The Adventures of Philip Marlowe: The Fifth Mask 09/08/1950

Summary

Choice Classic Radio Detectives | Old Time Radio
Episode: The Adventures of Philip Marlowe: The Fifth Mask
Release Date: February 9, 2025

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Introduction

The Adventures of Philip Marlowe: The Fifth Mask transports listeners to the quintessential noir world of Raymond Chandler's iconic private detective, Philip Marlowe. Set against the backdrop of 1950s Los Angeles, this episode delves into a complex web of deceit, danger, and dark motives. Gerald Moore masterfully voices Marlowe, navigating through treacherous encounters and unraveling the mystery behind Vivian Barr's untimely death.

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Initial Setup

The episode opens with Philip Marlowe being summoned by Vivian Barr, a distressed woman fearing for her life due to threats from Fred Sears, a man from her past. Marlowe's skepticism is immediately apparent as he questions the urgency and validity of Vivien's fears.

Philip Marlowe (00:25): "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."

Vivian Barr, portrayed by Frances Robinson, entrusts Marlowe with her predicament, highlighting the seriousness of the threat against her.

Vivian Barr (00:14): "From the pen of Raymond Chandler, outstanding author of crime fiction, comes his most famous character in The Adventures of Philip Marlowe."

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Investigation Begins

As Marlowe delves deeper, he uncovers inconsistencies in Fred Sears' story. A critical encounter occurs when Marlowe spots Mutt Pomeroy, a sleazy ex-colleague, tailing him. This confrontation heightens the tension and propels Marlowe further into the investigation.

Mutt Pomeroy (04:40): "Oh, well, Phil Marlow. What do you say, kid? How's business?"

Philip Marlowe (05:10): "Well, I thought your license was dead, Pomeroy."

Marlowe's keen observation skills lead him to Douglas Peck, who provides a crucial lead about Sears' whereabouts.

Philip Marlowe (09:15): "Any help, I'll let you know. Thanks a lot, baby."

---

Confrontations and Clues

Marlowe's relentless pursuit takes him to the opulent McKay Mansion in Beverly Hills, where he engages with Mona Paxton and Celia McKay Paxton. The Paxtons' guarded demeanor raises Marlowe's suspicions, particularly when he discovers a cryptic note left by Sears at Vivian Barr's scene.

Philip Marlowe (07:38): "One good reason why Vivian Barr ended up like that."

Celia McKay Paxton (12:11): "This has gone far enough as preposterous, Mr. Marlowe, until you mention their names."

These interactions are laced with tension, as Marlowe skillfully extracts information while navigating the Paxtons' evasive responses.

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Revelation of Truth

The climax unfolds when Marlowe locates Sears at a secluded beach house in Santa Monica. Initially believing Sears to be the perpetrator, Marlowe's investigation takes an unexpected turn. Upon further scrutiny and with the help of Mutt Pomeroy, Marlowe pieces together the true motive behind Vivian Barr's murder.

Philip Marlowe (27:21): "Mona Paxton killed Vivian because Vivian was blackmailing her brother. And that in turn was about to ruin a business deal. It meant a lot to her. An awful lot."

The revelation not only clears Sears of wrongdoing but also exposes the depths of corruption and manipulation within the Paxton household.

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Conclusion and Reflections

In the aftermath, Marlowe reflects on the human condition and the facades people maintain. The symbolic act of throwing the mask into the ocean serves as a poignant metaphor for the hidden truths we all carry.

Philip Marlowe (28:37): "A little mask. We all wear them one way or another. We've all got something to hide. Maybe that's what's wrong with people, huh? They all think they've got to hide from each other and from themselves."

This introspective moment underscores the episode's themes of identity, deception, and the eternal struggle between one's public persona and private realities.

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Notable Quotes with Timestamps

• Philip Marlowe (00:25): "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."

• Mutt Pomeroy (04:40): "Oh, well, Phil Marlow. What do you say, kid? How's business?"

• Philip Marlowe (07:38): "One good reason why Vivian Barr ended up like that."

• Philip Marlowe (12:11): "This has gone far enough as preposterous, Mr. Marlowe, until you mention their names."

• Philip Marlowe (27:21): "Mona Paxton killed Vivian because Vivian was blackmailing her brother."

• Philip Marlowe (28:37): "We all wear them one way or another. We've all got something to hide."

---

Final Thoughts

The Fifth Mask is a masterful addition to the Philip Marlowe series, blending intricate plotting with deep character exploration. Through Marlowe's unyielding pursuit of truth, listeners are treated to a narrative rich with suspense, moral ambiguity, and timeless noir charm. Choice Classic Radio's meticulous production and Gerald Moore's compelling performance ensure that this episode stands as a testament to the enduring legacy of old-time radio detectives.

