The Adventures of Philip Marlowe: Sound and the Unsound 09/15/1951

Summary

Summary of "The Adventures of Philip Marlowe: Sound and the Unsound"

Choice Classic Radio Detectives | Old Time Radio
Episode: The Adventures of Philip Marlowe: Sound and the Unsound
Original Air Date: September 15, 1951
Release Date: May 11, 2025
Host/Author: Choice Classic Radio
Main Character: Philip Marlowe (voiced by Gerald Moore)

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1. Introduction to the Mystery

The episode opens with the seasoned private detective Philip Marlowe recounting his experiences in the gritty world of crime-solving. At [01:11], Marlowe sets the tone with his cynical worldview:

Philip Marlowe: "Get this and get it straight. Crime is a sucker's road. And those who travel it wind up in the gut of the prison of the grave."

This philosophy underscores Marlowe's determination to navigate the perilous paths of criminal investigation.

2. The Encounter with Lucille Bellows

At [01:58], Marlowe is interrupted by an unexpected visitor, Lucille Bellows, who appears to be sleeping in his doorway. Their conversation unfolds as Marlowe tries to recall their past acquaintance:

Lucille Bellows: "Must have dozed off. What time is it?"

Lucille reveals significant information about the disappearance of her husband, Homer, who has been absent for four months. She expresses her concern about strange tapping sounds emanating from her neighbor, Mr. Rogers' bungalow, despite Rogers being away on location.

3. Investigating the Bungalow Court

Marlowe agrees to help Lucille and they proceed to the bungalow court. At [05:43], Lucille provides Marlowe with a pass key to Clinton Rogers' bungalow, emphasizing the urgency:

Lucille Bellows: "Now, that way you'd be there when it happens."

Upon arrival, they meet Clinton Rogers himself, who downplays the noises Lucille has reported. However, Marlowe's instincts tell him otherwise. He notices an unusual crack in the plaster wall, hinting at hidden activity:

Philip Marlowe: "I knew one thing. He'd never seen that crack in the plaster until I pointed it out to him."

4. Unraveling Clues and Rising Tensions

As Marlowe delves deeper, he interacts with Homer Bellows, a former neighbor of Rogers, who reveals personal conflicts and potential motives tied to financial disputes. Marlowe's investigation leads him to uncover that Thomas Rogers, Clinton's brother, is an escaped convict with a violent past. This revelation heightens the suspense, suggesting a link between Clinton's disappearance and Thomas's whereabouts.

5. The Confrontation and Resolution

The climax occurs when Marlowe, accompanied by Lucille and Barbara Curtis, confronts Thomas Rogers in the bungalow. A tense standoff ensues, culminating in a dramatic shootout. Marlowe skillfully neutralizes the threat, retrieving a .38 slug as evidence.

At [23:14], the aftermath reveals Clinton Rogers surviving the shooting, albeit injured:

Clinton Rogers: "Oh, my goodness."

Lucille praises Marlowe's heroism, while the true motives behind the attempted murder come to light. The episode concludes with Marlowe reflecting on the complexities of human relationships and the indispensable role of strong women in providing support and protection.

6. Key Themes and Insights

• Trust and Deception: The narrative explores the thin line between trust and deceit, especially in relationships strained by hidden agendas and past secrets.

• Isolation and Vulnerability: Characters like Lucille and Barbara exhibit vulnerability, highlighting the challenges faced by individuals dealing with personal loss and betrayal.

• Moral Ambiguity: Marlowe's interactions with both suspects and allies underscore the moral complexities inherent in detective work.

7. Notable Quotes with Timestamps

• Philip Marlowe on Crime:
  [01:11]

  "Get this and get it straight. Crime is a sucker's road. And those who travel it wind up in the gut of the prison of the grave."

• Lucille Bellows on Her Situation:
  [03:00]

  "You remember me, don't you, Miss Marlowe? Lucille Bellows. Well, family's friend. Remember?"

• Marlowe's Deduction:
  [09:00]

  "I'd never forget Lucille again, and she probably could lift me."

• Clinton Rogers' Admission:
  [23:34]

  "Shut up. Drop your gun, bud."

• Lucille's Praise:
  [24:53]

  "Good work, Mr. Marlowe. Barbara, honey, are you all right?"

8. Conclusion

"The Sound and the Unsound" adeptly weaves a tale of mystery, deception, and redemption, showcasing Philip Marlowe's sharp intellect and unwavering resolve. Through intricate dialogues and suspenseful plot twists, the episode offers listeners a captivating glimpse into the challenges of detective work during the Golden Age of Radio.

