Episode 637 - Mysteries of Madison High (Casebook of Gregory Hood, Michael Shayne, & Philip Marlowe)

Summary

Down These Mean Streets Podcast — Episode 637: “Mysteries of Madison High”

Podcast: Down These Mean Streets (Old Time Radio Detectives)
Host: Mean Streets Podcasts
Date: September 21, 2025
Episode: Mysteries of Madison High (Casebook of Gregory Hood, Michael Shayne, & Philip Marlowe)

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Episode Overview

This episode of Down These Mean Streets takes a creative turn by spotlighting the “Our Miss Brooks” cast outside the classroom, reprising their famous roles as radio detectives. The host curates three vintage detective radio dramas, each featuring a star from “Our Miss Brooks”—Gale Gordon, Jeff Chandler, and Gerald Mohr—in hardboiled and witty mysteries. As a bonus, the show closes with a classic “Our Miss Brooks” school-set episode, tying together the worlds of noir and screwball comedy.

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Episode Structure

1. Introduction & Context (00:00 – 04:29)
2. The Casebook of Gregory Hood: “Murder in Celluloid” with Gale Gordon (~13:03 – 35:20)
3. The New Adventures of Michael Shayne: “The Case of the Model Murder” with Jeff Chandler (~42:36 – 62:53)
4. The Adventures of Philip Marlowe: “The Torch Carriers” with Gerald Mohr (~66:57 – 90:09)
5. Our Miss Brooks Bonus Episode with the full cast (~94:26 – 121:51)
6. Closing Remarks (123:18 – 124:39)

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Key Discussion Points & Notable Moments

1. Introduction: Taking Detectives to School

• Premise: The host highlights a connection between “Our Miss Brooks” and the radio's detective genre, noting that several cast members led double lives as sleuths on air.
• Detective Lineup:
  • Gale Gordon (Osgood Conklin) as Gregory Hood—A sophisticated amateur detective in “The Casebook of Gregory Hood.”
  • Jeff Chandler (Mr. Boynton) as Michael Shayne—A tough, wisecracking PI in “The New Adventures of Michael Shayne.”
  • Gerald Mohr (Monsieur LeBlanche) as Philip Marlowe—Raymond Chandler’s iconic private eye.
• The host builds anticipation:

  "We're taking these detectives to school, beginning with the Casebook of Gregory Hood, right after these messages." (03:51)

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2. The Casebook of Gregory Hood: "Murder in Celluloid" (13:03 – 35:20)

• Setting: Hollywood’s Metropolis Studios; luxury, glamour, and dark intrigue.
• Plot Summary:
  • Gregory Hood is called to consult on a movie about an importing business. He becomes embroiled in a child star’s missing “super map,” which soon entangles espionage, murder, and Hollywood secrets.
• Key Characters:
  • Gregory Hood (Gale Gordon): Suave, witty, astute.
  • Harry Bartel: Narrator and Hood’s friend, provides comic relief and engaging banter.
  • Anne Norwood: The precocious child star who appeals to Hood’s sense of chivalry.
• Notable Quotes:
  • “Well, it was a strange business, Harry. The whole thing happened in Hollywood.” — Gregory Hood (12:31)
  • “Somebody has stolen my map. My super map. I've been working on it for weeks.” — Anne Norwood (16:03)
• Memorable Moments:
  • Hood deduces the map was handled by a woman with “nail polish of a peculiarly horrendous shade of purpley crimson” — linking it to the diva actress, Netta Mason. (21:30)
  • The plot thickens as Netta Mason is found strangled, leading to a classic locked-room puzzle and a web of suspects.
  • The Sigma Xi fraternity key clue:
    “Exactly. That was the point, Lou. Any genuine key such as Major Courtney owned has the name on it... The absence of the name suggested it was a dummy key.” — Gregory Hood (33:15)
  • The climax unfolds on a movie set, with the killer attempting an escape—foiled at the last second by little Anne Norwood, who knocks him out with a falling paint bucket.
• Whimsical Humor:
  • Anne’s persistent comparison of Hood to “Robin Hood”—
    “I know, but I think you're just like Robin Hood. And he was wonderful. And so I think of you that way.” — Anne Norwood (15:29)
  • Hood’s flirtatious repartee:
    “I like my women petite.” — Gregory Hood (34:16)
• Resolution:
  • The murderer is revealed to be Philip Fremont, an actor playing a scientist who used a fake fraternity key as a prop. Anne saves Hood, and their playful “date” concludes the case.

