Nero Wolfe: The Impolite Corpse 12/08/1950

Summary

Podcast Episode Summary

Podcast: Choice Classic Radio Detectives | Old Time Radio
Episode: Nero Wolfe: The Impolite Corpse (Original Airdate: 12/08/1950)
Date Released: December 16, 2025
Host: Choice Classic Radio

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Episode Overview

This episode features a classic detective mystery from the "Nero Wolfe" radio series, starring Sydney Greenstreet as the iconic, eccentric, and brilliant detective Nero Wolfe. The case, titled "The Impolite Corpse," revolves around the murder of Walter Channing, an unpopular advertising executive. As Wolfe, with the help of his witty assistant Archie Goodwin, sorts through a tangle of suspects and misleading clues, the importance of office politics, personal grudges, and small details come to the fore. Set in the high-tension world of a busy advertising agency, the story unfolds with clever dialogue and the puzzle-solving acumen characteristic of the series.

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Key Discussion Points & Plot Progression

The Murder and the Agency

• [02:29] Walter Channing, a hard-edged executive, is introduced dictating memos to his secretary, Brenda Barclay.
• Channing is dismissive and cutting, making himself unpopular among his staff, including Brenda and another long-serving employee, Tom Bennett.
• An antagonistic, personal history between Channing and Brenda is revealed:
  • “You were flashy when I met you. You're getting flashier. That means cheaper.” (Walter Channing to Brenda, 05:33)
• Tension increases as hints are dropped about bribes, firings, and a long-simmering office romance gone sour.

Discovery of the Body

• [07:10] Walter Channing is found shot dead at his desk by the night porter and a shoeshine boy named Kelly.
• The police initially suspect suicide due to the position and nature of the wound, but Archie and Brenda quickly cast doubt, revealing that the gun was found unnaturally far from the body and had been wiped of fingerprints.

Brenda Barclay’s Fears

• [06:38] Brenda approaches Nero Wolfe, frightened she's about to become a suspect due to her past romantic involvement with Channing and the jealousy of others in the office.
  • “When the police talk to her, I—Doris, his wife. I've been Walter Channing's secretary for eight years. At one time, we…we thought we were in love… Mrs. Channing was aware of this.” (Brenda Barclay, 08:08)

Nero Wolfe Investigates

• Wolfe, with characteristic disdain for physical exertion, sets the investigative process in motion, assembling interviews with agency staff, Channing's wife Doris, and Alan Melick (Brenda’s former fiancé and a department head).
• The dialogue is sharp and filled with classic Wolfeian dry wit:
  • “I never take a corpse for a client.” (Nero Wolfe, 01:16)

Suspects and Motives

• Everyone in the office is shown to have motive, with varying degrees of animosity toward Channing:
  • “Channing was a slave driver, Mr. Goodwin. The girls hated him and men were afraid of him.” (Tom Bennett, 09:58)
• Brenda’s reputation, Alan Melick’s broken heart, and Doris Channing’s bitterness are explored as possible motives.

The Key Clues

• Stain Evidence: An ink stain is found on Channing’s trousers; attempts have been made to clean it with a strong solvent (carbon tetrachloride and perchloroethylene)—products typically found in a typewriter or shoe cleaner.
  (14:10)
• Spot on Carpet: A powder aniline dye is detected on the carpet—commonly used in women’s suede shoe dressing.
  (19:30, 26:02)
• The infamous memo eliminating shoe shines appears conveniently after the murder and is believed to frame the shoeshine boy, Kelly.

The “Sanctity of Deskh-ood”

• [22:40] Wolfe introduces his key insight:
  • “So long as a man sits at his desk, he enjoys a curious area of privacy. He is remarkably safe from intrusion. That’s the sanctity of deskhood.” (Wolfe, 23:16)

The Revelation

• To approach Channing at his desk without alerting him, the killer would have to be someone he trusted or was used to encountering there—most likely kneeling in front of him, as an assistant might when cleaning an ink spot.
• [26:36] Archie connects the dots:
  • “Suppose a woman knelt in front of Channing to clean that ink spot off his trouser cuff. That smudge could have rubbed off the tip of her shoe onto the carpet.”
• The evidence leads to Wolfe’s dramatic accusation:
  • “Three questions, Archie, with one answer. That spells the name of the murderess. Our own client, Brenda Barkley.” (Wolfe, 26:54)

