The Adventures of Philip Marlowe: The Big Book 09/29/1950

Summary

Choice Classic Radio Detectives | Old Time Radio Episode Summary: "The Adventures of Philip Marlowe: The Big Book" (09/29/1950)

Release Date: March 2, 2025

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Introduction

In this gripping episode of "The Adventures of Philip Marlowe," hosted by Choice Classic Radio, listeners are plunged into the noir-filled streets of Los Angeles alongside the iconic private detective, Philip Marlowe. The story revolves around the mysterious death of Jane Temple, an actress whose seemingly straightforward suicide unravels into a complex web of deceit, blackmail, and murder.

The Case of Jane Temple

Philip Marlowe is introduced examining the scene of Jane Temple's death at [02:07]. The deceased, a middle-aged woman with a haunting beauty, was found with a bullet wound to her heart in a cramped skid row rooming house. Marlowe’s introspective narration highlights an unsettling detail: “There was something vague and disturbing that made the whole picture slightly lopsided” [02:30].

Lieutenant Matthews briefs Marlowe on the case:

“A dead body at number 11 West Main Street reported as suicide. Bullet fired at point-blank range.” — Lieutenant Matthews [03:27]

Investigating the Crime Scene

As Marlowe delves deeper, he discovers inconsistencies that suggest foul play. The weapon involved appears tampered with:

“Serial numbers filed off. Cheap make, et cetera.” — Elliot Monroe [03:38]

A suspicious black convertible is reported near the scene, matching the description of a “spiffy convertible” seen by the landlord [03:46]. Despite these clues, Lieutenant Matthews expresses skepticism:

“It’s only around the corner, isn’t it?” — Lieutenant Matthews [02:12]

Encounter with Andrew Nodela

Marlowe's investigation leads him to Elliot Monroe, who mistakenly identifies Marlowe as a reporter. However, Marlowe clarifies his true profession:

“I’m a private detective, not a reporter.” — Philip Marlowe [10:57]

Marlowe meets Andrew Nodela, a shoemaker, who reluctantly provides him with a crucial letter related to Jane Temple. Their interaction is tense, hinting at deeper connections:

“Maybe this can help you find out.” — Andrew Nodela [09:19]

Uncovering Hidden Secrets

The plot thickens as Marlowe examines Jane Temple's scrapbook, discovering a hidden clipping about John Gordon, a man with a questionable past:

“It tells of a man named John Gordon being sent to jail in London, England in 1928 for embezzlement.” — Philip Marlowe [09:56]

Nodela reveals that a thief had previously attempted to steal the scrapbook, indicating someone’s interest in the hidden secrets:

“He was looking at this book, but nothing else was touched.” — Andrew Nodela [10:14]

Confrontation with Jerome Lockey

Marlowe approaches Jerome Lockey, a prominent Hollywood agent with a mysterious background. Their conversation hints at Lockey’s involvement in Jane Temple's demise:

“Someone who'd profit, Mr. Lockey.” — Philip Marlowe [14:05]

Lockey deflects Marlowe’s suspicions, but Marlowe remains persistent, sensing that there's more beneath the surface:

“You own a black convertible? Tire size?” — Philip Marlowe [14:05]

The Trap is Set

Determined to uncover the truth, Marlowe sets a trap outside Nodela's shoe shop. His intuition pays off when Vivian Lockey, Jerome's wife, confronts him violently:

“Don’t move or I’ll kill you.” — Vivian Lockey [24:20]

A climactic showdown ensues, revealing Vivian's dual role in the conspiracy:

“I had to kill you anyway.” — Vivian Lockey [26:32]

Resolution and Closure

As the dust settles, Marlowe reflects on the convoluted case:

“There are a lot of things that belong in a dead woman's leather bound book of memories no place else.” — Philip Marlowe [27:54]

The story concludes with Jane Temple's funeral, symbolizing the closure of a dark chapter, while Marlowe's meticulous investigation ensures that the truth, though buried, is meticulously recorded:

“Even though the cobbler had worked all night binding a big book in the finest of Morocco leather… Layed it in the coffin to be buried with her.” — Narrator [28:22]

Key Takeaways

• Complex Character Web: The episode intricately weaves relationships between Marlowe, Lieutenant Matthews, Andrew Nodela, Jerome Lockey, and Vivian Lockey, showcasing the multifaceted nature of human interactions in noir storytelling.