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Be sure to tune in next week for another thrilling adventure with Philip Marlowe, where justice is elusive, and the shadows of Los Angeles harbor secrets untold.

Transcript

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[Philip Marlowe]

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

[Vivian Barr]

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 Marlow, we bring you tonight's exciting story, the Fifth Mask.

[Fred Sears]

Brother, am I glad to see you. You are Philip Marlowe?

[Philip Marlowe]

Yeah, yeah, I'm all over.

[Fred Sears]

Well, come on in. You're not exactly what I expected, Phil. No, I didn't realize private detectives came in the deluxe edition. You'd like a drink, wouldn't you?

[Philip Marlowe]

Now, look, when you called me a few minutes ago, it was strictly panic because your life was in danger. Ms. Barn.

[Fred Sears]

Vivian will do, Phil.

[Philip Marlowe]

Yeah, well. Okay, Vivian. What's happened in the meantime?

[Fred Sears]

Happened? Nothing. Why?

[Philip Marlowe]

You seem pretty well balanced for somebody on the edge of being a homicide statistic.

[Fred Sears]

I'm doing my best to hang on to myself, that's all. But now that you're here, I can breathe again. You just sit down, won't you? Over there. I'll fix the drinks. We're going to get along fine, Phil. I can tell.

[Philip Marlowe]

Yeah, well, could be.

[Fred Sears]

There. Now we can be more comfortable. Your health, Phil.

[Philip Marlowe]

Your health is supposed to be the point, baby. You said a man threatened your life.

[Fred Sears]

Yes, a man named Fred Sears, a character I used to know. He was hurt in a hotel fire six months ago. Oh, must have been his head. He thinks he wants to kill me and he's come to town to do it. But now that you're here, I. I.

[Philip Marlowe]

Suppose he's got reasons, huh?

[Fred Sears]

Do they matter?

[Philip Marlowe]

Yeah, to me, at least. I like to know which end of the stick is short before I grab.

[Fred Sears]

Well, I'm not even sure myself. I only knew Sears briefly. Here. Here's his picture. Marlowe.

[Mona Paxton]

Oh.

[Fred Sears]

The whole affair was stupid.

[Philip Marlowe]

So you brought it to me instead of the police, huh?

[Fred Sears]

I brought it to you because I need private help and I'm willing to pay for it. Pay very well, I might add. Oh, look, Phil, you don't have to bother about the reasons why. Just see that Fred Sears leaves me alone tonight. It shouldn't be hard. Is your drink all right?

[Philip Marlowe]

Delicious. Too bad I can't stay and finish it.

[Fred Sears]

What?

[Mona Paxton]

Omala.

[Celia McKay Paxton]

Wait.

[Fred Sears]

You mean you won't help me?

[Philip Marlowe]

Not on guesswork, baby.

[Fred Sears]

But don't you realize my life's in danger?

[Philip Marlowe]

I'm scared, yo. Sure, sure. Speechless. You can get yourself another boy. Vivian woods are full of guys with no curiosity at all.

[Fred Sears]

Oh, Marlow, please be reasonable.

[Philip Marlowe]

Good night, baby. I had no doubt that a guy named Fred Sears wanted to kill Vivian Barr and that she was genuinely afraid of him. But I also had no doubt that working for her without all the facts was like playing blind man's buff with the front end of a jet plane. Sooner or later, you were a cinch to get sucked in. So I drove off the hill toward the Sunset Strip again and prepared to forget it and go home until my rear view mirror told me that I picked up a tail. I wagged it back and forth across Hollywood for 20 minutes without losing it. Then I stopped at a quiet corner bar in my neighborhood, went in the front door and straight on through to the alley and then around to the front again. I got back in time to see the man who'd been following me get out of his car and head for the door. It was one mutt, Pomeroy, a sleazy ex comrade in arms who had his private license revoked for sordid malpractices a year ago. I waited till he was almost up to the entrance before I stepped out where he could see me.

[Mutt Pomeroy]

Oh, well, Phil Marlow. What do you say, kid? How's business?

[Philip Marlowe]

I keep smiling.

[Mutt Pomeroy]

Sure, sure, you would. Buy a drink.

[Philip Marlowe]

I don't suppose what's on your crummy little mind.

[Mutt Pomeroy]

Let's have it easy. Take the hands off the idea.

[Philip Marlowe]

They've been telling me just to keep in practice. What do you want?

[Mutt Pomeroy]

Okay, okay, hot shot. I figured maybe you'd appreciate a little cooperation. For instance, you tell me why Vivian Barr wants a private peeper, and I'll tell you something more than worth your while.

[Philip Marlowe]

Well, I thought your license was dead, Pomeroy.

