I guess, but listen.

[Gerald Moore]

Good, good. Then maybe you can hit some of them the way I never seem to be able to.

[Clark Erskine]

Hit what, sir?

[Gerald Moore]

You'll see. Samantha. Yes, Mr. Mayfield? What? Now, why the devil did you bring me another drink? You want me to spoil my aim? Oh, no, Mr. Macy. But there's no point in letting it go to waste.

[Clark Erskine]

I swear, Mr. Mayfield, I don't know how you do it.

[Gerald Moore]

Practice, poor man. Practice.

[Clark Erskine]

So, for the next hour, in spite of a very uneasy feeling I was beginning to have about this whole assignment, Mayfield and I tossed chunks of bread to the seagulls. Then blasted away in a general direction with a couple of air pistols. Knowing the law about such things, I deliberately avoided making any hits. And old Mayfield, although he handled that little gun like a pro, didn't make any hits either. Then just as Abruptly as he dragged me into it.

[Gerald Moore]

That's all, gentlemen. That is all. Have to get to work now in my weather lab and make out the latest report for myself. Can't be disturbed. So off you go. Off you go.

[Clark Erskine]

Sure, anything you say. Come on, Johnny.

[Gerald Moore]

Right, Earl, I'll see you tomorrow night, poor man. And, Johnny, I'll see you when you bring my stepchildren. Betty and Frankie Merrit in here. And you ought to stay when they get here. I want you to get to know them.

[Clark Erskine]

I want very much to.

[Gerald Moore]

Now, go on with you. Go on. I got work to do.

[Clark Erskine]

I picked up my rental car and dropped in on my old friend Sergeant Phil Phillips at police headquarters. I know, Johnny. I know. It just doesn't seem to make sense.

[Gerald Moore]

I mean, Earl Pullman's worry about the old coot. Lord knows he isn't worried.

[Clark Erskine]

And yet, if what he says about those step kids happens to be true. You ever met Frank? Betty Meriton? All I know about him is what he's told me. And if it's true, he really should have protection while they're here. But doggone it, he says no.

[Gerald Moore]

If we so much as show ourselves, he'll not only throw us out, but.

[Clark Erskine]

Stop the party and get everybody down on us. I'll tell you what you better do then, just in case.

[Gerald Moore]

Yeah.

[Clark Erskine]

If you were to sneak a prowl car up to the outside of the wall around this place, you'd have no trouble getting over the wall if need be.

[Philip Marlowe]

Good.

[Clark Erskine]

And meantime, you'd be looking after him inside, right? Well, Johnny, he is just a crazy old coot all at loose ends. Does a lot of crazy things. I know, Phil. I know what you mean. That's why I'm really concerned about this case. On the surface, it looks like a waste of time. I coming all the way down here just to attend a party and yet.

[Gerald Moore]

Yeah.

[Clark Erskine]

Yum. Treat your taste kindly with Kent.

[Mona Waters]

Treat your taste kindly with Kent.

[Clark Erskine]

Treat your taste kindly with Kent.

[Gerald Moore]

Smoke Kent, the micronite filter cigarette.

[Clark Erskine]

Yes, people who want to get away from harsh, rough tasting cigarettes know that the one to switch to is Kent. And there's a very good reason why Kent with the micro night filter. Refines away harsh flavor, Refines away rough taste for the mildest taste of all. Yes, that's your reward for smoking Kent, the cigarette that made the filter famous. So when you want to get away from harsh, rough tasting cigarettes, remember, the finer the filter, the milder the taste. And you'll decide to treat your taste kindly with Kent. Treat your taste kindly With Kent Smoke.

[Philip Marlowe]

Kent, the micro night filter cigarette.

[Clark Erskine]

Cocktails and dinner with the foremans. A good night's sleep. And for most of the next day, I had little to do but kill time. I went out and hit some golf balls at a nearby driving range, paid a visit to the colorful jungle garden, saw the famous Ringling Circus Museum, and ended up chewing the fat with some of the boys at Station wspb. Then I met the plane, picked up Frank and Betty Meriton, piled them into my rental car and started back to St. Armand's Cay. The differences between the two of them were pretty striking. Betty was a beautiful girl with a head on her shoulders. Frank was a weak, wishy washy, well spoken nothing with a capital N. Don't tell me, dear girl. I think it's utterly ridiculous that he should expect me to sweat and slave and work my fingers to the bone when he has all that money that he doesn't know what to do with. I mean, that utterly ridiculous.