• Themes of Deception and Redemption: Central to the narrative are themes of hiding one's past, the quest for redemption, and the lengths individuals will go to protect their secrets.

• Philip Marlowe’s Tenacity: Marlowe exemplifies the quintessential hard-boiled detective, whose perseverance and sharp intuition uncover truths hidden beneath layers of deception.

Notable Quotes

• “Crime is a sucker's road. Those who travel it wind up in the gut of the prison or the grave.” — Philip Marlowe [00:40]

• “Maybe Jane Temple didn't kill herself. Maybe she was murdered.” — Philip Marlowe [16:20]

• “She was the missing link. Typecast at that.” — Philip Marlowe [25:00]

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This episode masterfully captures the essence of classic detective noir, blending suspense, intricate plotting, and compelling character development. For fans of old-time radio and detective stories, "The Adventures of Philip Marlowe: The Big Book" remains a standout portrayal of the genre’s golden age.

Transcript

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[Philip Marlowe]

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[Philip Marlowe]

My school uses Podbean.

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My church too.

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[Philip Marlowe]

Welcome to Choice Classic Radio where we.

[Lieutenant Matthews]

Bring to you the greatest old time radio shows like us on Facebook. Subscribe to us on YouTube and thank you for [e-mail].

[Philip Marlowe]

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

[Jerome Lockey]

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 story, the big.

[Philip Marlowe]

Book.

[Lieutenant Matthews]

That winds it up. Boys, get him in the wagon without any trouble. Thanks to you. Well, you don't have your car here, do you, Phil?

[Philip Marlowe]

No, Lieutenant. And I haven't had lunch either. Maybe the police department feels obligated on both counts, huh?

[Jerome Lockey]

Maybe.

[Lieutenant Matthews]

Get in. Phil Mooney. Some good restaurant before headquarters, huh, Chance?

[Andrew Nodela]

Lieutenant.

[Elliot Monroe]

How are you, Mr. Marlow?

[Philip Marlowe]

Hungry, Mooney.

[Elliot Monroe]

Okay, Mr. Water. I know a good spaghetti place.

[Philip Marlowe]

Elite unit 18A. A dead body at number 11 West Main street reported as suicide. Investigating. Your call, Matthews.

[Lieutenant Matthews]

No, that's a specific unit.

[Philip Marlowe]

Body at number 11 West Main Street 11 West Main.

[Lieutenant Matthews]

It's only around the corner, isn't it?

[Elliot Monroe]

That's right, Lieutenant. Might save us a trip back here later, huh?

[Lieutenant Matthews]

Yeah, tomorrow lunch will be a little late. Let's go, Mo.

[Philip Marlowe]

At number 11 West Main Street, a skid row rooming house, a middle aged woman who had been the ground floor rear apartment was now dead of a bullet that had passed directly through her heart. A shabby, cramped room was packed tight with a dozen different stale smells and the naked light bulb dangled from a cracked plaster ceiling. The dead woman lay in the middle of the floor. She looked about 45, had gray black hair and wore a cheap cotton dress under a faded moth eaten man's sweater. Up to there she belonged to the backdrop. But beyond that, someplace in the deeply etched beauty of her face, the studied neatness of her hairdo, there was something vague and disturbing that made the whole picture slightly lopsided, like a. Like a cheerful tie on an undertaker. Ten minutes later, when I was out in the hall, listening to Mooney run down the routine facts for Lieutenant Matthews. That something was still with me, bothering me the way a half remembered dream does when you're shaving the next morning.

[Elliot Monroe]

Lived here five years now. Came from the east and according to the landlord, has no close friends or relatives in the city. Also, the bullet was fired at point blank range.

[Lieutenant Matthews]

Uh huh. Anything on the gun that was next to her?

[Elliot Monroe]

Not yet, Lieutenant. It was her fingerprints only looks like it's strictly pawn shop stuff. Serial numbers filed off. Cheap make, et cetera.

[Philip Marlowe]

Yeah.

[Lieutenant Matthews]

Yeah. Deputy coroner says she died about 10 or 10:30 this morning.

