The Adventures of Philip Marlowe: The Dark Tunnel 8/18/1950

Summary

Podcast Summary: Choice Classic Radio Detectives | Old Time Radio

Episode: The Adventures of Philip Marlowe: The Dark Tunnel
Release Date: January 19, 2025
Original Air Date: August 18, 1950
Host/Author: Choice Classic Radio
Starring: Gerald Moore as Philip Marlowe
Written by: Robert Mitchell and Gene Levitt
Produced and Directed by: Richard Sanville

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Introduction

The Adventures of Philip Marlowe: The Dark Tunnel transports listeners to the gritty underbelly of 1950s Los Angeles through the eyes of Raymond Chandler's iconic private detective, Philip Marlowe. Portrayed by Gerald Moore, Marlowe navigates a labyrinth of deceit, love, and vengeance in his quest to unravel the mystery surrounding Julia Thayer’s disappearance and the enigmatic death of Faye Petilio.

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Plot Summary

1. The Initial Encounter ([01:34] - [03:24])

The episode opens with Philip Marlowe engaging in a conversation with Louie, a distraught man grappling with familial and financial turmoil. Louie's plea for a lift leads Marlowe into his first investigative thread:

• Louie's Dilemma: Louie confides in Marlowe about his strained marriage, mounting debts, and the imminent threat of divorce ("Divorce. My only out. And you get my point, huh, Marlow?" [02:30]).

• Introduction of Austin Link: Shortly after, Marlowe assists a bruised young man named Austin Link, who reveals he's searching for Julia Thayer, a woman who vanished a month ago. Link presents a mysterious newspaper clipping linking Julia to the death of Faye Petilio, a notorious figure in Hollywood's criminal circles.

2. Digging Deeper ([04:30] - [09:15])

Marlowe delves into the case, piecing together Julia’s disappearance:

• Faye Petilio’s Death: The clipping describes Petilio’s car plunging from Lookout Mountain Road, with Julia found in the back seat under suspicious circumstances ("...she was not found at the wheel, but in the back seat, where, according to the condition of a wreck, she could not have been thrown." [05:00]).

• Connection to Joe Stapp: Marlowe identifies Joe Stapp, a reputed bootlegger, as the owner of the New Blossom Dance Land, linking him to Julia's last known whereabouts.

• The Enigmatic Phone Number: A critical clue emerges when Link discloses overhearing Stapp mention a phone number, "Washington, 7017" ([06:15]). Marlowe deciphers this as "1622 Ramona Boulevard, East LA," leading him to a Southern Cities Warehouse.

3. Confrontation and Revelation ([10:25] - [16:18])

At the Southern Cities Warehouse, Marlowe faces hostility from Pork, Stapp’s henchman:

• Initial Tension: Pork confronts Marlowe aggressively, but the detective swiftly disarms him, revealing the presence of Ira Clawson, who Marlowe learns is actually Dean Cody’s brother seeking vengeance ([10:48]).

• Ira’s Motive: Through intense dialogue, Ira Clawson exposes his vendetta against Julia Thayer, blaming her for his brother Dean Cody’s untimely death. Rufus’ emotional turmoil unveils a web of betrayal and manipulation orchestrated by Julia ([20:20]).

• Julia’s Sacrifice: It is revealed that Julia saved Dean Cody by disposing of his body after a fatal car accident involving Faye Petilio, further entangling her in criminal activities ([21:09]).

4. The Climactic Encounter ([17:13] - [28:56])

Marlowe’s investigation culminates in a tense showdown:

• The Dark Tunnel: Guided by Marlowe, Julia Thayer leads him to an abandoned underpass known as the "Dark Tunnel." Here, Ira confronts Julia and Marlowe, intent on exacting revenge for Dean’s death ([25:07]).

• Truth Unveiled: Marlowe persuades Ira that Julia’s actions were driven by love and loyalty to Dean, not malice. He presents evidence absolving Julia of responsibility for Dean's demise, countering Ira’s anger and grief ([25:33]).

• Resolution: Faced with the truth, Ira hesitates, leading to a tense standoff where Julia chooses to walk away, seeking redemption and a new path. Marlowe reflects on the complexities of human emotions and the metaphorical "dark tunnels" people navigate in life ([27:29]).

5. Conclusion ([28:56] - [29:52])

As the dust settles, Marlowe muses on the pervasive darkness in human nature, symbolized by the tunnel:

• Marlowe’s Reflection: He contemplates the myriad of "dark, blind tunnels" that people stumble into, representing various forms of inner turmoil and moral ambiguity ([28:02]).

• Closing Narration: The episode concludes with Marlowe’s philosophical ruminations, emphasizing the perpetual struggle between light and darkness within individuals and society ([28:56]).

