Nero Wolfe: The Lost Heir 04/20/1951

Summary

---

Podcast Summary: Nero Wolfe – “The Lost Heir” (April 20, 1951)

Podcast: Choice Classic Radio Detectives | Old Time Radio
Episode: Nero Wolfe: The Lost Heir
Date Summarized: March 31, 2026
Original Air Date: April 20, 1951
Main Cast: Nero Wolfe (Sidney Greenstreet), Archie Goodwin, Horace Crail, Magda Crail, Hugh Gaines, Anthony George, Inspector Kramer
Theme: Detective Nero Wolfe investigates the case of a missing heiress, a suspicious reappearance, and a murder in a wealthy family.

---

Episode Overview

This classic detective radio drama, “The Lost Heir,” dives into identity, inheritance, and deception. Nero Wolfe is hired by the blind industrialist Horace Crail to determine if the woman claiming to be his long-lost daughter, Magda, is genuine or a fraud—while a $10 million inheritance looms and murder threatens. With Archie Goodwin in tow, Wolfe faces a web of missing memories, questionable evidence, and deadly motives.

---

Key Points & Insights

Introduction of the Case and Characters

• Initial Call and Client Background (00:20–04:11)

  • Horace Crail, a wealthy, blind industrialist, contacts Nero Wolfe. He suspects his newly resurfaced daughter is an impostor—or possibly in danger herself.
  • Crail’s secretary, Hugh Gaines, assists him and sets the somber, suspicious tone.
  • Crail’s stepson, Anthony George, is named the principal heir unless the true daughter returns.
  • Notable Quote:
    • Wolfe: “Is it his own murder Mr. Crail wants us to prevent?” – [01:28]

• Archie’s Impressions and Setup (04:11–06:10)

  • Archie describes Crail as imposing but closed off, and Gaines as surprisingly young and handsome for his role.
  • The inheritance and Crail’s suspicions drive the case's urgency.
  • Crail is open about his distrust, noting he’s cautious due to being blind.

The Identity Dilemma: Is Magda Crail Real?

• Family Mystery and Motives (06:10–07:19)

  • Thirteen years prior, Crail’s wife and daughter disappeared in a plane crash; now, a young woman appears claiming to be the lost daughter with supporting childhood artifacts.
  • The potential $10 million inheritance is laid out as a motive for deception.
  • Notable Quote:
    • Wolfe: “No matter what he says to the contrary, Horace Crail is afraid he’s going to be killed. I think Mr. Crail is right.” – [07:37]

• Magda’s Entrance (08:27–10:32)

  • Archie visits the Crail estate, meeting the self-confident Magda and her skeptical half-brother, Anthony George.
  • Tension and mistrust are shown immediately, especially between Magda and Anthony.

• Testing Magda’s Story (10:32–13:29)

  • Archie is tasked with “investigating” Magda socially (taking her to a nightclub).
  • Magda presents old photographs and points out a distinguishing birthmark visible in baby pictures, inviting Archie to confirm its authenticity.

• Wolfe’s Doubt and the Evidence (13:24–14:07)

  • Wolfe expresses skepticism about Magda’s identity (“No, I don’t think the girl is Crail’s daughter.” – [13:41]) but Archie argues against him, citing the birthmark as seemingly genuine.

Motive, Memory, and Manipulation

• Gaines’s Suspicion and the Diary (14:11–18:41)

  • Hugh Gaines is skeptical about the evidence and challenges Magda’s credibility.
  • The story of Magda’s “memory gap” surfaces: she claims her earliest memories are from living with another family, the Lomaxes, with nothing remembered of her birth family.
  • Magda reveals the “diary,” a childhood keepsake found with the Lomaxes that names Horace and Mabel Crail as her parents—though she admits the handwriting was likely guided.
  • Notable Quote:
    • Archie: “Kids that young all look the same to me. But suppose they are pictures of you. What of it?” – [12:36]

• Social Dynamics and Motives (18:41–22:29)

  • Dialogue reveals deep resentments:
    • Magda admits the temptation of the $10 million, but insists she is who she claims to be—while even she acknowledges she “may have tried to make the story sound a little more convincing.”
    • Gaines hints heavily at being uninvolved but doubts the veracity of Magda’s claim.
    • The conversation circles back to the value and authenticity of the birthmark, which Archie calls “worth ten million.”
  • Notable Moment:
    • Magda: “I found out she had a strawberry birthmark on her back. And I had one, too. So I decided to say I was Magda Crail.” (sarcastically) – [23:12]