[Mona Waters]

And I tell you that when Daddy finds out that you lied to him, Frank, that you don't have a job, that you've been chiseling off your friends and for me all these months, he'll probably throw you out.

[Clark Erskine]

Well, he won't find out unless you tell him. And if you do, dear girl, I shall be very angry with you. Just because you choose to work eight hours a day in a stuffy library five days a week.

[Philip Marlowe]

Why not?

[Mona Waters]

I like it.

[Clark Erskine]

Well, that doesn't mean that I have Frankie.

[Mona Waters]

All I hope is he gives you enough to get you off my back.

[Clark Erskine]

Oh, he will, my dear, he will. I've figured out a sob story that would melt the heart of a statue.

[Gerald Moore]

Good luck.

[Mona Waters]

You'll need it.

[Clark Erskine]

Will I? You'll see. Just don't you interfere.

[Mona Waters]

I'm sorry, Johnny.

[Clark Erskine]

Oh, it's all right, Betty.

[Mona Waters]

This silly squabble has been going on ever since we left the Boston airport.

[Clark Erskine]

That's okay.

[Mona Waters]

I. I understand that some of the parties Daddy throws down here are Lulu's.

[Clark Erskine]

So I've heard. There'll be a big one tonight, you know. Good.

[Mona Waters]

I love parties. But, well, come to think of it, I won't know a soul who'll be there.

[Clark Erskine]

Don't you worry, Betty. You'll have no problem in that department.

[Mona Waters]

Well, I hope not. But.

[Gerald Moore]

Johnny?

[Clark Erskine]

Yes?

[Mona Waters]

Will you dance with me now and then, just in case?

[Clark Erskine]

Are you kidding? Without giving them a chance to unpack their bags, Mayfield dragged them into a study and shut the door. So I took a swim and dressed for dinner in the party at dinner. Incidentally, Mayfield and Betty yacked away at each other like a couple of happy kids. But not a solitary word passed between Mayfield and Frankie. Frankie sat there and pouted, hardly touching his food. Then the party. So help me, I never saw so many good looking girls gathered together in one spot in my life. And what if a lot of them were only looking for a shot at Mayfield's money? The point is, they were there. As for Betty, we not only danced like fools, but made plans for getting to know each other much better up north after this whole thing was over. Meantime, needless to say, I kept a weather eye on Frankie, who spent most of his time at the bar looking very unhappy. Then about 11pm between dances, Mayfield came over my way.

[Gerald Moore]

Not drinking, Johnny? You're missing half the fun.

[Clark Erskine]

Oh, don't you Worry a bit, Mr. Mayfield. I'm having a fine. Hey, wait a minute. The lights. What happened to the lights?

[Gerald Moore]

Just a gag, Johnny. Just a gag.

[Clark Erskine]

A gag.

[Gerald Moore]

They'll be back on in a minute. I have a timer on the main switch. It doesn't.

[Mona Waters]

Why?

[Clark Erskine]

Why the blackout?

[Gerald Moore]

What's the matter with you, boy? Now, the next time they go out. And they will, they will.

[Clark Erskine]

Not if I can find that switch box.

[Gerald Moore]

Now, when they do, you just grab the nearest, the prettiest girl you can find. And if you don't know what to do, then, well, you're not happy. Oh, no? That's too bad. They came on again too soon.

[Clark Erskine]

Listen, Mr. Mayfield.

[Gerald Moore]

But have fun, Johnny. Have fun.

[Clark Erskine]

Wait a minute, Johnny. Betty, what happened to you?

[Philip Marlowe]

Well, don't you worry.

[Mona Waters]

I slapped his face and hard. Only I still don't know who was.

[Philip Marlowe]

There in the darkness.

[Clark Erskine]

Well, that lights out gag has got to go. Come on, let's find the main switch box so it won't happen again.

[Mona Waters]

You mean the last we're supposed to.

[Gerald Moore]

Oh, no, not again.

[Clark Erskine]

Don. Bonnie, where did Mr. Mayfield go?

[Mona Waters]

I thought he was going over to.

[Gerald Moore]

Johnny.

[Clark Erskine]

Come on, Betty. That was over near his weather station. By the time we fought our way over there through the crowd, the lights came on again. And there, just in front of the door of the little weather station lay a body.

