Nero Wolfe: The Vanishing Shells 02/02/1951

Summary

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Choice Classic Radio Detectives | Old Time Radio

Episode: Nero Wolfe: The Vanishing Shells (02/02/1951)
Aired: January 27, 2026
Host: Choice Classic Radio
Cast:

• Nero Wolfe (Sydney Greenstreet)
• Archie Goodwin (Gerald Moore)
• Doris Moray
• Emil Stoner
• Paula Kenyon
• Rick Hunter
• David Banning
• Inspector Kramer

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EPISODE OVERVIEW

In this classic detective drama, Nero Wolfe and his sharp-witted assistant Archie Goodwin are drawn into a world of backstage intrigue involving a Broadway production, threatening notes, and ultimately — murder. The case revolves around Doris Moray, an aspiring actress who fears for her reputation and safety after receiving anonymous threats warning her to quit the cast of producer Emil Stoner’s new play. When Stoner is found dead, Wolfe and Archie must unravel a tangled web of jealousy, ambition, and deception among the theatre's creative elite.

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KEY DISCUSSION POINTS & PLOT BREAKDOWN

1. The Anonymous Threats and Tense Cast Dynamics

• Setting the Scene ([01:16]-[05:07]):
  • Archie Goodwin, wishing to take on the case against Wolfe’s initial reluctance, meets Doris Moray at her hotel.
  • Doris presents two threatening notes demanding her withdrawal from Stoner’s new production, with explicit warnings about ruining her and Stoner’s reputations.
• Intrigue Among the Theatre Company ([05:19]-[09:12]):
  • Doris is caught between affections—producer Emil Stoner (her fiancé) and director Rick Hunter (fond of her but sidelined).
  • Paula Kenyon, Stoner’s ex-wife and former leading lady, is now engaged to David Banning, who wrote the play and prefers Paula as the star.
  • Tensions rise: “Several people have a reason to want Doris off the stage, especially with the promise of a ‘star-making’ role.” — Archie ([06:29])

2. Murder in the Hotel — The Mystery Deepens

• Discovering the Body ([10:17]-[13:57]):
  • Archie escorts Doris to her room and finds Emil Stoner dead—three bullet wounds in the chest, a crumpled horoscope in his left hand, an unlit monogrammed cigarette (“PK” for Paula Kenyon) in his right, and no weapon left behind.
  • "Emil Stoner. Oh. Three red dots on his shirt front." — Archie, on discovering the body ([11:02])
  • Doris’s briefcase, with a paper on top, sits on the piano; Stoner’s hat is missing; there are no signs the victim struggled.
• Initial Investigation ([13:34]-[14:20]):
  • Doris admits she owns a .25 automatic pistol, but claims it’s been at her theater dressing room for a week.

3. The Trail of Clues — Guns, Hats, Horoscopes, and an Impossible Shooting

• Critical Observations & Clues ([15:07]-[16:28]):
  • Nero Wolfe deduces that the bullet trajectory doesn’t match the chair in Doris’s room—Archie realizes there's no bullet hole in the chair.
  • "What bullet?... There ain't no hole in the back of that chair. I just realized it." — Archie ([15:51])
• Paula Kenyon’s Apartment ([16:47]-[18:41]):
  • Archie and Doris find Paula’s apartment empty but spot Stoner’s hat, Paula’s monogrammed cigarettes, a pile of horoscopes, and Doris’s missing pistol—recently fired—on the desk. There's a bullet hole in the chair, but no empty bullet shells.

4. Nero Wolfe Assembles the Suspects

• Suspect Interrogation & Motives ([20:57]-[26:39]):
  • Inspector Kramer verifies all three bullets came from Doris’s pistol; only her fingerprints are on the weapon.
  • Wolfe questions Rick Hunter (director), who favors Doris for the lead and admits love for her. Hunter might have had access to the gun and opportunity.
  • David Banning (playwright) prefers Paula for the lead and admits to sending the threatening notes but denies murder.
  • Paula Kenyon and Doris exchange hostilities over ambition and past friendships. Paula denies inviting Stoner over or knowing about the gun.
  • "I was not in love with Mr. Stoner. That was over." — Paula ([24:25])
• Key Contradictions:
  • Doris insists she didn’t see Stoner that afternoon, but evidence (briefcase, newspaper) says otherwise.

5. Wolfe’s Solution — The Vanishing Shells

• Reconstruction and Revelation ([26:01]-[27:05]):
  • Wolfe accuses Doris Moray of inviting Stoner to her room, learning she would not get the starring role, then finding her gun missing (planted in Paula's apartment).
  • Doris retrieved the gun, put it in her handbag, crossed the hall, and shot Stoner in Paula’s apartment — firing through her handbag (explaining the absence of shells and her fingerprints only).
  • Stoner was able, despite his mortal wound, to stagger back to Doris’s apartment, where he died.
  • "No, Archie. A handbag. Thank you. Notice I ran my finger through a hole in the corner. She fired through the bag and see, three empty shells." — Wolfe ([26:01])

6. Resolution and Notable Moments

• Medical Plausibility ([26:48]-[27:16]):
  • Archie is incredulous Stoner walked after being shot through the heart. Wolfe coolly replies: "Official medical records show that people have walked a block in such instances."
• Finale ([27:34]-[28:05]):
  • As midnight strikes on Archie’s birthday, Wolfe dryly gifts him a correspondence detective course as a joke.