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Notable Quotes & Memorable Moments

• Nero Wolfe’s wit:
  • “Not to get murdered herself. I never take a corpse for a client.” (01:16)
  • “Archie, put her in a cab. Then come up to the plant room. There are some things I want you to execute for me.” (09:15)
• On suspicious motives:
  • “Whoever killed Walter Channing did the rest of us a favor.” (Tom Bennett, 10:16)
• Wolfe on deskhood:
  • “Desk hood refers to that area behind a desk where a man earns his livelihood, makes his career, builds his reputation… So long as a man sits at his desk, he enjoys a curious area of privacy. He is remarkably safe from intrusion.” (23:16)
• On the denouement:
  • “The obvious can be too obvious.” (Wolfe, 25:14)
• Archie’s closing quip:
  • “Let us try to keep out of trouble in the company of a blonde who wants to.” (Archie, 27:46)

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Important Timestamps

• [02:29] Introduction of Walter Channing and motives among his staff
• [06:38] Brenda Barclay asks for Nero Wolfe’s help
• [09:58] Insights from other agency employees
• [14:10] Key findings: the ink stain and solvents
• [19:30] The discovery about shoe dye on the carpet
• [22:40] “Sanctity of deskhood” revelation
• [25:03] The memo as frame-up for Kelly
• [26:54] Final accusation: Brenda Barclay is the murderer

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Final Thoughts

This episode is a prime example of Golden Age radio detective drama, blending witty banter, tightly woven plotting, and a classic locked-room mystery feel. Nero Wolfe’s mastery with logic and social observation shines, as he unmasks not only the murderer but also the clever attempt to misdirect suspicion—a staple of Rex Stout’s writing.

Listeners unfamiliar with the original story will find this episode engaging and accessible, with a satisfying solution and a memorable array of suspects typical of classic radio whodunits.

Transcript

[A]

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[B]

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[B]

Start your free trial today. Welcome to Choice Classic Radio where we bring to you the greatest old time radio shows like us on Facebook, subscribe to us on YouTube and thank you for [e-mail] Ladies and gentlemen, that phone bell means adventure. Hello? Hello. The young man answering the phone is Archie Goodwin. And the mountain of a man engaged in deep thought in the oversized armchair is Nero Wolf. What was that? Somebody's gonna be murdered who has no manners. Well, what do you want Nero Wolf to do? Teach him manners. Oh, hold on. Mr. Wolf.

[C]

Yes, Hajim.

[B]

We've got a prospective client. In case someone she knows gets murdered, she'd like you to do something about it.

[C]

Very well. However, advice.

[B]

Yes?

[C]

Not to get murdered herself. I never take a corpse for a client.

[B]

Greatest detective in the world. Yes, Archie is so right. He is the greatest detective in the world. And the fattest and the least energetic. He's Nero Wolf. Created by Rex Stout and brought to you over this NBC network in a new series of Adventures by Mr. Sydney Greenstreet. Tonight, it's the case of the impolite Corpse. It began on a certain night at 8:40 when Walter Channing, an advertisement advertising executive, was dictating in his office to his charming secretary, Brenda Barclay. Brenda, take a memo.

[A]

Yes, Mr. Channing.

[B]

This is to be mimeographed and sent to the entire staff.

[A]

The entire staff? Yes, sir.

[B]

Notice effective at once, one hour, lunch periods will be strictly enforced. Employees will post time of departure and time of return. Yes, what is it, Mr. Channing? Bennett, I'm busy. But I. I've got to see you, Mr. Channing, about this afternoon. This afternoon was unfortunate, Bennett, but it happened.

[C]

I lost my temper. I'm sorry.

[B]

So am I, Mr. Channing.

[C]

I've been with the firm 14 years and I. Well, because a man blows up once in 14 years.

[A]

Mr. Channing's office.

[C]

You've got to reconsider, that's all. Mr. Channing.

[B]

I never reconsider.

[C]

Bennett, it's your wife. But Mr. Channing, that will be old.

[B]

Bennett, it won't be all.

[C]

You can't wipe out 14 years of a man's life. Even you can't do that. Channing.

[A]

It's Mrs. Channing on the phone.