[Mutt Pomeroy]

Yeah, it is. But I'm not. I still got eyes and ears and a mouth that I like to keep well fed. Now, look, I can help you plenty in this case, Marlowe. What do you Say, kid, get together.

[Philip Marlowe]

I didn't take the case.

[Mutt Pomeroy]

You're what?

[Philip Marlowe]

That's right. If I catch you tailing me once more, Mud, I'll tie a can to you and I'll beat it.

[Mutt Pomeroy]

Yeah, well, let me know when you need a hand, Marlowe. Right across your kisser.

[Philip Marlowe]

Ah, Be it ever so humble. Oh, no. Hello? Marlow? Speaking.

[Fred Sears]

Oh, Phil, I've been calling ever since you left. This is Vivian Barr.

[Philip Marlowe]

Now, look, baby, I told you.

[Fred Sears]

Listen to me. I've got to have your help. I'll tell you the truth, all of it. Anything you want to know. Only come back, please.

[Philip Marlowe]

Oh, will you listen? I'm trying to tell you I've seen.

[Fred Sears]

Someone outside here, Marlo. I'm almost sure it's friends here. Hurry, will you? I'll tell you everything. Hurry.

[Philip Marlowe]

Three things I could never resist. Beer with a head on it, moonlight and a beautiful day. So I headed again for the parking terrace at Vivian's apartment house and made it in about 15 minutes. I was out of my car and halfway across the terrace before I noticed the changes. First, her apartment was dark. Second, a man who had just pulled a key from a front door lock froze when he saw me and then turned and bolted through a clump of hibiscus and cornered himself in an enclosed patio. He tried to make it over the wall, but the second time he fell back, I nailed.

[Podbean]

No, please let me go. I gotta get away from you.

[Philip Marlowe]

Trying it the hard way, buster. Believe me, it'll be easier by way of Vivian's apartment first. Come on. On your feet. Now. Who are you?

[Podbean]

I'm Douglas Peck.

[Philip Marlowe]

Douglas what? Just Douglas. Okay, Just Douglas. We'll also straighten that one out. Inside. Go on, open the door. No, I. It's locked. Sure, sure, it's locked. Take the keys out of your pocket and unlock it. Hurry up. Who are you? Name's Marlow. Go on inside.

[Podbean]

No, no, please, Marlow. Listen, I. I can't go in there again.

[Philip Marlowe]

What's the matter? Afraid of the dark? Go on. Turn on the light. Right then. All right.

[Celia McKay Paxton]

There.

[Philip Marlowe]

Vivian Barr's eyes were still open, but all the life had gone out of him. She'd slid half off the Blue Velvet Divine onto the floor, and a gleaming gold satin she wore was stained red by a dark stiffening smear on her chest. Her purse was open on the coffee table, and spilled out of it was a note addressed Dear Vivian and signed Fred Sears.

[Podbean]

What is it, Marlow? What are you looking at?

[Philip Marlowe]

One good reason why Vivian Barr ended up like that. Here. Read It.

[Podbean]

Dear Vivian, the broken back you handed me six months ago wasn't as hard to take as the broken promises. Count on seeing me real soon, Fred Sears.

[Philip Marlowe]

Yeah. Now, Douglas, it aggress. Assuming you didn't kill her and it was this Sears, what was your connection?

[Podbean]

I was just a friend of hers. Business associate.

[Philip Marlowe]

Well heeled business associate, judging by your wardrobe. She mentioned your type, but not your name. Let's get on with that, shall we?

[Podbean]

Marlo, listen. I had no idea that Vivian was mixed up in it. Marlow, look there at the window at Sears.

[Philip Marlowe]

Kill the light. Keep down, Douglas. I'll be right back. Sears ducked as I ran for the door, and when I got outside, he was rounding the corner and heading for the enclosed patio. He was up on the wall by the time I got close enough to grab for him.

[Mutt Pomeroy]

No, you don't.

[Philip Marlowe]

Why, his foot caught me in the side of the head. I wound up on my back with nothing but the torn off pocket from his jacket, my hand and a crumpled pack of cigarettes and a slip of paper on the ground with a phone number. I picked it up and started back to Vivian's apartment in time to hear a car door slam and see just Douglas, scared stiff, crouched behind the steering wheel of a step down Hudson, second later car and all were gone in a funnel of dust. Well, I couldn't lose much more, so I went back into the house to use the phone. Los Angeles Morning Star Society editor, please.

[Fred Sears]

One moment.

[Philip Marlowe]

Okay.

[Fred Sears]

Society desk. Ms. Ludlow speaking.

[Philip Marlowe]

Hiya, Corey. Phil Marlow.

[Fred Sears]

Phil, darling, how are you? Gee, it's been a long time, mister. I haven't seen you since.

