The Adventures of Philip Marlowe: The Good Neighbor Policy 7/28/1951

Summary

The Adventures of Philip Marlowe: "The Good Neighbor Policy"

Podcast: Choice Classic Radio Detectives | Old Time Radio
Episode: The Adventures of Philip Marlowe: The Good Neighbor Policy
Release Date: March 30, 2025
Original Air Date: July 28, 1951

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Episode Overview

In this riveting episode of The Adventures of Philip Marlowe, the famed private detective Philip Marlowe navigates a complex web of misdirected phone calls, suspicious neighbors, and a mysterious murder. Set against the backdrop of a sweltering city summer, Marlowe's sharp intellect and keen observation skills are put to the test as he unravels the truth behind "The Good Neighbor Policy."

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Setting the Scene

The story opens on a hot and sticky day in the city, where Philip Marlowe reflects on his estrangement from his neighbors. The oppressive heat and incessant xylophone music from a nearby apartment set the tone for a day filled with tension and impending trouble.

Philip Marlowe [00:03]: "Your message amplified."

Marlowe's annoyance with the background noise hints at the frustrations that will soon intertwine with his professional challenges.

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The Mysterious Phone Calls

Marlowe's day takes a turn when he receives a series of confusing phone calls due to a crossed party line. Attempts to communicate with his neighbor, Art Minter, result in Marlowe inadvertently receiving messages intended for others.

Art Minter [04:08]: "Is your name Marlowe? Phil Marlowe?"

Philip Marlowe [05:11]: "Something must be wrong with your phone. I keep dialing your number and getting a very unpleasant little man."

These misrouted calls set the foundation for the ensuing mystery, highlighting the potential for misunderstanding and concealed intentions within urban living spaces.

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Neighbors and Clues

As Marlowe delves deeper into the confusion, he interacts with various neighbors, including Adelaide Garrity from apartment two. Through these interactions, Marlowe pieces together crucial information about Art Minter and his connections.

Adelaide Garrity [07:05]: "You're apartment six, aren't you? Philip Marlowe. Is he?"

Philip Marlowe [09:14]: "Red Ryan."

Adelaide's observations and comments provide Marlowe with hints about Art Minter's character and possible motives, suggesting deeper layers to the seemingly straightforward neighborly disputes.

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The Investigation Deepens

Marlowe's investigation intensifies as he uncovers the link between the crossed phone lines and a recent murder—Ernest Tolan's. The discovery of a missing fortune in jewels and the suspicious behavior of Rena Tolan, Ernest's widow, propel Marlowe into the heart of the mystery.

Philip Marlowe [20:12]: "Man murdered. An investment holdup, Ernest Tolan, 38, employee at Hinshaw Investment Co. Was found shot to death when the company opened its doors this morning."

Marlowe's methodical approach leads him to connect Art Minter with Rena Tolan, uncovering a plot involving deceit and betrayal that extends beyond simple neighborly friction.

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The Confrontation

The climax of the episode unfolds with a tense confrontation between Marlowe and Art Minter. Armed and threatened, Minter reveals his true intentions, leading to a dramatic showdown that tests Marlowe's resolve and strategic thinking.

Art Minter [14:53]: "This? This is a gun, Marlowe."

Philip Marlowe [27:43]: "Hurry, Art, please."

This encounter not only heightens the suspense but also underscores the dangers inherent in Marlowe's pursuit of the truth, showcasing his bravery and unwavering commitment to justice.

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Resolution and Reflections

In the aftermath of the confrontation, Marlowe reflects on the complexities of human relationships within the close-knit environment of apartment living. The resolution ties together the various threads of the investigation, revealing the motives behind the deceit and restoring a semblance of order.

Philip Marlowe [30:00]: "There has to be some legal way to kill xylophone players."

Marlowe's final musings encapsulate the episode's exploration of neighborly relationships, privacy, and the facade people maintain in their daily interactions.

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Conclusion

The Good Neighbor Policy masterfully blends suspense, character development, and intricate plotting to deliver a compelling narrative that keeps listeners engaged from start to finish. Philip Marlowe's journey through miscommunication and mystery highlights his prowess as a detective and offers a timeless look into the hidden lives that coexist within urban communities.