[Elliot Monroe]

Yeah, long about that same time. The landlord says he saw a flashy black car parked in the alley outside where people never park. Spiffy convertible was gone after he heard the shot, he thinks.

[Philip Marlowe]

Did he get the license number, Mooney?

[Elliot Monroe]

No, Mr. Marlow, he got nothing. All we have on it so far is a fresh tire tread in the mud. It's a 750 15. Pretty good shape.

[Lieutenant Matthews]

Uh huh. And that is it?

[Elliot Monroe]

Just about. The landlord thinks that the deceased was an actress, way back from little remarks she made. That's about all. I still got one neighbor to check though.

[Lieutenant Matthews]

Okay, Mooney, let me know.

[Jerome Lockey]

Right.

[Lieutenant Matthews]

Lieutenant Marlow. Looks like it'll stand you up on that lunch date.

[Philip Marlowe]

Sorry, I. I'm not so hungry anymore. I'll see you around, Matthews. On the way out, I told myself three things. One, aside from the fact that we belong to the same fraternity, laughingly called mankind, Jane Temple was nothing to me. Two, a lot of beautiful girls turned out to be beautiful women. And three, if the black convertible meant anything at all, the police would figure it out by themselves. They came well equipped for the job. Well, by the time I was out on the street and the sharp autumn air had chopped away the stale smells of the dead woman's apartment, I was beginning to forget the name Jane Temple entirely. I might have kept going that way if he hadn't appeared just then.

[Andrew Nodela]

Over here, quick. Mister, you're not a policeman. You're a reporter for the newspaper. No.

[Philip Marlowe]

What makes you say that?

[Andrew Nodela]

Well, I see you go in there with the police. The plain clothes detective men. Nobody salute to you. The ones in uniform, I mean. So maybe you report, huh?

[Philip Marlowe]

Maybe. Why?

[Andrew Nodela]

Well, I can tell you.

[Philip Marlowe]

Here.

[Andrew Nodela]

Come to my shop in 15 minutes. I don't want people to see us together. Now come to the shoemaker place across the street and down at the stairs. Andrew Nodel.

[Philip Marlowe]

Yeah, but why, Mr. Nodella? What do you want a reporter for?

[Andrew Nodela]

What's it about the fine, fine lady who used to die. Mrs. Jane Temple. Goodbye, mister. Look, my friend, it cost me one.

[Philip Marlowe]

Buck of 50 for the letter alone.

[Andrew Nodela]

How can I give it to you for. Now, look, you. Okay, okay, okay. Andrew. Nadella change his mind. He won't argue for with a customer. Here. 1.25. Just like you want my cash.

[Philip Marlowe]

Yeah, it's more like it. I wasn't born just the other day. I can tell value.

[Andrew Nodela]

Sure, sure. My mistake, Commissioner. Excuse me, please.

[Elliot Monroe]

Okay.

[Andrew Nodela]

So I only gave in to get rid of him, you see. Now I'll put the out to launch a sign on and lock open the door so we won't be disturbed. The police and nobody.

[Philip Marlowe]

Okay.

[Andrew Nodela]

Now, Mr. Marlowe. Mr. Marlo, we go in the back room. This way.

[Philip Marlowe]

Now, wait a minute. Wait a minute. Before we go any place, Nadella, one question. Why are you so worried about the police?

[Andrew Nodela]

Because down in this neighborhood, Mr. Marlowe, every time I do a good thing and I call the police when it's right, I get in some kind of trouble. These people, my customers, they don't. They don't like. You should be a store pigeon.

[Philip Marlowe]

Ah. All right, Mr. Nodela. Now, about Jane Temple.

[Andrew Nodela]

Wonderful woman, Mr. Marlowe. Come in the back room, huh?

[Philip Marlowe]

All right.

[Andrew Nodela]

Ah, Mr. Marlowe. Fine. A call to the lady. I know I was. I was not always a shoemaker, you know, in the old country I was a student. And before that I was an artist.

[Philip Marlowe]

I wouldn't doubt it. You and Jane Temple were really good friends, is that it? I see.