[Philip Marlowe]

Yeah, yeah, yeah. Now look, honey, I need some fast.

[Fred Sears]

Help crashing somebody's party.

[Mona Paxton]

Marlowe?

[Philip Marlowe]

Could be, but it's strictly business now. Can you give me a rundown on a phone number? Crestview 541-245-4124.

[Fred Sears]

Yeah, just a minute, lover.

[Philip Marlowe]

Okay, sweetie.

[Fred Sears]

Oh, yeah, Phil. That's the old J.G. mcKay mansion. 910 Mission Drive. His niece, Celia McKay, has the place now. She married up with a guy named Paxton last fall. I think she has oodles of money.

[Philip Marlowe]

Any help, I'll let you know. Thanks a lot, baby. Before I Left, I called Lt. Matthews at Homicide and told him what happened. He said he put out a call for Fred Sears and suggested I keep in touch. After that, I drove to Beverly Hills. The McKay Mansion at 910 Mission Dr. Dominated the rows of bowing trees that lined the long curving driveway, like a dowager queen presiding at court. When I rang the bell beside a Car, mahogany front door, big enough for an airplane hangar. It was the butler who finally opened it for me. Was all he could manage.

[Mutt Pomeroy]

Yes, sir.

[Philip Marlowe]

My name's Marlow. I'm a private detective. Like to see the head of the house, please.

[Mutt Pomeroy]

Have you an appointment, sir?

[Philip Marlowe]

No, this is a courtesy call. So far there's been a murder buster. Now, please get Mr. Paxton. Celia McKay Paxton or any reasonable facsimile thereof. Huh?

[Mona Paxton]

Never mind, Cartwright.

[Philip Marlowe]

You can run along.

[Mona Paxton]

I'll take care of this, whatever it is.

[Philip Marlowe]

She was friendly, red headed and hefty, but wore a dress so well draped it would have made a Notre Dame tackle look good. It was all held together at the neckline by a big dazzling brooch made up of items on a Mardi Gras motif and each covered with enough jewels to retire a family of five. Except for a space in the center shaped like a mask, which was dull, black and empty. I must have been staring because that's where she picked up the conversation.

[Mona Paxton]

If you finish making your estimate now, Mr. Marlowe, maybe we can get down to business on that reasonable facsimile you mentioned. Mona Paxton, Celia's sister in law.

[Philip Marlowe]

Oh, and Mr. Paxton's your brother, huh?

[Mona Paxton]

Same thing. Yeah, well, you said something about a murder, I believe.

[Philip Marlowe]

That's right. Woman named Vivian Barr.

[Mona Paxton]

Is that supposed to mean something to the members of this household?

[Philip Marlowe]

Maybe we better ask them.

[Mona Paxton]

I don't think so, Mr. Marlowe. We're all quite busy here.

[Philip Marlowe]

Look, Mona, I followed a lead that started at the body of a dead woman ended here at this house. You people can talk to me now or the police in a few minutes. Make up your mind.

[Celia McKay Paxton]

What about the police? Mona, what is this figure?

[Mona Paxton]

My dear, I'm sorry. I hoped you wouldn't be bothered by the by Mr. Marlowe here, in his opinion, we're all murderers or something.

[Celia McKay Paxton]

I see. And why do you say that, Mr. Marlowe?

[Philip Marlowe]

I don't. It isn't quite that bad.

[Celia McKay Paxton]

And specifically how bad is it, if you don't mind?

[Philip Marlowe]

I don't mind at all. I'm looking for a man named Fred Sears in connection with the killing of my client, Vivian Barr. I'm here because there's a definite tie with somebody in this house. Now, at this point I'm still asking for cooperation.

[Celia McKay Paxton]

This has gone far enough as preposterous, Mr. Marlowe, until you mention their names. I never heard of either of those people, Mona. No, they're still my husband. Mr. Marlow, dear, will you come out.

[Fred Sears]

To the door, please?

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What's the matter?

[Celia McKay Paxton]

There's a person here I want you to meet, Mr. Marlowe. My husband, Mr. Paxton.

[Podbean]

Why, how do you do, Mr. Marlow?

[Philip Marlowe]

I'm doing better, Mr. Paxton.

[Celia McKay Paxton]

Oh, Douglas. Mr. Marlowe here wants to know if the names Vivian Barr or Fred Sears mean anything to you.

[Podbean]

I. I don't think so. No, they don't.

[Philip Marlowe]

Why?

[Celia McKay Paxton]

You may leave now, Mr. Marlowe. We've given you all the cooperation we can. If you come back, you'd better have a warrant with you.