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Notable Quotes

• Philip Marlowe [05:11]: "Something must be wrong with your phone. I keep dialing your number and getting a very unpleasant little man."

• Art Minter [14:53]: "This? This is a gun, Marlowe."

• Philip Marlowe [27:43]: "Hurry, Art, please."

• Philip Marlowe [30:00]: "There has to be some legal way to kill xylophone players."

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Characters Highlighted

• Philip Marlowe: The astute and resilient private detective at the center of the investigation.
• Art Minter: The initially unfriendly neighbor whose interactions with Marlowe uncover deeper layers of the mystery.
• Adelaide Garrity: A neighbor whose insights provide pivotal clues aiding Marlowe's investigation.
• Rena Tolan: The widow of the murdered Ernest Tolan, whose actions and connections are key to unraveling the plot.

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Production Notes

The Good Neighbor Policy is produced and directed by Norman McDonnell, with the script adapted for radio by Kathleen Height. Featuring Gerald Moore as Philip Marlowe, the episode includes stellar performances by High Aberback, Jane Morgan, Vivi Janis, Dora Singleton, Parley Baer, and Gene Bates. The musical score, composed by Pierre Garag and conducted by Wilbur Hatch, sets the perfect tone for this classic detective tale.

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Listeners are encouraged to revisit this episode to fully appreciate the intricate storytelling and character dynamics that make Philip Marlowe an enduring icon in detective fiction.

Transcript

[Phil Marlowe]

Your message amplified.

[Narrator]

Ready to share your message with the world?

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[Phil Marlowe]

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[Narrator]

Welcome to Choice Classic Radio where we bring to you the greatest old time radio shows like us on Facebook.

[Dr. Dennis Black]

Subscribe to us on YouTube and thank.

[Narrator]

You for [e-mail] get this and get it straight. Crime is a sucker's road. Those who travel it wind up in the gutter, the prison or the grave. There's no other end that they never learn.

From the pen of Raymond Chandler, outstanding author of crime fiction, comes his most famous character in the Adventures of Philip Marlowe. Now with Gerald Moore starred as Philip Marlowe. We bring you tonight an exciting story. The Good Neighbor Policy.

The day was hot and sticky. The city wore it like a wet shirt. To make things worse, there was a xylophone playing somewhere in the building. And that started me thinking about my neighbors. Mostly I was thinking two things about them. One, I didn't know any of them. And two, I'd like to shake the hand of the fellow that banged that xylophone day and night and break it. Not a very neighborly thought. But then it had been one of those days. You know, the kind that prompts the neighbors to set the dogs on each other. But now the sun had called it a day. The wind had switched from the desert to the ocean. I was figuring I'd be a better friend to man and woman if I took a long, cool shower. Well, there's got to be some legal way to kill xylophone players. Oh, no. Big finish yet? Big.

[Art Minter]

Is your name Marlowe? Phil Marlowe?

[Narrator]

Yeah, that's right.

[Art Minter]

I live two apartments down the hall. You got a call on my phone.

[Narrator]

I got a call on your phone.

[Art Minter]

Look, the call's there. I'm a busy guy. You wanted it, don't you?

[Narrator]

Well, sure. Sure, I want it. Okay. Come on. All right. I. I didn't catch your name.

[Art Minter]

No, you didn't.

[Narrator]

In here.

[Art Minter]

Phone's over there on the desk. Snap it up, will you?

[Narrator]

Yeah, sure. Regular charmer, this fella. Hello, Phil, It's Anne. Oh, hiya, honey.

[Phil Marlowe]

Something must be wrong with your phone. I keep dialing your number and getting a very unpleasant little man.

[Narrator]

Yeah, he's not so little. What's on your mind?

[Phil Marlowe]

Oh, it's out tonight, Phil.

[Narrator]

Oh, no.

[Phil Marlowe]

Beanie sprained her ankle a little while ago, and I'll have to fill in for the hospital tonight.

[Narrator]

That does it.

[Phil Marlowe]

What?

[Narrator]

Nothing. We'll do it again, huh?