[Andrew Nodela]

See? Good friends. That's why I'm in a position to say I don't think she killed herself. She was not the kind of a lady, Mr. Marlowe. She was not a moody or. She liked to be alone with her memories. But that's all. Look. Come here at the table, Mr. Mallow. Look at this. That was a hers scrapbook she left with me. The letter on the front was one. I was repairing it for her. She trusted only me with it.

[Philip Marlowe]

But.

[Andrew Nodela]

Open it up, Mr. Muller. I say no more. You just look for yourself.

[Philip Marlowe]

It was the usual setup between the big covers of a big book. A little life story in tattered yellow clippings and faded photographs. 25 years ago, Jane Temple had been exquisite. The fragile, haunting kind of beauty that never goes out of style. The kind of universal beauty that makes style. The book itself came in two parts. The first, told in rave reviews and letters from select admirers, was the rocket Fast Rise of Jane Temple, who, as one critic put it, was inspirational beauty and the inspired actress. Both. Yet on that level, the first part ended abruptly in 1928 with no explanation. The second part was another success story, but it ran right up to the present. The career of one Jerome Lockey, from obscure London stagehand to top Hollywood theatrical agent. A healthy giant step. But no place did I see anything to connect the two. Nodela must have read my mind.

[Andrew Nodela]

You wonder, eh, Mr. Marlowe, what one got to do with the other?

[Philip Marlowe]

Yeah. Do you know?

[Andrew Nodela]

No. Maybe this can help you find out. It's. It's another clipping that was not pasted in the book.

[Philip Marlowe]

Where'd it come from?

[Andrew Nodela]

Inside the back cover. I was only to repair the front, Mr. Marlowe, but as a surprise for Ms. Temple, I. I went ahead to do it all. See, I found this clipping hidden in the lining of the back cover. It tells of a man named John Gordon being sent to jail in a London England in 1928 for embezzlement of a theater's money. There's a picture of him, Mr. Marlowe.

[Philip Marlowe]

Yes, I. Hey, this John Gordon.

[Andrew Nodela]

Jerome Malarkey. See the big agent man. Mr. Marlowe, there's still one more thing. Last night I surprised somebody, a thief in this shop. And when I scare him away, he was looking at this book, but nothing else was touched.

[Philip Marlowe]

You didn't tell anybody about it?

[Vivian Lockey]

No.

[Andrew Nodela]

No, no, no. I was going to tell Mr. Temple, but. Well, Mr. Marlowe, everything I say to you, everything I show you here. Am I crazy, or does it mean only one thing? Jerome Malarkey killed the wonderful Mr. Temple to keep a secret?

[Philip Marlowe]

Well, it's possible, but also. No, Della. Ms. Temple may not be so wonderful at that. You know, people don't kill to keep secrets. They kill to keep secrets from getting out. That's called blackmail.

[Andrew Nodela]

No, Mr. Marlowe. Not to miss a Temple. I don't believe that. And I don't believe that you do either.

[Philip Marlowe]

I don't want to. Well, I'll see what I can find out, Mr. Marlowe.

[Andrew Nodela]

You. You tell me before you tell your paper, Mr. Nodela.

[Philip Marlowe]

I don't have a paper. Just curiosity. I'm a private detective, not a reporter. And the initial mistake was yours, not mine, so don't get mad about it. What?

[Andrew Nodela]

A private detective, Mr. Marlowe?

[Philip Marlowe]

Who you working for right now, Mr. Nodela? I'd say the late Jane Temple. Goodbye. The Jerome Lockie Agency on the Sunset Strip was big, brassy and busy and sported a blonde receptionist to match. After I gave her my card and we exchanged frosty smiles, she waved me into a seat. I tried it for 15 minutes and then I began to get itchy. But compared to the dapper gray at the Temple's gentleman sitting next to me, that was a mild reaction. He was one of those heavy handed character actors you remember by face, never by name.

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[Philip Marlowe]

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[Narrator]

No, he's not in them.

[Vivian Lockey]

Mr. Jerome Lockey certainly hasn't exaggerated him impression of his own importance.

[Philip Marlowe]

Been here a while, huh?

[Vivian Lockey]

Quite a while, sir. Much too long a while.

[Lieutenant Matthews]

Young lady.

[Vivian Lockey]

Please tell Mr. Locky that Elliot Monroe could wait no longer. I'll see him at his home this evening. I have several studio calls to make this afternoon. Good day.