[Philip Marlowe]

Okay, Celia, I will. Cause one of you three is a liar and I can prove it. So if you want to talk it over before I call in the cops, I'll listen for a while. Hey, Cartwright.

[Mutt Pomeroy]

Yes, sir? You called, sir?

[Philip Marlowe]

Yeah. You look like a fairly honest man. Where can I get a good cup of public coffee around here? Why, there's a little shop two blocks down, sir. Thanks. And to you, Cartwright. Good night.

[Vivian Barr]

In just a moment, we'll return to the second act of Philip Marlowe. But first, Sunday, September 10th. Note it well or you'll miss a whole lot of laughs. For that's the day Jack Benny checks in again at CBS the Stars address. Yes, this Sunday is the day Jack, Mary, Dennis, Phil, Don and Rochester return for another great season of top ranking comedy. Be sure you're on hand this Sunday and every Sunday when CBS brings you the one and only Jack Benny Show. Now with our star, Gerald Moore, the second act of Philip Marlo, and tonight's story, the fifth Mask.

[Philip Marlowe]

When the two ton front door of the Paxton home closed behind me, I dropped the cocky attitude quicker than a chorus girl lets her stay. Smile, go. And she hits the wings. I knew that I was still a long way from finding Fred Sears. Ten minutes later when I was in a corner booth at the plush Beverly Hills version of a One Armed Joint. Caught right at the. I began to worry about it until the front door swung open and admitted Mrs. Celia McKay Paxton. She threw a stern eye in a sharp semicircle that nearly sliced the place in two. And then bore it down on me.

[Celia McKay Paxton]

Mr. Marlowe, I want to talk to you. What do you mean?

[Philip Marlowe]

Why don't you sit down, Mrs. Paxton?

[Celia McKay Paxton]

Well, I. Very well. Now, Mr. Marlowe.

[Philip Marlowe]

Coffee, Mrs. Paxton?

[Celia McKay Paxton]

No, no, thank you, Mr. Marlow. Specifically, what did you mean when you said that One of the three of us was lying?

[Philip Marlowe]

Specifically that. Mrs. I don't think I could have been more blunt, but I'll try. I'm after Fred Sears and anybody or anything that can lead me to him. Now, you. Why are you here, Mrs. Paxton?

[Celia McKay Paxton]

Well, it's Mr. Marlow.

[Philip Marlowe]

It hard to say. Maybe hard. Like I'm suspicious of my husband's connection with all this. Mr. Private Detective, will you go to work for me, is that it?

[Celia McKay Paxton]

Oh, no, no, not that. But Mr. Marlowe, I'm no fool. I know that I'm a plain looking rich woman who loves her husband and I. Well, sometimes men are silly. And if there is anything I do.

[Philip Marlowe]

Mrs. Paxton, I can't go to work for you. I don't take that kind of a job. Besides, I'm already working on your problem. Insofar as it concerns the late Vivian Barr.

[Celia McKay Paxton]

I don't understand that. You say you're looking for Fred Sears.

[Philip Marlowe]

But not overlooking Anything else, Mrs. Paxton. Like the outside chance that Sears didn't kill Vivian Barr. I didn't see it happen. You know, it could have been somebody else. Who? You. After all, you just implied a good motive.

[Celia McKay Paxton]

No, no, I. I didn't. I. I only gave you a suspicion. A dark, ugly thought. I'm ashamed I ever had, that's all. And I didn't kill that woman, Mr. Marlowe.

[Philip Marlowe]

I know you didn't. It was only bait, Mrs. Paxton. I hoped you'd snap at it and come back with an answer that would get me to Sears.

[Celia McKay Paxton]

Mr. Marlowe. I never heard of these people before tonight.

[Philip Marlowe]

I know that's what you said. But you see, Mrs. Paxton, even as you. I too sometimes have dark, ugly thoughts that I'm ashamed of. Only in my case it's business. And tonight the business is Vivian Barr's murder. Good night, Mrs. Paxt. Hello. Comfortable, Mr. Paxton?

[Podbean]

Marlo, please. My wife may see us. Get in and drive away. Hurry.

[Philip Marlowe]

All right, just for size. Hurry it is.

[Podbean]

Now, Marlo, tell me the Celia know about Vivian.

[Philip Marlowe]

Hard to say, Paxton.

[Podbean]

Look, I've got to tell you the truth.

[Philip Marlowe]

Don't bother, man about town, it sticks out like a sore thumb on a hitchhiker. You like it easy, you like it smooth. Your wife was one, Vivian the other. It's not a new story, Paxton.

[Podbean]

But believe me, Marlo, I couldn't help myself. I've learned my lesson, Marlowe. Would money say $50 now, more later? Would that help you forget What? You know?

[Philip Marlowe]

50 bucks? Well, you didn't love Vivian Bar. You hated it, didn't you? I hate it?