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Production Credits:
Produced and directed by Cliff Howell
Written for radio by Kathleen Height
Cast included Gerald Moore (Philip Marlowe), DJ Thompson, Olin Soule, Ted Osborne, Frank Gerstel, Arthur Q. Bryan, Shirley Mitchell, and William Tracy.
Special music composed by Pierre Garagant and conducted by Wilbur Hatch.

Transcript

[Philip Marlowe]

Ugh.

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[Narrator]

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

[Philip Marlowe]

Get this and get it straight. Crime is a sucker's road. And those who travel it wind up in the gut of the prison of the grave. There's no other end, but they never learn.

[Narrator]

From the pen of Raymond Chandler, outstanding author of crime fiction, comes his most famous character in the Adventures of Philip Marlowe. Now with Gerald Moore starred as Philip Marlowe, we bring you tonight's exciting story, the Sound and the Unsound.

[Philip Marlowe]

You know, in my business, you get to the point where you think you've seen everything. In fact, you get there at least twice a week. This time I was sure of it. It was 10 o' clock at night and stretched across my apartment door was the settee that customarily covered the frayed carpet about 10 paces down the hall. And stretched across the settee was a sturdy female in her twilight years. She was sound asleep. Hey. Hey, lady. Hey, lady, come alive. Oh, madam. Madam, you're. You're sleeping in my doorway. Oh.

[Lucille Bellows]

Evening, Mr. Marlowe. Must have dozed off. What time is it?

[Philip Marlowe]

About 10. May I ask what's the idea?

[Lucille Bellows]

Oh, 10 o' clock. You don't say. Yeah, well, I wouldn't have slept, I don't suppose, except the light's bad in this hall. Not fit for reading, Mr. Marlow.

[Philip Marlowe]

Yeah, well, I'll speak to the landlady. Now, what is.

[Lucille Bellows]

I guess I better put this set tea back where it belongs. I hauled it up your door so I wouldn't miss you. I can haul it back just fine.

[Philip Marlowe]

Yeah, I know, but. But you.

[Lucille Bellows]

Now, then, you remember me, don't you, Miss Marlowe? Lucille Bellows. Well, family's friend. Remember? She introduced me to you one day in the supermarket. We all began to talk.

[Philip Marlowe]

Oh, sure, sure, we had fun, didn't we?

[Lucille Bellows]

Oh, we sure did.

[Philip Marlowe]

Yeah.

[Lucille Bellows]

Oh, by the way, before I forget it, Homer's gone now, you know.

[Philip Marlowe]

Is he really?

[Lucille Bellows]

Mm. Four months tomorrow. Thought you'd want to know.

[Philip Marlowe]

Oh, I want to know that, sure.

[Lucille Bellows]

Don't really suppose I'd have to bother you if he was still around. But since he isn't, I just came right to you the moment I couldn't stand it any longer.

[Philip Marlowe]

Yeah, well, I'm glad you did. Might as well go into my apartment and talk about it, huh?

[Lucille Bellows]

Well, now, that's mighty nice of you, but we'd save a lot of time if we just drive right over to the court. Now, that way you'd be there when it happens.

[Philip Marlowe]

Drive over to be there when it happens.

[Lucille Bellows]

I own that nice little bungalow court just off Fountain and Franklin, you know. Won't take us no time to get there if you've got a car.

[Philip Marlowe]

I've got a car. How did you get here?

[Lucille Bellows]

Walked. Do it every evening, take a nice brisk constitutional. Keeps an old lady like me in fighting trim. How much do you weigh, Mr. Marlow?

[Philip Marlowe]

About 190. Why?

[Lucille Bellows]

Bet I can lift you.

[Philip Marlowe]

It just seems smarter all the way around to drive Lucille Bellows back to our nice little bungalow court. My memory wasn't as vivid as hers. I didn't remember Letty Parmalee or our hysterical rendezvous in the supermarket, or Homer, or even Lucille. But the promise of my usual fee made that unimportant of two things. I was certain I'd never forget Lucille again, and she probably could lift me. I was still in the dark about everything else as the two of us entered our bungalow at the far end of the court. It was pure Grand Rapids and spotless.

[Lucille Bellows]

You just take that blue chair, Mr. Marlow. I think that's the best seat. Leastwise, that's where I'm always sitting when it happens.

[Philip Marlowe]

When what happens?

[Lucille Bellows]

The sounds good. Crime and antley. Don't tell me I haven't told you about them.

[Philip Marlowe]

Well, you've been so busy telling me about everything else. Yes, but this is important.

[Lucille Bellows]

You see, for the last few nights, I've been hearing these strange sounds coming from Mr. Rogers bungalow. That's the one right next door.

[Philip Marlowe]

Well, maybe Mr. Rogers is just a little noisy.