The Murder & Unmasking the Real Villain

• Murder Announcement (24:06–24:24)

  • Late at night, Archie reports to Wolfe with photographic evidence of the birthmark. Wolfe abruptly reveals Horace Crail has been murdered.
    • Wolfe: “Have you heard that Horace Crail was murdered?” – [24:14]

• The Gathering and the Reveal (24:33–26:49)

  • Wolfe convenes all key players—Magda, Anthony, Hugh Gaines, and Inspector Kramer—to display photographic slides comparing Magda’s current birthmark with the baby photograph.
  • Wolfe then exposes the critical deception: The “birthmark” on Magda’s back is not natural, but a tattoo.
  • Wolfe directly accuses Gaines, tying him to manipulation of the photo album and the idea of creating a fake heiress.
  • Notable Exchange:
    • Wolfe: “That’s not a birthmark, that’s tattooing.” – [26:47]
    • Archie: “You can see it.” – [26:49]

• The Climax and Arrest (26:49–27:33)

  • With the fraud exposed and the motive—inheritance—established, Gaines is identified as the murderer and taken into custody.

• Resolution (27:33–28:06)

  • Archie and Wolfe share a wry exchange on the case’s moral ambiguity, pondering whether tattooing a birthmark is itself a crime.
  • Memorable Closing Quote:
    • Wolfe (teasing Archie): “Archie, have I ever told you I love you?” – [27:42]

---

Memorable Quotes by Timestamp

• Wolfe: “Is it his own murder Mr. Crail wants us to prevent?” – [01:28]
• Wolfe: “If you don’t want to be frank with me, I’d rather not waste my time.” – [05:42]
• Wolfe: “No matter what he says to the contrary, Horace Crail is afraid he’s going to be killed. I think Mr. Crail is right.” – [07:37]
• Wolfe: “No, I don’t think the girl is Crail’s daughter.” – [13:41]
• Magda: "I may have tried to make the story sound a little more convincing than I should have. But I'm Magda Crail just the same. How could I be anybody else?" – [16:28]
• Wolfe: “That’s not a birthmark, that’s tattooing.” – [26:47]
• Wolfe: “Archie, have I ever told you I love you?” – [27:42]

---

Segment Timestamps

• Horace Crail introduces the case: [00:20–04:11]
• Wolfe’s suspicions, Archie’s investigation: [07:32–13:24]
• Social test: Archie and Magda at nightclub: [11:41–14:07]
• Magda’s diary and childhood evidence: [17:14–19:24]
• Revelation of fraud, Wolfe’s final gathering: [24:33–27:33]
• Climactic arrest and wrap-up: [27:33–28:06]

---

Conclusion

In true Nero Wolfe style, “The Lost Heir” blends wit, skepticism, and brilliant deduction. Archie’s streetwise banter, Wolfe’s dry intelligence, and a sharply drawn cast put a creative spin on the classic impostor storyline. The episode is rife with skepticism about memory, evidence, and motivation, culminating in a stroke of Wolfe’s insight: sometimes the greatest clues are hiding in plain sight… or inked just beneath the skin.

---

For listeners who love old time radio and clever mysteries, this episode offers an entertaining mix of intrigue, banter, and a classic twist.

Transcript

[A]

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]

[B]

Ladies and gentlemen, the ringing of that phone bell brings you mystery adventure.

[A]

Nero Wolf's office. Archie Goodwin speaking. Mr. Horace Crail. Crail? Does Mr. Crail know Mr. Wolf? Oh, I see.

[C]

What is it, Archie?

[A]

A guy named Horace Crail. His secretary says he wants to talk to you.

[C]

What about?

[A]

I don't know, hors. Mr. Wolf's rather busy right now, but I'll give him a message if you wish. Yes. Yeah, wait a second. Mr. Wolf.

[C]

What?

[A]

Black on red and red on black.

[C]

Archie, this is solitaire.

[D]

So?

[C]

Solitaire is a game that is played by one single person alone. They wish to put a red card on a red card or a black card on a black card.

[A]

You're cheating.

[C]

Of course I am cheating. What is the message Mr. Horace Crayle's secretary asked you to convey?

[A]

Just that he wants to see you.

[C]

In a rather tragic sense, I suppose he does. Why tragic in that he wants to see me. He is blind. Tell him to come here at his own convenience.

[A]

Okay. What does Mr. Crayle want to see Mr. Wolfe about? A murder. A murder that may still be prevented. Archie, just a second. What?