[Podbean]

How did you know that?

[Philip Marlowe]

That cheap bribe you just made. Indiscreet gentlemen with their backs against the wall done off of peanuts now and more later. Unless they're broke. There could be broke, Paxton. If, for example, Vivian was blackmailing you out of every cent of your allowance. Good enough.

[Podbean]

She was rotten.

[Philip Marlowe]

Rotten enough to kill.

[Vivian Barr]

Kill?

[Podbean]

Are you crazy?

[Philip Marlowe]

My Lord.

[Podbean]

Was Sears?

[Philip Marlowe]

Maybe. I didn't see him do it. You had a good reason.

[Podbean]

He had a better one. Sears was taken in just like I was. When he met Vivian, he had a few thousand dollars, and she fell in love with every one of them.

[Philip Marlowe]

You said a better reason, Paxton, and.

[Podbean]

I'm getting to it. I came into Vivian's life after Sears was hurt saving her in that hotel fire.

[Philip Marlowe]

Saving her?

[Podbean]

Yes.

[Philip Marlowe]

I didn't know that. I thought he was hurt, period.

[Podbean]

Yes, that's all the papers got. But he was injured because he rushed into the fire to save Vivian. She couldn't afford to have it known that she was at that particular hotel at that particular time. She told me so herself.

[Philip Marlowe]

You didn't quit even then, huh? I couldn't Mar.

[Podbean]

I wasn't strong enough. Then later, when I was, she wouldn't let me. Not without pain. That's the whole story, model.

[Philip Marlowe]

Unless you're still holding back a lead on Sears. Why should I? Because of your Red, Paxton, not Sears. You've nothing left but the slim hope that Sears, who knows he's framed, will be shot running away from the police.

[Podbean]

You're wrong, Marlowe. That's not it.

[Philip Marlowe]

All right, then try this. If I am wrong and Sears is still the one we want, he could also be after you. Paxton, you know, you're a pivot man. And that triangle, too.

[Podbean]

What? I never thought of that. What am I gonna do, grab a.

[Philip Marlowe]

Cab and go home and hide in the cookie jar?

[Podbean]

Marlowe, don't be facetious.

[Philip Marlowe]

My life relatively safe. Paxton, I was only trying to trick you into spilling something on Sears.

[Podbean]

Oh, then you no longer think that I'd kill Vivian?

[Philip Marlowe]

I didn't say that. So long, Paxton. My apartment was only a few minutes from Beverly Hills, so I decided to call the police and fill them in. Also a little all alone. Straight drinking might burn the bad taste out of my mouth, but when I was in the hall there. I knew it was gonna be a little while before I got a chance to do either one. After all, there was still a Paxton to go. Mona. The lady with the beautiful Mardi Gras brooch and the not so beautiful mind for business.

[Mona Paxton]

I've been waiting for you, Mr. Marlowe.

[Philip Marlowe]

That figures. Come on in. I'll get the lights.

[Mona Paxton]

You don't seem surprised.

[Philip Marlowe]

You expected me as much as the others already huddled with your brother and your sister in law. Have a seat.

[Mona Paxton]

No, thanks, Mr. Marlowe. I'm going to come right to the point.

[Philip Marlowe]

That's a switch. Want a drink?

[Mona Paxton]

No. Do you want $1,000, Mr. Marlowe?

[Philip Marlowe]

I said I heard you. Yeah. Also, Ms. Paxton, I've heard a lot tonight. About all I can take. I'll make it fast. Will you?

[Mona Paxton]

All right. The 'Thousand is yours, Mr. Marlowe. You'll do one thing when you catch up with this, Sears, if you haven't already done so.

[Philip Marlowe]

I haven't.

[Mona Paxton]

Keep my brother's name out of this. That's all.

[Philip Marlowe]

Well, it's a little too much. Also, you're a little easy, Mona. Your brother isn't worth covering up for.

[Mona Paxton]

That's not news, and it's beside the point. The thousand is to help me, not him. I've spent five very difficult years getting the rights to a cosmetic formula that can't be beat.

[Philip Marlowe]

The point, Mona. The point.

[Celia McKay Paxton]

All right.

[Mona Paxton]

The point, Mr. Marlow, is that all I need now is backing. Just yesterday I got the promise of it. $150,000 worth of promise from my sister in law, Mrs. Celia McCabe Paxton. And I'll lose that promise, Marlowe. Celia gives my brother his walking papers. And she will if she finds him out. Will you take the money, Marlow?

[Philip Marlowe]

No. Nor will I go out of my way to whisper. And Celia's ear. You're practically safe, Mona.

[Mona Paxton]

Practically. Who else is there, Sears?