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3. The New Adventures of Michael Shayne: "The Case of the Model Murder" (42:36 – 62:53)

• Atmosphere: Hardboiled New Orleans; jazz, shadows, and the scent of shrimp.
• Plot Summary:
  • Detective Michael Shayne is hired by Franklin to find Marian Chevney before she turns 25 and inherits $8 million. The case quickly complicates—Marian’s identity is mistaken, a body turns up in New York, and a web of motives emerges.
• Key Characters:
  • Michael Shayne (Jeff Chandler): Cynical, fast-talking, yet principled.
  • Jonathan Franklin: Chevney’s business partner, whose motives are slippery.
  • Halstead: A modeling agency owner with secrets.
  • Marianne Chevney / Mady Carter: A classic case of mistaken identity and double-cross.
• Notable Quotes:
  • “Twenty a day is mighty short wages for some of the things I get involved in. And I've learned that the phony cases usually have the biggest hospital bills.” — Michael Shayne (42:10)
  • “It's not a question of Marianne getting back to her father's home before her 25th birthday. No, it was whether she'd reach her 25th birthday.” — Michael Shayne (61:49)
  • “From now on, you'll be eating crow. Bon appétit.” — Michael Shayne to Franklin as the police arrive (62:38)
• Memorable Moments:
  • Shayne’s banter with the seductive but dangerous women at Halstead's agency.
  • The twist: the body found isn't Marian, but her friend, with Marian hiding in plain sight.
  • The final confrontation reveals Franklin’s true intentions—to ensure Marian wouldn't live to inherit, thus keeping the money for himself.
• Atmospheric Touches:
  • Shayne’s stomach, appetite, and wisecracks color the New Orleans setting with earthy humor.

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4. The Adventures of Philip Marlowe: "The Torch Carriers" (66:57 – 90:09)

• Mood: Noir; weary, late-night Los Angeles.
• Plot Summary:
  • Marlowe, looking for a quiet evening, stumbles into a tangle involving a terrified young woman (Claire Osborne), a missing bracelet, a gangster with a grudge, and a tragic love triangle.
• Key Characters:
  • Philip Marlowe (Gerald Mohr): Weary and wise—classic Marlowe style.
  • Claire Osborne: Desperate, determined, and seeking revenge.
  • Larry Salter, Madge Gilbert, Cobra: A triangle of love, jealousy, and criminal enterprise.
• Notable Quotes:
  • “Crime is a sucker's road and those who travel it wind up in the gutter, the prison, or the grave.” — Host, invoking the spirit of Raymond Chandler (00:00 & 66:43)
  • “Everybody carries a torch for something. Some for a love they can never have. An ideal that's out of reach. And some just... just from memory.” — Philip Marlowe (90:05)
• Memorable Moments:
  • Marlowe’s classic interrogation style, using phone numbers and hunches to track leads.
  • The noir climax: a confrontation driven by revenge, but resolved by unveiling the painful truth about a lost sister and a misunderstood lover.
  • Marlowe's compassionate, world-weary advice to Claire at the end—a signature blend of cynicism and hope.

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5. Our Miss Brooks: “Valentine’s Day at Madison High” (94:26 – 121:51)

• Tone: Light, comedic, character-driven.
• Plot Summary:
  • English teacher Connie Brooks (Eve Arden) laments Mr. Boynton’s obliviousness to her Valentine’s gesture and the monotony of their zoo dates. Inspired by her French colleague, Monsieur LeBlanche (Gerald Mohr), she hatches a harebrained scheme to nab Boynton’s affections—by introducing a female frog for his beloved McDougal.
• Key Characters from “Our Miss Brooks”:
  • Ms. Brooks (Eve Arden): Witty, deadpan, eternally lovestruck.
  • Harriet Conklin (Principal’s daughter), Walter Denton (scheming teen manager), Mr. Boynton (the bashful biologist), Monsieur LeBlanche (the romantic French teacher), Mrs. Davis (landlady)
  • Osgood Conklin (Gale Gordon): The blustery principal.
• Notable Quotes:
  • “When one plays hard to get too often, one sometimes don't get got.” — Ms. Brooks at the end of a failed frog-related romantic ploy (112:31)
  • “In France we have a proverb: ‘The way to a man’s heart is through his frog.’” — Monsieur LeBlanche (Gerald Mohr) (104:17)
• Memorable Moments:
  • An absurd chain of frog swapping gone wrong, culminating in Ms. Brooks accidentally terrifying Principal Conklin by leaving a frog in his desk.
  • The riotous double-date—of two frogs—between Brooks and Boynton, which, predictably, derails and ends with everyone back at the zoo.
  • The final gag: the only Valentine call that comes is for Brooks’ cat, Minerva.
• Thematic Tie-In:
  • The “detectives” of Madison High are united by their comic misadventures and tangled romances, contrasting with their sharper, deadlier alter egos in the detective dramas.

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6. Closing Remarks (Host’s Outro) (123:18 – 124:39)

• Host brings the show home:
  “We just heard Gregory Hood, Michael Shayne, Philip Marlowe and our Ms. Brooks... If you’d like to lend support to the show, you can visit buymeacoffee.com/meanstsOTR. Until next time, goodbye and happy listening.”