[Lucille Bellows]

No. Thing is, he isn't even home. Been out of town all week on location. He's one of them grips at 3 Studio.

[Philip Marlowe]

He lives alone, does he?

[Lucille Bellows]

I should think so. He's a bachelor. I keep thinking him and that barber Curtis will get married. But they don't. She comes in every so often, cooks him a nice dinner. Lovely girl, just lovely. He's a handy around the place, you know. Always painting.

[Philip Marlowe]

About the noises, Mrs. Bellows, what do they sound like?

[Lucille Bellows]

Well, sir, they're just downright strange. Sort of a tapping sound. Thought it was the plumbing there at first. Homer used to be good at fixing the plumbing and I thought about calling him to check it for me and then I.

[Philip Marlowe]

Just a minute, please. Isn't Homer dead?

[Lucille Bellows]

Did I tell you that?

[Philip Marlowe]

Well, you said he was gone.

[Lucille Bellows]

Oh, well, perfectly logical if you thought so, Mr. Marlowe. Sometimes I tell folks he's dead and gone. Sometimes I tell him he's sicker than a horse and I got him in a sanitarium. But the plain bald faced truth is Homer just up and walked out on me four months ago tomorrow.

[Philip Marlowe]

Oh, well, I'm sorry.

[Lucille Bellows]

Well, you know, sometimes I am too. Most time I'm not though. But don't think I don't realize I might be imagining these sounds, Mr. Morrow. I'm getting along in years and it's just as possible it can.

[Clinton Rogers]

There she goes.

[Philip Marlowe]

What do you make of that? I don't know. Sounds like someone's tapping along the wall. You've got a pass key as for sure.

[Lucille Bellows]

Wear it right around the neck.

[Philip Marlowe]

Good. Come on, let's go.

[Lucille Bellows]

By George, I wouldn't miss this for the world.

[Philip Marlowe]

Better give me the key. We don't know what we're running to.

[Lucille Bellows]

Just put me out of your mind, Mr. Marlow. I'm safe as here as anywhere.

[Philip Marlowe]

Okay. Watch it though. I saw a light in the back.

[Barbara Curtis]

I'm not sure I'll get the lights.

[Clinton Rogers]

Rich.

[Philip Marlowe]

Hmm.

[Lucille Bellows]

No one in the living room anyway.

[Philip Marlowe]

That you, Barbara?

[Lucille Bellows]

Great Scott's that you? Mr. Rogers?

[Philip Marlowe]

Hello.

[Lucille Bellows]

Thought you was away on location.

[Philip Marlowe]

Well, I just got in town a few minutes ago. Boss needed something for the company, sent me in to get it.

[Lucille Bellows]

Well, sakes alive. Well, I'm that embarrassed at barging in on you this way. Oh, this is Mr. Marlowe, Mr. Clinton Rogers.

[Philip Marlowe]

How do you do?

[Lucille Bellows]

Well, I don't blame you for looking confused the way you do, Mr. Rogers. I might dress as well face up to it. For the last few nights I've been hearing some pretty strange tapping sounds coming out of your place here. And I made up my mind. I'D call my old friend Mr. Marley here to investigate him for me.

[Philip Marlowe]

Oh, I see.

[Lucille Bellows]

Say, you don't look too good, Mr. Rogers.

[Philip Marlowe]

Oh, I'm fine. Well, we've been working pretty hard. I'm just tired, that's all. Well, you see, we heard those tapping sounds a while ago, Mr. Rogers. And then a duller, heavier sound just before we came over.

[Lucille Bellows]

I must say we didn't hear you come home, Mr. Rogers.

[Philip Marlowe]

Well, I came in the back way. The sounds you heard, Mr. Marlowe. I must have made them. I guess I dropped my suitcases pretty hard. I'm tired, like I said. I hope it didn't bother you. Yeah, but what about the tapping along the wall? I can't imagine what that could have been. I didn't hear it, Mrs. Bellows.

[Lucille Bellows]

Why, Mr. Larry, what on earth.

[Clinton Rogers]

The door was open. I saw you in there. I must speak with you, Mrs. Bellows.

[Philip Marlowe]

It's.

[Clinton Rogers]

Well, I simply must speak with you.

[Lucille Bellows]

Well, all right, Mr. Larry. We sure were just thinking of you, Mr. Rogers, when we blew in here unannounced, you know.

[Philip Marlowe]

Sure, Sure, I know, Mrs. Bellows. And thanks.

[Lucille Bellows]

Don't mention it. I'll be in my bungalow if you.