[Phil Marlowe]

Soon, I hope, Phil.

[Narrator]

Call me tomorrow. Yeah, sure, sure. Goodbye, honey.

[Phil Marlowe]

Bye.

[Dr. Dennis Black]

Phil.

[Narrator]

The lady says she keeps dialing my number and getting you. I reported.

[Art Minter]

Yeah, why don't you.

[Narrator]

That's what I said. Oh, packing for a trip?

[Art Minter]

In between phone calls for you?

[Narrator]

Yeah. Look, it's only been one. And I said I'm sorry. What do you want, blood? Leave? Thanks, neighbor. Like I said, it had been hot all day. I wasn't getting any cooler. Exchanging pleasantries with Laughing Boy. Back in my own apartment, I mixed myself a tall, cool drink and thought about Ann, who was neither. I just about decided on that shower again when I remembered about calling the phone company. I reached for the phone, and just as I did. Hello, Art?

[Phil Marlowe]

This is Rena, listen, Ernie's crossed us. I can't talk now. I'll pick you up in ten minutes. We'll clear out alone.

[Narrator]

Hey, look.

[Phil Marlowe]

Ten minutes, Art. Be ready.

[Art Minter]

Sure.

[Narrator]

Yeah, be ready, baby. Oh, my name isn't Art, and it isn't. Oh, well, one good turn and all that. Oh, no. Hey, laughing boy. Come on, open up. Will?

[Art Minter]

Yeah?

[Narrator]

I got a message for you. Come on, answer the door. Anybody home?

[Adelaide Garrity]

My, we're being rather boisterous out here, aren't we?

[Narrator]

Oh, I'm sorry. I guess he's not home, huh?

[Adelaide Garrity]

It would almost appear that way, wouldn't it?

[Narrator]

Yes. Yes, I guess it would. Yeah.

[Adelaide Garrity]

You're apartment six, aren't you? Philip Marlowe. Is he?

[Narrator]

Yeah. Yeah, I am Mrs. Ms. Garrity.

[Adelaide Garrity]

Ms. Adley Garrity. Rather a nice name, don't you think?

[Narrator]

Well, yeah. Yeah, I do. Miss Garrity.

[Adelaide Garrity]

I'm apartment two.

[Narrator]

Are you really? Well, Apartment two.

[Adelaide Garrity]

I passed you ever so many times in the hall or coming in and out of the door. You know, I just never felt that I'd known you somehow.

[Narrator]

No, I suppose not. But then, you see, I often say.

[Adelaide Garrity]

To Mrs. Evans, she's apartment one. Isn't it shameful, I say, that we don't know our own neighbors anymore. Here we are under the same roof, as it were, and yet for dear, we share with each other, really, the utility. Oh, but that seems so little. Why, except for Mrs. Evans, the Randalls, the moms, the Nelson girls and. Oh, let me see now. Oh. Oh, yes, that young girl who plays with that softball team. Oh, what's her name?

[Narrator]

Well, I really don't know.

[Adelaide Garrity]

Hattie. Hattie, that's it. Hattie Netherton. Well, as I say, except for those two and three people, I. I don't know. A stole in the building.

[Narrator]

Well, that's the way it goes, isn't it? Some days you don't know a soul. Tell me, Ms. Garrity, among the people in the building, you don't know, do you also not know the fellow who lives here?

[Adelaide Garrity]

Apartment three.

[Narrator]

Yeah. This door I've been beating on. Who's that?

[Adelaide Garrity]

You don't know, and you're making all that fuss.

[Narrator]

Yeah, well, it does seem silly, doesn't it?

[Adelaide Garrity]

Oh, I should say so. But I'm afraid I won't be much help to you there, Mr. Marlowe. He's our newest tenant, you know. Moved in less than a month ago.

[Narrator]

Oh, well, I just thought.

[Adelaide Garrity]

No, no, I don't feel that I really know him at all. He's rather A tall young man, brown hair, quite nice eyes, I've always thought.

[Narrator]

Oh, that sounds like my.

[Adelaide Garrity]

I never see anyone with him, though. Something's a lone wolf type.

[Narrator]

Well, look, thanks, Ms. Garrity, but my.