[Narrator]

Good day, Mr. Monroe. Studio calls? Yes, Mr. Monroe couldn't wait, Mr. Larky. He said he'd see you at your home tonight, sir.

[Unknown Character]

My tough luck. Anyone else mash?

[Narrator]

Only that New York call, sir. I'm still trying to get it. I'll put it right through the moment it comes in. Oh yes. Mr. Philip Marlow, a private investigator.

[Unknown Character]

A private investigator? Is it important?

[Philip Marlowe]

I think so, Mr. Lockie. It's as important as Jane Temple. Jane?

[Unknown Character]

What about Jane temple?

[Philip Marlowe]

She's dead, Mr. Lockey. A bullet throw her heart?

[Lieutenant Matthews]

No.

[Unknown Character]

Madge.

[Narrator]

Yes, sir?

[Unknown Character]

Bring Mr. Marlow right in.

[Narrator]

Yes, sir. Right his way, Mr. Marlowe.

[Philip Marlowe]

Thank you.

[Unknown Character]

Well, Marlo, why are you here? I mean, how did you know I had anything to do with Jane Temple?

[Philip Marlowe]

I didn't. But since she was an actress once and you're about the biggest agent in Hollywood, I thought I'd start with you.

[Unknown Character]

Start what, Mr. Marlow?

[Philip Marlowe]

Start finding out why she committed suicide. Mr. Lockey, tell me, do you own a black convertible?

[Unknown Character]

Yes. One of those step down Hudsons.

[Philip Marlowe]

Tire size. Do you happen to know it?

[Unknown Character]

Yes, yes. 7:50 15. Why? What's all that got to do with Jane Temple's suicide?

[Philip Marlowe]

Quite a bit. Might even change it to murder Jane Temple.

[Unknown Character]

Murdered by whom?

[Philip Marlowe]

Someone who'd profit, Mr. Lockey. Any idea who that could be?

[Unknown Character]

Not the slightest.

[Philip Marlowe]

Okay, thanks for your trouble and good afternoon.

[Unknown Character]

Wait.

[Philip Marlowe]

Hold it.

[Unknown Character]

Mr. Marlowe. I. I'd like to talk with you some more. But not here.

[Philip Marlowe]

You Name the spot, Mr. Locky.

[Unknown Character]

All right. My house tonight, 9:00.

[Philip Marlowe]

9:00. I'll be.

[Jerome Lockey]

In just a moment. The second act of Philip Marlow. But first, our armed forces are mighty busy these days. They're conducting the United nations police action in Korea. They're patrolling the occupied countries. They're standing ready for national defense. And at the same time they're doing important scientific research. With so many varied duties, the armed forces need more men. Men with brains and ability who can be trained as highly efficient specialists. Men who want to be the leaders of tomorrow. Inquire at your nearest recruiting office about the opportunities open to you in America's armed forces. The world's greatest power for peace. Now with our star, Gerald Moore, the second act of Philip Marlowe and tonight's story, the Big Book.

[Philip Marlowe]

When I walked out of Jerome Lockey's sleek private office, I was satisfied that in spite of the efficient air conditioner, the atmosphere in there would stay charged with enough high voltage implications so that sooner or later he'd have to make another move. Outside, it was dark. I drove back downtown and finally located Lieutenant Matthews at a lunch counter wrapping up the short end of a quick blue plate special. My story didn't affect his appetite a bit.

[Lieutenant Matthews]

Have a piece of pie, Marlow. The cherry is great, Matthews.

[Philip Marlowe]

I've been trying to tend listening, filled.

[Lieutenant Matthews]

To all of it. All of it. From that crackpot shoemaker to a leather bound scrapbook. Right on up to a weird looking Jerome Lockey's kiss. And now. What do you want me to do? Get an ulcer?

[Philip Marlowe]

Matthews. Maybe Jane Temple didn't kill herself. Maybe she was murdered.

[Lieutenant Matthews]

Go on.

[Philip Marlowe]

Now look. There was an old clipping and some pictures in that scrapbook that identified our Jerome Lockey as one John Gordon who did time a few years ago for embezzlement. Which if revealed would ruin the great Jerome Lockie of today. Now look, it looks like.

[Lieutenant Matthews]

Oh nuts.