[Philip Marlowe]

If the police take him alive, there's a good chance he'll make a lot of embarrassing statements about your brother killing his girl.

[Mona Paxton]

And you expect someone?

[Philip Marlowe]

Oh, unless the police are tired of waiting to hear from me, I shouldn't be seen here.

[Mona Paxton]

Not if you're going to keep Doug's name out of you.

[Philip Marlowe]

You see? Honey, get in there of the kitchen. Oh, yes.

[Mona Paxton]

Thanks. Thanks a lot.

[Philip Marlowe]

Okay. Coming. Keep your shirt on. I. Oh, no.

[Mutt Pomeroy]

Well, didn't expect to see little old Mutt Pomeroy so soon again, eh, kid? Mind if I come in?

[Philip Marlowe]

Very much. What do you want, Pomeroy?

[Mutt Pomeroy]

To show my wares, Phil boy. You know, like The Jewel T Man.

[Philip Marlowe]

Skip the funnies. What is it?

[Mutt Pomeroy]

Fred Sears. I know where he is.

[Philip Marlowe]

You sure about that, Sherlock?

[Mutt Pomeroy]

I don't take three dollar bills. I followed him tonight when he got away from you.

[Philip Marlowe]

All right. Come in.

[Mutt Pomeroy]

Hey, nice place, Phil.

[Philip Marlowe]

What's your price, mutt?

[Mutt Pomeroy]

200.

[Philip Marlowe]

I'll pay one. The address?

[Mutt Pomeroy]

The money.

[Philip Marlowe]

Okay. Here. 15, 16, 80, 90, 900.

[Mutt Pomeroy]

Yeah, thanks, Phil boy. Thanks. The address says 31 Bayfront Drive, Santa Monica. It's an all alone beach joint. Kind of neat. Belongs to a friend of Sears who's out of town. Oh, he's using his car, too. I overheard him explaining to a neighbor.

[Philip Marlowe]

Yeah.

[Mutt Pomeroy]

Good night, Marlo. See you around, huh, kid?

[Philip Marlowe]

Oh, Pomeroy.

[Mutt Pomeroy]

Yeah, yeah. What is it, Phil?

[Philip Marlowe]

Two questions. Uh huh. First, your connection with all this. What is it?

[Mutt Pomeroy]

Oh, a hunch that I could pick up a little extra. You see, I spotted Pax in that with that Vivian babe once, and I knew who he was. Also, I knew who his wife was, so I figured.

[Philip Marlowe]

Yeah, I know how you figured.

[Mutt Pomeroy]

Okay. But you said two questions, kid. The other, this.

[Philip Marlowe]

Whatever made you think I do business.

[Mutt Pomeroy]

With a louse like you?

[Mona Paxton]

Marlow. He's unconscious.

[Philip Marlowe]

Yeah. Ever saw you hear your mailbox'd get nothing but extortion notes for the next six months? He'll get out now, all right, Marlowe.

[Mona Paxton]

But won't he ruin everything anyway?

[Philip Marlowe]

Don't worry, Mona. I'll convince him one way or another. Let's see now.

[Mutt Pomeroy]

Hey, Marlon, you cross me?

[Philip Marlowe]

Sure. I'll do it every time. Pomeroy, we're conflicting personalities. Police headquarters. Like to speak to Detective Lieutenant Met. Holy cow.

[Podbean]

Hello, police headquarters?

[Philip Marlowe]

Hello, police? Never mind, Pomeroy. That little hunk of jewelry there on the rug just fell out of your pocket when I frisked you, didn't it? Didn't it?

[Mutt Pomeroy]

Yeah. Yeah, sure it did. So what?

[Philip Marlowe]

Before I beat your sense, let's get up and tell me what you got it. Come on. Where'd you lift it?

[Mutt Pomeroy]

Come on, Pomeroy, get your hands.

[Vivian Barr]

All right.

[Mutt Pomeroy]

I found it at that Vivian Bars joint. It was on the floor and it sparkled like dough. She was dead, so I figured it might have been.

[Philip Marlowe]

Thanks, Pomeroy. You told me all I want to know. Don't wait up. Outside, I piled into my car and drove fast for the beach house of 31 Bayfront Drive, hoping hard all the way that either I was making a fat mistake or if I was right, I was going to be on time. All told, it was about 40 minutes later when I screeched to a stop in front of the place and found it lights out and deserted, ready to start cheering until. From the closed garage that was tucked under a wing of the house, I heard it. A car motor running. As in suicide by carbon monoxide. The big double doors were locked, but around on the side there was a window. In another minute I was in and over to Fred Sears. He was slumped over the front wheel, his face the color of wet ashes. I cut the motor, then dragged him out of the place by a back door that led to a patio. There I stretched him out on the ground and took a good look, a long look that left no doubt in my mind. I turned away from him when I heard a woman's footsteps on the walk outside near the window I'd broken. It was Mona Paxton.