[B]

Oh, hello. You're where? That's in this building. Since when has Dr. Ellis kept evening office hours? I told you, there's nothing wrong with you. No, I can't. I don't know when I'll be through and I don't want you hanging around up here. Well, take a cab or walk. I don't care what you do. What? I can't understand you. What? What? Goodbye, Doris. Where was I?

[A]

Walter.

[B]

Yes?

[A]

You are going to reconsider about Tom Bennett, aren't you?

[B]

Bennett was insolent this afternoon. I won't tolerate insolence. Yes? Shine, Mr. Channing. Shine?

[A]

No.

[B]

What's he doing down here this time of night?

[A]

Half the staff's working overtime. Kelly's an enterprising shoe shine boy. Might have miss on his rounds this afternoon. Walter, a bar. Tom Bennett.

[B]

Forget Bennett.

[A]

Look, do you upset the ink? Well, quick, block the stuff. Yes, of course. Did any spill on you?

[B]

Spot up my trouser cuff. Lucky you didn't get in the carpet.

[A]

Walter, about Tom Bennett.

[B]

I told you to forget Bennett.

[A]

All right, Walter, all right.

[B]

Well, maybe you shouldn't. Maybe you'd be better off to use him as a model.

[A]

A model?

[B]

If he knows he's not wanted around here, he'll have the self respect to get out. Meaning? Well, you've known for a long time you're not wanted and you're still here.

[A]

How you'd like to fire me.

[B]

Denying that would be silly.

[A]

I've been with this firm 15 years. In January, employees get a bonus of stock shares after 15 years service. That's what I'm waiting for and you know it.

[B]

Suppose we get back to that memorandum.

[A]

You'd like to get me out before I collect those shares, wouldn't you?

[B]

I said let's get on with the memoir.

[A]

You'd be petty enough to do it too, if you knew how.

[B]

There may be a way.

[A]

There isn't and you know it. I'm too careful. You can't fire me without cause. And I've given you no cause, Walter. Nothing you can possibly dictate. One of your vicious little memorandums about.

[B]

Don't try my patience too far, Brenda.

[A]

Walter, this can't be us talking like this. You and me hating each other.

[B]

I find it remarkable there ever was anything between us except hate. Walter, I mean it. Look at you. You were flashy when I met you. You're getting flashier. That means cheaper. Brenda, stop it. Too much lipstick. Too much Rouge. Hair too bright, dress too tight. You're trying too hard, Brenda. You're labeling yourself like a sound wagon.

[A]

I wonder what it is that stops me from killing you.

[B]

Cowardice, of course. Now, when you've stopped sniveling, we'll get on with a memorandum. You ready? Yes, I'm ready. Notice. In the interest of economy and efficiency, junior executives will confer in the conference room, not in private offices. Mid afternoon coffee and personal phone calls and daily shoe shines will be eliminated.

[C]

Your name is? Barclay. Brenda barclay. Very well, Miss Barkley. What can I do for you, Mr. Wolf?

[A]

I. I don't know how to begin.

[B]

Maybe I can make this easier all around by briefing Mr. Wolf on the Walter Channing case. Hey, that's funny.

[A]

What?

[B]

Violet eyes. I always thought there was something the poets made up.

[C]

Archie.

[B]

Huh? Oh, the ch. The Channing case. Yes.

[C]

One moment, Ms. Barkley. Look this way, please. To me, an eye is functional, object found. Mammals, birds, fish, potatoes and horticulture.

[B]

Thank you.

[C]

Go on, Archie.

[B]

Walter Channing was the boy wonder of advertising at 33, executive vice president of Winslow, Hart & Stradmeyer. Just 24 hours ago, they found him at his desk, shot through the.

[C]

Heart. They? Who is.

[B]

They? A night porter and a shoeshine boy. Is that.

[A]

Right?

[B]

Yes. He'd been dead about an hour. The bullet went through Channing, his desk chair and lodged in the windowsill behind him. Police thought at first it was suicide. The gun.38. Found it on the floor 10ft away. No fingerprints anyhow. No, clear.

[C]

Ones. Seldom are on a gun. But you say suicide was suspected. Why? The gun was 10ft from the body. It was.

[A]

The. The.

[C]

Smudges.

