The Adventures of Philip Marlowe: The Dear Dead Days 07/14/1951

Summary

Podcast Summary: The Adventures of Philip Marlowe: "The Dear Dead Days"

Introduction

In the episode titled "The Dear Dead Days," Choice Classic Radio Detective transports listeners to the golden age of radio with Raymond Chandler's iconic private detective, Philip Marlowe. Released on March 16, 2025, and set in 1951, this installment weaves a tale of mystery, art theft, and complex human emotions. Hosted by Choice Classic Radio, the episode promises an engaging narrative filled with suspense and classic detective work, all while capturing the essence of old-time radio storytelling.

Characters

• Philip Marlowe: The quintessential hard-boiled private detective with a sharp mind and a keen sense of justice.
• Phoebe Cardwell: A 75-year-old widow with a passion for art and a deep concern for her missing chauffeur, Stevens.
• Stevens: Phoebe's long-time chauffeur, whose sudden disappearance sets off the central mystery.
• Kip Harcourt: Phoebe's neighbor and friend, who provides insights into the local dynamics and secrets.
• Fritzi Ott: A skilled fencer involved in a clandestine operation to recover a valuable art collection.
• Percival Wallace: The reserved Director of the Live Oak Museum, Guardians of the missing Sing Wu jade collection.
• Belden: A diligent newspaper file clerk assisting Marlowe in his investigation.

Plot Summary

Opening Scenes and Initial Encounter

The episode opens with Philip Marlowe enjoying a slow Saturday morning, reveling in the leisure before plunging into his next case. At [01:49], Marlowe receives a visit from Phoebe Cardwell ([02:42]–[06:04]), an elegant and composed widow seeking his help to locate her missing chauffeur, Stevens. Phoebe's distress is palpable as she explains Stevens' unexplained absence, hinting at deeper underlying issues ([03:01]).

Investigating the Cardwell Residence

Marlowe visits Phoebe's bungalow in Venice, California, where he observes the meticulous yet somewhat out-of-place decor, notably featuring jade and gold artifacts ([06:04]–[07:11]). Phoebe's defensive demeanor and the peculiar absence of Stevens raise Marlowe's suspicions. Marlowe’s interaction with Phoebe reveals cracks in her composed façade, suggesting secrets she's determined to keep hidden ([24:24]–[24:57]).

Gathering Clues and Connecting Dots

Marlowe's conversation with Kip Harcourt ([13:43]–[14:42]) provides additional context about the Cardwell household and hints at financial strains following Horace Cardwell's death ([19:35]–[21:17]). Marlowe delves into the history of the Sing Wu jade collection, initially donated to the Live Oak Museum by Phoebe, which has been missing since Christmas 1947 ([19:42]–[21:17]).

His investigation leads him to discover that Stevens has been involved in shady dealings with Fritzi Ott to recover the missing art pieces ([15:56]–[17:59]). The tension escalates as Marlowe uncovers that Stevens might be siphoning assets from Phoebe to resolve financial issues stemming from her late husband’s debts.

Confrontation and Resolution

In a climactic confrontation ([25:35]–[28:32]), Marlowe confronts Stevens about his involvement with Fritzi Ott and the missing artifacts. Stevens reveals the strained financial situation and Phoebe’s unspoken struggles, adding layers of complexity to his character. Marlowe skillfully navigates the moral ambiguities, understanding Stevens’ actions while holding him accountable.

The resolution unfolds as the jade and gold pieces are returned to the Live Oak Museum, and Stevens receives a $20,000 check as part of a discreet arrangement facilitated by Marlowe ([27:21]–[28:32]). Phoebe expresses her gratitude, emphasizing the delicate balance between loyalty and desperation ([23:26]–[24:47]).

Key Moments and Notable Quotes

1. Phoebe's Plea for Help ([02:44]–[04:35])

   • Phoebe Cardwell: "You don't know me, Mr. Marlowe. My name is Phoebe Cardwell. Mrs. Phoebe Phoebe Cardwell."
   • This opening dialogue sets the stage for the mystery, introducing Phoebe’s urgent need for Marlowe’s assistance.

2. Marlowe's Observation of the Cardwell Residence ([06:04]–[07:11])

   • Philip Marlowe: "I saw the ring when I first sat down opposite her. A massive jade and gold carved with Oriental figures."
   • Marlowe’s keen eye for detail begins to unravel the complexities of Phoebe’s situation.

3. Discussion with Kip Harcourt ([13:43]–[14:42])

   • Kip Harcourt: "Helen married my money. Poor Phoebe. Horace didn't leave her a thing."
   • Highlights the financial struggles Phoebe faces, underlying her actions concerning Stevens.

4. Discovery of the Missing Collection ([19:42]–[21:17])

   • Philip Marlowe: "Phoebe had brought the Sing Wu jade collection to Live Oak Museum in the first place. Now she had some of it, Stevens had more..."
   • Connects the missing chauffeur to the broader art theft, deepening the plot.