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Notable Quotes & Timestamps

• On the Mood of Noir:
  “Crime is a sucker's road and those who travel it wind up in the gutter, the prison, or the grave.” — Host (00:00 & 66:43)
• Wit and Wordplay:
  • “Slap me with a wet lily pad.” — Ms. Brooks (111:45)
  • “Keep on waiting, Mr. Hood. Please. Keep on waiting.” — Anne Norwood to Gregory Hood, in a sweet echo of longing and patience (35:04)
  • “From now on, you'll be eating crow. Bon appétit.” — Michael Shayne to Jonathan Franklin (62:38)

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Segments & Timestamps Reference

• 00:00 – 04:29: Host introduces Our Miss Brooks cast and detective drama context.
• 13:03 – 35:20: “Murder in Celluloid”—Casebook of Gregory Hood.
• 42:36 – 62:53: “The Case of the Model Murder”—The New Adventures of Michael Shayne.
• 66:57 – 90:09: “The Torch Carriers”—The Adventures of Philip Marlowe.
• 94:26 – 121:51: “Our Miss Brooks” bonus episode.
• 123:18 – 124:39: Host outro.

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Style, Language, and Tone

• Detective Dramas: Snappy, hardboiled banter, sharp observations, with a thread of gallows humor.
• Our Miss Brooks: Breezy, wordplay-driven, full of romantic foibles and miscommunication, light-hearted self-deprecation.

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For New Listeners

This episode is a dazzling showcase for fans of old-time radio, detective noir, and classic comedy. By weaving together one-of-a-kind performances from “Our Miss Brooks” alumni in their detective alter-egos, and then letting them return to the hallowed halls of Madison High, the episode serves both as a love letter to classic radio and a reminder of how voices can embody such distinctly different worlds—sometimes all on a single broadcast.

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Transcript

[Narrator/Host]

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. The story you are about to hear is true. Only the names have been changed to protect the innocent. The Adventures of Sam Spade Detective the Adventures of the Saint starring Vincent Price. Bob Bailey in the exciting adventures of the man with the action packed expense account, America's fabulous freelance insurance investigator. Yours truly, Johnny Dollar.

[Show Host/Commentator]

Hello and welcome to down these Mean Streets and more old time radio detectives and crime solvers. This week we're visiting the teacher's lounge at Madison High School, the setting for one of radio's best comedies, Our Miss Brooks. Each episode followed the misadventures of English teacher Connie Brooks, played by Eve Arden, as well as her fellow teachers and students. In addition to being one of radio's best comedies, it had one of radio's best supporting casts and many of Eve Arden's co stars also enjoyed runs as radio detectives outside of their school days. So today I've got three members of the Our Miss Brooks cast in their roles as radio sleuths. First up is Gail Gordon who played Osgood Conklin, the petty tyrant principal of Madison High. Gordon was a very busy radio comedy actor. In addition to our Ms. Brooks, he played Marila trivia on fibber McGee and Molly and Mr. Atterbury on my Favorite Husband. But before he went back to school, Gordon starred as an importer and amateur detective in the Casebook of Gregory Hood. The series began as a summer replacement for Basil Rathbone's New Adventures of Sherlock Holmes. Both shows were written by Anthony Boucher and Dennis Green, both shows shared Petri Wine as a sponsor, and both shows had the same gimmick with actor and announcer Harry Bartel visiting the hero each week to hear the story and to get in plenty of those plugs for Pen Petrie. Gregory Hood was debonair, suave and brilliant. All the things Osgood Conklin wasn't. We'll hear Gale Gordon as Gregory Hood in Murder in Celluloid, originally aired on Mutual on July 2, 1946. Then we'll hear Jeff Chandler, who voiced the bashful object of Ms. Brooks Affections, biology teacher Philip Boynton. But elsewhere on radio, Chandler was the pulpit polar opposite of Mr. Boynton when he starred in the New Adventures of Michael Shane. Shane was an ultra hard boiled two fisted gumshoe in New Orleans who was always up to his neck in danger. We'll hear him in the syndicated episode the Case of the Model Murder and our Third faculty crime fighter is Gerald Moore, who appeared as multiple characters on Armis Brooks, but most often as Monsieur Leblanche, the handsome French teacher who had eyes for Ms. Brooks. But to Old Time Radio fans, Gerald Moore is best known as Philip Marlowe, and we'll hear him as Raymond Chandler's private eye in the Torch Carriers, originally aired on January 7, 1950. And as a bonus, we'll hear all three of our stars and their clothes classroom roles in an episode of Our Miss Brooks from February 20, 1949. We're taking these detectives to school, beginning with the Casebook of Gregory Hood, right after these messages.

[Narrator/Host]