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MEMORABLE QUOTES & TIMESTAMPS

• Archie, on Wolfe’s business priorities:
  “Orchids, beer, books. What a way to run a business.” ([04:57])

• Nero Wolfe’s cautionary prediction:
  “There will be a body, Archie. There’s always a body where you are concerned. Either a body beautiful or a dead one.” ([10:33])

• Archie’s rundown of clues:
  "The body's still warm. What's this? Crumpled in his left hand, a horoscope. Between the fingers of his right hand, an unlit cigarette. Monogrammed PK.” ([11:12])

• Nero Wolfe applies logic:
  “You found no empty shells about the floor?...What did you do with the bullet?” ([15:46])

• Wolfe identifies the murder weapon's hiding spot:
  “A handbag. Thank you. Notice I ran my finger through a hole in the corner. She fired through the bag and see, three empty shells.” ([26:01])

• Archie, on the victim managing to walk after being shot:
  “She couldn’t carry him.”
  Wolfe: “He walked." ([26:54])
  "That's a fallacy, Archie. Official medical records show that people have walked a block in such instances.” ([27:01])

• Classic deadpan sendoff:
  Archie: “Boss? Midnight. It's another day. I’m a year older.”
  Wolfe: “Yes. Cuthbert's correspondence detective course in four easy lessons. Happy birthday, Aji." ([27:40])

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IMPORTANT SEGMENT TIMESTAMPS

• Doris hires Archie/Wolfe and explains the threats: [05:19]-[07:41]
• Discovery of Stoner’s body: [11:02]-[13:59]
• Archie’s first full conversation with Wolfe about clues: [14:20]-[16:28]
• Paula Kenyon’s apartment — gun and hat found: [16:47]-[18:41]
• Wolfe’s cross-examination of all suspects: [22:26]-[26:01]
• Wolfe’s denouement (solving the case): [26:01]-[27:05]
• Closing birthday banter: [27:34]-[27:40]

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SUMMARY & TAKEAWAYS

A classic Nero Wolfe locked-room-style mystery, “The Vanishing Shells” offers a tightly plotted puzzle full of red herrings, misdirection, and clever logical deduction. Wolfe’s legendary reliance on logic and Archie’s keen eye lead them to a typically satisfying and ironic conclusion, hinging on a subtle detail (a hole in a handbag and missing shells) that only the truly observant would catch. The episode is rich with the repartee, sharp characterization, and period flavor that make golden age radio so beloved by detective fans.

Recommended for:
Fans of whodunits, old-time radio drama, and those who appreciate a masterfully delivered puzzle.

Transcript

[Archie Goodwin]

This episode is brought to you by Peloton.

[Doris Moray]

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[Archie Goodwin]

Workouts with 15 plus workout types for endless movements on and off your equipment. Stay motivated with weekly personalized plans that guide you from beginner to expert and push past your goals with routines tailored to you. Get the new Cross Training series terms apply. 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, the ringing of that phone bell means mystery adventure. Nero Wolf's office, Archie Goodwin speaking. Mr. Wolf. No, he isn't. Huh? Oh, well, for you maybe he is.

[Nero Wolfe]

I am not here.

[Archie Goodwin]

Oh yes, yeah, he's always here.

[Nero Wolfe]

I've gone out.

[Archie Goodwin]

Oh no, he seldom ever goes out.

[Nero Wolfe]

I won't start on anything tonight.

[Archie Goodwin]

Well, sure, he'd love to start on a case tonight. What's your name? Oh, that's a beautiful name.

[Nero Wolfe]

Address another woman. Hang up.

[Archie Goodwin]

No, no, no, honest I'm not Mr. Wolf, but I'm his agent. I'll be right over, miss. Goodbye.

[Nero Wolfe]

What's her trouble? Where are you going?

[Archie Goodwin]

She said she's received some threatening notes and she's afraid to leave her hotel. So long, boss. Ladies and gentlemen, it's that genius who is the bulkiest, balkiest, most ponderous and most brilliant detective in the world is none other than that chairborne mass of unpredictable intellect, Nero Wolf. Created by Rex Stoud and brought to you in a new series of adventures over this NBC network in the person of Mr. Sydney Greenstreet. We prefer to call tonight's story the Case of the Vanishing Shells. It didn't seem to be difficult at first, but. Well, I'm not a stupid individual. But so often, oh, so often I allow myself to become mesmerized by beautiful women. Heaven bless him, Doris Marais was such a woman. She found us first late one afternoon, about 5:00 o', clock, then again at 5:30.

[Doris Moray]

Very well, Mr. Goodwin, but I would prefer to see Mr. Wolfe.

[Archie Goodwin]

Well, I said I'd be there at 6.

[Doris Moray]

Ms. Moray, I don't want to talk any longer on the phone. Please hurry. There, there's someone at the door.

[Archie Goodwin]

I'll see you in the cocktail lounge.

[Doris Moray]

At your hotel at six o'.