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Notable Quotes

• Philip Marlowe on Crime:
  “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.”
  — Philip Marlowe [00:42]

• Louie Discussing Divorce:
  “Divorce. My only out. And you get my point, huh, Marlow?”
  — Louie [02:30]

• Philip Marlowe on Investigation Insight:
  “Cause you used to go places with her.”
  — Philip Marlowe [06:35]

• Ira Clawson Revealing His Motive:
  “I’d have done anything Julia asked me to.”
  — Ira Clawson [20:33]

• Philip Marlowe’s Confrontation:
  “Julia wasn't responsible for Dean's death. He was. Everything she's done since then has been to protect what little good there was left of his crummy reputation.”
  — Philip Marlowe [25:35]

• Julia Thayer’s Resignation:
  “I think it's what I needed. Goodbye.”
  — Julia Thayer [27:15]

• Marlowe’s Philosophical Reflection:
  “...tunnels of blind love and blind hate, of blind submission that let empty suits of armor conquer cities and men's minds.”
  — Philip Marlowe [28:02]

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Themes and Insights

Redemption and Loyalty: Julia Thayer embodies the struggle between personal loyalty and moral duty. Her actions, driven by love for Dean Cody, highlight the sacrifices individuals make for those they care about, even when entangled in wrongdoing.

The Complexity of Human Emotions: The episode delves into the multifaceted nature of emotions such as love, hate, grief, and guilt. Ira Clawson’s inability to reconcile Dean's death with Julia’s intentions underscores the destructive power of unresolved emotions.

Moral Ambiguity: Philip Marlowe navigates a world where right and wrong are not always clear-cut. His reflections on the "dark tunnels" symbolize the ethical dilemmas faced by individuals striving to maintain integrity amidst pervasive corruption.

The Illusion of Control: Characters like Joe Stapp and Austin Link represent the facade of control in the criminal underworld, where power struggles and vendettas often lead to chaos and downfall.

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Conclusion

The Adventures of Philip Marlowe: The Dark Tunnel masterfully intertwines a gripping detective narrative with profound thematic explorations. Through Gerald Moore's compelling portrayal of Marlowe, listeners are invited to ponder the intricate dance between love, loyalty, and moral integrity. This episode stands as a testament to the enduring allure of old-time radio detective stories, offering both entertainment and introspection.

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Tune In Next Week: Don’t miss the next thrilling installment of Philip Marlowe’s adventures, where new mysteries and deeper intrigues await. Subscribe to Choice Classic Radio on Facebook and YouTube to stay updated on the Golden Age of Radio's finest detective tales.

Transcript

[Philip Marlowe]

Your message amplified. Ready to share your message with the world? Start your podcast journey with Podbean. Podbean. Podbean. Podbean. Podbean, the AI powered all in one podcast platform. Thousands of businesses and enterprises trust Podbean to launch their podcasts. Launch your podcast on Podbean today.

[Ira Clawson]

My school uses Podbean.

[Philip Marlowe]

My church too. I love it. I really do.

[Ira Clawson]

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].

[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.

[Gerald Moore]

From the pen of Raymond Chandler, outstanding author of crime fiction, comes his most famous character in the adventures of Philip Marlow. Now with Gerald Moore starred as Philip Marlow, we bring you tonight's exciting story, the Dark Tunnel.

[Louie]

So after being hitched one month, Marlow. 30 days. Where am I?

[Philip Marlowe]

I don't know. Where are you?

[Louie]

Out in the cold and with enough unpaid bills, Marlow to choke an elephant fur coat, hats, shoes, dresses, the works. Furthermore, she tells me it's only the.

[Philip Marlowe]

Beginning, Sweetie P. Yeah, well, that's tough, Louie. I'll see you, huh? Hey, hold on.

[Louie]

How about another scratch, Mom? Oh, no, it's only 10:00. One for the road on me, huh?

[Philip Marlowe]

Now listen. Hey, Mike.

[Louie]

Johnny Walker twice, okay? Unless of course, I'm bending your ear too much.

[Philip Marlowe]

Phil. Oh, how could you say a thing like that? Look, Louie, I've had a long day. I want to go home. Fair enough. I'm glad I bumped in here.

[Louie]

I'll see you drive west, don't you?

[Philip Marlowe]

Yeah.

[Louie]

Would you mind dropping me off?

[Philip Marlowe]

No, Louie. It'll be a pleasure.

[Louie]

Swell. Skip the drinks, Mike.

[Pork]

Make up your mind, will you?

[Louie]

Well, like I was saying, Phil, first it's her mother moving in on us. Then it's both of them drinking my special stuff like it was water. Then these clothes I already mentioned. So I asked myself, what'll it be next, Louie? What do I get for an answer?

[Philip Marlowe]

All right, Louie, what do you get?

[Louie]

Divorce. My only out. And you get my point, huh, Marlow?

[Philip Marlowe]

Yeah, I get you. My car's around here in the alley, Louie.

[Louie]

Check. Well, now, divorce is something a guy wants to think about. Thinking guy, that is. And you know, Marlo.