[Adelaide Garrity]

Now that I think of it, I have seen someone come in with him.

[Narrator]

Can I catch up to you again, Ms. Garrity?

[Adelaide Garrity]

Whether it was man, woman or child, I really couldn't honestly say. Mostly Mr. Minter.

[Narrator]

Mr. Minter. Well, thank you and good night, Ms. Garrity.

[Adelaide Garrity]

Red Ryan. There.

[Narrator]

It. Oh, great. Whoever it was, it hung up while Adelaide Garrity was telling me all she didn't know about the man named Minter on the call before someone named Rena had called him. Art. Could be my unfriendly neighbor in apartment three was Odd Mitter. Yeah, well, that's pretty simple. Left me nowhere. Then there was Rena's message. Ernie's crossed us. I'll pick you up in 10 minutes. We'll clear out alone. Not exactly social conversation. I had a hunch about the phone call mix up. But before I began to build a case about it, I called the chief operator at the phone company.

[Phil Marlowe]

Chief operator?

[Narrator]

Yeah. Well, we've got a friendly little wager going here. Operator, will you settle an argument for us?

[Phil Marlowe]

I'll try, sir.

[Narrator]

Good. Is it possible for two telephone wires to get crossed in some way so that I could dial one number correctly and actually get the other number?

[Phil Marlowe]

Yes, sir, that is possible. It could happen only in the case of a slight equipment disorder and only if the two numbers in question were on the party line.

[Narrator]

Well, in other words, by dialing my number correctly, you get the person on my party line and by dialing his number correctly, you get me. Is that it?

[Phil Marlowe]

That's right, sir. Would you like to report such a difficulty?

[Narrator]

No, no, thanks. Like I said, I just wanted you to set a little argument for us. Thanks very much.

[Phil Marlowe]

Not at all, sir.

[Narrator]

Well, now, I knew that much. Neighbor Minter and I were on a party line and the strange switch in calls was legitimate. Now, I'd gone this far with the thing. I decided to leave the wires crossed for a while just for laughs. And I looked at my watch with time to get a look at Rena. If she was coming for Midter in 10 minutes, she was due. I left my apartment, started down the hall toward his, and sure enough.

[Phil Marlowe]

Art. Art at Rena.

[Adelaide Garrity]

Oh, please, Art.

[Phil Marlowe]

Hurry, hurry.

[Narrator]

Nobody home, lady.

[Phil Marlowe]

Oh. Oh, I'm. I'm sure he must be. I just talked with him on the phone a few minutes ago.

[Narrator]

Oh, well, He. Maybe he's in the shower.

[Phil Marlowe]

Yes. Yes, maybe that's it.

[Narrator]

Yeah.

[Phil Marlowe]

Now, please, would you mind?

[Narrator]

That sounds like his phone.

[Adelaide Garrity]

Yes, it does.

[Phil Marlowe]

I wonder.

[Narrator]

Yeah, so do I.

[Adelaide Garrity]

What's that?

[Art Minter]

Nothing.

[Narrator]

I mean, if he answers it, he'll probably answer your knock, too.

[Phil Marlowe]

Yes, I suppose he will. Now will you please leave me alone? Got to be there. Got to be there.

[Narrator]

The phone ringing in Art's apartment was far more frustrating to me than it was to Rena. I knew darn well the call was really for me. I opened the front door out of the welcome freshness of the evening breeze and the scent of night blooming jasmine. By the time I'd inhaled a little of both and walked out to the end of the sidewalk, Rena suddenly barged out of the building, looked desperately up and down the street and then headed to car parked across the way. And her car had an Arizona license. In a minute she drove away. Back in my own apartment, I called the chief operator again. Only this time I leveled with her about the crossed wires on my party line. After that, I took a shower and decided to end a dull day by putting in some sack time. The last conscious thought I had was Rena's urgent voice on the phone. Ernie's crossed us. I can't talk now. I'll pick you up in 10 minutes. We're clear out alone. I still didn't get it. I didn't get it the next morning either. But I got up, dressed and was starting for the morning paper, which my newsboy, with questionable accuracy always pegs in the general vicinity of my apartment door. Didn't quite get there, though, before. Hello?