5. Confrontation with Stevens ([25:35]–[28:32])

   • Philip Marlowe: "If I'm wrong, one of us deserves to be killed."
   • Demonstrates Marlowe’s resolve and the high stakes of the investigation.

6. Phoebe’s Gratitude and Revelation ([23:26]–[24:47])

   • Phoebe Cardwell: "This morning I was admiring your ring and the vases on the mantel."
   • Reveals that Phoebe knowingly gave Stevens the artifacts, adding complexity to her character.

Insights and Themes

"The Dear Dead Days" explores themes of loyalty, desperation, and the moral gray areas individuals navigate in times of crisis. Phoebe Cardwell's actions, driven by love and financial necessity, blur the lines between right and wrong. Stevens embodies the struggle between duty and personal ethics, while Marlowe serves as both investigator and moral compass, seeking justice without complete moral superiority.

The episode also delves into the allure and corruption of wealth, as seen through the missing Sing Wu jade collection. Art, valued both monetarily and culturally, becomes a symbol of the characters' internal and external conflicts. The intricate human relationships and the impact of past events on present actions are central to the narrative, offering listeners a rich tapestry of old-fashioned detective storytelling.

Conclusion

"The Dear Dead Days" is a quintessential Philip Marlowe adventure, blending mystery, character study, and moral dilemmas. Choice Classic Radio delivers a captivating episode that honors the legacy of Raymond Chandler while providing fresh twists and engaging dialogue. Through Marlowe's investigation, listeners are treated to a story that is as much about uncovering the truth as it is about understanding the human condition. This episode stands as a testament to the enduring appeal of classic detective tales and the timeless intrigue of Philip Marlowe.

Notable Production Elements

• Performance: Gerald Moore’s portrayal of Philip Marlowe captures the character’s iconic demeanor, blending toughness with introspection.
• Direction and Writing: Directed by Norman McDonnell and written by Kathleen Hite and Adrian John Doe, the episode maintains a seamless pace and authentic radio drama feel.
• Soundtrack: Special music by Pierre Garagank, conducted by Wilbur Hatch, enhances the atmospheric tension and emotional depth of the narrative.

Final Thoughts

For enthusiasts of old-time radio and classic detective stories, "The Dear Dead Days" offers a compelling episode that combines nostalgia with masterful storytelling. Choice Classic Radio continues to breathe life into beloved characters, ensuring that the golden age of radio detective fiction remains vibrant and engaging for contemporary audiences.

Transcript

[Philip Marlowe]

Your message amplified.

[Stevens]

Ready to share your message with the world? Start your podcast journey with Podbean.

[Phoebe Cardwell]

Podbean.

[Stevens]

Podbean.

[Phoebe Cardwell]

Podbean.

[Kip Harcourt]

Podbean.

[Philip Marlowe]

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. My school uses Podbean.

[Stevens]

My church too.

[Phoebe Cardwell]

I love it.

[Philip Marlowe]

I really do. 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].

[Narrator]

Most Saturdays at this time we spend an exciting half hour of adventure and 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. Hop along and Topper will be back with us riding the CBS air trails again, 10 weeks 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 or 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, Stardust, Philip Marlo. We bring you tonight's exciting story, the Dear Dead Days.

[Philip Marlowe]

I stood at the window and looked down at the Saturday morning traffic. A thousand inch worms playing Follow the Leader. To the beach, to the mountains, to Aunt Millie's, to any place I had time. A book. There was food in the refrigerator and a coffee cup in my hand. Across the room there was an easy chair, cigarettes on the table beside it. The clock said it was 9:15. I hadn't shaved and I wasn't going to. It was Saturday all day and it was mine. See? See? Where was I? Oh, yeah. Here it is. She was the most breathtaking thing he'd ever seen. She lay back on the divan, stretched, smiled languorously up at it. Oh no. Okay, okay. Hello?

[Phoebe Cardwell]

Mr. Marlowe? Mr. Philip Marlowe?

[Philip Marlowe]

Speaking.

[Phoebe Cardwell]

You don't know me, Mr. Marlowe. My name is Phoebe Cardwell. Mrs. Phoebe Phoebe Cardwell.

[Philip Marlowe]

Yes.

[Phoebe Cardwell]

Well, I thought perhaps the name would mean something to you.

[Philip Marlowe]

Cardwell? No, I'm afraid not.

[Phoebe Cardwell]

Oh, well, no matter. You do help people, don't you? I mean, if someone is missing, you find them.

[Philip Marlowe]

Well, sometimes, Mrs. Cardwell, it all depends. Have you checked the police?

[Phoebe Cardwell]

Oh, no, my dear. No, I wouldn't think of that. You see, it's Stevens, my chauffeur. Oh, well, now I must mislead you. Strictly speaking, he is not my chauffeur.

[Philip Marlowe]

But strictly speaking, he is missing.

[Phoebe Cardwell]

Yes, at least he seems to be. And I don't trust phones entirely, Mr. Marlowe. I couldn't even have called you except Matilda went to a friend's and I do need your help.

[Philip Marlowe]

Yeah, I see. Well, you could come out right away.