[B]

Smudges? Powder burns. According to the papers, he was sitting at his desk. There were no signs of a struggle. The gun was held against his chest and.

[A]

Fired. But it wasn't suicide, Mr. Wolfe. Walter Channing would never have killed.

[B]

Himself. The police have already decided that. Finally, according to the evening.

[C]

Papers. And I presume you, Ms. Barclay, are a.

[A]

Suspect? No, not.

[C]

Yet. But you expect to be. That's why you came to.

[A]

Me. When the police talk to her, I, Doris, his wife. I've been Walter Channing's secretary for eight years. At one time, we. We thought we were in.

[C]

Love. Mrs. Channing was aware of.

[A]

This? Yes. Oh, it was a long time ago. It was over. It was finished a long time ago. But she never believed that. Neither did.

[B]

Alan. Alan.

[A]

Who? Alan Melick, head of the media department at the agency. We were going to be married when I. When Walter and I so did.

[C]

You went in love, Ms. Barclay? Who finally decided you were not you or Mr.

[B]

Channing? He.

[C]

Did. I see. Mr. Meenick believes you did not share this change of.

[A]

Heart. Yes. Oh, he's such a.

[C]

Fool. I dare say you fear Mrs. Channing or Mr. Melick or both, will reveal the Syril fated.

[A]

Romance. You know what the papers will make of it, what the police will try to make of.

[C]

It. Ms. Barclay, did you kill.

[A]

Channing? No. Oh, no, I swear I didn't. Oh, Mr. Wolf, I.

[C]

Didn'T. Please, for heaven's sake, no tears. Archie, put her in a.

[B]

Cab. Yes.

[C]

Sir. Then come up to the plant room. There are some things I want you to execute for.

[B]

Me. Yes, sir.

[A]

Women.

[B]

Bah. Yes. Mr. Goodmore, I'm Abe Jackson, the night porter. It was working late that night. Mr. Channing, his secretary, Mr. Bennett, Mr. Mealik and his secretary. About 10:30 I met the shoeshine Kelly on Mr. Channon's floor. Was a light burning in Channing's place. Who went in to turn it off, killing me. And there he was, sitting at his desk, a hole as big in his chest. Tell me, Mr. Bennett, did Channing have any enemies in the.

[C]

Agency? Channing was a slave driver, Mr. Goodman. The girls hated him and men were afraid of.

[B]

Him. He'd send out memos like this one around here. Take a look at it. It's.

[C]

Typical. No coffee, no shoeshines, no office conferences. If you want my opinion as one employee out of 150, whoever killed Walter Channing did the rest of us a.

[B]

Favor. You're Amy Long, secretary to Alan Mealik. Now what can.

[A]

You. I can tell you plenty how she jilted Mr. Mealy, took up with Mr. Channing, got thrown over by him. I wouldn't go so far as to say Brenda Barkley would murder anyone. But if she did, Walter Channing would be one.

[B]

A Channing get his shoes shined on.

[C]

You. I called the agency man.

[B]

Sir. You know it was Jackson and me found.

[C]

Him. Everyone else had gone and left himself, poor soul, sitting at his desk, dead. This specimen, a minimus tree orchid. Beautiful, isn't it, Mrs. Channing? Mr.

[A]

Melik. I could never quite like orchids. They have no smell, you.

[B]

Know. It's pretty all right, but tulips are more in my line, Mr.

[C]

Wolf. Tulips, Mr.

[B]

Mealy? I had to stand of emperors this.

[C]

Spring. Emperors. Come in, Archie. Emperors, Mr.

[B]

Mealy. That's the name of a tulip, Mr.

[C]

Wolf. A peasant fly. I've heard of it, of course, Archie. Mrs. Channing, Mr. Medick, my assistant, Mr.

[A]

Goodwin. Mr.

[B]

Goodwin. Didn't know you had.

[A]

Company. Mr. Wolf asks us here to explain why Brenda Barclay is worried and.

[C]

You have both agreed to restrict her.

[B]

Position. Brenda ought to know I'd never tell the police anything to get her into trouble. Phooey, sir. He said phooey, Mr. Mealock. Meaning he doubts what you say and does not admit your right to say.

[C]

It. Archie. Mr. Meelik, you say you'd never intentionally inform on Ms.

[B]

Barke. Certainly.