[Philip Marlowe]

What's the matter?

[Lieutenant Matthews]

What's the matter? Look, Marlow, I haven't been to bed for 24 hours. I'm dog tired. I thought I finally got a break. A clean cut case of obvious suicide. A nice old doll, disillusioned, broke, did herself in too bad. Yeah, but just that simple. So what happens? You run into some jerk of a shoemaker with an imagination and now it's all mixed up with ex cons, blackmails and murder.

[Philip Marlowe]

It's not my fault. I didn't do it, you know.

[Lieutenant Matthews]

I'm sorry, Phil.

[Philip Marlowe]

All Right.

[Lieutenant Matthews]

A little fed up, I guess. Oh, nothing but a week or so of hearing wind and pine trees wouldn't cure. So you went out to see Lockie, huh?

[Philip Marlowe]

Uh huh. Where'd you leave it? Hanging in midair. Made a date with him for later tonight at his house.

[Lieutenant Matthews]

You think he did it?

[Philip Marlowe]

Who knows? I saved my Sunday punch. His real name being Gordon, that is. Maybe when I spring that, it'll jar something loose, huh?

[Lieutenant Matthews]

Maybe. Oh, by the way, did you meet Mrs. Lockheed?

[Philip Marlowe]

Not yet. Why?

[Lieutenant Matthews]

Nothing particular. Good looking blonde I saw once in the Beverly Hills station. Some beef about a collision. She impressed me as being a pretty tough fighter in the clinches. That's all. Just a thought.

[Philip Marlowe]

Yeah. Finish your pie, Matthews?

[Lieutenant Matthews]

Yeah. You want to follow this through on your own, Phil?

[Philip Marlowe]

Yeah, if you don't mind. You see, I've gone this far and well, there was something about Jane Temple that. I don't know. It showed even down there in that dump.

[Lieutenant Matthews]

Yeah, that's what I mean, Phil. I gotta get out of the pine trees for a spell soon. Keep me posted, huh?

[Philip Marlowe]

I drove out to Beverly Hills again and found the Jerome Locky place. It was a close to the ground model that at first glance looked like a cozy little cottage. Second glance, however, showed the other two wings. 15 or 20 ultra modern rooms that rambled over 2 acres of gently rolling real estate. The door was answered by a close cropped blonde and tailored black already today had the tapered, taut look of tomorrow.

[Narrator]

Yes?

[Philip Marlowe]

I'm Philip Marlow. Is Mr. Lockey here?

[Narrator]

Oh. Oh, yes. Come in. Mr. Marlow. I'm Vivian, Jerry's wife. Jerry's expecting you. He'll be right out. He asked me to look after you for a few minutes. Do you mind?

[Philip Marlowe]

On the contrary.

[Narrator]

I was in the middle of a whiskey and water. Johnny Walker like one?

[Philip Marlowe]

Thanks. Too bad about Jerry's old friend Jane Temple, huh?

[Narrator]

Yes. Yes, it was a perfectly horrible thing. Jerry's very upset about it. You know, it must be awful to fall so far.

[Philip Marlowe]

Yeah, the top is awful high. Did you know her?

[Narrator]

Only by reputation. What do you suppose happens to a person like that? I mean, you'd think they'd try to climb back out of the squalor.

[Philip Marlowe]

Yeah, you'd think so. Like Jerry did.

[Narrator]

That's right.

[Philip Marlowe]

He deserves a lot of credit. Things must have been tough after he got out.

[Narrator]

Yes, yes, yes, they were. Why, when he got out of the production end of show business, he was flat broke. He lost a fortune that way. He's told me about it, how he had to Start all over again from the bottom.

[Philip Marlowe]

So I understand.

[Narrator]

Here's your drink, Mr. Marlow.

[Philip Marlowe]

Oh, thanks, Vivian. Thanks a lot.

[Narrator]

You know, Mr. Marlow, it really is a long, hard struggle to make it up from the bottom. Especially a second time. The third time might be impossible, don't you think?

[Philip Marlowe]

Yeah. When you're up there, the fight's even rougher, isn't it?

[Narrator]

Yes. Yes, it is.

[Philip Marlowe]

Sometimes a person would. Looks like you have another visitor.