[Philip Marlowe]

Wait a minute, wait a minute. That's a cute little exhibition, huh? Scrap nothing a few inches short of murder and closing fast. Better break it up, Louie. Hey, hey. Heavy. Yeah. Kind of a hot night for this, isn't it? What do you want, Sonny? I'd like to hold your coat. Seems to be cramping your stylies in one piece. Why, you lousy long nose. Don't worry, I am. How do we go on, muscles?

[Ira Clawson]

All right, mister. Right now he's all yours. If you can bring him, too. So long, hero.

[Louie]

Hey, Marlo, this kid's pleaded all right.

[Philip Marlowe]

Yeah. Come on, give me a hand, Louie, we'll get him out of here. No. Okay, fella, come on, up we go. Up on your feet.

[Austin Link]

Oh, thanks, mister.

[Philip Marlowe]

All right. You live near here?

[Austin Link]

A couple of blocks away. The dewitt Arms Hotel on Western, near Sunset.

[Philip Marlowe]

Take it easy. Take it easy. Put your arm over my shoulder. We'll get you there.

[Austin Link]

Thanks.

[Philip Marlowe]

Come on, Louie, over to my car, huh?

[Louie]

Yeah, sure, Molly, but maybe I better skip the lift, huh? I mean, my problem. The discussion we were having. We better postpone it for a while, huh?

[Philip Marlowe]

That is. Yeah, I know what you mean, Louie. Yeah, it'll keep. All right, kid, come on, let's go. The DeWitt Arms on Weston was one of those cheap stucco and neon sign little hotels where the lobby floor is threadbare carpet and cigarette butts, the furniture is chained in place, and there are always the usual number of John Smiths on the register. By the time we were there, and in the dingy, cramped room number 111, it was no bigger than a cell. I knew that the boy with a swollen face who leaned heavy on my shoulder was 25, answered to Ira Clausen, and he knew that I was a private detective without a job on my hands. Then I began to learn a little more.

[Austin Link]

That slick guy in the alley, Mr. Marlow? His name's Link. Austin Link. He runs the New Blossom Dance Land on North Hoover.

[Philip Marlowe]

Well, what is he to do with his. Julia Thayer, I'm not sure.

[Austin Link]

Was the last place she worked just before she dropped out of sight a month ago. I don't think I'll need this towel anymore. I feel.

[Philip Marlowe]

Take it easy, take it easy. You better stay on your back, kid.

[Austin Link]

Oh, yeah. Anyhow, Mr. Marley, I went to the New Blossom Dance Land tonight to see if I could pick up any kind of a lead on Julia, where she went, why, anything at all?

[Philip Marlowe]

Uh huh. And you found out what in Austin.

[Austin Link]

Link's office in a desk drawer. This newspaper clipping. It's a month old. Like Julia's disappearance. Otherwise, it doesn't make any sense to Me? It was stapled to this picture of Julia here. Guess it was used in an ad for the dance hall or something.

[Philip Marlowe]

Hey, she's a pretty girl, isn't she? That clipping. What's it all about?

[Austin Link]

Well, I'll read it to you. You mind closing the window first, Mr. Mallow? I think I'd rather have it hot in here.

[Philip Marlowe]

Yeah, I know I would. Every jerk thinks he's Valley. All right, go ahead, kid.

[Austin Link]

The headline is, Faye Petilio killed in car wreck. And then mystery surrounds death of famed.

[Philip Marlowe]

Gangland woman Faye Patilio, Hollywood's glamorous first lady of crime in the rackets.

[Austin Link]

Yeah. Says she was killed late last night when her car plunged from Lookout Mountain Road at a hairpin turn. However, the police are puzzled by the fact that although the 40 year old redhead was in her own car, she was not found at the wheel, but in the back seat, where, according to the condition of a wreck, she could not have been thrown.

[Philip Marlowe]

Furthermore, no sign of any driver, dead, injured or otherwise was or has been found. I know all about that one. Now, look, is that all you have to go on?

[Austin Link]

Well, not quite, Mr. Marlowe. There's one thing more. Why, just before Link caught me in his office and I ran and hid as far as the alley where you found me.

[Philip Marlowe]

Yeah?

[Austin Link]

I overheard him talking to someone on the phone about Julia. I have no idea who it was, but Link was very respectful. And he was given a private telephone number. A number he was to remember, not write down.

[Philip Marlowe]

You know what it was?

[Austin Link]

Yeah. Washington, 7017.

[Philip Marlowe]

7017.

[Austin Link]

That's it, Mr. Marlow.

[Philip Marlowe]

That's not quite, Ira. That's only half of it.

[Austin Link]

What do you mean?

[Philip Marlowe]

You and Julia. Why you want to find her, what she means to you, why you haven't gone to the police.

[Austin Link]

Well, I'd rather not say, Mr. Marlowe, if you don't mind.

[Philip Marlowe]

Okay, suit yourself. Well, good luck, kid. When you're on your feet again, play it a little neater, huh? You'll stay on your feet a lot longer that way.