[C]

I have run the cards out perfectly. Is it his own murder Mr. Crayel wants us to prevent?

[B]

Ladies and gentlemen, it's that renowned genius who is the bulkiest, most ponderous and most brilliant detective in the world. Yes, none other than that chair born mass of unpredictable intellect, Nero Wolf. Created by Rex Stout and brought to you in a new series of adventures over this NBC network in the person of Mr. Sidney Greenstreet.

[A]

Once in a long while, Mr. Wolf and I talk about this affair. When we do, we call it the Case of the Lost Heir. But I don't think the title's quite adequate for me. It ought to be called the Case of a gone Goose. And I was the goose.

[C]

Well, Archie, do you see any red on red or black on black?

[A]

Nope.

[C]

So?

[A]

So what?

[C]

You irritate me, Archie.

[A]

Okay, you won your little game of solitaire perfectly as you say. Now, who is Horace Crail?

[C]

A prominent industrialist. If you read the papers, you would know.

[A]

Where is Crail? Oh, yeah, the Crayle Company.

[C]

Exactly.

[A]

How did you know he was blind?

[C]

If he is, the papers have carried the story. The headlines read, blind father welcomes lost daughter.

[A]

Oh, yeah, I remember a few days ago. There was a picture too.

[C]

I thought you'd remember the girl at least.

[A]

Well, if it's the one I remember, I remember Archie. Oh, well, it probably isn't true, but by the way, let me tell you what I found out about the facts of life.

[C]

You do it. Archie,

[D]

Mr. Crail is here to see Mr. Wolf.

[A]

Oh, yes, come in.

[D]

This is Mr. Crail. I'm his secretary, Hugh Gaines. There's a step here, Mr. Crail.

[C]

Of course.

[E]

Who is this man?

[A]

I'm Archie Goodwin, Mr. Wolf's assistant. Mr. Wolf's waiting for him.

[D]

Where is Mr. Wolf, Mr. Goodman?

[A]

I led the way. The blind man and his secretary followed. Mr. Horace Crail was tall, thin, white haired. His face was heavily lined, but the lines were not those of care or worry. He wore very dark glasses through which he might not have been able to see even if he had had his sight. Hugh Gaines, the secretary, was in his late 20s, surprisingly young and surprisingly handsome for the kind of a job he had. I led them into Mr. Wolf's office, made the introductions and sat them down.

[C]

Well, Mr. Crail, what can I do for you?

[E]

As you see, Mr. Wolf, I'm blind.

[C]

Indeed. I say you have my deepest sympathy.

[E]

I don't give a hoot for your sympathy, Mr. Wolf, though. Thank you. Of course, I mention my condition merely because it affects the position in which I find myself.

[C]

Go on.

[E]

You.

[D]

Yes, Mr. Crail?

[E]

Tell Mr. Wolf about my daughter. Oh, incidentally, Mr. Wolf, I asked my secretary to do this because in this way you will get a first hand account.

[D]

Now, let's see, a few days ago, Tuesday to be exact, at about 3 o' clock in the afternoon, a young woman walked into the house and said she wanted to see her father. I spoke to her myself. She said her name was Magda Crail. I asked her certain questions.

[C]

Why, Mr. Gaines?

[E]

He asked her questions because he thought and I thought that my daughter died 13 years ago. Either the girl who came back to me is my daughter or she is an imposter and she belongs in jail.

[C]

Is there any doubt in your mind about it? Of course.

[E]

That's why I'm here.

[C]

On the telephone you said something about preventing murder.

[E]

Well, I. I have a stepson named Anthony George to whom I intended to leave my money. Not because I liked him, simply because I had nobody else to leave it to.

[C]

Except your daughter.

[E]

Except my daughter, if she is my daughter.

[C]

We were talking about murder.

[E]

I was talking about my daughter and my stepson.

[C]

Same thing, I take it?

[E]

Maybe. Possibly. I don't know.

[C]

Mr. Crayer.

[E]

Yes?

[C]

I am not a Wealthy man. But I am certainly able to make ends meet.

[A]

Yeah?

[E]

What do you mean?

[C]

Explain, arjun.

[A]

I think Mr. Wolf means that if you don't want to be frank with him, he'd rather not waste his time.

[E]

Mr. Wolf, I apologize if I've seemed to spar with you. See, a blind man can only judge by what he hears and smells and feels. So no, I must be a little more cautious than I would have to be otherwise.