[Philip Marlowe]

Want me, Mr. Marlowe. That's fine, Mrs. Bellows. Do you think we ought to take a look around, Rogers? No, no, I don't think so, Mr. Marlowe. Mrs. Bellows could have imagined all those noises, you know. Yes, you could. But I couldn't. Anyone else got a key to your place here? Why, Barbara Curtis, for instance. Mrs. Bellas told you? Yeah. No, no, but Barbara knows where I keep the extra key outside. But as far as I know, she's out of town too. By the way, what studio are you with? Imperial. Uh huh. Look, Mr. Marlow, I'm really pretty tired and there's nothing wrong here, I'm sure. So. So it's okay with you if I leave now, huh? Well, I just. All right, Rogers. Oh, by the way, Mrs. Bellows tells me you're a pretty handy guy around the house. Painting, keeping things fixed up, all that. Yeah, I guess I am. Why? Well, you just probably haven't had time to fix that crack in the plaster there running up from the hall closet. Why no. No, I haven't. I'll have to get to that soon too. That's been nice seeing you, Mr. Rogers. Yeah, same here. You plan to stay in town? Oh, sure, I'll be in town all night. There was something eating it. Clinton Rogers. Something pressing. But he wasn't talking about it. Not to me anyway. I Knew one thing. He'd never seen that crack in the plaster until I pointed it out to him. It was on the wall next to Lucille Bellows bungalow. And it was the kind of crack that could be made if someone tapped along the wall looking for something. So much for deduction. I went back to check in and out with Lucille.

[Lucille Bellows]

I'm just real sorry, Mr. Marlowe. Maybe it's all been over nothing at all.

[Philip Marlowe]

Well, Mr. Rogers will be home all night, so if you hear anything, just pound on his wall.

[Lucille Bellows]

Well, if he's gonna be here, I'll feel better. I really will.

[Philip Marlowe]

Say, how about your friend who called you out of Mr. Rogers bungalow a while back?

[Lucille Bellows]

Mr. Larry?

[Philip Marlowe]

Yeah.

[Lucille Bellows]

Well, now, he's a nice soul. Not the protective sort a woman usually sets her cap for, but Lord a mighty. I'm strong as an ox, you know.

[Philip Marlowe]

Yes, I know.

[Lucille Bellows]

Of course, I don't think he makes a dime. Mr. Larry's in women's hats, you know.

[Philip Marlowe]

No, but I could have guessed.

[Lucille Bellows]

Just why I'd hold out for a man who could support me. I couldn't tell you.

[Philip Marlowe]

Well, you look as though you've done all right by yourself.

[Lucille Bellows]

Well, I have, matter of fact. So. Quite a little nest egg. Want me to show it to you?

[Philip Marlowe]

No, no, I'll take your word for it. Wait a minute. You don't keep any amount of money here in the house? Sure.

[Lucille Bellows]

Keeping the cigar box right up in the storage part of that whole closet there. Oh, safest place in the world.

[Philip Marlowe]

Yeah. Why don't show money?

[Lucille Bellows]

Well, could take it to the bank maybe tomorrow if you'd feel better about it.

[Philip Marlowe]

Yeah, you do that. Oh, before I go, are all the bungalows alike?

[Lucille Bellows]

Just right.

[Philip Marlowe]

All have that storage space in the hall closet.

[Lucille Bellows]

That's right. A little trapdoor thing at the top of the closet. It's like a little attic, you know, you stash a lot of stuff up there if you're of a mind.

[Philip Marlowe]

Yeah, I guess you can. Well, I think I'll go now, Mrs. Bellows. Give me a call tomorrow, will you?

[Lucille Bellows]

Yes, sure will. And I'll have you pay for you then, if that's all right with you.

[Philip Marlowe]

Oh, sure. It's just fine. Good night, Mrs. Bellows.

[Lucille Bellows]

Good night, Mr. Marlowe. And a million thanks. Just a million.

[Philip Marlowe]

My pleasure, Mrs. Bellows.

[Clinton Rogers]

Oh, Miss Marlowe.

[Philip Marlowe]

Oh, Mr. Larry, isn't it?

[Lucille Bellows]

Oh, yes. Yes, it is.

[Clinton Rogers]

I. Well, I know who you are. I mean the Philip Marlowe.

[Philip Marlowe]

All that and all that. Well, that's good. Now we know each other.

[Clinton Rogers]

I've really become quite chilled waiting for you to come.

[Philip Marlowe]

Is that what you waited to tell me?

[Clinton Rogers]

Certainly not. Confidentially, Mr. Marlowe, I know something that may interest you.

[Philip Marlowe]

Oh?

[Clinton Rogers]

Well, it's quite obvious to me that something's going on around here. Something odd, I mean.

[Philip Marlowe]

Are you closing in on a point? Because I wouldn't want you to get any more chills.

[Clinton Rogers]

Very well, Mr. Mallowe.