[Phoebe Cardwell]

It's most important to me. I live in Venice, Mr. Morrow. If you drive down Sepulveda to Washington.

[Philip Marlowe]

Boulevard, well, what do you do? Maybe I thought about my grandmother. Maybe I thought of 25 bucks a day. I don't know. Whatever it was, I joined the inchworm. Anonymity that was the traffic line of the beach cities. Now, Venice is not a spot to which I normally gravitate. But there was something in Mrs. Phoebe Cardwell's distinguished old voice that told me this was not a Saturday for normalcy. The house was what used to be called a bungalow. And the ramrod little figure waiting for me in the doorway was what used to be called beautiful. Phoebe Cardwell, for all her 75 years, had worn well and knew it.

[Phoebe Cardwell]

It's just possible that I didn't make myself entirely clear on the phone, Mr. Marlowe, about Stevens.

[Philip Marlowe]

Well, he's your chauffeur, and he's missing, huh?

[Phoebe Cardwell]

He was my chauffeur. It seems like a very long time ago since I've seen him. You see, after Horace died in 1948. Horace was my husband. You see, after Horace died, Stephen stayed on to drive for the family who took our Pasadena house. Oh. Oh, he did this with my blessing, of course. Horace, rest him, left me very little, really. I say this with no malice, Mr. Marlowe. Merely to point out that for me to retain Stevens was quite out of the question.

[Philip Marlowe]

Yeah. Yeah, I suppose so.

[Phoebe Cardwell]

So I moved in with my younger sister, Matilda. She's visiting a friend at the moment. I. I wouldn't want Matilda to share my concern over Stevens. And I'm sure you'll respect that.

[Philip Marlowe]

Oh, of course, Mrs. Godwell.

[Phoebe Cardwell]

Thank you.

[Philip Marlowe]

Now, look, so far as you know, is Steven still driving for the family who took your house?

[Phoebe Cardwell]

Oh, I'm sure he is. He must be. It's just that, well, on Thursdays, his day off, he always brought the limousine over to take me for rides and run my little errands. Oh. Understand. Now, the Brandts are fully aware of this.

[Philip Marlowe]

That's the family he works for who.

[Phoebe Cardwell]

Have my home in Pasadena.

[Philip Marlowe]

And Stevens hasn't been to see you in some time?

[Phoebe Cardwell]

In weeks. And not A word, you understand. I. I find it difficult to tell you precisely how I feel about this, Mr. Marlowe. Stevens is like a son to me. Perhaps he's ill or troubled. Oh, I'd want to know that. I might be able to help.

[Philip Marlowe]

You phoned, I suppose.

[Phoebe Cardwell]

Oh, I'm embarrassed to say how many times, but no answer. None at all. Oh. Oh, I have a writing desk in my room, Mr. Marlowe. I'll write the Pasadena address and phone number for you. My number, too. Oh, I shan't be a moment. Now.

[Philip Marlowe]

I'd seen the ring when I first sat down opposite her. First because it was big, almost massive on a tiny right hand. Then because it didn't fit the rest of the lavender and Olace picture that she presented. A massive jade and gold carved with Oriental figures, a foreboding thing that reaped quality of its kind and value. After she left, the vases jumped out at me from the mantel. Small gold and jade again, and as incongruously out of place as Phoebe Cardwell in sister Matilda's bungalow.

[Phoebe Cardwell]

There, now, that didn't take long, did it?

[Philip Marlowe]

Oh, not long at all.

[Phoebe Cardwell]

Oh, I like you, Mr. Marlowe. You'll find Stevens for me, I know.

[Philip Marlowe]

Well, I hope so, Mrs. Caldwell. And if I do, what'll I tell him?

[Phoebe Cardwell]

That I want to see him or hear from him. Stevens will understand.

[Philip Marlowe]

Yeah. Well, I. Oh, dear.

[Stevens]

Huh.

[Phoebe Cardwell]

That's Matilda. Phoebe. Phoebe, I'm home, dearie.

[Philip Marlowe]

So.

[Phoebe Cardwell]

So I see, my dear. Mr. Barlow, may I present my sister, Miss Reed? Miss Reed with an eye like Wallace reed, I'm sure, Mr. Marlowe. Oh, but maybe you don't remember, Wally.

[Philip Marlowe]

Well, I tell you, I dabbled in.

[Phoebe Cardwell]

Theatricals at one time. Mr. Marlowe. Dabbled in theatricals? I was in pictures in the golden era, Mr. Marlowe, when silence was golden.

[Philip Marlowe]

Oh, that Wallace Reed. Yes.

[Phoebe Cardwell]

Mr. Marlowe's in insurance, my dear, and some younger than we are. Did you see the covered wagon? Ernest Torrance. I had a big scene with him on the prairie. Right by one of the wagon. Whee.

[Philip Marlowe]

No, not first run. I'm waiting for it to come to my neighborhood theater. Matilda was a doll. Real life kewpie doll. But her role in this thing was strictly comedy relief. The drama, if there was any, was Phoebe Caldwell, a missing chauffeur that wasn't hers anymore. And the glaring memory of jade and gold that didn't seem to fit anywhere. Well, I missed a house on Orange Grove Avenue by two numbers, parked the car and walked back. The old Cardwell place was Set well back from the street. And its solid red brick looked big, important and empty.