[C]

I'm sorry, Mr. Crayel. Patience is not one of my virtues. Now, about your daughter or your non daughter. What's her name?

[E]

Magda. She calls herself Magda Crayel. Which was my daughter's name.

[C]

What makes you think she isn't your daughter?

[E]

Well. $10 million.

[A]

Partly.

[E]

Once again, Mr. Crail, my estate may be worth more than that. But surely not less you.

[D]

Surely not less, Mr. Crail. Rather more, I should say.

[C]

Yes. 10 million might have some appeal to an ambitious girl, Argie.

[A]

Sure, but I'm not a girl and I'm not ambitious.

[C]

Nobody could accuse you of either four. Mr. Crail, we are getting nowhere. Either you tell your story from the beginning or take it somewhere else. Archie, I'd like some beer.

[A]

When I went out for the beer, the kitchen was a mess. And incidentally, I saw what was being prepared for lunch. When I got back to the office, Mr. Crayl and his boy were gone. One beer for Mr. Wolf. What happened?

[C]

What took you so long, Archie?

[A]

I had a sandwich.

[C]

And spoiled your lunch?

[A]

You know what you're having for lunch?

[C]

Of course. I planned it. Baby octopus.

[A]

Delicious. I'll take your word for it. What happened to the blind tycoon?

[C]

Get your book, will you, Archie? I want to give you a few notes.

[A]

Just a second. Okay.

[C]

Item.

[A]

Item.

[C]

You needn't repeat everything after me.

[A]

Yes, master.

[C]

Item. Horace Grayle was born blind. Item. His wife and their six year old daughter Magda disappeared in their private plane 13 years ago. Magda returned last Tuesday. Item. No matter what he says to the contrary, Horace Crail is afraid he's going to be killed. I think Mr. Crail is right.

[A]

Memo from Archie Goodwin to Nero Wolf. Time 4:32pm the notes you dictated on the Crail case are on your blotter. Three pages of them you are with your orchids. I am on my way to the Crail domicile to meet the other characters in this turgid drama. As per instructions, I will bring them here if possible. Love, Archie.

[E]

Yes, sir.

[A]

My name is Goodwin. Archie Goodwin. I believe I'm expected. This way, please. Sir.

[E]

Yes, sir.

[A]

Thanks. Hello.

[F]

Don't tell me you're near a wolf.

[A]

Not by a couple of hundred pounds. I'm Archie Goodwin, his assistant.

[F]

Well, I'm Magda Crail. Nobody's assistant. That awful Hugh Gaines creature said Nero Wolf wants to talk to me.

[A]

He does?

[F]

Where is he?

[A]

Waiting for you. No hurry, though. No hurry at all. Just. Just play and don't worry about a thing. Black hair, green eyes, skin like a magnolia.

[F]

Pet.

[A]

Beautiful. Beautiful. While she finished what she was playing, I watched her. Beautiful. Well, beautiful.

[F]

Mr. Goodwin.

[A]

Archie.

[F]

Oh, we could get along together, Archie, if that's the way you are.

[A]

It's the way I am. I can't seem to do anything about it.

[F]

Where's Anthony?

[A]

Anthony? Oh, Anthony George.

[F]

Well, I thought both my repulsive half brother and I were supposed to meet Nero Wolf.

[A]

I'm here, in case anybody wants to know.

[F]

Over there in the shadows, listening with all his ears. That's Anthony George. Shall we go and talk to Nero Wolf? Anthony Goodwin.

[C]

You look like a normal sort of person.

[A]

Well, that's open to question, but go on. If you had to choose between $10 million and killing a woman by due process of law, which would you choose? I'll think about it between now and July 1994. Now, shall we go talk to Nero Wolf?

[C]

Miss grah?

[F]

Yes, Mr. Wolf?

[C]

Why did you wait until now, until last Tuesday, to let your father know that you were living?

[F]

Does it make any difference?

[C]

I think so.

[F]

Thirteen years ago, I was 6.

[A]

What she means is that she was

[C]

6 when she died.

[F]

But I didn't die, Anthony. Sweet.

[C]

Obviously.

[A]

But Magda Crayle did. With my mother.

[F]

His mother. Anthony says he doesn't remember me as a child, but I remember him. The brat.

[A]

What about me?

[F]

When I was about 4 or 5? You were 8 or 9, I suppose. Do you remember dressing up in one of Daddy's tailcoats? A sword and mother's hat with a plume?

[C]

Suppose I did.

[A]

You're still not my sister.

[F]

Don't worry, Anthony. When poor father dies, I'll support you.