[Philip Marlowe]

I'll be brief.

[Clinton Rogers]

But it just may interest you to know that I've seen Homer round here quite a bit in the last few days. Now, what do you make of that?

[Philip Marlowe]

I don't know. What do you make of it?

[Clinton Rogers]

Well, I don't know. I must say, I thought it would mean something to you.

[Philip Marlowe]

Yeah, well, it might mean more to Lucille. Why don't you just trot in and tell her all about it?

[Clinton Rogers]

Well, I will. I'll just do that. And I'm sure I'll never trouble you with any of my ideas again, Mr. Marlowe. Goodness.

[Philip Marlowe]

Yeah. Well, Lucille's as strong as an ox. That beds are going to look real good, hey.

[Narrator]

In just a moment, we'll return to the second act of Philip Marlowe. But first, CBS Radio puts out the welcome mat for three of its greatest stars. Tomorrow night, Jack Benny and his gang start the new season. My friend Irma becomes the regular Sunday feature on CBS Radio. And Tony Martin will rejoin Joe Stafford on the contented hour. Be listening for Tony and Irma on most of these same stations. And Jack over them all, more than ever before. CBS radio is the star's address. And now, with our star, Gerald Moore, the second act of Philip Marlowe and tonight's story. The sound and the unsound.

[Philip Marlowe]

The scream was Lucille's. The shots could have been anybody's. A little bungalow court came alive. As I raced back up the sidewalk through Lucille's bungalow. The lights came on in every unit except one. Clinton Rogers bungalow was dark. Lucille bolted out of her front door to meet me.

[Lucille Bellows]

Oh, Mr. Mallow, thank the good Lord you heard me.

[Philip Marlowe]

Where'd the shot come from, Mr. Rogers?

[Lucille Bellows]

Bungalow. Here, take my key. I've got to tend to Mr. Larry.

[Philip Marlowe]

What's with him?

[Lucille Bellows]

Fainted dead away when he heard the shock. I'll come in as soon as Mr. Larry comes to.

[Philip Marlowe]

Okay. Rogers. Rogers, where are you? Hey, Rogers. Here. Huh? In the kitchen. Hey, you really caught one, didn't you? Yeah. My shoulder burns like fury. Who was it, Rogers? Let's say I did it, all right. What'd you do with the gun? Ate it, of course. Oh, now, look, I'll have to call the police. It'll be a good idea if you tell me what happened. Listen, there's a bottle in the first cabinet there. Get it. Will you need a drink? Okay. Just uncap it. I don't need any bias. Here you go. It's great. Burns, too. Everything burns. Here, have a drink. Thanks. Ugh.

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[Philip Marlowe]

Hello? Okay, Rogers. I gotta call him now. Yeah, yeah, okay. First, though. Listen, will you call the studio? Yeah, I'll call him after we get you to a hospital. I'll tell him you had an accident. No, no, tell him I. I quit. Quit? Yeah. What? Look, don't argue. Just tell him that. Okay? It's a promise. Now. And listen, tell Barbara to. Tell Barbara. Yeah, Rogers, Tell Barbara what? Tell her I called the emergency hospital in Hollywood and their ambulance was there in no time. So as a squat little sergeant, Lucille followed him in. I had two hunches that I was keeping to myself for the time being. One, that whoever had shot Clinton Rogers was in his bungalow when he got back from location. That they were there when Lucille and I barged in on him. And two, that they'd left by the back door after they'd plugged in. Even the sergeant could see something of interest in that back door.

[Police Sergeant]

The screen's been cut through here, see.

[Philip Marlowe]

The way it's cut?

[Police Sergeant]

The fella could unhook the screen door, see, and get right at the back door.

[Philip Marlowe]

Yeah, well, that's very good, sergeant. But tell me, why do you think it was a fella who shot Rogers?

[Police Sergeant]

Well, it could have been. You don't think it was a Dane, do you?

[Philip Marlowe]

It's happened before, you know.

[Lucille Bellows]

Excuse me, gentlemen. I know you're busy finding clues and all that, but don't you think I could clean up this kitchen floor? It's a terrible mess.

[Police Sergeant]

Don't touch not.

[Lucille Bellows]

Well, it seems to me that he.

[Philip Marlowe]

Said don't touch nothing. Sergeant will let you tidy up things tomorrow.

[Police Sergeant]

Yeah, tomorrow. Soon enough.

[Lucille Bellows]

Well, all right. I think I'll go back to Mr. Larry now. He's just undone about this whole Thing I'll be in my place if you want me for anything. I'll say good night for now, anyway.

[Philip Marlowe]

Good night.

[Police Sergeant]

Well, I'm satisfied for the time being.