[C]

Not. The tongue slips, sir. We would expect you to guard.

[A]

Your. What do you think what I started to say? You asked us here because Brenda Barclay is your client. I despise Ms. Barclay, everyone knows that and why. But I wouldn't stoop to implicating her in.

[C]

Murder. You believe her innocent then, Mrs.

[A]

Channing? I believe she lacks the gumption to pull a trigger. Poison I wouldn't put past her at all. Mr. Meelik, would you be kind enough to see me.

[B]

Home? Of course, Mrs. Channing. Good day, Mr.

[C]

Wolfe. Good.

[B]

Day. And Mr.

[C]

Goodwin, you have, I suppose, an exhaustive report from.

[B]

Me. Archie, Seven pages of.

[C]

Notes. Save them and get me a bottle of.

[B]

Beer. You're in a rosy mood. What.

[C]

Happened? I said I would like a bottle of.

[B]

Beer. No, you.

[C]

Wouldn'T. Archie, you better don't puff up about.

[B]

It. Those vest buttons won't stand the strain. I can't get you a bottle of beer. Why not? You ordered me to hold you to four a.

[C]

Day. I rescind the.

[B]

Order. You also ordered me not to let you rescind the order. What's the matter with you.

[C]

Anyhow? I have had to entertain two very dull people too.

[B]

Long. Both those dull people are prime suspects. Mrs. Channing is a woman scorned. Melick lost his girl to the guy who was.

[C]

Killed. I can't blame her for throwing him over. Archie, the man grows.

[B]

Tulips.

[A]

What?

[C]

Tulips. Well, give me a.

[B]

Report. I checked the agency, everybody who was working down there the night of the murder. Also, I dropped in on Inspector Kramer at homicide. Also I visited the.

[C]

Morgue. Why the.

[B]

Morgue? Because if I hadn't you'd have said why not the.

[C]

Morgue? Go.

[B]

On. I drew a blank there. Kramer let me look at the clothes Channing was wearing. There was an ink stain on the left trouser cuff. An ink stain and a hole through his shirt front with plenty of powder smudge. Like the paper said, he was shot with a.38 at point blank range. Sitting down an impolite Corpse.

[C]

What? Discourteous. He didn't rise to meet his murderer. That is most significant.

[B]

Archie. I know. I've got a theory about this.

[C]

Case. No theories. Facts, if you.

[B]

Please. But Look, Channing owned a.38. That's a fact. It's disappeared. That's another fact. The murder gun was a.38 with the numbers filed off. And it could be Channing's own.

[C]

Gun. Thereby proving what.

[B]

Archie? That his wife had access to.

[C]

It? Your theory involves Mrs. Channing.

[B]

Then? And mealik. She decides her husband is less trouble to her dead than.

[C]

Alive. A regrettable tendency of wives, have you.

[B]

Noticed? And she sells melek on the idea. Now, that wouldn't be hard. They figured to make it look like suicide. But meelik loses his head and runs. Drops the gun on his way out and. Oh, you don't buy.

[C]

It. Enough of theories. The facts, Archie, out of your.

[B]

Notebook. One, nine people were on the scene that night working late for one reason or.

[C]

Another. Mrs. Channing tells me she was visiting a doctor's office in the same.

[B]

Building. By the way. Two, every one of those people hated Channing. Three, here's a sample of why he wasn't popular. Memorandum dictated the night he was killed. The staff got it the next.

[C]

Morning. A whip cracker, Mr.

[B]

Chenning. Fact four, the ink stain in this trouser cuff was partly rubbed.

[C]

Out. With.

[B]

What? Cleaner of some kind. I didn't get brand. Fact five, There's a spot on the carpet near Channing's.

[C]

Chair. Spot of.

[B]

What? Ink. Blood. Looks like.

[C]

Ink. It looks.

[B]

Like. Well, I didn't analyze it on the spur of the moment. My chemical set isn't working so good.

[C]

Boss. Archie, I want two.

[B]

Things. Yes.

[C]

Sir? Get over to headquarters. The police have Channing's trousers. Suggest to inspector Kramer that he have the stain analyzed. Suggest also that the spot on the carpet be analyzed at the same time. Be around him when the information.

[B]

Arrives. This is be kind to the police.

[C]

Week. Phooey. I never have sought to beat the police on matters of fact, only on interpretation.