[Kip Harcourt]

Nobody home.

[Philip Marlowe]

Hmm?

[Kip Harcourt]

Nobody home.

[Philip Marlowe]

At first I thought there were three honey colored afghans on the lawn next door. But the one in the middle was talking to me. And as I walked closer, I could see she was by far the prettiest and undoubtedly something more than man's best friend.

[Kip Harcourt]

The Brants are at Emerald Bay for the summer. I thought I told everyone.

[Philip Marlowe]

Yeah, well, I'm the one who forgot to ask you. My name's Marlow.

[Kip Harcourt]

I'm Kip Harcourt. Margaret, really. Kip's for the reserve section.

[Philip Marlowe]

Hello, Kip.

[Kip Harcourt]

I've never seen you before.

[Philip Marlowe]

Yeah, well, believe me. I'm sorry.

[Kip Harcourt]

I believe you. Marlowe.

[Philip Marlowe]

Yeah. I got. I got a first name I like.

[Kip Harcourt]

Marlow. Forget about the brands. Come on and play on this side of the hedge.

[Philip Marlowe]

I don't know the Pasadena rules.

[Kip Harcourt]

Same as Texas.

[Philip Marlowe]

Yeah. Looks like we're gonna have to move over.

[Kip Harcourt]

I'll give Stevens a raise for this.

[Philip Marlowe]

Thought you said nobody was home.

[Kip Harcourt]

Stevens doesn't count.

[Philip Marlowe]

He does with me. Don't move. I want to remember you like this always. You'll be back this you know. Hey. Hey, Stevens. Stevens, wait a minute. I'd like to see you.

[Stevens]

Yes, sir.

[Philip Marlowe]

I'd like to talk to you about Mrs. Cardwell.

[Stevens]

Is something wrong, sir?

[Philip Marlowe]

Oh, no, no, she's fine. I'm Philip Marlow. Stevens. Is there someplace we can have a visit?

[Stevens]

Upstairs over the garage in my quarter, Sir. Come along. Mrs. Cardwell isn't ailing, she said.

[Philip Marlowe]

Oh, no. It looked fine when I left it less than an hour ago.

[Stevens]

I'm glad to hear that. Yeah. Here we are. Come inside, sir.

[Philip Marlowe]

Hey, nice place you've got here, Stevens.

[Stevens]

It's a bit stuffy in here. I'm afraid I've been closed up a few days.

[Philip Marlowe]

Oh.

[Stevens]

No, sit down, sir.

[Philip Marlowe]

Thanks. Say, Stevens, Mrs. Cardwell misses you and you can drop the sir with me. Marlowe will do.

[Stevens]

I'll try, sir. Mr. Marlowe. But a habit of 20 years or so, you know.

[Philip Marlowe]

Sure.

[Stevens]

Now, Mrs. Cardwell misses me. Is that what you've come to tell me?

[Philip Marlowe]

That's about all she told me, Stevens. I understand you skipped a few of your regular Thursday visits with her and, well, she's concerned about you.

[Stevens]

Well, I must say that's generous of her. Of course, it's not been a few visits at all, Mr. Marlow. I've missed the last two Thursdays. And for a quite legitimate reason. My employers, the Brandts, have opened their Emerald Bay Place.

[Philip Marlowe]

Yeah, so Kip told me. Uh, Ms. Harcourt.

[Stevens]

I mean, Mrs. Harcourt, sir.

[Philip Marlowe]

Oh, really? That's too bad.

[Stevens]

Is it, sir?

[Philip Marlowe]

Yeah. Well, look, Mrs. Caldwell seems like a nice old lady. You know, what you mean to her. It's not just you she misses, you understand? It's a way of life. Something she was part of and enjoyed. Status, I think they call it. You know, it can be pretty important, Stevens.

[Stevens]

I understand that, sir.

[Philip Marlowe]

Sure you do. You'll give her a break. I know. Call her. Now that you're back in town, you know, keep in touch, huh?

[Stevens]

Yes, I. Oh, excuse me.

[Philip Marlowe]

Sure.

[Stevens]

Don't leave, sir, please. There's something I'd like to ask you.

[Philip Marlowe]

Steven seemed like a right guy. Anyway, I was wondering about Kip. Mrs. Harcourt. I had her figured, all right, but not for married. I dismissed it at the back of my mind and started casing Steven's little palace. It was nice enough in the brown to gray motif. Neat, tidy, like Steven's, except. Except for a bunch of packing boxes grouped in the corner behind the divan. And on top of them, three items that stopped me cold. A large bowl, a smaller one, and a long oblong box, all a mass of jade and gold carved with Oriental figures.

[Stevens]

You admire oriental art, Mr. Marlowe?

[Philip Marlowe]

Not specially. Do you, Stevens?

[Stevens]

Not specially, sir.

[Philip Marlowe]

You. You said you'd like to ask me something.