[Austin Link]

Mr. Miller, wait, please. I. I want you to work for me. I'll tell you everything.

[Philip Marlowe]

That's better may help, kid. Anyway, it can't hurt.

[Austin Link]

No, not any more than it has already began. Back home, Mr. Marlowe, a couple of.

[Philip Marlowe]

Years ago, the story Ira Clawson told me I'd heard before. So had anybody who'd spent more than a weekend in Hollywood. Only the names were different. Julia Thayer had loved diarrhea, loved Julia. All this in Cedarville, Oregon. Then the snapper. Someone says Julia's not only beautiful, but has talent. She's wasting her time in Cedarville. Julia believes this packs her bag. Scrambles for Movieland, where she falls flat on her face, which isn't quite as gorgeous in Hollywood as it was in Cedarville. Then it's no dough, lots of pride. You gotta eat to live, so you get a job. That was where the New Blossom Dance land came in. And when the letters quit coming on the home front, Ira started to worry. He knew that Julia needed help.

[Austin Link]

Mr. Marlow. And followed one lead after another.

[Philip Marlowe]

Got as far as the alley where I collected. You okay, kid, I think I've heard enough.

[Austin Link]

Then you'll help me?

[Philip Marlowe]

Yeah, yeah, I'll try. Call you later.

[Louie]

So your problem's a phone number, huh? Marlow, Washington. What was it?

[Philip Marlowe]

A 7017. Hey, Callahan, that's a handy book.

[Louie]

Newspapers need handy books, Marlow. People clam up too much these days. I blame the movies myself. Hey, no such animal.

[Philip Marlowe]

It could be a new number. Or didn't I mention that?

[Louie]

You didn't. All right, we'll try the supplements. Get one from the phone company every month, like a bill. See? Wallace, Washington, 5006 7. 7000. Yep, here it is. 7017. Address, 1622 Ramona Boulevard, which would be East LA and industrial listings. Southern City's warehouse.

[Philip Marlowe]

Ring a bell?

[Louie]

A cannon. Southern City's warehouse is just one of the interest of L. A. S answer to whatever became of the big bootleggers. I mean Joe Stapp, A very smooth, very nasty man.

[Philip Marlowe]

Yeah, this I've heard. Now tell me, Callahan, does he also happen to own the New Blossom Dance Land over on North Hoover?

[Louie]

He does. Now you tell me, Phil. There's a story I could use here.

[Philip Marlowe]

Oh, no, no, no. No story.

[Louie]

You know, Marlow, it's just like I.

[Philip Marlowe]

Said, people clam up. It's all right. Good night. Call. If the good gray reporter hadn't mentioned Stapp's prohibition background, I would have chalked the warehouse off as the kind of 9 to 5 place that couldn't possibly help. But on the hunch that Stapp might live in a lush penthouse atop his stockpile a La Chicago, 1929 style, I pointed my car for East LA and the Southern Cities Warehouse. Twenty minutes later when I was there and saw a step down Hudson outside and soft light oozing over the edges of the roof, I didn't regret my move. Not at least until I'd found a flat metal door and had pushed the button attached there too. Then I began to wonder. Because Aladdin himself couldn't have gotten a quicker response. Nor could his genie have been any more of a mountain than the item I drew out of a nearby shadow. Not the door.

[Pork]

Okay, Charlie, lay it out nice and neat. Who are you and what do you want, Joe?

[Philip Marlowe]

Step name's Marlow. Occupation, private detective. Now you.

[Pork]

The handle's Pork. I work for staff. Hey, now wait a minute. What's it you? Who I am? Shamus is close enough to cop the stink. Now beat it before I start thumping on your boy wonder and turn you into something vest pocket size.

[Ira Clawson]

Ready, Paul?

[Gerald Moore]

Seems to be the trouble.

[Ira Clawson]

Who are you, mister?

[Pork]

His name's Marlow, Mr. Stapp. He's a private.

[Ira Clawson]

Answer for himself, Paul. Go ahead, Marlow. What do you want with me? What's it about?

[Philip Marlowe]

Fay Petilio.

[Pork]

Faye Petillio?

[Ira Clawson]

Shut up, Hawk. Fay Petillio is dead, Marlow. So is conversation about her. Anything else?

[Philip Marlowe]

Yeah, something else. Girl who used to work over at the New Blossom Dance Land, Julia Thayer. Know where she is? Why she disappeared?

[Ira Clawson]

No, and I don't care. Why should I?

[Philip Marlowe]

Cause you used to go places with her.

[Ira Clawson]

I've gone with a hundred girls, Marlon. Julia was no different. Except for one thing. She gave me the brush. Well, good night, Marlow. Sorry I couldn't have been more help.

[Gerald Moore]

I won't be long now.

[Philip Marlowe]

One more thing, Joe. You mind telling me who Julia dropped you for?