[Phil Marlowe]

Mr. Philip Marlow?

[Narrator]

Speaking.

[Phil Marlowe]

This is the telephone company calling, Mr. Marlow. Oh, the difficulty with your phone that you reported last night has been remedied. Normal service may be resumed.

[Narrator]

Oh, fine, fine. Thanks for calling.

[Phil Marlowe]

We hope you haven't been unduly inconvenient.

[Narrator]

Oh, no, it's all. It's been grand.

[Phil Marlowe]

Thank you for your patience, sir.

[Narrator]

Yeah. Yeah. Well, goodbye. Well, that's that. Okay, I'm coming. Hey. Oh, hello again.

[Art Minter]

Hey, I got another call for you on my phone. Same name as last night, I think.

[Narrator]

Yeah, but the phone company just told.

[Art Minter]

Me you always argue. There's a call for you on my phone that. Come on and answer.

[Narrator]

Well, how can I resist an invitation like that? It's funny, though. Wonder how that happened.

[Art Minter]

Yeah, you said that before.

[Narrator]

Yeah, I know I did. I did, didn't I? Did I say before that I don't much care for Xylophones or you? I don't remember.

[Art Minter]

I don't care. In here.

[Narrator]

Yeah, and the phone's over there on the desk. Hey, buster, that phone's hung up. There's no call for me. What is this?

[Art Minter]

This? This is a gun, Marlowe.

[Narrator]

Yeah, I see it is.

[Art Minter]

You know too much, Marlow. I don't like it when you know so much. It's a p.

[Narrator]

In just a moment, we will return to the second act of Philip Marlow. But first, a blind auction racket in which employees in a customs house have a Confederate purchase a battered suitcase containing a fortune in jewels. That's what CBS radio's gangbusters have to contend with in the case of the Nazi diamonds. Tonight on most of these same CBS stations, don't miss Gangbusters tonight for a suitcase full of jewels and thrills. Say, friends, the flood victims of Kansas, Missouri, Oklahoma and Illinois need your help. Many are injured and homeless, and you can help to give them food, clothing, shelter, medical care. You can do your part by giving through your local chapter of the American Red Cross. Now with our star, Gerald Moore, the second act of Philip Marlo and tonight's story, the Good Neighbor Policy.

Met his quite nice eyes, as Adelaide Garrity had described them, were as cold and deadly as the automatic he rammed into my stomach. Was the first time I'd gotten a really close look at him. This one was too close for comfort. I had to keep looking at him, though. I knew that if I glanced away, blinked an eye or made anything resembling a key movie, blast me to kingdom come. A little ahead of my time. He was dead wrong on one score, though.

[Art Minter]

You got my call from Rena last night. You know too much.

[Narrator]

How can I know too much? I don't know anything. Now, look, mentor, when I saw you.

[Art Minter]

Last night, you didn't know my name. You've been asking questions around, huh? Yeah, well, so have I. Come on, gumshoe. We're gonna take a little walk.

[Narrator]

Now look, kid, you're all wrong.

[Art Minter]

After we take that little walk, we're gonna take a little ride. You can tell me all about how wrong I am as long as you can talk. Get going.

[Narrator]

Okay. Okay.

[Art Minter]

Remember, Marlow, you're just gonna walk down the hall and out of the building with me. No funny stuff. This gun staying right in your back.

[Narrator]

I see what you mean.

[Adelaide Garrity]

And the dawn comes up like. Why, it's Mr. Marlowe. Oh, it's Gary and Mr. Minter, I believe. Well, we're up early, aren't we?

[Narrator]

Yes, we are. A little too early, if you ask me.

[Adelaide Garrity]

Oh, have you the hiccups, Mr. Marlowe? If you do, I know the best cure. Just put your hands up high over your head.

[Narrator]

No, I don't have hiccups, Miss Garrity.

[Adelaide Garrity]

Then perhaps it was Mr. Mint.

[Art Minter]

No, lady, I don't have hiccups either.