[Mona Paxton]

Marlow.

[Celia McKay Paxton]

Marlow.

[Mona Paxton]

What is it? Marlow? Are you all right?

[Philip Marlowe]

Yeah. But don't come back here, Mona. It's not a very pretty sight. It's Sears.

[Mona Paxton]

Sears?

[Philip Marlowe]

Yeah, I dragged him out here. He left the motor running. Carbon monoxide.

[Mona Paxton]

Oh, no. What a just terrible way to go.

[Philip Marlowe]

No worse than Vivian Barr. How'd you turn up here, Mona? Follow me?

[Mona Paxton]

Yes. Cause I was worried about that man in your apartment. I wanted to ask you who he was.

[Philip Marlowe]

When I took off, coattail flying, it looked like something important, huh?

[Mona Paxton]

It certainly did. And it certainly was.

[Philip Marlowe]

Yeah, well, I better get through to the police now. There must be a phone inside. You go wait at my car, huh? Quit shaking. After this, you haven't got a thing to worry about. Business, I mean.

[Mona Paxton]

I know, but I just can't. Start smiling. I'll be at the car moment.

[Philip Marlowe]

Matthews speaking. Marlow. Matthews mountain, Santa Monica. 31 Bayfront Drive. We've got Vivian Barr's killer, Fred Sears.

[Vivian Barr]

Great.

[Fred Sears]

Just hold it.

[Vivian Barr]

Phil Mooney.

[Philip Marlowe]

Wait a minute. Hey, Matthews. Nice work. I'm glad. Will you wait a minute, Matthews? It doesn't play that way. What? What do you mean, Phil? Not Sears. No, it's a woman. Mona Paxton, sister to Douglas Pexton. A guy married and playing around with Vivian Barr. Mona killed Vivian because Vivian was blackmailing her brother. And that in turn was about to ruin a business deal. It meant a lot to her. An awful lot.

[Fred Sears]

Yeah, it must have.

[Philip Marlowe]

Yeah.

[Vivian Barr]

What about Sears?

[Philip Marlowe]

Does he still tie in? Sure he does. She found out where Sears was hiding, which is out here at the same time I did. But she got a head start on me at the point of a gun. Set him up in a closed garage in what was supposed to be suicide. Oh, he's Dead, huh? Now he's fine. I was lucky enough to get here in time. He's resting out on the patio, breathing. Well, see you, Matthews.

[Mona Paxton]

Everything's taken care of, Marlow?

[Philip Marlowe]

Mm, just about. Mona. Well, the police will.

[Mona Paxton]

Correction. The police are here.

[Philip Marlowe]

Yeah. Yeah. Doesn't take him long, does it, huh?

[Mona Paxton]

No, I've a one him glad of it.

[Celia McKay Paxton]

Just as soon get all his soul.

[Mona Paxton]

You too, I guess.

[Philip Marlowe]

Yeah, me too. Wana. I got away from it all as soon as I could. But I didn't go home. I drove out to a spot I knew nearby. A cliff edge where the only sounds were a couple of seagulls who couldn't sleep in the ocean a hundred feet below, crashing on the rocks. Then I took a second look at the little item Mud Pomeroy had picked up in Vivian Barr's apartment. A collection of tiny stones, diamonds, emeralds, rubies, all in the shape of a small mass. A mask that I knew would fit in place exactly over an empty spot on Mona Paxton's Mardi Gras brooch. The proof that Mona had been to Vivian's place. Yeah, a little mask. We all wear them one way or another. We've all got something to hide. Maybe that's what's wrong with people, huh? They all think they've got to hide from each other and from themselves. Yeah. So I threw the little mask into the ocean. And then? Then I went home.

[Vivian Barr]

The adventures of Philip Marlowe bringing you Raymond Chandler's most famous character star Gerald Moore are produced and directed by Richard Senville and written for radio by Robert Mitchell and Gene Levitt. Featured in the cast were Frances Robinson, Betty Lou Gerson, Anne Stone, Olin Soule, Jane Ovello, and Larry Dobkin. The special music is composed and conducted by Richard Durant. Be sure and be with us again next week when Philip Marlowe says, this.

[Philip Marlowe]

Time a little man with big heels tried to run over me. A giant in a warehouse nearly cost me my life, and a treacherous blonde almost buried me at sea. All that for a client who couldn't pay me a cent, but on whose behalf they were paid in full.

[Vivian Barr]

This is Roy Rowan speaking for cbs, where you enjoy the contented hour every Sunday night. The Columbia Broadcasting System.