[C]

Archie. Sir, I made a mistake.

[A]

A mistake? You?

[C]

I thought I wanted to talk to these young people. I don't take them away. Take the young lady to a nightclub.

[A]

On my salary.

[C]

As part of our investigation. It will be charged to Mr. Horace Crail.

[A]

Was no hardship at all. In fact, it was a pleasure. We dropped Anthony George off at the Crail place and Magda and I went on and on.

[F]

You're a wonderful dancer, aren't you?

[A]

You can't make enemies. That way, honey.

[F]

Archie, why did Mr. Wolf want you to take me out?

[A]

To find out whether you really are Crayole's daughter.

[F]

How did he expect you to find out?

[A]

I don't know.

[F]

Do you think he knew?

[A]

He probably had some idea, but I don't know what it could have been.

[F]

Honestly. Honestly, Archie, do you think I'm telling the truth? No.

[A]

But wait a minute, baby. I. I don't think you're lying, either. I just don't think.

[F]

Give me my handbag, Archie. Thanks. I've got something here that might interest both you and Mr. Wolf. Here. Those are snapshots that were taken of me before I was six.

[A]

Yeah. Cute.

[F]

Now look at me.

[A]

Beautiful. Beautiful.

[F]

Well, can't you see those pictures are of me?

[A]

Kids that young all look the same to me. But suppose they are pictures of you. What of it?

[F]

Well, just this. I found them in one of Mr. Crail's old photograph albums. My father, I mean.

[A]

Here's something.

[F]

The one lying on my tummy on the white bearskin rug. All babies get their pictures taken that way. You give it to them.

[A]

Wait a second. What's this mark under your shoulder blade?

[F]

It's a little birthmark. Like a strawberry.

[A]

It's clearer. Look, honey.

[F]

Why are you so interested in babies, Archie?

[A]

Because I always thought I should have been a mother. Now look. Have you still got that mark on your back?

[F]

Of course. At least, I suppose so. They don't go away, do they? Where are you going?

[A]

I'll be right back.

[C]

Little Wolf speaking.

[A]

IG Godwin. And with Magda Crail, no doubt. What?

[C]

No doubt, I said. But never mind. What do you want?

[A]

Want to ask a question.

[C]

Go on.

[A]

You don't think MACD Is Horace Crail's daughter, do you?

[C]

I don't think anything.

[A]

You're stealing your lines from me.

[C]

Never. All right, then. No, I don't think the girl is Crayol's daughter.

[A]

That's just what I hoped you'd say.

[C]

Why, Archie?

[A]

Because for once, you're wrong.

[C]

She's pretty, isn't she?

[A]

Yes, she is. Also, she's got a birthmark.

[C]

You have seen it?

[D]

No.

[A]

But nobody's going to be fool enough to claim a birthmark. It isn't there. It's too easy to prove.

[C]

Good night, Archie.

[F]

I thought you deserted me, Archie. You know Hugh Gaines, don't you?

[A]

Hello, Gaines. Hello, Goodwin.

[D]

Making hay while the moon shines?

[A]

You know, if you work that into a routine, it could be pretty dull.

[D]

You don't like me, do you?

[A]

Do I have to?

[C]

No.

[A]

No, not in the least. Well, that's good. Mr. Wolf and I feel it's wrong to like any of our clients, especially in nightclub. Really? Why? Because they might sit down at your table while you're making a telephone call?

[D]

I'm sorry.

[A]

Never mind. Finish a drink.

[D]

Once again, I'm sorry.

[A]

Forget it. Mr. Crail seems to think that Magna's trying to rook him.

[D]

Apparently.

[A]

What do you think, boys?

[F]

I'm here too, you know.

[A]

Quiet. What do you think, Mr. Gaines?

[D]

Well, to me, it's a matter of no importance one way or the other. As for Mr. Crail, what he wants is absolute proof. And of course, there's no such thing as proof. That is absolute. Do you want me to add it up for you?

[A]

Yeah, that's exactly what I want you to do for me. Add it up.

[D]

Thirteen years ago, Mrs. Crail and her small daughter Magda boarded a chartered plane in St. Louis to fly across the Ozarks to Hot Springs, Arkansas. They took off, and that's the last that ever was heard of them. Or the pilot, or the plane.

[A]

Okay, add some more.

[D]

Mr. Crail had the whole area searched for months. The search itself cost almost $50,000, and

[A]

the plane was not found.