[B]

Deduction. Get.

[C]

Going. Oh, and.

[B]

Archie?

[C]

Yes? When you return, I should discourse upon the sanctity of.

[B]

Deskhood. The sanctity of what?

[C]

Hood. Desk hood. Now be off with you. And please remember you're tracking a murderer. Don't stub your.

[B]

Toe, Goodwin. The thing on the carpet was a dye of some kind. Die, huh? Mm. How long will it take the lab to give you the analysis on it, inspector? Oh, not very long. I've got the report on what was used on the trouser cuff. Right now, though. And they found traces of carbon tetrachloride. Wait a minute, this goes in the notebook. A carbon tetra chloride and something else. Goodwin, what's Wolf afton interpretations was what he said, Inspector. You object? No. Maybe I'll get an interpretation too. The something else was perc claw. Ethylene perchlorate. Why, inspector, such.

[C]

Language. The phone. I not back.

[A]

Here. Hello, Mr.

[C]

Wolf?

[A]

Yes? This is Brenda Barclay. Oh, Mr.

[C]

Wolf. What is it, Ms.

[A]

Barkley? You've got to come to Mr. Channing's office right away, Mr.

[C]

Wolf. Mr. Goodwin has been to your office. Everything I need to know, he.

[A]

Has. You've got to come, Mr.

[C]

Wolf. Nonsense, I don't go out. My digestion disapproves of it. I disapprove of it.

[A]

Be. But Mr. Goodwin, he's in.

[C]

Danger. What? What's.

[A]

That? Terrible danger. He needs you here at.

[C]

Once. A danger. Let me talk to.

[B]

Him.

[A]

Please. Come.

[C]

Hurry. What's happening? Hello, Sparkly. Fritz, get out of the car. Bring me my wool muffler and worsted vest. See if you can find my galos. Confound it, I've got to go.

[B]

Out. Going.

[C]

Up. Step to the rear of the car, please. Mister, will you please step back? I'm back. As far as I can go, you.

[B]

Are.

[C]

Hello. Contraptions for little men. Come, come pick me up, young man. Hold.

[B]

It. Hold that car. I'm late for a date with a blonde. 16th floor.

[C]

Buddy. Evening, Mr.

[B]

Goodman. Good.

[C]

Evening. I was told you were in.

[B]

Danger. Danger? I, Mr. Wolf. You. What are you doing out down here? Sparkly's idea about me being in.

[C]

Danger. Obviously she was lying. I suspected at the time, but I fell in with her suggestion. I'm anxious to end the case. My presence here is.

[B]

Needed. Don't understand why she'd do such a thing. And why is your presence.

[C]

Needed? 16th floor. It's a matter of.

[B]

Perspective. Brenda's got a very nice perspective. She'll be around here someplace. The agency's got this whole floor down this corridor next to Channing's. Kramer came through on those reports from the lab. That smudge on the carpet wasn't ink, it was a dye. Powdered aniline.

[A]

Brenda. Oh. Oh, Mr. Wolf, thank heavens you're.

[B]

Here. Hey, I'm here.

[A]

Too. The police, they questioned me again this afternoon. I'm so frightened. Mr. Wolf, you've got to find the murderer before.

[B]

They. Baby, take it.

[A]

Easy. Oh, hello.

[B]

Archie. Hello. What's the idea of trying to pull a fast for Mr.

[A]

Wolfe? I just had to see him. Please.

[C]

Understand. Is this Channing's.

[A]

Office?

[B]

Yes. You told him I was in.

[C]

Danger? At last, the place to sit.

[A]

Down. I had to tell him something to get him down.

[B]

Here. He's not happy. Are you comfortable there.

[C]

Sir? Ms. Barclay, come.

[A]

Here. Mr. Wolf, I can explain. I thought if you were here where it happened, I mean, if you could see for yourself, then.

[C]

You'D. Young woman, there are many things like to say to.

[B]

You. Oh, now, wait a minute. She was scared.

[C]

Boss. However, I am too short of breath to do them justice.

[B]

Archie.

[C]

Yes? Round up everyone concerned with this case right now, including Mrs. Channing. Get them in.

[B]

Here. Yes.

[C]

Sir. You help him, Miss Barkley. And close that.

[A]

Window. Yes, Mr.