[Ira Clawson]

Not at all. A pretty boy. Dean Cody. Julia thought he was better looking than a mink coat.

[Philip Marlowe]

Where can I find him? Can you throw that in?

[Ira Clawson]

Surely. Forest Grove Cemetery. Marlow. Oh, he was burned to death in an accident at some cottage. Poor boy. Well, good night, Marlow. Pork here will walk with you as far as your car.

[Philip Marlowe]

That's real friendly.

[Pork]

Let's go, Charlie. And no funny business.

[Philip Marlowe]

Oh, I wouldn't think of it, Pork. You got height, weight, reach and artillery on me.

[Pork]

Yeah, and I'll gladly use them all. That's your buggy there?

[Philip Marlowe]

Yeah. Yeah, that's it. Well, it's been a nice stroll, Porky.

[Pork]

Charming. Just so it stays that way, Charlie, remember to keep away from here, huh? Here, the dance land in the Silver Lake spot.

[Philip Marlowe]

The Silver Lake, huh? Yeah, Porky. I'll remember every word of it.

[Louie]

City desk.

[Ira Clawson]

Callahan. Go ahead.

[Philip Marlowe]

Marlow again. Callahan. Now listen on Joe step. Does the Silver Lake spot mean anything to you?

[Louie]

It does.

[Philip Marlowe]

Yeah.

[Louie]

It's on the north end of Silver Lake Road. Marlow overlooks the reservoir. Stop. Built it as a nightclub. Mountain lard style. About 10 years ago, when it didn't go, he converted it into a private home. Or I should say a cozy place to take the cuties for that one drink.

[Philip Marlowe]

I know what you mean. Good night, Callahan. The Silver Lake Reservoir was only a mile off Lower Sunset Boulevard, but the setting could have been a street in Switzerland. The lodge Callahan told me about stood out among the neat little chalets that skirted the water's edge like a Sherman tank in Toyland. Also, it was showing light from a screened in porch. So when I was out of my car across a shaky rustic bridge that spanned the promise of a creek and moving up close, I didn't have any trouble spotting the girl I saw inside talking earnestly into a telephone as Julia Thayer. By build, size and color of hair. About the face I couldn't say I wore a hat that sported enough veil and mosquito proof twin beds.

[Julia Thayer]

Oh, that's different. The tunnel. All right, I'll wait there. Yes, soon as possible.

[Philip Marlowe]

Goodbye, Podbean. Your message amplified, ready to share your message with the world? Start your podcast journey with Podbean. Podbean, the AI powered all in one podcast platform. Thousands of businesses and enterprises trust Podbean to launch their podcasts. Use Podbean to record your podcast.

[Pork]

Use PodBean AI to optimize your podcast.

[Philip Marlowe]

Use PodBean AI to turn your blog into a podcast. Use Podbean to distribute your podcast everywhere. Launch your podcast on Podbean today. Hello, Julian.

[Julia Thayer]

Who are you? What do you want?

[Philip Marlowe]

Quite a bit, honey. But for a starter, let's say that I'm a private detective named Marlow, working for a guy who's worried sick about you. Ira Clawson.

[Julia Thayer]

Ira Clawson? Who's that?

[Philip Marlowe]

Yeah, well, I'm not sure, but maybe he's the world's greatest sucker. Now, let's level, baby. It's getting late for guessing games, huh?

[Julia Thayer]

I'll say it is. Oh, what's the use? What do you want to know, Mr.

[Philip Marlowe]

Too Much to chat about here? Leona is no friend of mine. Come on, we'll take my car.

[Julia Thayer]

All right. What do you say? I. I'm tired of running. Let's go. Will you take my arm, please? This down bridge scares me silly.

[Philip Marlowe]

Oh, sure. Just watch your heels on those loose planks, huh? You okay?

[Julia Thayer]

Uhhuh. I think I'm going to be just fine.

[Philip Marlowe]

With to it was all the lead she needed. Because by the time I'd crawled out of the inch deep, inch wide river and was back up on the road, Julia Thayer was in a car away fast as far as Sunset Boulevard. I went to the phone back in the lodge and got through to my client at the Whit Arms Hotel and brought him up the date in a hurry, including the latest question mark.

[Austin Link]

The tunnel. Well, of course I've heard of it, Mr. Marlow. Matter of fact, I've been there. Why?

[Philip Marlowe]

Well, it's where Julia's heading right now. Now, what's the location of it? Ira. Ira.

[Austin Link]

I'm still here, Mr. Miller. Marlow.

[Philip Marlowe]

Yeah. You sound real different. I don't get it. What's up?

[Austin Link]

Very personal business, Mr. Marlow. You see, I'm Ira Cody, not Clawson.

[Philip Marlowe]

Dean Cody's brother, Mr. Marlow.

[Austin Link]

Brother who's out to get the girl responsible for his burning to death. Julia Thayer, the cheap scum.

[Philip Marlowe]

So Marlow played Patsy Aragon. The boy girl pitch. You made it all up.