[Archie Goodwin]

Clock.

[Doris Moray]

That's half an hour. Don't fail. Who is it?

[Archie Goodwin]

Emil Stoner.

[Doris Moray]

Oh, come in, Emil. You got my call, darling. Here, let me take your briefcase.

[Archie Goodwin]

I'll just put it here on the piano.

[Doris Moray]

Doris, I'm Terribly upset about those threatening notes. Darling, I know it's upset you, too, but I'm determined to find out who it is. I'm not going to let them bluff me out of my first chance to play the star part in one of your shows.

[Archie Goodwin]

But look, Dorius, there's that other part.

[Doris Moray]

Other? Is that all I mean to you? What can they divulge that'll harm us? What?

[Archie Goodwin]

Several things, and I can't afford. I mean, at this time.

[Doris Moray]

You're frightened, Amel.

[Archie Goodwin]

Doris, I'm going to give the star part to Paula.

[Doris Moray]

Paula? You've been divorced for four years. Why?

[Archie Goodwin]

Because I feel she can play it better.

[Doris Moray]

Is that what you're going to say? Well, I can act rings around her.

[Archie Goodwin]

Now, look, Doris, I know it's a big disappointment to you, but that's the way it is.

[Doris Moray]

Get out. Get out. Go on across the hall to Paula. Give her the part. Louse up your show. She and that playwright of hers. Get out, Emil.

[Archie Goodwin]

But, Doris, you frightened little.

[Doris Moray]

Get out.

[Archie Goodwin]

I believe, Mr. Wolf, you're making a great mistake and not coming along.

[Nero Wolfe]

Indeed. I'm sure that what attracts you could not possibly be of interest to me.

[Archie Goodwin]

A gal needs help. Money is money.

[Nero Wolfe]

Girls, money. Phooey.

[Archie Goodwin]

Yeah. Well, we could have dinner out for a change. They have one of the finest chefs in town at that hotel.

[Nero Wolfe]

You're most impolite. I'm trying to read this book.

[Archie Goodwin]

Poetry, Archie. Yes, sir.

[Nero Wolfe]

Shut up.

[Archie Goodwin]

But we need money. That filthy green cabbage is necessary to our existence. This may be a tough case. You know, I.

[Nero Wolfe]

You're sufficiently intelligent sometimes.

[Archie Goodwin]

If I sat around like you do, I'd weigh 500 pounds, too.

[Nero Wolfe]

Archie, leave the room. Besides, it's only 300.

[Archie Goodwin]

What a way to run a business. Orchids, beer, books.

[Nero Wolfe]

Don't keep the charming kind waiting.

[Archie Goodwin]

Okay, I'm going. I'm going.

[Nero Wolfe]

And always remember, there is a telephone.

[Archie Goodwin]

Thank you. Waiter. Oh, good evening, Ms. Moray. I'm Archie Goodwin.

[Doris Moray]

Well, I didn't expect. I mean. Please sit down.

[Archie Goodwin]

Well, I think I should explain the absence of Nero Wolf. There's. There's so much of him that it's not too convenient to transport it above. I do all the outside work, and.

[Doris Moray]

I'm sure you do it well, Mr.

[Archie Goodwin]

Well, you know, some women call me Goodwin and some call me Mr. Goodwin. And yes, the unattached call me Archie.

[Doris Moray]

Hello, Archie.

[Archie Goodwin]

Oh, splendid. I'm glad to hear it. Now we can get right down to the nasty old business that's troubling you. Doris.

[Doris Moray]

First, here's the 500 retainer fee.

[Archie Goodwin]

We thank you. Now, what's the note about?

[Doris Moray]

There are two notes, both printed by hand. Will you hand me my purse, please?

[Archie Goodwin]

Oh, sure.

[Doris Moray]

Thank you.

[Archie Goodwin]

I see. Doris Moray, if you fail to withdraw from the cast of Stoner's next production by start of rehearsals Monday, both you and Stoner will have a blasted reputation and perhaps other injuries from which you will be unable to recover.

[Doris Moray]

The other one is like it, only more vehement.

[Archie Goodwin]

Someone or a group of someones are intent on keeping you out of Stoner's shows. Huh? Too bad. His next one is said to be a sure smash hit and a star making part for the leading woman.

[Doris Moray]

Yes, Emil Stoner wants me to play it. He's been planning on it ever since David Banning wrote the play.

[Archie Goodwin]

What does David Banning think of you playing the part?

[Doris Moray]

Well, I. I don't think he's too enthused about it. You see, Mr. Stoner and Paula Kenyon have been divorced for four years, but she has continued to be his top leading woman. Now she's engaged to David Banning, who wrote this play.

[Archie Goodwin]

Oh, Makes things a bit difficult.

[Doris Moray]

Well, of course, Rick Hunter, Stoner's director.

[Archie Goodwin]

Is Hunter's somewhat in favor of your playing the part?

[Doris Moray]

Well, Rick Hunter is very fond of my work.

[Archie Goodwin]

And very fond of you as well, huh?

[Doris Moray]

Yes, unfortunately, I. I like Rick Hunter tremendously. But Emil Stoner has been of greater interest to me. In fact, we're more or less engaged, Mr. Goodwin.