[Stevens]

Yes, and if I may, sir, I'd appreciate a straight answer.

[Philip Marlowe]

All my answers are straight, Stevens. It's my questions that get tricky.

[Stevens]

I'll remember that, sir. Are you certain you've told me everything Mrs. Cardwell said about me?

[Philip Marlowe]

Very certain.

[Stevens]

Does it strike you as odd, sir, that she'd hire a man of your particular capabilities to deliver the simple message that she misses me?

[Philip Marlowe]

Matter of fact, it does. Stevens strikes me as very odd. I couldn't tell Stevens anymore because I didn't know anymore. It was my turn to ask questions, but I didn't have any yet. I was closing in on a pretty good one as I started down the drive again, but it got lost in the shuffle.

[Kip Harcourt]

I knew you'd be back, Marlowe.

[Philip Marlowe]

Hmm. You always arrive unannounced, don't you, Mrs. Harcourt?

[Kip Harcourt]

Henry's in Balboa. You're here.

[Philip Marlowe]

Henry's out of his mind.

[Kip Harcourt]

Don't you want a drink or something?

[Philip Marlowe]

Yes, Kip. There is something I want.

[Kip Harcourt]

Well, come on.

[Philip Marlowe]

At the moment, a telephone.

[Kip Harcourt]

Come on anyway.

[Philip Marlowe]

Podbean, your message amplified.

[Stevens]

Ready to share your message with the world? Start your podcast journey with Podbean.

[Philip Marlowe]

Podbean, the AI powered all in One podcast platform. Thousands of businesses and enterprises trust Podbean to launch their podcasts.

[Phoebe Cardwell]

Use Podbean to record your podcast.

[Stevens]

Use PodBean AI to optimize your podcast.

[Phoebe Cardwell]

Use PodBean AI to turn your blog into a podcast.

[Stevens]

Use Podbean to distribute your podcast everywhere.

[Philip Marlowe]

Launch your podcast on PodBean today.

[Kip Harcourt]

You know, Marlo, you're an odd one.

[Philip Marlowe]

Yeah, everybody says so.

[Kip Harcourt]

Yeah, you're really coming into the house to use the phone, aren't you?

[Philip Marlowe]

Well, like I said, I'm an odd one. Where is it?

[Kip Harcourt]

To the right in the library.

[Philip Marlowe]

Thanks.

[Kip Harcourt]

Are you a friend of Stevens?

[Philip Marlowe]

Why?

[Kip Harcourt]

Because you're not a friend of the Brandts.

[Philip Marlowe]

Yeah, well, I'm really A friend of Mrs. Cardwell's.

[Kip Harcourt]

Phoebe's? Why didn't you say so?

[Philip Marlowe]

Would it have mattered little?

[Kip Harcourt]

I lived next door to Phoebe and Horace for years.

[Philip Marlowe]

Here, here.

[Kip Harcourt]

It's my house. Henry married my money. Poor Phoebe. Horace didn't leave her a thing. No one understood. It leans against the estate as big.

[Philip Marlowe]

As a house, big as the Caldwell house.

[Kip Harcourt]

That's how the Brands got it. Is she still interested in art or do you know?

[Philip Marlowe]

Oh, I think so. Only on. Maybe not such big scale.

[Kip Harcourt]

Beautiful wings. She donated to the museum. I guess she never gets over here anymore.

[Philip Marlowe]

No, not much. Say, you know, I forgot the name of that museum. She mentioned it.

[Kip Harcourt]

Live Oak Museum on California Street.

[Philip Marlowe]

Oh. Oh, yeah.

[Kip Harcourt]

Yeah, I liked Phoebe. Tell her Kip says hi when you see her.

[Philip Marlowe]

Yeah, I will.

[Kip Harcourt]

You still want to use the phone, Marlo?

[Philip Marlowe]

I used the phone. I called Phoebe Cardwell, explained Stephen's absence and gave her Kip's best, and the case was closed. All I had to do was wait for a check. But all of a sudden, I didn't feel very good about any of it. It was like a hangover, you know? I felt something should make sense, but nothing did. The jade and gold at Phoebe's. The stuff in Steven's quarters that looked just like it. Was it hers? Did she give it to him? Did he take it? Questions I had, but no answers. I stood there at the window in Kip's library and watched a car pull to a stop in front of the old Caldwell place. Watched a thick little man get out and start to walk up the gravel driveway. I wasn't sure until he walked right past the library window. Then I knew I had the beginnings of all the answers. The thick little man was Fritzi Ott, one of the better fencers around town. And he was on his way to see Stevens a minute Later, Kip told me of empty servants quarters over her garage. Another minute later and I was there. The two garages weren't six feet apart and there was lots to hear if you listened. I listened.

[Fritzi Ott]

But look, Stevie boy, you don't have it all.

[Stevens]

It's not quite the point, mister. Can you dispose of it?

[Fritzi Ott]

I don't know. Two things, Stevie boy. One, collection's a tough defense. Real tough. Two, this isn't the whole deal.