[Narrator]

What?

[Philip Marlowe]

Coming up the walk outside.

[Narrator]

Oh, that's Elliot Monroe. He's always popping in here at odd times. Usually to borrow something he may want. Anything from a clean shirt to a cup of vinegar. We never know.

[Philip Marlowe]

This time he wants to see your husband. I ran into him at the office this afternoon, Heard him say so.

[Narrator]

Oh, really?

[Philip Marlowe]

Yeah. So I'll make my business with Jerry as short and to the point as possible.

[Narrator]

Well, that's. That's very considerate of you, Mr. Motto. Excuse me.

[Philip Marlowe]

I heard Mrs. Vivian Lockey receive the load of ham at the front door. And second, later, I heard my name called from the hall behind me. It was Jerome, all smiles, doing his suave and determined best to bury the end of the world look he'd acquired in his office. But it peeked out around his eyes and at the twitching corner of his mouth as he led me into the library and pointed me into a deep leather chair. I decided to let him lead off. I also decided to bait a trap and set it out.

[Unknown Character]

Now, how about a drink, Marlow?

[Philip Marlowe]

I have one, thanks, Mrs. Lockey. Anticipated.

[Unknown Character]

You Anticipated? Oh, yes, of course. Well, let's see. Where did we leave off this afternoon?

[Philip Marlowe]

Oh, we talked about a lot of things, like tire sizes, suicides.

[Unknown Character]

Oh, yes, yes. Now, let me get something straight, Mr. Marlow. You seem to believe that there's a little more to poor Jane Temple's death than a simple suicide.

[Philip Marlowe]

Considerably more, Mr. Lockie.

[Unknown Character]

Yes. And you've come to me with this problem why?

[Philip Marlowe]

Because you may be able to fill in some blanks.

[Unknown Character]

How?

[Philip Marlowe]

It's up to you. Let's say first that I think a prominent and wealthy man is connected. A man who's saddled with a messy past that he can't afford either to keep secret or have revealed.

[Unknown Character]

Now, just a minute, Marlow. I don't know what you're driving at with this double talk, but it sounds to me as if you're accusing Jane Temple of blackmail. And I don't believe it. She'd have starved to death.

[Philip Marlowe]

First, I'd like to agree, believe me. But unfortunately, I can still Add.

[Unknown Character]

What do you mean?

[Philip Marlowe]

For instance? To what I said before, Add the name John Gordon.

[Unknown Character]

Who is John Gordon?

[Philip Marlowe]

I'm not quite sure. But I do know this somehow. The key to who he is ties into a basement shoe shop in the Hundred block on West Main Street. Does that mean anything to you?

[Unknown Character]

No. Why should it? Marlo, why exactly did you come here? Please tell me I just did.

[Philip Marlowe]

Well, that's that. Chances are I'll see you again sometime. Good night, Mr. Locky.

[Unknown Character]

Marlow, wait. Listen, in my business, bad publicity counts, and I've worked awfully hard to tell you.

[Philip Marlowe]

I know. I went all through that with Mrs. Lockey. Don't worry about me. This time I'm more than willing to let somebody else do the talking. When I walked out on Lockie for the second time, things still didn't add up right. Something was missing. In the hall, I passed Elliot Monroe hanging onto a glass of scotch like it was a streetcar strap. And at the door, Mrs. Locky ushered me out with a frigid, unsmiling nod. I drove slowly all the way to Main street. And when I was parked and walking toward Nadella's shoe shop, I began to doubt that the trap I'd set was going to catch anything. Until a long black convertible turned the corner behind me. I ducked into a doorway and waited. It was Jerome Lockey's car, all right. He almost stopped in front of the shoe shop, but suddenly lurch and disappeared around the corner, away from what turned out to be a cop pounding the beat. I was convinced they'd be back, so when the cop passed me, I ran around to the rear of the shoe shop and down the stairs to a window where I could keep out of sight and still see anything that went on inside. I just settled down for a wait when it came.

[Vivian Lockey]

Stand still, my fine fellow. Don't move or I'll kill you.

[Philip Marlowe]

Mr. Elliot Monroe. What do you know about that? Looks like the wrong sucker roasted the bait. Or is this just coincidence?