[C]

Wolf. Fresh air. I've had enough today, thanks to you, to last me a lifetime. If after all that exposure, I live a.

[B]

Lifetime. What's going on here anyhow? A tea party. Find yourself seats. Keep your knees steady. All right, Mr. Wolf, everybody's.

[C]

Here. Mrs. Shoeshine Kelly. Here, sir. Here. It was you who found the.

[B]

Body? Even me, Ms. Wolf. I'll mave Jackson, the night.

[C]

Man. You gentlemen can help us if you will. Oh, to be sure, Mr. Wolf, I'd like to know the exact position of the body when you found.

[B]

It. Well, he was setting.

[C]

Up. That's it.

[B]

Sir. Sitting up straight as you.

[C]

Please. You'll oblige me if you'll demonstrate. Sit in the chair, please. His chair, sir, if you.

[B]

Please. Abe, you? Yeah. Oh, no, no, not me. Not on your.

[C]

Life. There's no easy thing you ask, Mr.

[B]

Wolf.

[C]

I. But I'll oblige you. So it was like this, I'd say. You agree, Mr.

[B]

Jackson? A little more right, maybe. Yeah, that's the way he.

[C]

Was.

[B]

Archie. Yes.

[C]

Sir? Help me with a brief.

[B]

Recapitulation. Well, so far as we know, Channing made no.

[C]

Outcry. Therefore, he could not have been startled by the appearance of the.

[B]

Killer. There were powder burns on the.

[C]

Body, therefore the gun was against Channing when it was fired. His own hand couldn't have held it.

[B]

Closer. Nobody heard the shot, probably because this officer soundproofed. The gun that killed him was lying on the floor 10ft from the.

[C]

Desk in the direction of flight, through that door. Go on.

[B]

Archie. The killer was almost certainly well known to Channing, or Channing wouldn't have let him come that close without a struggle or an alarm. Also, the killer had access to this office. Another proof that he's not a.

[C]

Stranger. One more point, if I may, Archie. The killer, he or she is Present.

[B]

Here. Now be quiet.

[C]

Everyone. We come now to the point I mentioned to you last night, Archie. The point I call the sanctity of desk.

[A]

Hood. Sanctity of.

[C]

What? Desk hood, Mrs. Jenning. Explain.

[B]

Archie. Still figure it's so.

[C]

Important? Absolutely.

[B]

Essential. I wrote it here somewhere. Oh, Desk hood refers to that area behind a desk where a man earns his livelihood, makes his career, builds his reputation. You mean here where I'm sitting? So long as a man sits at his desk, he enjoys a curious area of privacy. He is remarkably safe from intrusion. That's it, Mr.

[C]

Wolf. Sanctity of desk hood. Think about it a moment. You'll see what I.

[A]

Mean. Nonsense. I've gone around that desk hundreds of times. I'm sure she has many more. Hundreds? If you mean what I think you mean. Mrs.

[C]

Channing. You are pleased, lady? Mrs. Channing, when you approached your husband at his desk, what did he.

[A]

Do? What did he. Why, he stood up.

[C]

And. He stood up, Ms. Barkley. You.

[A]

Agree? Yes. He'd have to stand up. At least he always.

[C]

Did. But for his murderer he did not. Archie, resume from your notes.

[B]

Please. Well, whoever killed Walter Channing went around the desk without Channing rising, held a gun to his chest and pulled the.

[C]

Trigger. Excuse me. If you will go behind the desk and stand facing Mr.

[B]

Kelly. Archie, here. This the way you.

[C]

Mean? You know the angle of the body wound or the hole in the.

[B]

Chair? There wasn't any angle. One was in a straight line with the.

[C]

Other. From where you stand now in front of Mr. Kelly, if you wish to inflict an identical wound upon him, could you do.

[B]

It? Not from where I stand. I'd have to.

[C]

Kneel. You'd have to kneel. Do so. No, please. The murder tableau. The question now, who could kneel before Channing get close enough to kill him from that position without alarming him in the.

[A]

Least. Kelly, the shoe shine.

[C]

Man. Hey, hey, wait a minute now.

[B]

I. Shut up you and sit.

[C]

There. His motive is crystal.

[A]

Clear. The.

[C]

Memorandum. Memorandum? You have a copy.