[Austin Link]

Every bit of it, Mr. Marlow. Before, I needed your help. Now I don't anymore. Get lost.

[Gerald Moore]

In just a moment, we will return to the second act of Philip Marlow. But first, there will be four more amateur songwriters on hand. And one of them will sell his songs for nationwide plugging and distribution. When Songs for Sale comes along tonight on most of these same CBS stations. Songs for Sale gives these new songwriters a great chance. Their songs are judged by a panel of experts. Their music is sung by Rosemary Clooney and Richard Hayes. They're made to feel at home under the guidance of the experienced showman Jan Murray. For an hour of fascinating fun behind the scenes of Tin Pan Alley. Hear Songs for Sale tonight and every Friday on cbs. Now with our star, Gerald Moore. The second act of Philip Marlowe, and tonight's story, the Dark Tunnel.

[Philip Marlowe]

I stood there for a minute after Ira Cody hung up and tried to figure my next move. While the phone in my hand quietly buzzed. Sucker. A pair of haywire lives was scheduled for a smash up. And I let myself get mixed up right in the middle. Now my only chance to do something about it was to find out fast what was meant by the tunnel. I started out of the place, but only got as far as the front door.

[Pork]

You going somewheres, cutie?

[Philip Marlowe]

That rod makes you six feet taller, doesn't it, porky? Huh?

[Pork]

I don't like you, Charlie. You played a dirty trick on me.

[Philip Marlowe]

Trick? What are you talking?

[Pork]

When I slipped and mentioned Silver lake, it made Mr. Stapp mad at me. And I don't want Mr. Stapp mad at me.

[Philip Marlowe]

That I can understand. Now, look. You feel like talking this out?

[Pork]

No.

[Philip Marlowe]

Oh, listen, you dumb ap. It's for your own Good. Something's going to happen tonight that'll make your boss a lot madder than he is. Now, I'm the only one who.

[Pork]

You're just trying to trick me again. But it won't work. Not this time. First we lift your gun. Now get going. We'll take your car, Bar.

[Philip Marlowe]

You're going to hate yourself for this in the morning when Step finds out.

[Pork]

I doubt it. You see, Charlie, it's his idea. Now get going. Over there, Marlow. The big door.

[Philip Marlowe]

I don't suppose ST would bother to tell you why he wanted to see me, Woody. Porky, huh?

[Pork]

No, that's none of my business yet.

[Philip Marlowe]

What do you mean by yet?

[Pork]

Oh, he might want you to tell him something. You might not want to. Then it's my business, Charlie. Go on, go on, open it up. That's enough. Inside.

[Philip Marlowe]

Well, well, well. Real, genuine warehouse, huh? Chains, tackle, even a hand truck. Well, oil, too. Don't tell me your boss is going legit.

[Pork]

Never mind that junk. Just stand right there. It'll light at this crazy door lock.

[Philip Marlowe]

Here, Pork, try something heavier, like this truck. Oh, my leg. Why, you owe. It's your chin. Good night, Shelly. I fished my own gun out of Paul's pocket, tossed his.45 off in a dark corner and rolled the Hulk himself out of sight behind a stack of crates. Then I went over to an elevator in the corner. On the way into the warehouse, the light I'd seen earlier from the roof was still there, so I decided to try the penthouse. I walked quietly down a thick carpeted hall to the only door. When I knocked with a barrel of my.38. Come in.

[Ira Clawson]

Well, hello, Marlow. I've been waiting for you. A gun. Hey, how come.

[Philip Marlowe]

Pork.

[Gerald Moore]

Pork.

[Philip Marlowe]

Save it, Joe.

[Ira Clawson]

Oh, that dumb cluck.

[Philip Marlowe]

Yeah, a big wheel like Joe Stapp ought to afford better help. Now, I'm holding the gun, so I'll ask the questions. What? And where is the tunnel?

[Ira Clawson]

A tunnel is a hole, Marlow. Usually in the ground.

[Philip Marlowe]

Deliver, Joe. It's got a lot to do with your girlfriend Julia.

[Ira Clawson]

You. Oh, that's a hot one. I went to all this trouble to haul you in here for the same reason. Then I'll put down the gun and let's talk. It makes me nervous.

[Philip Marlowe]

I'm not interested in your nerves. I'm interested in your talk.

[Ira Clawson]

All right. You've got a long nose, Marlo. And poking it around, you might find out enough to get real curious. And calling the cops. That I can't afford, huh? So I'm going to level with you tell you what you want to know. Just so you'll lay off for the.

[Philip Marlowe]

Deal, I'll let you know.

[Ira Clawson]

All right. You wanted to know about Julia. Yeah. Nothing like Julia Thayer ever happened in my life before. Most beautiful thing I ever saw. Sweet and soft. Made me ashamed of myself.

[Philip Marlowe]

Somehow I don't hear violins, Marlow.