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Not merely crimes of violence and crimes of dishonesty, but crimes of intolerance, discrimination and bad citizenship. Crimes against America. Petri wine brings you the Casebook of Gregory Hood. Tonight, the Petrie family, the family that took time to bring you good wine, invite you to listen to the story of murder in celluloid, another exciting adventure from the Casebook of Gregory Hood. As for me, I'd like to know if you're planning to have chicken for dinner any night this week. Because no matter how you like that chicken, roasted, fried or in a stew with dumplings, you like it a lot better served with a glass of Petri California Sauterne. Now there's something to talk about. Chicken and Petri. Sauterne. Petri Sauternes is a creepy, clear white wine, delicately fragrant. And what a flavor that Petri wine has. It's. Well, all I can say is it's the wine you've been looking for. A wine that brings you the luscious flavor of big, plump sun ripened grapes. And say Petri Sauternes is not only great with chicken but you like it served with fish or any kind of seafood too. So try a bottle of Sauterne Get Petri. So turn those letters P, E, T, R. I always spell good wine Petri Wine. Well, it's Monday night in San Francisco and we have a date with Gregory Hood. Tonight's rendezvous is at his apartment high on Nob Hill and overlooking the Golden Gate. Let's join him there, shall we? Hello, Gregory. Harry Bartel. Come on in. I was expecting you. Where's Sandy Taylor tonight, Greg? He flew up to Vancouver today. There's some legal business he had to attend to for me on a shipment coming in from the Orient. He'll be back in a few days. Glass of sherry, Harry? Thanks. Well, Siamese cat. A new addition to the mainage Gray? Oh, no, no. Sam's an old retainer. He's been up at my place at Russian River. I flew him down with me this morning. Mighty friendly. What did you say his name is? Well, officially it's Sing Low. But his host of friends decided it was too dignified a name for such a whimsical character. So he was christened Sam Thurber. Greg, am I crazy or is Sam cross eyed? Oh, yes, yes, he's cross eyed and his tail's broken. But he has a delightful, dusky little soul, haven't you, Sammy? Well, Sam has another fan. Now, here's your sherry. Thanks, Greg. And now I know, I know you have that Monday night look in your eye. You want a story out of my casebook. Correct. And from the hints you gave us last week, it sounded as though you had quite a special one lined up. Well, it was a strange business, Harry. The whole thing happened in Hollywood. What were you doing down there, Greg? Metropolis Studios were making a picture called Passport to Danger. And my old friend Ray Hanson was directing it. The story was about a girl who inherits an importing business and gets into a struggle between her private life and being a career woman. And you were called in as a technical advisor? Well, not quite that, Harry. Ray called me one night and said that he had some headaches on the importing business angle of the picture. So the next morning I hopped into my Beechcraft and flew down to the city of Celluloid. As you know, I'm something of a gourmet. How well I know. So it was only natural that my lunch that day was eaten at the Brown Derby in Hollywood. As I entered that Star Studded home of good food. I was greeted by Bill Julius, famed Matrix. Mr. Gregory Hood. It's good to see you back in town. Hello, Bill. It's good to be back. I have a usual table for you. This way, please. Thanks. Oh, by the way, Bill, I hope that on this trip you'll break down and give me the recipe for that Cobb salad. I don't know if Mr. Cobb would like me to. Oh, come on, Bill. Bob Cobb and I are old friends. He'd approve. Well, Mr. Hood, here's your table. I know you start off with three kinds of lettuce, romaine, chicory and iced lettuce. Break it up very quick, Mr. Hood. Then you slice up some bacon in tiny stripes, some chopped chives, and then comes the cheese. Yeah. Oh, excuse me, Bill. Who's that girl sitting two booths away? Ms. Sheila Graham, one of our best movie columnists and radio commentators. I thought it was. I must go and talk to her. I'll get the rest of that recipe from you before I go, bill. Very well. Mr. Houghton. Sheila Graham, how nice to see you again.

[Character/Actor]

Gregory Hood. I heard you were in town.

[Narrator/Host]

You did? I only flew in this morning. You get your news fast, Sheila?

[Character/Actor]

My spies are everywhere, Gregory. In this case. I met Ray Hansen at a beach party at Malibu last night. He told me you were coming. What brings you to town, Gregory?

[Narrator/Host]

Said she whipping out her golden ever sharp.

[Character/Actor]

Certainly. Your news, Gregory. Famous importer man about town and amateur detective fly into Hollywood. I mentioned it on my radio show.

[Narrator/Host]

I heard you had a new show, Sheila. What time is it?

[Character/Actor]

I must catch it Sunday nights, 8:45 on Mutual.

[Narrator/Host]

Nicely spoken. I shall listen.

[Character/Actor]

Thank you kindly. And now, Greg, which of our starlets is responsible for your being in town?

[Narrator/Host]

Well, it isn't a girl this time, Sheila. I came down to give Ray Hanson a little help on the importing business for Passport to Danger.

[Character/Actor]

Oh, yes, that's the Neda Mason and Norwood Opal. Funny thing, Ned is having luncheon with me today. Have you met her?

[Narrator/Host]

No, no, but I hear she's what is known technically, I believe, as a dish.

[Character/Actor]

A little too highly spiced a dish for my liking. But she's good copy.

[Narrator/Host]

I did meet Anne Norwood.

[Character/Actor]

Isn't she sweet?

[Narrator/Host]

I fell hopelessly and head over heels in love with her. Seems impossible that an 8 year old girl can be a movie star and yet be so utterly unspoiled.

[Character/Actor]

Here comes Neda Mason now. Watch your switch on the personality. Hello, Nedda. Sheila, darling. Oh, I'm so terribly sorry. I'm Late. They simply mobbed me for autographs. Do you know Gregory Hood? Ms. Netta Mason.

[Narrator/Host]

How do you do?

[Character/Actor]

So you're the famous Gregory Hood. Ray told me you were flying down. You're going to help us on the picture, aren't you?

[Narrator/Host]

If I can.