[B]

A.J. in my.

[C]

Notebook. Ah, yes. Ms. Barclay read the part which could explain Mr. Kelly's.

[B]

Action. No, no.

[C]

Not. The memo was all over the office. Kelly must have seen.

[A]

It. Oh, wait a minute now. A notice. Effective at once. Yes, here it is. In the interest of economy, daily shoe shines will be.

[B]

Eliminated. That'd cut off Kelly's bread and.

[A]

Butter. Kelly. I can't believe.

[C]

It. Nor can.

[A]

I.

[C]

What? It's obvious. Kelly murdered Walter Channing. Mr. Wolf, now.

[B]

Listen. I did.

[C]

Nothing. But the obvious can be Too.

[B]

Obvious. Meaning what.

[C]

Exactly?

[B]

Archie? Yes.

[C]

Sir. Brief these people on the ink stained.

[B]

Trousers. Channing spilled ink on his trouser cuff the night he was murdered. Somebody tried to clean the spot.

[C]

Off. With.

[B]

What? According to the police analysis, carbon tetrachloride and perchloroethylene showed.

[C]

Up. Those non inflammable ingredients used in many commercial.

[A]

Cleaners. Exactly what are you getting at, Mr.

[C]

Wolfe? One moment, Mrs. Channing. Mr. Goodwin also has an analysis of the spot on the carpet behind the desk.

[B]

Archie. A powder form of dye.

[C]

Aniline. Dye used in what.

[B]

Perhaps? Well, the lab suggested a shoe.

[C]

Dressing. I got no powder.

[B]

Dye. I swear I ain't, Mr.

[C]

Wolf. I'm sure you haven't, Mr. Kelly. You'll find this particular type of dressing is used on women's shoes. Suede shoes.

[A]

Usually. I don't.

[B]

Understand. Wait a minute, wait a.

[C]

Minute. Yes.

[B]

Auntie? If a woman. Now suppose a woman knelt in front of Channing to clean that ink spot off his trouser cuff. That smudge could have rubbed off the tip of her shoe onto the.

[C]

Carpet. Exactly. I believe you'll find a typewriter cleaner contains tetrachloride and.

[B]

Perchlorethylene. Something else just occurred to me. That memo was sent around the morning after Channing was killed. I never thought of.

[C]

That. True, Archie, and for only one purpose, to point suspicion at.

[B]

Kelly. But when the police didn't take the.

[C]

Hint. Go on.

[B]

Archie. Why then somebody else was brought down here who would. Comes round to three questions, doesn't it? Who knew about the memo? Who had access to Channing's file, where he kept his gun and who made sure Nero Wolf would see the evidence against.

[C]

Kelly? Three questions, Archie, with one answer. That spells the name of the murderess. Our own client, Brenda Bakke. Steak, Archie, marinated. You like.

[B]

It? I'm not.

[C]

Hungry. Indeed, I suggest a.

[B]

Tonic. That reminds me, I had a call you had Doris Channing. She had some idea about my explaining things to.

[C]

Her. She found my explanation.

[B]

Insufficient? No, but she felt it lacked the personal touch.

[C]

Phooey. Hand me a can of beer. However, you do have the evening.

[B]

Off. Yes.

[C]

Sir. Keep out of trouble. Doris Channing is a blonde. Let us try to keep out.

[B]

Of trouble in the company of a blonde who wants to. Good night.

[C]

Sir. Good night, aji. Good night. You have been listening to the New Adventures of Nero Wolf starring Sydney Greenstreet. Tonight's transcribed story by William Kendall Clark was based on the characters created by Rex Stout. This is an Edmund Fadiman program produced and directed by J. Donald Wilson. In the cast were Larry Dobkin as Archie Goodwin and Donald Morrison, Betty Lou Gerson, Bill Johnstone, Howard McNear, Mary Lansing and Barney Phillips. Next week at this same time, Nero, Wolf and Archie will bring you the case of the girl who Cried Wolf. John Storm speaking. Near a wolf. Archie and all of our cast hope that our listeners have taken time out from this busy Christmas season to help brighten some youngsters Christmas Day. Be sure to send a thing, your choice, of anything you think a child would like for Christmas to the groups in your own town who are distributing these toy gifts to less fortunate children. Three chimes mean good times on.