[Ira Clawson]

I'd have done anything Julia asked me to. And all she ever asked of me.

[Philip Marlowe]

Was to give her up for Dean Cody.

[Ira Clawson]

Yeah, Dean Cody. Young physique that wasn't all wasteland like this. A handsome face, that of a boiled lobster. Like mine is. She was crazy about him. Fascinated. And I didn't blame her. Until I found out he had the morals of a rattlesnake.

[Philip Marlowe]

Keep talking.

[Ira Clawson]

Cody was rotten, Marlowe. Dirty. Clear through. Cheating on Julia. Every time she turned around, I couldn't stand it. I tried to tell her.

[Philip Marlowe]

Only made her hate you, huh? Look, Stab, so far, this is no better than a serial and tired romance. Is the point. The point?

[Ira Clawson]

I'm getting to it, Marlow. One night, I thought I could convince her because Cody had a date with Faye Petilio. I don't have to tell you, she was the lowest thing in town. They were going to a spot up on Lookout Mountain, so I told Julia. She went up there and waited. They showed, all right. Both loaded. She saw him take that dive off that hairpin turn. Once she got down to him, they were both dead.

[Philip Marlowe]

Wait a minute. You told me Dean Cody was burned in a cottage.

[Ira Clawson]

Sure. That's what I'm still telling you. Julia was so far gone over that louse, she pulled his body out of that wreck, hauled it all the way down to that cottage at Malibu, and then set fire to the police so.

[Philip Marlowe]

The world would never know. He's going with a tramp like Faye Patilo, huh?

[Ira Clawson]

Yes. How would you like to have that kind of loyalty on your side, Marlowe? Anyway, after Cody was gone.

[Philip Marlowe]

Cody's young brother's in town, Step. He thinks Julia's responsible for Dean's death, and he's gonna kill her.

[Ira Clawson]

What?

[Philip Marlowe]

They're scheduled to meet at that tunnel I asked you about. Now, where is it, Step? I asked you. I heard you.

[Ira Clawson]

Tunnel's an old abandoned underpass in back of the New Blossom. But we're not going there, Marlow. We're going to sit tight and let it play as is.

[Philip Marlowe]

Are you nuts?

[Ira Clawson]

Not anymore. Julia was out of her head that night. Something went wrong when she started that fire. She got caught in it herself, Marlow.

[Philip Marlowe]

You mean she was burned?

[Ira Clawson]

Yeah. Her face. It's bad. She'll never be right again, no matter how much plastic surgery.

[Philip Marlowe]

Yeah, but there's no reason to let her be murdered.

[Ira Clawson]

That's a matter of definition. You see, Julia's still in love with the memory of Dean Cody Marlow. So we'll just forget it and let it play itself out.

[Philip Marlowe]

We'll forget nothing. I got the guns tapped, but you're going to drop it, aren't you? Otherwise, I'll have to drop you. Oh, fine. I remember you, Austin. Link Knuckles in an alley.

[Ira Clawson]

Drop it.

[Philip Marlowe]

That's right, nosy. What's the word, Joe?

[Ira Clawson]

Get him out of here, Link. Get him out of my sight. I don't care where you go.

[Philip Marlowe]

Come on, slick, let's go.

[Ira Clawson]

Just sit on him for a few hours. We'll talk it over then.

[Philip Marlowe]

Link was a professional. He stayed exactly far enough behind me to be always out of reach, but always close enough to keep me under control. All the way down. In the elevator, I watched for a chance. It never turned up. And as I rounded a corner and headed for the big door again, I glanced at the stack of crates park had come to. He was on his feet behind them, a heavy steel pulley block in one hand, his face a stupid mask of blind hate. He slammed that block at me with everything he had. I'll tell you. Oh. I dropped to the floor and heard the thing connect behind me. It had caught Link dead center. He fell like a bag of sand. Before Pork realized what had happened, I charged the stack of crates through my shoulder against it, made it to the door and out in one dash. My car was sitting where I'd left it. I heaved a sigh of relief and piled in. Ten minutes later, I pulled up at the New Blossom Dance Land. It was just closing. I ran along the side of the building to the back where a yellow light above the rear door cast an out of place halo. Over. Oh, no.

[Julia Thayer]

Hey, you. What are you doing back here? This is for employees only.

[Philip Marlowe]

Yeah, well, I'm employed. Listen, do you know where the tunnel is?

[Julia Thayer]

The which?

[Philip Marlowe]

I can see what you mean. The tunnel. The tunnel. It's an old underpass. There's an entrance to it back here someplace.

[Julia Thayer]

Oh, that. See the light over there in that little cement house? That's it. Steps lead down inside. But why? Nobody ever uses that anymore.

[Philip Marlowe]

Well, I tell you, I got a date in there with a couple of screwballs.

[Julia Thayer]

Oh, well, you'll be right at home. Good night, dearie.