[Archie Goodwin]

Oh. Well. Had any words lately with the ex Mrs. Stoner? Paula Canyon, Is that her name?

[Doris Moray]

Paul and I were great friends when I first joined the Stoner productions, but I don't know, she. I don't think she appreciated the fact that Mr. Stoner and Rick Hunter, the director, took such an interest in me.

[Archie Goodwin]

Tommy, did you ever think you were in love with Rick Hunter?

[Doris Moray]

Yes, at first I was thrilled by his artistic imagination. And then as time went on, I realized that he was subject to melancholia. Mr. Stoner was more stable and I needed someone older to advise me.

[Archie Goodwin]

What's wrong with your reputation? Mr. Stoner's.

[Doris Moray]

Well, there's nothing I fear. But I'm afraid Mr. Stoner is somewhat disturbed by these threats. He feels there's something in his past of sufficient import to really harm him. I think it's nonsense, Alan.

[Archie Goodwin]

What we have to do is uncover this person or persons before you end up with ruined careers on Broadway. Where does the ex Mrs. Stoner live?

[Doris Moray]

Well, as a matter of fact, she lives just down the hall from me. Lived here for years.

[Archie Goodwin]

Oh. Well, I think it's advisable, honey, that you stay close to your room until we solve this thing.

[Doris Moray]

But I'm not afraid for my life, Archie.

[Archie Goodwin]

No, Well, I am. I'll see you into your room, Doris.

[Doris Moray]

Oh, now, please, Mr. Goodwin, if you.

[Archie Goodwin]

You don't trust the boy, huh?

[Doris Moray]

Well, I.

[Archie Goodwin]

Such beautiful eyes, lovely red hair. You could have the lead in my new play. I never wrote one, but for you, I'll try anything.

[Doris Moray]

Come along.

[Archie Goodwin]

Here's your bag. Well, hello, Doris.

[Doris Moray]

Oh, hello, Rick. Mr. Goodwin, this is Rick Hunter.

[Archie Goodwin]

Hiya, Hunter. Nice shows you've been putting on. I've just been admiring your work, Goodwin. Oh, well, that's nice. I'm glad. Nothing like encouragement for a beginner, Mr. Hunter. You're ready for the big time, from what I saw. Heard from Emil Stoner today, Doris?

[Doris Moray]

I talked to him once this morning. Have you been sitting in the cocktail lounge all afternoon?

[Archie Goodwin]

Yeah, that I have, honey. I want to see you play that lead, baby. And I think I just about got it all settled.

[Doris Moray]

Dreaming about it won't settle it. Liquor never accomplished anything in itself, rick. Come on, Mr. Goodwin.

[Archie Goodwin]

He's a very jealous man, Doris. In fact, right now I can feel his thoughts piercing me between the shoulder blades. Oh, excuse me. Here's a phone book.

[Nero Wolfe]

Yes, Archie.

[Archie Goodwin]

How do you know it's Archie?

[Nero Wolfe]

I felt the time is exactly right for you to call.

[Archie Goodwin]

I wish you felt it was time to earn some money.

[Nero Wolfe]

Is this a worthwhile case?

[Archie Goodwin]

Well, she's a beautiful redhead.

[Nero Wolfe]

And that, of course, makes it very worthwhile.

[Archie Goodwin]

Yeah, Well, I got 500 as a retainer.

[Nero Wolfe]

Phooey. A pittance and probably all you'll ever get.

[Archie Goodwin]

What do you mean by that?

[Nero Wolfe]

She's probably guilty.

[Archie Goodwin]

Look, boss, she's the victim. Received notes threatening her reputation and her health if she plays the star part in Emil Stoner's new production. Also, they threaten Emil Stoner. Likewise, the playwright Dave Banning is engaged to Paula Kenyon. Incidentally, she lives here at the hotel, too. Just down the hall from Doris.

[Nero Wolfe]

I remember her. And the playwright wants Paula Kenyon to play the part. Well, Archie, you have only the beginning. It is probably too late to prevent whatever is going to happen.

[Archie Goodwin]

Like what, for instance?

[Nero Wolfe]

Have you found a body yet? Call me after you find the body.

[Archie Goodwin]

What body? There's no body.

[Nero Wolfe]

But there will be, Archie. There's always a body where you are concerned. Either a body beautiful or a dead one.

[Archie Goodwin]

Right.

[Doris Moray]

Thanks for seeing me to my room, Archie.

[Archie Goodwin]

Oh, I'm not stopping here, Doris. I'll take a look inside.

[Doris Moray]

But I'm not.

[Archie Goodwin]

Oh, I insist. Part of my job, you know. If I fail to take every precaution, Mr. Wolf would never look in that chair.

[Doris Moray]

Emil.

[Archie Goodwin]

Emil. Emil Stoner. Oh. Three red dots on his shirt front. Uh, Doris. Doris, hold on.

[Doris Moray]

I'm all right. Yes, I. I'm all right.

[Archie Goodwin]

All right, sit down. That's it. Now, let's see. The body's still warm. What's this? Crumpled in his left hand, a horoscope. Between the fingers of his right hand, an unlit cigarette. My grand pk Paula Kenyon. This horoscope is from March. Something he picked up from your desk here.