[Character/Actor]

It's a marvelous script, and I've got a dream of a part. And Sheila, darling, the clothes. Oh, Adrian's dyed me the most heavenly outfit. I think I must be a narcissist, my dear. I just can't keep away from mirrors these days.

[Narrator/Host]

Excuse me, Mr. Hood. Oh, yes, Bill? There is a young lady waiting for you at the table. There is? Excuse me, Sheila. See you again before I leave.

[Character/Actor]

Fine, Greg.

[Narrator/Host]

Nice to have met you, Miss Mason.

[Character/Actor]

I'll see you at the studio.

[Narrator/Host]

Well, well, Miss Ann Norwood.

[Character/Actor]

Hello, Mr. Hood. You didn't mind me sitting down at your table, did you?

[Narrator/Host]

I'm very flattered, Anne.

[Character/Actor]

I had to see you alone. That's why I didn't come over to the other table. I saw Ms. Ned. Amazing was there.

[Narrator/Host]

And you don't like her?

[Character/Actor]

Oh, it isn't exactly that. Though I do think she talks awfully loudly, don't you?

[Narrator/Host]

Yes, anne, I do.

[Character/Actor]

Mr. Robin Hood. You're a detective, aren't you?

[Narrator/Host]

In an amateur way. And incidentally, Ann, the name is Gregory, not Robin.

[Character/Actor]

I know, but I think you're just like Robin Hood. And he was wonderful. And so I think of you that way.

[Narrator/Host]

I'll admit that my prices might be called stealing from the rich, and I do give to the. But that's where the resemblance ends, I'm afraid, Ann. But I'm very flattered that you think of me that way.

[Character/Actor]

I do, Mr. Hood. That's why I've come to you for help. You see, my daddy's dead, and I do so miss having a man to talk to.

[Narrator/Host]

Of course you do, Anne. You go ahead and talk.

[Character/Actor]

I have a very. A very serious problem. I need a detective.

[Narrator/Host]

Dear me, Anne, whatever is the matter?

[Character/Actor]

Somebody has stolen my map. My super map. I've been working on it for weeks. And I'm good at math, too. At least my teacher says I am.

[Narrator/Host]

What kind of a map was it?

[Character/Actor]

It's something I invented. It's full of forts and secret weapons and dockyards. And now it's been stolen.

[Narrator/Host]

And when did you see it last, Anne?

[Character/Actor]

This morning. It was in my portable dressing room in the studio. I was working on it between scenes. When I came back just before lunch, it had gone. Oh, dear. Here comes Mommy. Darling, you frighten Me? Why did you slip away like that while I was parking the car? I had to see Mr. Hood. Mommy, this is Mr. Robin. I mean, Gregory Hood. How do you do, Mr.

[Narrator/Host]

Hood? How do you do? Do sit down, won't you?

[Character/Actor]

Well, just for a moment, Anne, dear. You haven't been bothering Mr. Hood, have you?

[Narrator/Host]

Not a bit of it. She knew that I was an amateur detective and she came to me with a problem. I'm very flattered.

[Character/Actor]

You see, Mummy, the missing map, I suppose. Of course. And Mr. Hood's going to find it for me, aren't you?

[Narrator/Host]

I'll do my best. Anne, who do you think might have stolen it?

[Character/Actor]

I think it was Ms. Netta Mason. It must have been either her or Major Courtney. They were the only two people in my dressing room today, except Mother.

[Narrator/Host]

Major Courtney. That name seems familiar. Who is he?

[Character/Actor]

Well, I suppose you might say he's a suitor of mine. He's terribly stuck on Mummy. Anne, dear, that's not very nice.

[Narrator/Host]

What branch of the army is he in, Mrs. Norwood?

[Character/Actor]

Honestly, I don't know. And if I did, I shouldn't tell. It's all some terrific secret. He doesn't even wear a uniform.

[Narrator/Host]

Hmm. Well, I'll tell you what. Let's do. You both have lunch with me, then we'll drive over to the studio and see if we can find that map for you. Anne.

[Character/Actor]

Oh, Mr. Hood, you're so wonderful. This is my dressing room, Mr. Hood. Do you like it?

[Narrator/Host]

Very much, Anne.

[Character/Actor]

You don't think it's a little young for me, do you? Mother had it decorated, and I think.

[Narrator/Host]

It'S perfect for your personality. Clean and fresh and cool.

[Character/Actor]

Mr. Hood, you say the loveliest things. Are you married?

[Narrator/Host]

No, Anne. I've always been waiting for the right girl.

[Character/Actor]

Keep waiting, Mr. Hood. She'll come along. I just know she will.

[Narrator/Host]

Very well, Anne. But while I'm waiting, let's see if we can track down that map for you. Where did you last see it?

[Character/Actor]

It was on the dressing room table here.

[Narrator/Host]

When you leave this dressing room and go before the cameras do, you lock the door?

[Character/Actor]

Always. Mommy never forgets.

[Narrator/Host]

And the arrangement of the door and window in here is such that no one could have slipped in a hand through here or sneaked in and stolen it.

[Character/Actor]

Then it must have been Ms. Netta Mason or for Major Courtney.