[Stevens]

I. I don't understand.

[Fritzi Ott]

This isn't the whole deal. Some pieces missing. I've seen pictures of the Cin Coo collection. Some pieces are missing here.

[Stevens]

Two vases and a ring to be exact.

[Fritzi Ott]

Yeah, you're right. You got them?

[Stevens]

Not exactly. I. I might be able to get them.

[Fritzi Ott]

Look, I'm trying to tell you, Stevie boy. One, I'm not even sure I can fence the whole collection. But two, I ain't got a prayer of doing it if it's incomplete. Are you with me there? Do you understand that?

[Stevens]

Yes. Yes, I. I understand. Might take time to obtain the other pieces.

[Fritzi Ott]

Then you better spend some time, Stevie boy, or we got no arrangement whatsoever. I tell you, I'll nose around, see what's the best deal I can get. Providing you deliver the full treatment. You see what you can do about getting it. And we'll meet here tomorrow at noon.

[Stevens]

But I really don't think it. Oh, never mind. I. I've got to have the money. All right. Tomorrow at noon.

[Philip Marlowe]

You didn't have to hang any signs on it. It was all there. Or most of it was. The Sing Coo collection meant very little to me, but it meant money to Stevens and Fritzi Ott. I had an idea it meant something else again to Phoebe Caldwell. And I had another idea. The Live Oak Museum on California street and the wing that Phoebe had donated to it. I couldn't risk the delay of a Texas rules bout with Kip. So I skirted the house and ran through the dust to my car. Five minutes later, I stood in front of the words Live Oak Museum. Percival Wallace, Director. Open to visitors nine to five weekdays. Nine to 12 Saturdays. 12 to five Sunday afternoon. Oh, nut.

[Stevens]

Not interested in art, eh, Mr. Marlow?

[Philip Marlowe]

We've done that bit, Stevens. My answer was not specially.

[Stevens]

I dislike dissuading you in this manner, sir. But I'm a quite accurate shot.

[Philip Marlowe]

You know. I believe that, Stevens.

[Stevens]

If I can't persuade you with this warning, I'll not hesitate to use this gun. I'll not hesitate at all, sir.

[Narrator]

In just a moment, we will return to the second act of Philip Marlow. But first, now that vacation time is here, our streets and highways are more crowded than ever. Don't take chances. Obey the traffic rules and drive carefully. The life you save may be your own. And now, with our star, Gerald Moore, the second actor, Philip Marlow. And tonight's story, the dear dead Days.

[Philip Marlowe]

Stevens had a dominant personality for a chauffeur. He could give orders as well as take them. And I'm not a man who's at his best tearing down the nose of an automatic. Now, we told each other a very proper good evening. And he left me with my thoughts, which were several and urgent. I bundled them together and headed for the Times office in downtown la. Note, there's just one thing mustier than an old newspaper file. It's the man who files it.

[Belden]

1948 was a big year. News wise. Philip, the files are heavy.

[Philip Marlowe]

How was it? Obituary wise. Belton. That should lighten it. Uh huh.

[Belden]

Local, national or international?

[Philip Marlowe]

Local. Pasadena.

[Belden]

Name, address?

[Philip Marlowe]

Horace Cardwell. Orange Grove Avenue.

[Stevens]

M.M. cardwell, Horace.

[Philip Marlowe]

That's it. That's it.

[Belden]

January 30, 1948. Page one, part two. That's a good spot. Page one, part two. Best local obit spot in the paper.

[Philip Marlowe]

Oh, I'll bet Horace was proud like anything. Let's see here. Gandhi. Oh, here it is. Here it is. Mr. Cardwell is survived by his wife, Phoebe. Reed Caldwell at home, period. Nothing. Hey, Belden, you got one for her? Her Phoebe Cardwell.

[Belden]

When she go.

[Philip Marlowe]

She hasn't.

[Belden]

She's somebody.

[Philip Marlowe]

She's somebody. Cardwell, Mrs. Horace. Parenthesis. Phoebe Reid. Close parenthesis. Triad. Belden. All right.

[Belden]

Well, she could be more. She'll never make part two, page one at this rate.

[Philip Marlowe]

Yeah, that's too bad. But read it anyway, huh?

[Belden]

Born Waterloo, Iowa, June 7, 1876. She's Gemini Fellow.

[Philip Marlowe]

That's wonderful. Will you just. Oh, yeah, okay.

[Belden]

Married Horace Carwell. So and so.

[Philip Marlowe]

So and so.

[Belden]

Old California she was. So and so and so and so. So and so. Chairman of Art and Culture Committee, Live Oak Museum, Pasadena.

[Philip Marlowe]

That's it. Go ahead.

[Belden]

Traveled extensively all over world. Brought back many valuable paintings, objects, the art.

[Philip Marlowe]

Yeah, it's reasonable.

[Belden]

To the museum most famous of which is Sing Wu collection of jade. And that's about it. Philip.