[Adelaide Garrity]

Well, someone hiccup, and it wasn't me. Oh, but no matter. I just came out for my paper. I won't keep you, gentlemen. I know you must be off somewhere. And it's such a lovely morning. I don't believe it's as warm today, do you?

[Narrator]

Seems warmer to me somehow.

[Adelaide Garrity]

No, no, I don't believe it is. Do you, Mr. Minton?

[Art Minter]

Look, lady, we're in a hurry.

[Adelaide Garrity]

Well, I'm sure I'm not keeping you. I must say, I was just trying to do the neighborly thing, that's all. I was saying to Mrs. Evans just the other day. What happened to the old fashioned good neighbor policy?

[Art Minter]

Look, lady.

[Adelaide Garrity]

And this little incident this morning is certainly answer enough for me. It's gone, that's what it is, gone.

[Art Minter]

Get moving, Ma.

[Narrator]

Ms. Garrity, you're the one who plays that delightful xylophone, right, Marlowe?

[Adelaide Garrity]

Yes, yes. Oh, you can see it from the doorway here.

[Narrator]

Yeah.

[Adelaide Garrity]

Oh, dear. Well, I'm so glad you enjoy it, Mr. Marlowe.

[Narrator]

Oh, I do. I do. I wonder. Tell me, would you? Oh, I know it's got a lot to ask.

[Adelaide Garrity]

Play something for you. Yes, Mr. Marlo. Come in, come in.

[Art Minter]

You make one move for her daughter.

[Narrator]

Gonna kill her too. Mitter, she's right in front of me.

[Adelaide Garrity]

Welcome in, gentlemen. Or aren't you a music lover, Mr. Minter?

[Art Minter]

Oh, yeah, sure I am. It's just an opportunity.

[Narrator]

Let me get your paper for you. Get inside. Your problem, Ms. Gar.

[Adelaide Garrity]

Quick.

[Narrator]

@ this time you won't mention. Stay over along that wall, Ms. Garrity. Don't get near the door.

[Adelaide Garrity]

What on earth possessed you, Mr. Marlowe? Why, you struck him in the face with my paper.

[Narrator]

Yeah, I did. Wait a minute.

[Phil Marlowe]

Shh.

[Narrator]

Can you see the street from your windows, Ms. Garrity? Yes.

[Phil Marlowe]

Better.

[Narrator]

Oh, here's your paper. Sorry it's wrinkled.

[Adelaide Garrity]

Oh, thanks very much. Well, I'm afraid I. I still don't understand your behavior, Mr. Martin.

[Narrator]

Yeah, he beat it, all right. You'll get lost in that traffic in no time.

[Adelaide Garrity]

What will Mr. Minter think you're striking in that way?

[Narrator]

Oh, well, I've got a mean streak. Hey, wait a minute. Let me see that headline.

[Adelaide Garrity]

Well, sure, I don't know what's in it? If you remember, I haven't had.

[Narrator]

Will you let me see it a minute, please? Oh, yeah. Man murdered. An investment holdup, Ernest Tolan, 38, employee at Hinshaw Investment Co. Was found shot to death when the company opened its doors this morning. Upwards of $50,000 in cash and securities were missing from the sink. Police believe Toland the work late last night, interrupting the theme for things to lose the company safe. Officials say police were attempting to locate Tolan's widow, Mrs. Rena Tolan, whom neighbors saw leaving the house with a suitcase.

[Art Minter]

Wow.

[Narrator]

Ernie and Rena.

[Adelaide Garrity]

Friends of yours, Mr. Marlow?

[Narrator]

No, no, but Min is right. I do know too much.

[Adelaide Garrity]

I'm sorry, Mr. Marlow, but I don't feel up to playing for you.

[Narrator]

What?

[Adelaide Garrity]

No. This morning has gotten off to such a. Such a peculiar start. I'm just not in the mood for this dylophone.

[Narrator]

Oh, I know how you feel. Don't give another thought, Ms. Garrity. Ever again. I called the landlady when I got back to my own apartment to see if she knew anything about Mitter, like where he worked. She was good enough to be out of town. I even went back to Ms. Garrity's, but she'd already hit the trail to share the morning's excitement with any of a dozen people, including probably that girl who played with the softball team. But old Mr. McWilliams, the janitor, was bringing up the morning mail.