[Narrator/Host]

Yes, it looks like it. And yet, Anne, I can understand someone wanting one of your maps, but if he did, he'd ask you for it. He wouldn't steal it. But if the person, whoever it was, Thought it was one of Major Courtney's maps. It would be different.

[Character/Actor]

Why would it be different, Mr. Hood?

[Narrator/Host]

Your mother hinted that he might be in special service for the army. You said your map had forts and secret weapon sites on it. Now do you see, Anne?

[Character/Actor]

Yes, Mr. Hood. And that'd mean Ms. Netta Mason's aspect. Oh, goody. This is fun.

[Narrator/Host]

No, no, darling. You mustn't go around saying she's a spy. I'm just dreaming up a very wild plot. The chances are that a gust of wind came through the window and blew your map out into the studio.

[Character/Actor]

Oh, no. I like it so much better the other way, Mr. Hood.

[Narrator/Host]

Frankly, Ann, so do I.

[Character/Actor]

Come in.

[Narrator/Host]

Hello, anne, darling.

[Character/Actor]

Hello, Mr. Fremont. This is a very great friend of mine, Mr. Gregory Hood. Mr. Philip Fremont.

[Narrator/Host]

How do you do?

[Character/Actor]

He's playing the lead in another picture on the lot.

[Narrator/Host]

Say, Annie, isn't this yours? I found it on the studio floor.

[Character/Actor]

It's my map. It's my super map.

[Narrator/Host]

Oh. You see, Ann, it wasn't stolen after all. Stolen? Annie, did you think someone had stolen your map?

[Character/Actor]

Yes, I did. It's an awfully good map.

[Narrator/Host]

I. I hear that you're an amateur detective, Mr. Hood. In an unobtrusive way. Why? Well, I was wondering where Annie dreamed up the idea that her map had been stolen. I guess you put her up to it. Do you?

[Character/Actor]

Well, it's a bad guess, Mr. Fremont. And my name isn't Annie. It's Anne.

[Narrator/Host]

Okay, honey, don't get mad at me. I was just trying to be funny. Mr. Fremont? Yes, Charlie? On the set, please. Rehearsal of the next scene. Okay, Charlie. See you later, Anne. Nice to have met you, Mr. Hood. Goodbye, Mr.

[Character/Actor]

Hood.

[Narrator/Host]

Yes, Anne?

[Character/Actor]

You know, I'm sorry my mat was found so easily. Why, dear, you won't detect it for me anymore. And I was having such fun. So was I. Supposing it really had been stolen, Mr. Hood, why would Mr. Fremont have brought it back?

[Narrator/Host]

Well, since I dreamed up a hypothetical case in the beginning, I might as well give you a hypothetical solution.

[Character/Actor]

You use such lovely words. What does hypoth. What does it mean, Mr. Hood?

[Narrator/Host]

Well, I meant that we were still playing at let's pretend the map was stolen. Let's suppose the thief thought there were plans of Major Courtney's and he stole them. When he examined them, he found they were harmless, so he threw them away. Mr. Fremont found them, knew that you were quite a mapmaker and brought them back to you.

[Character/Actor]

Oh, you're so clever, Mr. Hood. I bet that's what happened?

[Narrator/Host]

I wouldn't take the bet, Anne. Let me look at the map, will you?

[Character/Actor]

Of course. I'll do one for you, if you like.

[Narrator/Host]

Oh, naturally, I'd like it very much. That's odd.

[Character/Actor]

What is it, Mr. Hood?

[Narrator/Host]

There are red marks on the corner of your map, Anne. They're made by nail polish that hadn't quite dried. Nail polish of a peculiarly horrendous shade of purpley crimson. The exact shade that Ms. Netta Mason was wearing at the Brown Derby today.

[Character/Actor]

Perhaps she is a spy after all.

[Narrator/Host]

Perhaps. Look, Anne, even though you've got your map back, I might as well follow this business through. There's something funny going on here.

[Character/Actor]

I think so too, Mr. Hood. I just know Ms. N's a spy, don't you? Look at those eyes of hers.

[Narrator/Host]

Yes, Anne, I got the slant. Let's go to her dressing room and talk to her, shall we?

[Character/Actor]

This is her dressing room, Mr. Hood. You better knock.

[Narrator/Host]

I always knock, Ann. It's lucky.

[Character/Actor]

Oh, hello, Mr. Latimer.

[Narrator/Host]

Ah, it's my dream boat, Annie. How are you, darling?

[Character/Actor]

Mr. Lou Latimer. Mr. Gregory Hood.

[Narrator/Host]

Glad to meet you, Mr. Latimer. Oh, just call me Lou. Say, you're Greg Hood. I know about you. You sell old hunks of ivory for big dough in San Francisco. And you're an amateur sleuth who can show up the pros. And you're a wolf in good standing. Listen, Lou, I also pack a mean lift. Clean it up a little. Got you. Oh, little Lord Fauntleroy. Character, huh? Okay, beat me to a pulp and call me juicy.

[Character/Actor]

Ah, get it.