[D]

They finally decided that it must have fallen into the Mississippi, where it would sink to the bottom and stay forever.

[A]

Now, wait a minute. Magda.

[F]

Yes, Archie?

[A]

Don't you remember anything about this trip?

[F]

Nothing. Not a single thing. The last I remember is mother putting me to bed in a strange city in a hotel, and that's all.

[A]

Okay. What's the next thing you remember, Archie, dear? Yeah?

[F]

Didn't my father go over this whole business with Mr. Wolf?

[A]

I suppose he did.

[F]

Then do we have to do it again?

[A]

There must be some reason why he wanted me to take you to a

[F]

nightclub, because I might say something I haven't already said a hundred times.

[A]

Maybe. What's the next thing you remember after your mother put you to bed in a strange city?

[F]

Archie, I have a confession to make.

[A]

This, I believe. Go ahead.

[F]

$10 million is a lot of money.

[A]

So I've been told.

[F]

I don't really remember a single solitary thing before I was 6 years old and going to school in Rogers, Arkansas.

[A]

Not Anthony George wearing tails and a

[F]

sword was one of the pictures in the album.

[A]

Not your mother putting you to bed in a hotel in St. Louis?

[F]

$10 million, Archie.

[A]

So you're not Magda Crayle?

[F]

Well, of course I'm Magda Crayle. I may have tried to make the story sound a little more convincing. Than I should have. But I'm Magda Crail just the same. How could I be anybody else?

[A]

So far I can't see why you shouldn't be anybody else.

[D]

Ms. Crail will now bring up the matter of the diary. Won't you, Miss Crail?

[A]

The diary?

[D]

Oh, you don't know? Then Mr. Wolf has told you nothing at all about this case, has he?

[A]

He probably told me all I needed to know. What about a diary?

[D]

Well, you see, Mr. Goodwin, Ms. Crail's memory begins at about the happy age of seven. A black haired, green eyed, pigtail brat named Maggie Lomax, only child of Walt and Mabel Lomax of Rogers, Arkansas. Am I correct, Ms. Lomax, Ms. Crail?

[F]

I mean, he's a sarcastic character, isn't he, Archie?

[A]

That he is.

[B]

That he is.

[A]

What about this diary?

[D]

To cut a long sob story short, Walt and Mabel Lomax died in an automobile accident a few weeks ago, leaving only Maggie. Take it from there, Maggie.

[F]

There was no money. I looked through the house to find anything I could sell and I came across a hidden box. The diary was in the box, along with some clothes that might fit a six year old girl.

[D]

The clothes look like what the girl was last seen wearing.

[A]

How do you know?

[D]

Well, there's a photograph of one of Mr. Crail's albums taken in St. Louis the day before the flight. But for 10 million, those clothes could be reproduced.

[A]

Stitch. Archie, dear, take him out in the alley. It would be a pleasure.

[D]

Oh, now wait a second, Archie. With one arm tied behind you, I think you could probably beat me into a pulp. Is it all right if we don't prove it?

[F]

We were talking about the diary, Archie.

[A]

Okay, what about it, Archie?

[F]

I don't even claim the handwriting is mine. What's handwriting when you're six years old? Still, the first page is one of those things that has name, name of parents, home address and like that, color of hair, eyes, you know.

[A]

Sure, I had one myself.

[F]

Certainly every child had one. One or a dozen. Maybe they still do. You fill in the first page and then you never write another word. Honey, they were cheap. I doubt if they cost a quarter. And there was a place that said my first date, favorite past.

[A]

Look, baby.

[F]

He calls me baby, Mr. Gaines.

[D]

Yes, I noticed that. I think he'd believe your story no matter what you told him.

[A]

Get lost, will you, Mr. Gaines? What's that? Get lost. Drop dead. Turn blue.

[D]

Well, I can take a hint.

[A]

Good night, Archie.

[D]

And Ms. Lomac.

[A]

Prissy, isn't he? Prissy is the word he doesn't seem to believe your story.

[F]

He believes what he's told to believe. It's his job.

[A]

Sure.

[F]

You believe me, don't you, Archie?

[A]

Honey, you're beautiful just the way you are. Now, let's talk about the diary.

[F]

I hate you.

[A]

I hate you, too.

[F]

Shall we dance?

[A]

The diary.

[F]

Oh, dear.

[A]

Where is it?

[F]

Do you call this romance?

[A]

No, I call it working overtime. Where is it?

[F]

Here, in my handbag. Here, Push over. We look at it together. I'm not crowding you, am I?