[Philip Marlowe]

A baker's dozen steps led down into the thick darkness littered with newspapers, weeds and wine bottles all long dead. As I eased down inside, I heard voices. Low, intense, Amplified by the rolling hollow echo in the tunnel. At least I made it in time. When I got to the bottom, I could see the two of them silhouetted against the dim glow at the far end. I pressed my back against the wall, thought about my empty shoulder holster, and moved toward them.

[Austin Link]

And you killed him, didn't you?

[Julia Thayer]

You're making a mistake, Ira. A terrible mistake.

[Ira Clawson]

No, no, no.

[Austin Link]

You killed him all right. You and that beautiful face of yours that he couldn't resist. Why are you hiding it behind a veil? Used to be so proud of it. You killed Dean just the same as if you'd shot him. But you're not getting away with it, Julia. I'm gonna square it up for him right now.

[Philip Marlowe]

Ira. What, Marlow?

[Austin Link]

How did you find this place?

[Philip Marlowe]

I found plenty beside that. Ira. Give me that gun.

[Austin Link]

No, no. You're not gonna stop me. Even if you shoot, I'll kill her first.

[Philip Marlowe]

I don't have a gun, Ira. But I got facts. Before you shoot anybody, you better listen. Julia wasn't responsible for Dean's death. He was. Everything she's done since then has been to protect what little good there was left of his crummy reputation. I can prove it. Dean went bad. I all bad. He was a low, double crossing cheat. You're lying. You're lying. Mighty died. He was two timing Julia. But in spite of that, she risked everything to move his body from a smashed up car. But nobody would ever find out what really happened to him. It's too hard.

[Louie]

Stop it.

[Philip Marlowe]

You liars. Both of you.

[Austin Link]

I won't let you say things like that about my brother. You don't care if he's dead, Julia. You'll do all right. You've got the kind of beauty all the men go for.

[Philip Marlowe]

And you, Marlon, you crazy punk.

[Austin Link]

Stay back. Admit you're a liar, Marlow. Admit it or I'll kill you. I swear I'll kill you along with Julia.

[Julia Thayer]

You'll be doing me a favor. You haven't seen my face lately, have you, Ira?

[Austin Link]

I never want to see it.

[Philip Marlowe]

I think you better, kid.

[Julia Thayer]

Got a match, Marlow?

[Philip Marlowe]

Sure. Here, look.

[Julia Thayer]

Ira.

[Philip Marlowe]

You. You can't beat Julia.

[Julia Thayer]

I was burned, Ira. It happened to me when I tried to hide the kind.

[Philip Marlowe]

Kind of rotten trash that Dean had been mixed up with. The only reason she did it was because she loved her. Maybe more than you did. Now, come on, kid. Let's have that gun. You don't want to kill anybody. No. I don't want to kill anybody.

[Julia Thayer]

Julia. I'm sorry, Ira.

[Philip Marlowe]

Let him go, Julia. The hard part's over now. He'll be all right. I'll look in on him after a while, just to be sure. But what about you, huh?

[Julia Thayer]

What about me? I'll be okay, Mother. After I've done some thinking. This shock, I, I, I think it's what I needed. Goodbye.

[Philip Marlowe]

It's a dark tunnel, honey. Think you can find your way out alone?

[Julia Thayer]

Yeah. Yeah, I'll find a way out alone. One of these days.

[Philip Marlowe]

She was gone and I went back and climbed the stairs out of the tunnel and into the night again. As I drove slowly home, I thought of Julia alone in a dark, blind tunnel with no end to it. And then I. I thought of all the dark, blind tunnels that men stumble into. Tunnels of blind love and blind hate, of blind submission that let empty suits of armor conquer cities and men's minds. Tunnels of blind worry and blind greed, of blind ambition, of blind. But then I stopped. Because I was getting no place except into a blind alley.

[Gerald Moore]

The adventures of Philip Marlowe, bringing you Raymond Chandler's most famous character star Gerald Moore, are produced and directed by Richard Sanville and written for radio by Robert Mitchell and Gene Levitt. Featured in the cast were Loreen Tuttle, Bob S. Sweeney, Paul Dubov, David Ellis, Barney Phillips and Larry Dobkin. The special music is composed and conducted by Richard Arant. Be sure and be with us again next week when Philip Marlowe says, this.

[Philip Marlowe]

Time, greed in a green suede dress, a Die Hard from Dixie and a cuckoo coin collector added up to violent death for two and all over a half a buck in Confederate money.

[Gerald Moore]

Every Friday night, CBS brings you stories taken from the files of parole boards of the 48 states with only the names changed. These stories give in complete detail the events of a criminal's life up to the time he is up for parole. Then, before you hear the board's decision, you can make up your mind. Is this man ready to be set free? It's been hailed by press and public alike as an outstanding anti crime show. And you can hear it now by staying tuned because up for parole follows immediately on most of these same CBS stations. Roy Rowan speaking. This is cbs, where you play Sing It Again. Every Saturday night, the Columbia Broadcasting System.