[Phil Marlowe]

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[Narrator]

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

[Phil Marlowe]

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[Narrator]

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[Dr. Dennis Black]

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[Narrator]

Morning, Mr. Mac. Morning. How's the mail situation? 12B has two packages again. Again. How about me? Well, sir, you don't even rate an advertisement this morning.

[Phil Marlowe]

How?

[Narrator]

Tears.

[Art Minter]

Sorry.

[Narrator]

Yeah, well, you can't win all the time, huh? No, no. Tell me, how about Mr. Minter? How's that Mr. Mitter? You know, he's. He's in apartment three. He asked me to pick up his mail, if there is any. Sure.

If you can carry it all, here's this postcard.

Oh, I can manage. Yeah, well, thank you.

[Art Minter]

He's from his mother in Tucson.

[Narrator]

Really?

[Art Minter]

They're all well.

[Narrator]

Oh, well, that's good. That's good. Nice to see you again, Mr. Mac. Same here. Same here. The old save. Yeah.

Is it hot enough for you?

It was. And Mr. Mac was right. And his family were all well, except for the return address in Tucson. There wasn't a lead on the whole postcard, but who puts leads on postcards? I took the card back to the apartment with me and called a questionable character I knew in Tucson and told him to find out all he could about Art Mitter, quick. Then I remembered about Rena's car having an Arizona license and asked him to check her. Yeah, and Ernest Tolan, too. Called back in an hour.

[Art Minter]

Well, he's got no record. Marlo the splinter guy asked me to check.

[Narrator]

Oh.

[Art Minter]

Only get this.

[Narrator]

What?

[Art Minter]

About a year ago, he gets divorced by his wife. You hear?

[Narrator]

Yeah, yeah, go ahead.

[Art Minter]

And right away she hops over to Mexico with his Tolan fella you ask about and marries him.

[Narrator]

Rena, then.

[Art Minter]

Wait a minute. I got it written down here. So. Yeah, Rena Reina, that's your name. Now, Tolan was with an investment outfit here in Arizona.

[Narrator]

Yeah, yeah, but.

[Art Minter]

But he transferred to LA a month ago.

[Narrator]

Yeah, that checks. What about Minter? Find out where. If he works here, will you? If he does, that is.

[Art Minter]

Oh, yeah, yeah, yeah. Listen, this old Rocky.

[Narrator]

What?

[Art Minter]

He works at the Hollywood Library.

[Narrator]

Hollywood Library?

[Art Minter]

Honest, his old lady told me.

[Narrator]

It rocked me, all right, the whole thing did. Ernest Tolan, now dead, had been set up as a pigeon a year ago back in Arizona. Only at some point yesterday, he got wise and decided to do the investment job alone. Trouble was, Rena didn't get the art with the news in time. She got to me. Now even the law couldn't locate Rena. And the last time I saw Minter, he didn't act like a fellow who was heading for the Hollywood Library. You never know. I started out into the hall, observed gratefully that Ms. Garrity's xylophone was stilled if only for the moment. When I got about even with Mita's door, something happened very like a familiar song starting all over again with Mita's phone ringing. I listened to his door, but there was no move from inside to answer the ring. And something told me he was another lock that needed springing. Yeah, Artist.

[Phil Marlowe]

Rena. Where have you been?

[Narrator]

Out for a while.

[Phil Marlowe]

Are you all right? You don't sound it.

[Narrator]

Yeah, they just went. Where are you?

[Phil Marlowe]

I'm in. You sound so funny. Is someone there?

[Narrator]

Yeah, that's right.

[Phil Marlowe]

Well, not the police, aren't.

[Narrator]

Oh, neighbor. You talk, huh?

[Adelaide Garrity]

Oh, because you can.

[Phil Marlowe]

All right, I will. I'm at the Bellflower in Ventura. If you call here, ask for Mrs. Guthrie. That's me.

[Narrator]

Got it?

[Phil Marlowe]

You got everything, didn't you? When you. Well, I mean, about Ernie. You're still gonna split with me, aren't you?

[Narrator]

Yeah, sure, sure.