[A]

What's a little crowding?

[F]

Cozy, isn't it? Now, look at the COVID first. My diary. 1934, I suppose. Somebody gave it to me for my sixth birthday.

[A]

Let's just not suppose anything, shall we?

[F]

All right, Archie. Page one. Name, Magda Crayole. Date of birth. October 11, 1928. But you read it. Or can you read anything?

[A]

You can write, honey. Date of birth and so on. Father, Horace Crail. Mother, Mabel Crail. Hair, black, Eyes, green. My favorite pastime, Playing with Dolph. Playing has a Y.

[F]

You know what I think, Archie? You wouldn't call that writing, would you? Not real writing.

[A]

It's more like printing.

[F]

I think my mother guided my hand when I wrote that.

[A]

Yeah, that's the way it looks, all right.

[F]

Well, dance now.

[A]

Dance now. While we danced, while I held that disturbing girl in my arms, I tried to believe the case was just as simple as it seemed. Somehow she'd survived a plane crash, a head injury, then a normal life with a couple who naturally wouldn't tell her that she wasn't really theirs. I tried to believe it. I was trying hard when.

[F]

Archie, don't look. There's Anthony George.

[A]

Oh, yeah. Alone in the corner.

[F]

You've had a lot of experience, Archie. Do you think he's a killer?

[A]

A what?

[F]

Do you think he'd commit murder?

[A]

I don't think anything about him. But why should he?

[F]

For $10 million?

[A]

I see what you mean. Are you worried?

[F]

Not with you around, Archie. Not with you around.

[A]

It was like that. Maybe even more like that until the waiter told me I was wanted on the telephone. I asked her to keep the table warm, that I'd be right back.

[E]

Hello?

[A]

Hello? Hello, this is Archie Goodwin.

[C]

Archie?

[A]

Oh, hello, Mr. Wolf.

[C]

I been talking to Mr. Crayl.

[A]

Wonderful.

[C]

Little less humor, perhaps.

[A]

Okay. What about Mr. Crail?

[C]

He showed me some pictures of his daughter.

[A]

Baby pictures.

[C]

Unfortunately, some of the pictures were missing from the album.

[A]

Those are the ones I've been looking at.

[C]

Archie, I'm interested in that birthmark.

[A]

So am I.

[C]

Do you think you could persuade the young lady to have a picture taken of her back undraped?

[A]

Wait a minute. Just one moment, please.

[C]

Well, you mean that clear picture in a bright light?

[A]

How would you like her posed, Mr. Wolf?

[C]

I am not amused, Archie.

[A]

Okay, I'm sorry.

[C]

All I want is a clear, sharp, focused picture of that birthmark. And I expect you to get it for me. Good night, Archie.

[A]

Hello again.

[F]

Dance?

[A]

No.

[F]

Talk more.

[A]

Talk lots more.

[F]

What now?

[A]

That birthmark.

[F]

So I've got a birthmark. What about it?

[A]

I wish I had one that was worth 10 million.

[F]

So do I. This one is worth nothing to me. Since my father doesn't believe I'm his daughter, he's blind. That kind of identification doesn't mean anything to it.

[A]

You're forgetting the people who he trusts. Hugh Gaines, for instance. If the birthmark is there, couldn't he look at it, compare it with those awful baby pictures and say, yes, here is your daughter?

[F]

I've got news for you, Archie. He has looked at it. He says it looks the same as the one in the baby pictures.

[A]

Has he told your father that?

[F]

Yes. He also told him he thought I was a fake. That somehow I found out that the six year old daughter of a millionaire had died in a plane crash 13 years ago. And I found out she had a strawberry birthmark on her back. And I had one, too. So I decided to say that I was Magda Crail.

[A]

That's absurd.

[F]

Of course it is. You can see how it's gonna work out, can't you, Archie?

[A]

Frankly, no. How?

[F]

My father went to Mr. Wolf simply to have him prove that I am his daughter. Whatever. Hugh Gaines is the only thing I'm afraid of, though.

[A]

What are you afraid of, baby?

[F]

I'm afraid my darling half brother might kill him before he has a chance to change his will.

[A]

Isn't that a somewhat mercenary view to take of the matter?

[F]

Maybe it is, Archie. Maybe I'd feel differently about it if my father had found me instead of waiting for me to find him.

[A]

He tried, didn't he?

[F]

I wonder.

[A]

Let's get back to that birthmark. Are you allergic to floodlights? I know a photographer who has a studio.

[C]

Confound it, Archie.