[Narrator/Host]

Don't overplay it, Lou. It gives me ideas. Character, huh? But death. Listen, I'm handling the publicity on this little super duper colossal hunk of picture. I've got an idea. It'll slay you, Greg. I'm mortal, just like the next man. But I'll listen to it later. Right now, Ann and I want to see Netta Mason. Is she in her dressing room? Oh, deaf. She went in about half an hour ago and I've been sitting here ever since, dreaming up ideas. Anyone else been in to see her? Natch. Phillip Fremont, the alleged actor, went in. Also Major Courtney, the man of mystery. They've both left now, though. So, Anne, I'm going in alone. Stay here with Mr. Latimer, will you?

[Character/Actor]

Why can't I go with you, Mr. Hood?

[Narrator/Host]

You know how it is, Anne. You're a sophisticated girl. When you go to see a beautiful spy, you go alone.

[Character/Actor]

I know it's just like in the funny. Like if she was a dragon lady, you wouldn't want another woman like me along.

[Narrator/Host]

That's right, Ann. You're very understanding. I'll be back in a moment. Ah, character. Greg Hood is a definite character. But in dube, I love Mr.

[Character/Actor]

Hood.

[Narrator/Host]

Why, Nat Janny. Oh, by the way, dreamboat, I've got a terrific angle for you on this picture.

[Character/Actor]

Oh, no, Mr. Latimer, not again.

[Narrator/Host]

Oh, this one's a natural. Honey child. We give you a big balloon, see? It has Passport to danger printed on it. Now, passport spelled backwards is Trop SAP, see?

[Character/Actor]

No, Mr. Latimer, I don't see.

[Narrator/Host]

Look, baby, Trops app is the name of a cereal, see? Now, we'd get them to ask you why you're so healthy. And you say you always breakfast on top SAP. Because backwards it spells passport. And that's in the title of your Super Duper smasher.

[Character/Actor]

Oh, you get it, Annie? No, Mr. Lassmore, I don't eat top SAP. I've never even heard of it. I wouldn't tell a lie.

[Narrator/Host]

A lie, she says. Yeah. Listen, honey child, you're not getting a point. It's a big balloon. Maybe we fill it up with hydrogen. But you see, it's got this billboard on each side of it, see? And when they ask you. Oh, and hello, Mr.

[Character/Actor]

Hood. I'm glad you're back.

[Narrator/Host]

Your mother left a message. She wants you to call her. He's back at the Brown Derby. It's quite important.

[Character/Actor]

Oh, all right, Mr. Hood. Wait here for me, won't you?

[Narrator/Host]

Yes, Anne, I'll wait. What's the matter, pal? You look as if you'd seen a ghost. I have. Close the studio gates and send for the police. The police? What's wrong? Plenty. Ms. Netta Mason's lying in her dressing room. She's been strangled. You live the rest of Gregory Hood's story in just a second. So I'm going to tell you about a red wine that's really marvelous with any kind of meat or meat dish. The wine is Petri California Burgundy. Petri Burgundy is a rich, full flavored wine. A wine so unusual that it can turn a simple meal into a real feast. For proof, next time you have hamburgers or your favorite kind of stew for dinner, serve it with a glass of Petri Burgundy. Your whole dinner becomes more colorful. And as for the wine itself, well, Petri Burgundy will make you smack your lips for fair and just sigh with pleasure. Be sure you get Petri Burgundy because Petri is always good. Good wine. Well, Gregory, so you found N. Mason strangled in their dressing room, huh? What happened when the police got there? Well, Lou Latimer, the publicity man, persuaded me not to send for them right away. He probably figured that you could solve the case, hand the killer over to the police and so avoid as much publicity as possible. Correct, Harry and I somewhat grudgingly agreed. And so, having gotten little Anne Norwood safely out of the studio, Lou Latimer and I went back to the dead girl's dressing room where I began to see. Search for any clues. Find any clues, Greg? Not so far, Lou. Except that the thumb mark shows she was strangled from behind. No chance of identifying them, I'm afraid. Gee, Greg, how do you figure this killing? It's a hard one to figure. Maybe the explanation I ad libbed at the studio for Ann Norwood's benefit might fit the killing at that. Well, it looks simple enough to me. I saw Netta walk into her dressing room. I was sitting outside it until you came out. Now, apart from yourself, only two people went in. Major Courtney, the man of mystery and that ham actor, Philip Fremont must be one of them. Hello? Hello? Now we've got a clue. Look what's clenched in her right hand. Huh? Looks like some kind of pin. It's a Sigma Xi key. What's Sigma Xi? An honorary fraternity for science. A sort of scientific equivalent of Phi Beta Kappa. But there's no name on this key. So you still don't know which one of the two it is. Which one of the three, huh? Well, how do you figure three, Greg? Proving it's two only rests on one thing, Lou. Your word alone. That makes you my friend. The third suspect.

[Character/Actor]

Sheila Graham speaking.

[Narrator/Host]

Gregory Hood.

[Character/Actor]

Hello, Gregory. What's on your mind?

[Narrator/Host]

I need some help, Sheila. Can you give me any facts on Philip Fremont's educational background?

[Character/Actor]

Yes, I can. I did a piece on him the other day. He's a college man. Got into acting through the Hasty Pudding Club at Harvard. Majored in English.