[Doris Moray]

I don't believe in astrology.

[Archie Goodwin]

Where'd he get this cigarette? With Paula Kenyon's monogram.

[Doris Moray]

Poor Amy. Poor Amy. I didn't believe anyone would really harm us. Why was I so stubborn?

[Archie Goodwin]

When did you see him last?

[Doris Moray]

Please, shouldn't we do something? Call the police?

[Archie Goodwin]

No, no, no. Not yet. When did you see him?

[Doris Moray]

Why, I saw him this morning. I'm so shocked I can hardly think clearly.

[Archie Goodwin]

Doris?

[Doris Moray]

Yes?

[Archie Goodwin]

There's a briefcase here on the piano with a newspaper on top of it.

[Doris Moray]

What? Oh, it is? Yes, it's. It's Emil's.

[Archie Goodwin]

He.

[Doris Moray]

He must have left it here this morning.

[Archie Goodwin]

That's strange. Emil Stoner was bald, but.

[Doris Moray]

But what?

[Archie Goodwin]

Well, I'm sure he's a man who always wore a hat, but I see no hat.

[Doris Moray]

He must have come up the elevator as I went down to meet you.

[Archie Goodwin]

Who would know he'd come up here? Your director, Rick Hunter. He said he'd been in the bar all afternoon. What else was it he said? Thought he had everything just about settled.

[Doris Moray]

Oh, no, Rick, couldn't he just. Oh, Mr. Goodwin, I couldn't believe that.

[Archie Goodwin]

I can believe anything about anybody. I learned that the hard way. In my book, everybody's guilty until proved otherwise. Even you, baby.

[Doris Moray]

What?

[Archie Goodwin]

Even you. Yeah. A Herald Tribune newspaper. Are you sure you haven't seen him since this morning?

[Doris Moray]

Doris, what are you doing? Absolutely nothing. Someone came in here and shot him. Call the police. I insist. Maybe.

[Archie Goodwin]

Why maybe?

[Doris Moray]

I did leave my door unlocked. Why did I do that?

[Archie Goodwin]

He couldn't have opened the door otherwise, could he?

[Doris Moray]

No.

[Archie Goodwin]

Give me the check room, please. Oh, hello. Did you. Do you know Mr. Emil Stoner, the producer? You do? Well, tell me, did he check his hat with you this afternoon or this evening? He didn't. All right. Thanks. He must have carried it up here to this floor. Doris, do you have a gun?

[Doris Moray]

I own A gun? A small.25 automatic, but it's not here.

[Archie Goodwin]

Where is it?

[Doris Moray]

I had the handle repaired and it's been in my dressing room for a week or two.

[Archie Goodwin]

I hate to do this, Doris, but I'm gonna move the body away from the back of that chair there. Yeah, three wounds. One bullet went through the upper part of the chest, out the middle of the back. I'd say right through the heart. By the angle of the wound, he was shot while sitting down.

[Doris Moray]

Please, Mr. Goodwin, must we stay here?

[Archie Goodwin]

I want to give this room a thorough going over. We'll go down to the lobby. I want to use that phone booth again. And, Doris, I hope I know what.

[Doris Moray]

You'Re going to say. You hope?

[Archie Goodwin]

That gun of mine is still in your dressing room at the theater.

[Nero Wolfe]

Mayor wolf speaking.

[Archie Goodwin]

Oh, Mr. Wolf, may I have your autograph? I'm taking a correspondence course on how to be a detective, and I think you're a wizard.

[Nero Wolfe]

So kind of you to say so.

[Archie Goodwin]

I would be just thrilled to have your autograph on the bottom of a paycheck.

[Nero Wolfe]

Why are you calling from a phone booth?

[Archie Goodwin]

What? Who said I was?

[Nero Wolfe]

It's obvious there's no room. Tone reverberation.

[Archie Goodwin]

Oh, well, you shouldn't have to ask. You know everything before it happens.

[Nero Wolfe]

You found the body then? Happened just before you got there.

[Archie Goodwin]

Oh, now, look, I took the girl up to a room to be sure it was safe for her to go in and. Okay, okay. And there, sitting in a big leather chair, was Emil Stoner, shot three times with a small caliber gun, dead about an hour. One shot went through the body from the upper part of the chest to the middle of back. Therefore, he was shot while sitting down. The killer was standing, huh?

[Nero Wolfe]

I'm listening.

[Archie Goodwin]

Oh. Well, his left hand was clutching a horoscope folder, and between the index and second finger of the right hand was an unlit cigarette with a monogram on it. PK Emil Stoner is bald, but there was no hat in the room. However, on the piano was his briefcase, and on top of it, a 4 o' clock afternoon edition of the Herald Tribune.

[Nero Wolfe]

Better look in the briefcase, Archie. No weapon?

[Archie Goodwin]

No, no weapon. Doris Moray says she owns a.25 caliber automatic and it's in her dressing room at the theater. Also, she claims she hadn't seen Stoner since this morning.

[Nero Wolfe]

You found no empty shelves about the floor?

[Archie Goodwin]

None.