[Philip Marlowe]

I'll give you a lift back to the station. Sergeant. I'd like to check on Rogers at the emergency hospital on the way.

[Police Sergeant]

So would I. If he's in shape, I want to talk to him.

[Philip Marlowe]

The news from the emergency hospital wasn't too good. They'd taken a slug out of Roger's shoulder at 38. He'd lost a lot of blood and was still out. I left Roger's phone number as the place I could be reached if his condition changed. Before I left, I checked the city directory, which made my next stop a very interesting one.

[Homer Bellows]

Hey, the studio's closed, mister. You can't get in at this time of night.

[Philip Marlowe]

Are you Homer Bellows?

[Homer Bellows]

That's right, and I'm the night watchman here. Why?

[Philip Marlowe]

Well, Clinton Rogers works here at Imperial too, doesn't he?

[Homer Bellows]

Uh huh. But he ain't here. He's in a company that's out on location. Leastwise, I think they're still out.

[Philip Marlowe]

You a friend of his, Helmet?

[Homer Bellows]

Well, you might say so. I know him.

[Philip Marlowe]

Used to live next door to him, didn't you?

[Homer Bellows]

Yep, I did. Hey, who are you anyway?

[Philip Marlowe]

Well, I'm a guy who wants to know what you've been doing around Roger's bungalow recently.

[Homer Bellows]

Roger's bungalow? Yeah, Been doing nothing except passing it on my way to my wife's. What infernal business is it of yours?

[Philip Marlowe]

Well, none really, but I'm a friend of your wife's, Homer.

[Homer Bellows]

Oh, you are, are you? But if you're such a friend of hers, why don't you ask her what I've been doing around there?

[Philip Marlowe]

Does she know?

[Homer Bellows]

Does she know I've been asking her for a divorce? Since you're so nosy, I want to marry me someone else.

[Philip Marlowe]

Oh, won't she give it to you?

[Homer Bellows]

Oh, she's agreeable to the divorce, all right. Thing that's holding her up is a settlement.

[Philip Marlowe]

Oh, settlement. Yep.

[Homer Bellows]

You see, I lived with that one almost 40 years. I think that entitles me to a nice little wad of her money. Lucille don't see it that way.

[Philip Marlowe]

Yeah, well, some women have next to no understanding about things like that. But my visit with Homer served its purpose. I went back to Roger's bungalow in case the call should come from the emergency hospital. And this time I wanted a good look at that crack in the wall, the storage compartment and the hall closet. I kept Lucille's pass key. And this time I didn't bother with the lights. I used the flashlight for my car because I was pretty sure whoever had shot Rogers hadn't found what they were looking for. I just opened the hall closet door when I'd heard it. Someone was unlocking the front door. I moved quickly behind a big chair in the living room.

[Barbara Curtis]

Just tiptoe. But we've got to be quiet.

[Philip Marlowe]

Yeah. What about lights?

[Barbara Curtis]

We'll try to make the flashlight do.

[Homer Bellows]

Okay, but I sure don't think this much of an idea.

[Barbara Curtis]

Oh, I was afraid to come alone, Bud. And I've got to find it before Clint comes back.

[Homer Bellows]

If you just take my word for it, you know, you wouldn't have to.

[Philip Marlowe]

Be here at all.

[Barbara Curtis]

I've told you, I can't believe what you've said. I've got to find out for myself.

[Homer Bellows]

Maybe you'll be sorry if you find out.

[Barbara Curtis]

Maybe so. But at least I'll know then. That little storage place here in the closet is the only place I haven't looked. Do you think this will be enough light?

[Philip Marlowe]

Yeah, but how I get up there?

[Homer Bellows]

I can't reach that door from here.

[Barbara Curtis]

Oh, well, wait. I'll get the stool from the kitchen.

[Homer Bellows]

Ah, I'll get it.

[Barbara Curtis]

No, no. I've got the flashlight, Bud. I'll. Oh. Oh, good heavens, Bud. Here in the kitchen. It's hot.

[Homer Bellows]

Yeah, it sure is.

[Barbara Curtis]

Who's that?

[Philip Marlowe]

I'll reach for anything, Bud. You're covered.

[Barbara Curtis]

What's happened to Clinton?

[Philip Marlowe]

Somebody shot him.

[Barbara Curtis]

Oh, no.

[Philip Marlowe]

He's not dead yet, Ms. Curtis.

[Barbara Curtis]

You know my name?

[Philip Marlowe]

Yeah, he mentioned you. I'm Philip Marlow. Mrs. Bellows called me in on this.

[Homer Bellows]

Oh, why don't you put the gun down, mister?

[Philip Marlowe]

I will when I find out a few things.

[Barbara Curtis]

Where is Clint? I want to go there.