[Gerald Moore]

Johnny, is he.

[Clark Erskine]

Yes, Betty.

[Gerald Moore]

Let me through. What is it? What happened? I was over there getting a drink and I ate a couple of. It's Frankie.

[Clark Erskine]

That's right, Mr. Mayfield.

[Gerald Moore]

Is he dead?

[Clark Erskine]

Yes, sir. Couple of 38s through the chest.

[Gerald Moore]

Well, I can't say that I'm sorry, Johnny, but who? Who did this? Call the police. Somebody call the police.

[Clark Erskine]

Sergeant Phillips and his men were already over the wall, and they really did a job. In the next two hours, they, plus a dozen more he called in, made as thorough a search of that place as I've seen. But the result, Johnny, the gun that killed young Meriton has to be around here somewhere.

[Philip Marlowe]

Has to be.

[Clark Erskine]

But we simply can't find it.

[Gerald Moore]

You must find it, Sergeant. You must. And the killer, too.

[Clark Erskine]

How about raking through the sand over there on the beach? No. It was all smoothed over before the party. And there still isn't a break in it to haul every one of this mob down to headquarters. So the boys in the lab. Wait. Yeah, wait a minute. It hit me like a ton of bricks, and I kicked myself for not having wised up before. Well, if what Mayfield told me about them is true. Journey What Mayfield told him? Yeah, Johnny, if what he says about those step kids is true. Mayfield, of course. And that crazy drink of his yesterday. But I'd watched Samantha mix it out of the corner of my eye. She hadn't really put a single drop of liquor in it. And tonight, the same thing. Probably so. Actually, Mayfield was just as sober as a judge. And the one important piece of evidence. The gun.

[Gerald Moore]

Now, go on with it. Go on. I've got work to do.

[Clark Erskine]

Yes, in his weather station. And what had he said about that?

[Gerald Moore]

Anything you want to know is the answer.

[Clark Erskine]

The answer?

[Gerald Moore]

It has everything a regular weather bureau would have. Everything?

[Clark Erskine]

Everything. Like a weather balloon. A balloon big enough to carry a pistol far out over the Gulf, never to be seen again. If so, if he pulled that trigger. All right, Mr. Mayfield, let's go down to headquarters where the lab crew can make a paraffin test of your shooting hand.

[Gerald Moore]

Well, no, no, it won't be necessary. Johnny. I did it. I killed him.

[Philip Marlowe]

I'll say this.

[Clark Erskine]

That was a clever way to get rid of that gun. A weather balloon? Clever, was it? So the Mayfield fortune will go to Betty. And I can't think of a more deserving girl. Or come to think of it, a prettier one. Expense account total, including the trip Back to Hartford. 247.92. Yours truly, Johnny Dollar. Now here is our star to tell you about next week's story. Next week, a complex and unusual story with a twist that will surprise you, I think, as much as it surprised me. Tune in, won't you? Yours truly, Johnny Dollar. If you drive a car, remember this. Almost anywhere in the country where you see the Sinclair sign, you can save up to 4 cents a gallon on gasoline by using Sinclair Dyno. That's because in three out of five cars, regular priced Sinclair Dyno matches the performance of expensive premium gasolines costing up to 4 cents more a gallon. Drive with care and buy Sinclair Dino gasoline. Yours truly, Johnny Dollar is written by Jack Johnstone, produced and directed by Fred Hendrickson, music supervision by Ethel Huber. Johnny Dollar is played by Mandel Kramer. Also featured in our cast were Ian Martin, Bill Kramer, Joe Hardy, Ivor Francis, Constant simons and Karen McCrary. Be sure to join us next week, same time, same station, for another exciting story of yours truly, Johnny Dollar. Art Hannah speaking Worldwide Sports with Kris Schenkel is heard weeknights on the CBS Radio Network.

[Philip Marlowe]

That's the Case Closed for this week. I hope you enjoyed it. You can find more from Philip Marlowe, Johnny Dollar, this podcast and all of the others@ Relicradio.com we've got a shoutcast stream there as well. Even more time radio 24 hours a day, seven days a week. Lots to listen [e-mail] if you'd like to help support it all, visit donate.RelicRadio.com or click on one of the links on the website. We've got some downloadable sets for certain donation amounts, though any amount is always appreciated and helpful. Thanks 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.