[Nero Wolfe]

What did you do with the bullet?

[Archie Goodwin]

What bullet?

[Nero Wolfe]

The one which passed through his chest and lodged in the back of the leather chair. Are you there, boss?

[Archie Goodwin]

I'm a Very stupid fella.

[Nero Wolfe]

Stop bragging.

[Archie Goodwin]

The bullet, boss. There ain't no hole in the back of that chair. I just realized it. Maybe he was standing up. Then the killer must have been on stilts.

[Nero Wolfe]

Archie, let us pretend, only pretend, that you're very observant. Now proceed to Paula Kenyon's apartment. Just down the hall, you said, and see what she knows without divulging the fact that Stoner is dead and looks sharp.

[Archie Goodwin]

My gears must be slippy.

[Nero Wolfe]

I see. Do you know what great event will be celebrated tomorrow?

[Archie Goodwin]

Yeah, my birthday. What'd you get me?

[Nero Wolfe]

Cuthbert's correspondence detective course in four easy lessons. Bye.

[Doris Moray]

This is Paula's apartment.

[Archie Goodwin]

No answer. Let's see if it's open. There's no one in sight. Come on in. Now, look, if anyone walks in on us, we found the door open and we just came in to wait.

[Doris Moray]

Which is the truth, isn't it?

[Nero Wolfe]

Yeah.

[Archie Goodwin]

Yeah, that's right. Now here on the desk we have a stack of horoscopes, Doris. And a box of Paula's Monogrammed Cigarettes.

[Doris Moray]

Mr. Goodwin.

[Archie Goodwin]

Huh?

[Doris Moray]

This is Emil's grave. Fedora hat.

[Archie Goodwin]

Then he was in this apartment this afternoon. What are you staring at? Oh, small, Pearl handled automatic. Yes.25 caliber. Yeah, it's been fired very recently. We won't touch it now. Does it look like yours, Archie?

[Doris Moray]

It is mine.

[Archie Goodwin]

Your initials.

[Doris Moray]

I found old Jenkins, the stage doorman at the theater to look in my dressing room and, well, my gun isn't there.

[Archie Goodwin]

Did you leave the gun out in plain view in the dressing room?

[Doris Moray]

Yes, for several days anyway. Then I put it behind the mirror.

[Archie Goodwin]

I suppose many people have seen it, I'm sure. I hope, Doris, that your fingerprints are not the only ones on that gun.

[Doris Moray]

If they use my gun to shoot him in my apartment, why would they bring the gun back here and leave it in plain sight?

[Archie Goodwin]

Maybe they didn't do it just that way. No, his hat's here, the gun is here, and yet he's dead in your apartment.

[Doris Moray]

How can you answer that?

[Archie Goodwin]

Well, maybe he was sitting here waiting for Paula and someone called him out and over to your place and shot him. Ah, that's not good. Doesn't make sense. Now, if he was sitting in this chair here and someone entered that door.

[Doris Moray]

Hey, what is it?

[Archie Goodwin]

Look in the chair back little round hole. Start looking for some empty shells around here.

[Doris Moray]

You find something?

[Archie Goodwin]

No, I want to make a call. He was shot with this automatic. Three shells were ejected. They certainly vanished.

[Nero Wolfe]

Hear a wolf speaking.

[Archie Goodwin]

Archie, I'm at Paula Kenyon's. She's not here. Found his hat. A stack of horoscopes on the desk. Box of Monogram cigarettes. A.25 automatic which belongs to Ms. Moray. Recently fired, but not an empty shell in sight. No blood, but a single small hole in the back of the chair near the desk. Doris Moray is with me.

[Nero Wolfe]

I will call Inspector Kramer now about the body and have Ballistics check the bullets with a gun.

[Archie Goodwin]

The bullet in the chair back.

[Nero Wolfe]

Did you find anything of particular importance in Emil Stoner's briefcase?

[Archie Goodwin]

Yes, I found.

[Nero Wolfe]

Never mind.

[Archie Goodwin]

Bring the girl here at once. Okay, boss. Say, don't you think I better wait for Paula Kenyon? Oh, here she is. Bye.

[Nero Wolfe]

Clear along too, if you can. Goodbye.

[Doris Moray]

Hello, Paula. Well, Doris, what are you doing here? I wasn't aware that I left the door unlocked. Seems to be contagious this evening. I left mine unlocked too. Hello, Dave. Ms. Kenyon. Mr. Goodwin.

[Archie Goodwin]

Hello, Doris.

[Doris Moray]

Hello, Archie. This is Dave Banning, the playwright.

[Archie Goodwin]

How are you, Mr. Banning? How do you do? I've heard all about your new play and I wanted to meet you. Doris thought you might be over here and the door was ajar, so we.

[Doris Moray]

Well, I just walked in. I hope you don't mind, Paula. Certainly not. I'm used to people just walking in.

[Archie Goodwin]

We were here a while ago. Went down to the cocktail lounge for a while. When does the play open, or have you cast it yet? Mr. Stoner handles that part of it. I. Are you a prospective investor, Goodwin? Oh, I've had a number of flings in the business. Matter of fact, I expect to see Mr. Stoner tonight. You do?