[Philip Marlowe]

Police took him to the emergency hospital.

[Barbara Curtis]

Police?

[Philip Marlowe]

Yeah, they're gonna call me here and tell me how he is. He was still out when I left a while ago.

[Barbara Curtis]

Come on, Bud. You've got to take me there.

[Homer Bellows]

Why?

[Philip Marlowe]

Yeah, Barbara. Sure. Yeah. Not yet, kids. Not till you two tell me what you came to find here tonight and the other night. You've been here other nights? You said a while ago you'd looked every place but the hall closet.

[Barbara Curtis]

But I've never been here at night. Not without Clint.

[Homer Bellows]

Don't talk to him, Barbara. You don't have to.

[Barbara Curtis]

I won't. Mr. Marlowe. You can't keep us here. I have to go to Clint. I have to be whipping.

[Philip Marlowe]

I'll get that. Don't forget you're still covered, buster. Yes, Marlow. Yes, Sergeant. How's Rogers?

[Police Sergeant]

He's over the hump. Okay. They gave him a sedative a while ago. He's out like a light, but he's gonna be all right.

[Philip Marlowe]

I see. Did he say anything? Were you able to talk to him?

[Police Sergeant]

I was able, but he wasn't sort of delirious, I guess. Mumbled something about Barbara. And then just after they gave him the shot, he said over and over, don't be a fool, but don't do it, Bud.

[Philip Marlowe]

He did, huh? Well, that's something, is it? Sure is. Thanks, Sergeant. I'll call you back.

[Barbara Curtis]

What did they say about Clint?

[Philip Marlowe]

Well, it looks like we're looking for a murderer now.

[Barbara Curtis]

Oh, no.

[Philip Marlowe]

Take it easy, honey. We had one break, though. It'll interest you, Bud. Will it? The police know who shot him. Clint told them.

[Narrator]

Bud, what are you doing?

[Homer Bellows]

Just protecting myself, Barbara. You want to use that gun now, Marlo? I'm keeping her right here in front of me.

[Philip Marlowe]

Yeah, I see you are. I thought you'd have a.38, bud. That kind of clinches it, doesn't it?

[Homer Bellows]

Not yet, it doesn't.

[Barbara Curtis]

Bud, please don't.

[Homer Bellows]

Vance, tell him. Shut up. Drop your gun, Marlo.

[Philip Marlowe]

Let it go, kid, and we'll talk about this.

[Homer Bellows]

He won't get hurt unless you heard it. Drop your gun, bud.

[Barbara Curtis]

Someone's coming, Mr. Marlowe.

[Homer Bellows]

Look out, you two.

[Philip Marlowe]

Mr. Marlowe. Thanks for the souvenir, Bud.

[Clinton Rogers]

Oh, my goodness.

[Lucille Bellows]

Good work, Mr. Marlowe. Barbara, honey, are you all right?

[Barbara Curtis]

Yes, I'm all right, Mrs. How about.

[Philip Marlowe]

That, Mr. Larry coming in when you did? You're nothing but a bloody hero.

[Clinton Rogers]

Oh, my. I feel so.

[Lucille Bellows]

Good Lord. There he goes again.

[Philip Marlowe]

Lucille was a past master at reviving him by now. She hauled him sack style over to the couch while I told Barbara her Clint was going to be okay. I kept Bud immobilized until the squat little sergeant arrived with a squad car. They hauled him away. I dug the.38 slug out of the plaster and gave it to the sergeant. When the show was over, Mr. Larry obligingly snapped to.

[Lucille Bellows]

You feel like walking, Mr. Larry? I could carry you to your bungalow, you know.

[Clinton Rogers]

Oh, mercy. No, Lucille. I'll walk if you'll just let me use your arm for support.

[Lucille Bellows]

You're just welcome to it, I'm sure.

[Philip Marlowe]

Can I help?

[Lucille Bellows]

Well, no, thanks so much, Mr. Marlowe. We'll manage. You give Mr. Rogers my best, Barbara.

[Barbara Curtis]

I will. I'll be glad to.

[Clinton Rogers]

You know, Lucille, I'm beginning to see the value in the love and protection of a strong woman.

[Philip Marlowe]

How about that?

[Barbara Curtis]

She'd be good for him too.

[Philip Marlowe]

Yeah. Now look, honey, what's this all about? You've been looking for something. So is. But apparently Clint got himself shot because of it. Now what is it?

[Barbara Curtis]

Bud said it was money. That Clint had some hidden here in the house. I didn't believe it. Still there. There was something between Clinton, me. Something he wouldn't tell me. Whatever it was, it's. It's kept us from getting married.

[Philip Marlowe]

What was Bud story?