[Philip Marlowe]

I love you, Belden. Thanks. So Phoebe had brought the Sing Wu jade collection to Live Oak Museum in the first place. Now she had some of it, Stevens had more, and Fritziat was even now nosing around for a taker. Where did that leave the museum? Nowhere. So far as I knew, except closed till noon tomorrow, Sunday. And noon tomorrow, Sunday would be too late. Fritzi and Stevens would be together by that time. Note, Percival Wallace is a quiet little man who doesn't like to talk to private eyes about museum business at home or anywhere. The museum has operated for 30 years.

[Stevens]

Mr. Marlow, and not one shred of notoriety. Not one tray.

[Philip Marlowe]

Well, I think we can keep the record clean, Mr. Wallace. All I want to know is when the Sing Wu collection was stolen from the museum. I didn't say it was stolen. I said we no longer had it. Okay, you no longer have it. How long have you no longer had it? It was since Christmas week, 1947. Would you notify the police? Certainly not. Why, Mr. Marlow, I tried to tell you. Not one shred of notoriety in 30 years. Yeah, but it's a valuable collection. And it's missing. Board of directors did subscribe to a reward, Mr. Marlowe. Only a fraction of the Sing Wu's real worth of courts. A mere $20,000. But of course, this was done very quietly. Very quietly. So quietly nobody knows about it. All right, tell me, did Mrs. Caldwell contribute to the reward? I don't recall. And you wouldn't say if she did. Thanks, Mr. Wallace. You're just downright bullying. I got to Phoebe Caldwell, small bungalow in Venice in time to see a live raid limousine pull away from the. A few minutes after I got lost with the rest of the Inchworms, the light up at night variety, Mrs. Caldwell ushered me into the living room. When she turned on the lights, everything in the room jumped out at me again. The pink dogs, the blue cats, the souvenir pillows. But the most notable things in the room were the jade and gold vases that were gone from the mantle and the jade and gold ring that was missing from Phoebe Caldwell's old hand.

[Phoebe Cardwell]

This is delightful, Mr. Marlowe. Genuinely delighted.

[Philip Marlowe]

Yeah, well, I was afraid it might be a little too late to call.

[Phoebe Cardwell]

Oh, ordinarily, yes. Oh, but not tonight.

[Philip Marlowe]

Why?

[Phoebe Cardwell]

You just missed him, Stevens. He came back and took me for a drive. I just this minute got home.

[Philip Marlowe]

Oh, that's fine.

[Phoebe Cardwell]

Oh, thanks to you, Mr. Marlowe. I'm so grateful. He hadn't forgotten about me, you know. No, he'd been busy.

[Philip Marlowe]

Oh, sure, yeah, I bet he has.

[Phoebe Cardwell]

I'm embarrassed not to have mentioned it sooner, but I have your money for you. Your fee.

[Philip Marlowe]

Oh, there's no hurry, honey. In fact, I've done so little that I.

[Phoebe Cardwell]

No, no, no, I won't hear of that. I'll pay you in full, of course.

[Philip Marlowe]

All right. Say, this morning I was admiring your ring and the vases on the mantel.

[Phoebe Cardwell]

Were you indeed? Well, I'm glad. They're quite nice, you know.

[Philip Marlowe]

Yes, they were. Did you give them to Stevens, Mrs. Cardwell?

[Phoebe Cardwell]

I beg your pardon?

[Philip Marlowe]

Did you give them to Stevens?

[Phoebe Cardwell]

Why, really, Mr. Marlowe, you surprised me. That is none of your affair.

[Philip Marlowe]

You know, I'm a curious fellow.

[Phoebe Cardwell]

I secured your services to perform a specific task. You've done that. I certainly do not intend to discuss Stevens or anything pertaining to him with you, Mr. Marlowe.

[Philip Marlowe]

All right. We'll leave it that way.

[Phoebe Cardwell]

Not a word of any of this to Matilda. Now, Phoebe, dear. Oh, and Mr. Marlowe again?

[Philip Marlowe]

Yeah, I was just leaving.

[Phoebe Cardwell]

I told the girls at the club all about you. And I am right, aren't I? You are Julia Marlowe's son.

[Philip Marlowe]

Julia Marlowe I?

[Phoebe Cardwell]

The actress? She played Barbara Fritchie for years.

[Philip Marlowe]

She did? Well, I'm sorry, but there are no Fritchies in our families. For years, either side.

[Phoebe Cardwell]

Really, Matilda. Mr. Marlowe's busy. He was just leaving.

[Philip Marlowe]

Yes, wasn't I?

[Phoebe Cardwell]

Philip Fritchie Marlow. Twould have been a beautiful name.

[Philip Marlowe]

The lights in Kip Harcourt's house were off when I got back to Pasadena. Those in Stevens quarters above the garage were still on. It was better that way. I wasn't worried about Steven's automatic anymore. There was a very good chance he wouldn't use it. Hey, Stevens, It's Marlow. Open up.

[Stevens]

Apparently, I didn't make myself clear, Mr.

[Philip Marlowe]

Marlow, sir, if you still want to try your aim when I finish talking, I'll be a willing target.

[Stevens]

Come in, sir.

[Philip Marlowe]

It's almost midnight. You're meeting Fritzi at noon tomorrow. We're gonna have to work fast.