[Doris Moray]

Tonight? Here? I don't understand. What's this fencing all about? Doris, you're not just visiting me? We've hardly spoken for.

[Archie Goodwin]

Oh, is that your gun, Ms. Kenyon?

[Doris Moray]

It's yours, Doris. Yes, that's right, Paula. It was in my dressing room.

[Archie Goodwin]

When did you see Mr. Stoner last?

[Doris Moray]

I haven't seen him today.

[Archie Goodwin]

I had lunch with him. Why? What hat did he wear at lunchtime, Mr. Banning? Why the gray fedora?

[Doris Moray]

How did it get here? That's Amos. What is this? What are you two doing here?

[Archie Goodwin]

Where is Emil? Come on, cut out the melodramatics. Mr. Stoner is dead. He's what, Paula? And without any further explanation, I shall have to ask you to accompany me downtown police, if you will, please. They're still in the front room, boss. I'll bring them into your office when you're ready.

[Nero Wolfe]

Yes, R.J. i'm sure they're all anxious to talk. They've been sitting there for an hour now.

[Archie Goodwin]

Maybe we ought to make some sort of explanation to them, huh?

[Nero Wolfe]

Why this sort of technique should work very well in this particular instance.

[Archie Goodwin]

Yeah, but I don't know about that director Rick Hutter. He may be difficult.

[Nero Wolfe]

Does anyone know that you found the completed and signed contract in the briefcase?

[Archie Goodwin]

No one.

[Nero Wolfe]

Good. Now, we have the threat notes, the contract, the afternoon newspaper, the briefcase, the fedora hat, the gun, no ejected shells, the horoscope, the cigarette and the two chairs, one with a small hole in it.

[Archie Goodwin]

Come in.

[Nero Wolfe]

Ah, Inspector Kramer, at last. What have you?

[Archie Goodwin]

Well, we covered every inch of that place and didn't find a single empty shell. There were two bullets in the body and the one that passed through him into the chair back in Paula Kenyon's place. They were all three fired from Doris Moray's little automatic.

[Nero Wolfe]

Any fingerprints on the gun?

[Archie Goodwin]

None but Doris Morey's.

[Nero Wolfe]

Not unexpected, to say the least.

[Archie Goodwin]

The bullet that was lodged in the chair in Paula's place went through his heart. Now, he was apparently shot in her room. But.

[Nero Wolfe]

But how did he get into Doris Marais place? I'll be able to explain that when we locate those three empty shells. Inspector, bring guests in. Aji.

[Archie Goodwin]

Come in, please. Ladies and gentlemen, Mr. Nero Wolf, Ms. Paula Kenyon.

[Doris Moray]

Hello.

[Archie Goodwin]

Ms. Doris Marais. Rick Hunter, the director. How do you do? David Banning, the playwright. How do you do?

[Nero Wolfe]

Won't you be seated, please? May I present Inspector Kramer of Homicide.

[Archie Goodwin]

How do you do, Inspector, Mr. Wolf has asked you here to give such details as you recall, which might be of assistance to him in the solution of the murder of Emil Stoner.

[Nero Wolfe]

Mr. Hunter, as the director, whom did you favor as the star of your next production?

[Archie Goodwin]

Why, Doris Marais.

[Nero Wolfe]

You have been deeply interested in Ms. Marais. Hasn't done me much good. But you do love her?

[Archie Goodwin]

I do.

[Nero Wolfe]

And you are deeply interested in the progress of her career?

[Archie Goodwin]

I am, most assuredly.

[Nero Wolfe]

Did you know that Mr. Stoner had made out and signed a contract for a certain woman to play the lead in the new show?

[Archie Goodwin]

No.

[Nero Wolfe]

You knew that Doris Marais had a gun in her dressing room?

[Archie Goodwin]

Yes.

[Nero Wolfe]

You were in the hotel cocktail lounge all afternoon until you Met Doris and Mr. Goodwin?

[Archie Goodwin]

Yes.

[Nero Wolfe]

And you could have seen Emil Stoner into the lobby and go to the elevator?

[Archie Goodwin]

I could.

[Nero Wolfe]

Could you prove that you never left the cocktail lounge until you met Doris and Archie?

[Archie Goodwin]

Maybe not.

[Nero Wolfe]

Did you see Mr. Stoner going to the elevator?

[Archie Goodwin]

I did.

[Nero Wolfe]

Mr. Banning, you wrote the new play. Were you in favor of Ms. Marais playing the part.

[Archie Goodwin]

I know. I felt Paula Kenyon was better suited for it.

[Nero Wolfe]

You and Mrs. Kenyon are engaged to be married?

[Archie Goodwin]

Yes.

[Nero Wolfe]

Anything happened to Mr. Stoner? You, as next in line, could assign the role as you saw fit.

[Archie Goodwin]

That's correct.

[Nero Wolfe]

Did you know that Mr. Stoner had made a final decision on the part?

[Archie Goodwin]

I did not.

[Nero Wolfe]

He didn't tell you anything about it at lunch today?

[Archie Goodwin]

No. I made a strong plea for Paula.

[Nero Wolfe]

You know about the gun in Ms. Marie's dressing room?