[Barbara Curtis]

Well, you see, Bud's known Clint a long time. He just came out here a couple of months ago from Ohio. Clint didn't seem to want us to get acquainted. But me, it wasn't jealousy. Was something else I couldn't understand. Last week Bud told me that Clint had robbed some store back east. That he'd been caught and served some time, but they'd never found the money. And that. That Clint somehow escaped from prison, came out here and brought the money with him.

[Philip Marlowe]

It could be link caught but looking for something here tonight. By the way, where'd you run into Bud?

[Barbara Curtis]

Just about a block or two from here at the corner. I was driving home from a movie. Decided to come up here for one more look before Clint got home. I. I insisted that Bud come with me. He didn't want to.

[Philip Marlowe]

Now, let's see what we can find. No one's opened that little trap door in the hall closet yet. Maybe that's got all the answ.

[Barbara Curtis]

Why, it's a strong box, isn't it?

[Philip Marlowe]

Yeah. It's not very heavy though. There. Let's see now. No money at all. Couple of war bonds made out to Clinton Rogers and. Or Thomas Rogers.

[Barbara Curtis]

Clint said he didn't have any family.

[Philip Marlowe]

Hey, look. Look. Here's the envelope with your name on it.

[Barbara Curtis]

Oh. For Barbara Curtis. To be opened in case of my death. I don't know what to do.

[Philip Marlowe]

Don't look at me, honey. I can't decide for you.

[Barbara Curtis]

You. You will go with me when I tell him though, won't you?

[Philip Marlowe]

Sure I will.

[Barbara Curtis]

Let's see. My darling. This newspaper clipping will tell you why I couldn't marry you. When you read it, you'll see why I love you, Clint. I'm afraid to read the clippings tomorrow.

[Philip Marlowe]

Let me see. Not pretty, honey, but it isn't about Clints.

[Barbara Curtis]

But then who?

[Philip Marlowe]

It's about Thomas Rogers, who at the age of 16 murdered his father and mother. The story says he escaped in the Ohio Asylum for the insane. In June of this year, officials think he may attempt to contact his brother Clinton in California.

[Barbara Curtis]

And Bud is.

[Philip Marlowe]

Yeah, it's his picture with the story.

[Barbara Curtis]

Oh, Clint. Poor Clint. What a horrible, horrible thing for him to live with.

[Philip Marlowe]

Yeah, but, honey, Mr. Larry said it a little while ago.

[Barbara Curtis]

The love and protection of a strong woman. Clint has it. Mr. Marlowe. I've never been so strong or so protective. And I've never loved so much.

[Philip Marlowe]

It was almost dawn now. I drove Barbara over to the hospital in Clinton. We didn't say anything. There wasn't anything to say. Nice girl, that Barbara. Old woman. You know, I never could understand the guys who pronounce woman as wool. Man. What would we be without them, huh? Oh, they have their faults, but what would they be without him? Yeah, truly, it's been said there's nothing like a dame. Wonder what Rita is doing tonight.

[Narrator]

The Adventures of Philip Marlowe. Bringing you Raymond Chandler's most famous character, starring Gerald Moore, was produced and directed by Cliff Howell and written for radio by Kathleen Height. The cast included DJ Thompson, Olin Soule, Ted Osborne, Frank Gerstel, Arthur Q. Bryan, Shirley Mitchell and William Tracy. Gerald Moore may currently be seen in the Santana production Sirocco. This special music for Philip Marlowe is composed by Pierre Garagant and conducted by Wilbur Hatch. Now here again is the star of our show, Gerald Moore.

[Philip Marlowe]

Thanks, Roy. Ladies and gentlemen, boys and girls, tonight's broadcast concludes our current series of the Adventures of Philip Marlow. I understand it won't be very long until we meet again. So until we do, we won't say goodbye for just so long. See you soon. I still wonder what Rita's doing tonight. Lovable.

[Narrator]

Laughable. My friend Irma, starring blonde Marie Wilson, is back on CBS radio Sunday evenings. Now, she'll move in tomorrow night at most of these same CBS Radio stations, bringing her skeptical roommate Jane, her permanently jobless boyfriend, Elle, Professor Kropotkin and all the others. Be listening for my friend Irma tomorrow night, won't you? That address again? Why, sure.

[Philip Marlowe]

Cbs, cbs, the Stars address. The Stars address.

[Narrator]

Where you always hear the best. At cbs, cbs, the Stars address.

[Lucille Bellows]

The Stars address.

[Narrator]

Stay tuned now for Gangbusters, which follows immediately over most of these same CBS stations. And remember, Steve Allen is here with songs for sale every Saturday on CBS Radio. Roy Rowan speaking. This is the CBS Radio Network.

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