[Stevens]

I warned you to stay out of it, Mr. Morris.

[Philip Marlowe]

Now, listen, Stevens. Hear this. I know about a lot of it, and I got some good guesses on the rest. Let's make a deal. I'll tell you what I know and what I guess. If I'm right, you can get in touch with Fritzi tonight.

[Stevens]

And if you're wrong?

[Philip Marlowe]

Well, if I'm wrong, one of us deserves to be killed.

[Stevens]

Go ahead, sir.

[Philip Marlowe]

Okay. Horace Caldwell was a wealthy man. A very wealthy man. He was a good businessman. And he loved his wife very much.

[Stevens]

That's right, sir.

[Philip Marlowe]

When he died, there was almost no money. A small amount, maybe for Phoebe. But the house, everything in it, the cars, everything went to pay off debts, liens against the estate.

[Stevens]

What else do you Know that Phoebe.

[Philip Marlowe]

Cardwell contributed a wing to the Live Oak Museum. That she brought our treasures from all over the world to put in it. Including the Sing Wu jade collection. That the collection's been missing from the Caldwell wing since Christmas 1947. Harris died of a cerebral hemorrhage in January 1948. And nobody wants to talk about who took the collection. Least of all the people at the Live Oak Museum.

[Stevens]

And what do you guess from all this, sir?

[Philip Marlowe]

That a man, even a very wealthy man, can run out of money. Especially if he has a wife who's a wonderful woman with an eye and a hand for expensive art treasures. If he'd be sick, Stevens, kleptomania isn't homeless.

[Stevens]

I know, sir. It's. It's been such a well guarded secret. Took all Mr. Harris had to pay for the things she. She took people to watch her, keep track of her. You know her, sir. He couldn't bear to get help for her. Psychiatric help. Now she needs money just to live on. She has so little.

[Philip Marlowe]

And you love her very much, don't you?

[Stevens]

Yes. Yes I do.

[Philip Marlowe]

Well, she can't have too many more years, Stevens. And $20,000 is a lot of money.

[Stevens]

$20,000, mister.

[Philip Marlowe]

Now look, Stevens, you call it a well guarded secret. Believe me, it was and it is. Even those of you who've been protecting Phoebe all these years haven't leveled with each other. How she moved the collection out of there, I'll never know. But the Museum's had a 20,000 buck reward for its return for several years.

[Stevens]

I didn't know that, sir.

[Philip Marlowe]

I know you didn't. And it suddenly dawns on me that Phoebe's been handing you the Singwu collection bit by bit ever since she. Well, came by it. Maybe an appreciation for your years of faithful service, huh?

[Stevens]

Well, she. She said it might come in handy, sir, if I ever needed money. If I needed money, Mr. Marlowe.

[Philip Marlowe]

Yeah, I know, Stevens. Hey, you got a conflict tomorrow. You can't be here meeting Fritzi. And be at the Live Oak Museum when it opens at noon too.

[Stevens]

Well, I. I'll call Fritzi, tell him our arrangement is off.

[Philip Marlowe]

And Stevens, can't you just see Percival Wallace's face tomorrow when he eyes the Singwoo collect? Footnote to a happy ending. By 12:30 Sunday afternoon, the museum had the collection. Stevens had a certified check for $20,000. And we had an understanding that Phoebe Cardwell would suddenly discover that Horace had left us some money after all. 20,000 in a checking account that had somehow been overlooked. Till now. Oh, well, the rest of Sunday was all mine. I stood at my window and looked down on a Thousand Inch Worms playing Follow the Leader. Back from the beach, the mountains, from Aunt Millie's, from anywhere. All kinds of people. Nice people, not so nice people. Dames like Kip whose husbands took trips. Sweet, harmless old ladies who took collections. Oh, well, where's that book? Oh, yeah. Now, where was I? Oh, yeah. Here it is. She was the most breathtaking thing he'd ever seen. She lay back on the divan, stretched and smiled languorously. Up there.

[Narrator]

The adventures of Philip Marlowe bringing you Raymond Chandler's most famous character. Star Gerald Moore are produced and directed by Norman McDonnell and was written for Radio Tonight by Kathleen Hite and Adrian John Doe. Featured in the cast were Verna Felton, Bill Johnstone and Lynn Allen. With Anne Morrison, Ralph Moody, Jerry Hausner and Sidney Miller. Gerald Moore may soon be seen in the Santana production Sirocco. The special music is composed by Pierre Garagank and conducted by Wilbur Hatch. Be sure to listen again next week at the same time when Philip Marlow.

[Philip Marlowe]

Says, this time a pair of green eyes held a promise. A house on Bedford Drive held a murder A Malibu motel held a secret and I almost held the sack.

[Narrator]

Songbird Evelyn Knight, a favorite CBS singing star, helps out vocally on the Mario Lanza show tomorrow evening on most of these same CBS stations. Stay tuned now for Gangbusters, which follows immediately over most of these same CBS stations. Roy Rowan speaking. This is CBS here. Horace Hyde. Every Sunday night, the Columbia Broadcasting System.