[A]

How did you know it was gonna be me?

[C]

Because nobody else would dare to call me this late. What do you want?

[A]

I got the pictures. They're drying now.

[C]

If you come home, bring them with you. They may be important tomorrow. Have you heard that Horace Gray was murdered?

[A]

No. How? Who? Where?

[C]

Tomorrow we'll talk about it, Archie. Good night.

[A]

At 4pm the next day, there was quite a lot of confusion in Nero Wolf's office. At his direction I'd set up a picture screen at one end of the room and on his desk at the other end, a rather strangely constructed projector. At 4:30 the guests arrived. Magda, Anthony, George, Hugh Gaines, and of course Inspector Kramer, ready to make an arrest if he could figure out whom to arrest. Hello, Inspector.

[D]

Hi, Goodwin.

[A]

Magda, Anthony, George, you know what's this all about?

[D]

What's going on, Archie?

[A]

You got me, inspector. I think Mr. Wolf wants to show slides of his trip to Yellowstone Park. But here he is. Ask him.

[D]

Oh, say Wolf, you want to know what I think?

[C]

Not in the least, Inspector. Sit down somewhere, won't you? Archie, will you turn out the lights? Thank you. Now, this is a picture of Magda Crail lying on her stomach at the age of 6 months. I changed the focus so. And we have a close up of a birthmark, a smooth discoloration that looks as if it might have been painted on.

[D]

Now look, Wolf, you said if I

[C]

came here you'd give me the guy

[A]

who killed Horace and you show me

[C]

a picture of a baby's back. Inspector, if you open your mouth again, I may not keep my promise. Go ahead. While we look at this enlargement of a birthmark on baby's back, let us remember that the late Mr. Horace Crail was blind and never saw it.

[E]

So what? What's he getting?

[A]

That. Good one, Inspector. If I knew, I'd tell you.

[C]

Listen, Mr. Crail had a trusted secretary, Hugh Gaines.

[A]

I'm here.

[C]

Of course. Mr. Gaines had a brilliant idea. He knew the tragedy of Mrs. Crail and her daughter and he decided to bring Crail's daughter back to life.

[D]

What makes you think so, Mr. Wolfe,

[C]

you had access to the photograph album and only you. Hardly enough. Mr. Crail didn't even know his daughter had a birthmark until you told him.

[D]

That may be true, but what of it?

[C]

It's unimportant. Now I want to show you another picture. Archie, explain this picture, will you?

[A]

Reading from left to right, this is a picture of Ms. Crail's back. Very pretty too.

[C]

As you can see, there is what appears to be a small birthmark somewhat under the left shoulder blade. I change focus and as it becomes larger. That's not a birthmark, that's tattooing.

[A]

You can see it.

[C]

Tattooing, of course. And Mr. Gaines had a brilliant idea. How to make use of a tattooed birthmark and Ms. Magna to help him out. Blind as he was Horace Crail saw through it. That's why Hugh Gaines had to kill him.

[B]

No, you don't.

[C]

Gaines.

[A]

Mr. Wolf. Mr. Wolf, are you all right?

[C]

Of course I'm all right. Well, Inspector Kramer, Mr. Gaines is your man. Another bottle of beer, please, Archie.

[A]

It's right there in front of you. You know, I was thinking. A girl can get herself tattooed, can't she? Is that a crime? What does it prove?

[C]

Archie? Archie, Have I ever told you I love you?

[A]

I'm going to bed.

[C]

Good night, Archie.

[B]

You have been listening to the New Adventures of Nero Wolf, starring Sydney Green Street. Tonight's transcribed story by Mindread Lord was based on the characters created by Rex Stout. This is an Edwin Fadiman production, produced and directed by J. Donald Wilson. In the cast were Harry Bartell as Archie Goodwin and Martha Shaw, Vic Rodman, Peter Leeds, Grace Stafford and Bill Johnstone. Next week at this same time, Nero Wolf and Archie will bring you the

[D]

case in room 304.

[B]

Don Stanley speaking. Three chimes mean good times on NBC this Sunday. The glamorous and unpredictable Tallulah brings you another hour and a half broadcast of the Big show, starring Fred Allen, Judy Holiday, Joan Davis, Fran Warren and many more. And this Sunday's Theater Guild on the Air production is the Broadway comedy the First Year. Starring in this Theatre Guild presentation are Richard Widmark and Katherine Grayson. Remember, Tallulah Bankhead stars in her wonderful Big Show Sunday on NBC.