[Vivian Lockey]

It's no coincidence, my friend, believe me. While you were in talking to dear Jerry tonight, Vivian was called to the phone. That gave me a chance to listen outside the library door and overhear everything you said. That's why I am here, to protect my interests.

[Philip Marlowe]

No wonder things didn't add. You're the missing link. Typecast at that.

[Vivian Lockey]

Keep those hands up.

[Philip Marlowe]

Sure, sure. I couldn't see Jane Temple as a blackmailer. Now, Jerome Lockey is a killer, but you're playing both parts. For you, that's a cinch.

[Vivian Lockey]

My, but our detective Is clever now, isn't he? But just a little late, wouldn't you say?

[Philip Marlowe]

Yeah, no switches in a one track mind. It's my own fault. Have your fun, Monroe. But tell me one thing. How'd you worm your way into this setup? That was a well kept secret.

[Vivian Lockey]

Not to a man with an experienced eye for drama, my good fellow. It started very simply when I recognized Jane Temple on the street one afternoon and befriended her.

[Philip Marlowe]

Befriended her?

[Vivian Lockey]

Yes, we reminisced about the good old days in the theater and finally went through her scrapbook together. But there was one clipping that she tried desperately to hide in the binding. Oh, you clumsy old fool.

[Philip Marlowe]

So when she sent the book here to be repaired, it was you who broke in and found that clipping, huh?

[Vivian Lockey]

Yes, yes, and read it and put it back before the stupid cobbler discovered me. But I had found the skeleton in the closet and knew that I could make it rattle long, loud and lucratively.

[Philip Marlowe]

Sure, Jane Temple would do the dirty work. Put the bite on Lockie.

[Vivian Lockey]

It would have been perfect. An ideal escape for both of us from the constant humiliation of poverty. There was nothing of woman left in her. All that remained of the great Jane Temple was dusty yesterday in a book bound in leather. Mr. Marlowe, are you afraid to die?

[Philip Marlowe]

No more than most people.

[Vivian Lockey]

Oh, I'm glad you said that. I had to kill you anyway. But at least you understand. He who kills cuts off so many days of fearing death. Then is death a benefit?

[Narrator]

It's the last benefit you'll ever play.

[Philip Marlowe]

Poor crazy clown.

[Narrator]

You know all the answers now, don't you, Marlowe? The whole story?

[Philip Marlowe]

Yes, Vivian. All except how you showed up here when you did.

[Narrator]

I had to. You see, I've always known about Jerry's past. He told me about it before we were married. I knew that was why you came to see him tonight. And when I saw Elliot there listening at the library door, I realized that he must have known too. When he left the house, I followed him.

[Philip Marlowe]

Got here in time to save my life.

[Narrator]

To be honest, Marlow, that was incidental. I got here in time to save my life, I hope.

[Philip Marlowe]

Just the same, I'm going to return the favor when the police get here.

[Narrator]

You mean you.

[Philip Marlowe]

I mean, there are a lot of things that belong in a dead woman's leather bound book of memories no place else. But I do my best to help you and Jerry. Keep him there.

[Narrator]

Thanks, mister.

[Philip Marlowe]

Well, that's the way it worked out. One policeman named Matthews got the whole story. But only half of what he found out was headed in the police records and only as much of that as was necessary ever got into the papers. Two days later, when Jane Temple's funeral was held, it didn't even make the back page. After all, what's news about one Italian cobbler, one private detective and one hard boiled agent standing bareheaded before a fresh grave? Even though the cobbler had worked all night binding a big book in the finest of Morocco leather. Even though the agent with blinking moist eyes closed that book for the last time and the private detective laid it in the coffin to be buried with her. Yeah, what's news about that?

[Jerome Lockey]

The Adventures of Philip Marlowe bringing you Raymond Chandler's most famous character Star Gerald Moore are produced and directed by Norman McDonnell and written for radio by Robert Mitchell and Gene Levitt. Featured in the cast were Jack Crucian, Bud Whittem, Jay Novello, Lynn Allen, John Danar and Ted Von Eltz. Detective Lieutenant Matthews is played by Larry Dobkin. The special music is composed and conducted by Richard Arant. This is Roy Rowan speaking. This is cbs, the Columbia Broadcasting System.

[Andrew Nodela]

It.