[Phil Marlowe]

I was afraid after I ran out. But you understand, don't you?

[Narrator]

You weren't home.

[Phil Marlowe]

All right, all right. Art, you get off work at four, don't you? Nothing's happened about that.

[Narrator]

Oh, yeah?

[Phil Marlowe]

Well, come up here as soon as you can.

[Adelaide Garrity]

After that, I'm.

[Phil Marlowe]

Well, just hurry, Art, please.

[Narrator]

I will.

[Phil Marlowe]

Bye.

[Narrator]

Bye. Excuse me, but can you please not so loud? You lost my head. I'm sorry. Can you tell me where I can find Mr. Minter, please?

[Phil Marlowe]

Mr. Arthur Minter? Yeah, yeah.

[Adelaide Garrity]

Oh, he's in the stacks on the mezzanine. Let's stare ahead.

[Narrator]

Thank you very much.

[Adelaide Garrity]

Not at All. And walk as quietly as you can, please. People are reading.

[Narrator]

Wouldn't disturb him. Of the world.

[Art Minter]

Well, no one's supposed to come up here. These are files. No one's allowed here.

[Narrator]

I was looking for something in investments.

[Art Minter]

I said no. Hello?

[Phil Marlowe]

Come on.

[Narrator]

Take it easy. Matter. I got a message from Rena. Yeah?

[Art Minter]

Yeah.

[Narrator]

She says you killed Ernie.

[Art Minter]

Look.

[Narrator]

Yeah, I got a message for Rena too. Ventura cops probably have them by now. My call. Lieutenant Matthew did any good. And it always does. Sleep. I'll kill you, my Loki. Yeah, right. Aren't you m? Come on. Where's the dough you took from Ernie and the security? Are they in these permanent files too? Is that why you had to show for work today?

[Art Minter]

Yeah, Gum show. But you never get devil on me.

[Narrator]

Throwing books is a good idea. Wow. This boy's really out. Yeah, not to be said for heavy reading. I kept my foot on his neck till Ms. Hush downstairs called Matthews. I needn't have. He didn't come too. And I waved the squad car off to headquarters from the library curb. Yeah, well, that's that. On the way back to my apartment, I got to thinking about a house with no neighbors. No xylophones, no crossed wires. No fun either. You know, all kinds of things go on in apartment houses. All kinds of people leading all kinds of lives. What's the line? Love thy neighbor as thyself. Yeah, but most people act like they hate themselves. Oh, well. There's got to be some legal way to kill xylophone players.

The adventures of Philip Marlow bringing you Raymond Chandler's most famous character Star Gerald Moore are produced and directed by Norman McDonnell and written for radio by Kathleen Height. Featured in the cast were High Aberback as Art mentor and Jane Morgan as Ms. Garrity. With Vivi Janis as Anne, Dora Singleton as Rena, Parley bear as Old Mr. McWilliams and Gene Bates as the chief telephone operator. Gerald Moore may currently be seen in the Santana production Sirocco. The special music for Philip Marlo is composed by Pierre Garag and conducted by Wilbur Hatch. Be sure to listen again next week at the same time when Philip Marlowe.

Says, this time I did a cook's tour of the San Fernando Valley in search of a missing woman. The case had a lot of positive developments, but the clincher. The clincher was a negative development. And in a camera shot.

There's fine musical listening on CBS radio tomorrow. Don't miss Guy Lombardo time. Featuring Guy's distinctive music with vocals by visiting Janice Page. The program comes from Norfolk Naval Base, where Guy Lombardo Time entertains the Navy. Also untapped tomorrow night over most of these same CBS stations is CBS Radio's Mario Lanza show with Mario and Musical Co. Offering a special program of Jerome Kern favorites. This is Roy Rowan speaking. Just as systematic exercise builds a strong body, so does systematic saving build a strong future. Save systematically for your future and for your country's future with United States Defense Bonds. There's no safer investment in the world. Defense bonds are guaranteed by your government. So for the defense of your future, for the defense of your country's future, buy your full share regularly, systematically, of United States Defense Bonds. This is the CBS Radio Network.

[Phil Marlowe]

RA.