[Archie Goodwin]

Everyone did, apparently.

[Nero Wolfe]

Very well. Ms. Kenyon, did Emil Cerner visit your apartment often?

[Doris Moray]

Not often. We were not on too friendly terms.

[Nero Wolfe]

Did you phone him to visit you this afternoon?

[Doris Moray]

No. Who said I did?

[Nero Wolfe]

No one. Emily asked, were you, by any chance still in love with Emil Stoner?

[Archie Goodwin]

Now, see here, I don't appreciate that kind of talk. Just relax, Mr. Banning.

[Doris Moray]

I was not in love with Mr. That was over.

[Nero Wolfe]

You and Doris Marais were one time very friendly?

[Doris Moray]

Yes. I found out how two faced she was. Emil was a fool to fall for her. But you couldn't tell him anything. All she's interested in is a career.

[Nero Wolfe]

You're not interested in your career, Ms. Kenyon? Well.

[Doris Moray]

Well, yes, in a way.

[Nero Wolfe]

You wanted the star part. You phoned Sterner this morning.

[Doris Moray]

Yes, but he said he was going to give it to her.

[Nero Wolfe]

You knew about Doris gun?

[Doris Moray]

No, I.

[Archie Goodwin]

You recognized it immediately, boss?

[Doris Moray]

Well, yes, I knew. What if I did?

[Nero Wolfe]

Then you wrote these threatening notes to Ms. Marais.

[Doris Moray]

I did not. I did not.

[Nero Wolfe]

You didn't know the contract had already been signed?

[Doris Moray]

No.

[Nero Wolfe]

And you still had a motive to kill him?

[Archie Goodwin]

I wrote those notes. She had nothing to do with it. You can check them on my typewriter.

[Nero Wolfe]

We know, Mr. Banning, we've already done that.

[Archie Goodwin]

I know how it looks, but. But Paula didn't do it. I. I knew he was coming to her place. I called him. I. I knew Paula was out. I did it.

[Nero Wolfe]

If so, what did you do with the ejected shell?

[Archie Goodwin]

I threw them away. How many? Three.

[Nero Wolfe]

Oh, no, David, please don't. I don't believe you, Mr. Banning. Ms. Murray, did you know the contract had been made out and signed?

[Doris Moray]

No.

[Nero Wolfe]

You're lying, Ms. Marais. You said you didn't see Stoner this afternoon.

[Doris Moray]

I didn't.

[Nero Wolfe]

You called him and asked him to visit you. You did get the threat notes and they frightened you. But you didn't know they would frighten Stoner.

[Doris Moray]

I did not phone him, nor did I see him.

[Nero Wolfe]

Yes, you did. His briefcase was on the piano and he was there in the late afternoon. Because he brought with him a 4 o' clock edition of the Herald Tribune.

[Doris Moray]

What if he was there? I didn't kill him.

[Nero Wolfe]

He told you then about his decision. He left hurriedly, forgot the briefcase and went to Paula's apartment to wait for her.

[Doris Moray]

That's not true. That's not true.

[Nero Wolfe]

Filled with rage, you got your gun, which you said had disappeared from your dressing room, then calmly put it into your bag, walked across the hall and shot him as he sat reading a horoscope. No, no, no, Archie. A handbag. Thank you. Notice I ran my finger through a hole in the corner. She fired through the bag and see three empty shells. And here's a contract made after Paula Kenyon. It's too bad, Ms. Marais.

[Archie Goodwin]

Well, that's a good day's work, boss. Right. Say, tell me, how did Stoner, if he was shot in Paula's room, get back to Doris's room? She couldn't carry him.

[Nero Wolfe]

Oh, now, Archie, that's not too difficult. He walked.

[Archie Goodwin]

Shot through the heart. Impossible.

[Nero Wolfe]

That's a fallacy, Archie. Official medical records show that people have walked a block in such instances.

[Archie Goodwin]

No wonder Doris was so shocked when she saw him back in her room.

[Nero Wolfe]

The shooting took place after she called us. And it seemed unbelievable that anyone would leave the gun and not the ejected shells. Although the gun must have been concealed when fired.

[Archie Goodwin]

Yeah, Paula would have no reason to do that because she was in her own apartment.

[Nero Wolfe]

And these men are not the type who would have fired through their coats.

[Archie Goodwin]

And Doris, before she started down the hall, would naturally conceal the gun, huh?

[Nero Wolfe]

In a handbag. Where else.

[Archie Goodwin]

Boss? Midnight. It's another day. I'm a year older.

[Nero Wolfe]

Yes. Cuthbert's correspondence detective course in four easy lessons. Happy birthday, aji.

[Archie Goodwin]

You have been listening to the New Adventures of Nero Wolf, starring Sydney Greenstreet. Tonight's transcribed story was based on the characters created by Rex Stout. This is an Edwin Fadiman program, produced and directed by J. Donald Wilson. In the cast were Gerald Moore as Archie Goodwin and Gene Bates, Betty Lou Gerson, Bill Johnstone, Peter Leeds and Vic Perrin. Next week at this same time, Nero Wolf and Archie will bring you the case of the party for death. Don Stanley speaking. Three chimes mean good times on NBC.