[Narrator/Host]

No. Science, Sheila?

[Character/Actor]

No, Greg.

[Narrator/Host]

I see. Do you know Lou Latimer, publicity man at Metropolis?

[Character/Actor]

Know him? He pesters me almost daily. Why, Gregory?

[Narrator/Host]

Well, how about his educational background?

[Character/Actor]

Well, Lou claims that he graduated from high school. Personally, I'd say that if he ever got beyond the fifth grade, I'd want to see the proof.

[Narrator/Host]

Oh, thank you, Sheila. You're a remarkably well informed girl. I'll call you later. Goodbye. Mrs. Norwood, why did you bring Ann back here to the studio?

[Character/Actor]

I simply couldn't keep her away, Mr. Hood.

[Narrator/Host]

Where is she now?

[Character/Actor]

Her dressing Room talking to Major Courtney.

[Narrator/Host]

Oh, I'm anxious to meet him.

[Character/Actor]

Oh, well, come along then. Let's go in. Robin Hood, where have you been? I've missed you.

[Narrator/Host]

Well, I had a little business to attend to.

[Character/Actor]

Anne, I want you to meet Major Courtney. Mr. Gregory Hood.

[Narrator/Host]

How do you do, Major? Hello, Mr. Hood. Ann's just been telling me about you. He's a rabid fan of yours, as I am of hers. In fact, I've quite lost my heart to her.

[Character/Actor]

Doesn't he say the most beautiful things?

[Narrator/Host]

Major Courtney, I wonder if you and I could take a stroll. I'm most anxious to speak to you alone. Why, yes, I suppose so.

[Character/Actor]

I want to come with you, Mr. Hood. Darling, you heard Mr. Hood say that he wanted to speak to Major Courtney alone.

[Narrator/Host]

Now, don't worry, Ann. We'll be back in a few minutes.

[Character/Actor]

Please don't be long.

[Narrator/Host]

You're being very mysterious, Hood. I didn't want to talk in front of Anne. You knew about Neda Mason? Of course. Mind if I ask you some questions? No, fire away. Would I be right in thinking you're a government technician? That's a question I can't answer, Hood. Then will you tell me if you studied science in college? Yes, I majored in it. Then doubtless you're a member of Sigma Xi. Yes, I am. May I see your fraternity key? But I don't wear it often. I don't know where it is right now. Look, Hood, I don't know what you're driving at, but I'm not used to being cross questioned like this. Sorry, but I'm going on with it. Why did you call on Nedda Mason in her dressing room this afternoon? That is none of your business. Then let me do a little guesswork, Major. I think you suspected Neda Mason of being involved in espionage activities. Perhaps she displayed too much interest in your briefcase and you went in to talk to her about it. Listen, Hood, if you must know, when I went into Nedda's dressing room, I found her murdered. Found her or left her that way, Major? You're barking up the wrong tree, my friend. And if I were free to explain a few things to you, which I'm not, you'll believe me. Gregory, there you are. I've been looking all over the lot for you. How you coming? I think we're on the last lap. Lou, tell me one thing. Sure. What is it, pal? Is Philip Fremont's picture shooting this afternoon? Oh, yeah, they're on stage eight. They're shooting a big gun battle scene right now. I just left there. You want to come over? Yes, Lou, I do want to very much. All right. All right, that's all for today. We'll pick up the reverse shot in the morning.

[Character/Actor]

Wave the lights.

[Narrator/Host]

Everyone up to set. Hey, Gregory, we can catch Fremont before he gets back to his dressing room. Yes, let's go on the set and come on. Major Courtney, Keep a weather eye open. Hood, we may be leading with our chin. I know, Major, but we have the advantage of surprise. I hope. Oh, hello, Mr. Fremont. Well, Gregory, Hood, didn't know you were on the set. It's too bad you weren't here earlier. We were shooting some good stuff. Say, by the way, can you get here in the morning? I've got several terrific scenes then. Too bad that you won't be playing them. Fremont, I. Well, what do you mean? Hood, call the police. Lou. Philip Fremont's your murderer. Philip Fremont? That was my hunch, too, Hood. Stay right where you are, Lou. And that goes for the rest of you. Don't you see I'm still carrying my revolver. Yes, a revolver containing blanks. You've just used it in the scene. Oh, no, no. I have another one in my pocket. A revolver containing live shells. I've switched them and I shoot expertly through the pocket, despite the tailor's bills. You're not getting me arrested. I'm clearing out. Why did you strangle Netta Mason? Because she was stupid and she quarreled with me. In any case, a girl who can mistake the map of an 8 year old child for a valuable map such as the Major carries deserves to die. She was no more used to us. Us being your fascist superiors, of course. Correct. Major Courtney of G2. You didn't think fascism was dead, did you? Just because you and your boys killed a few Germans. Oh, the word's dead, all right. We'll never call it fascism again. But you'll be hearing from us. From you? We'll only hear a faint squeal from the gas chamber. Fremont, the. You'll never get me. Oh, by the way, Hood, I knew you were pretty smart, but I didn't think you'd spot me. What mistake did I make in leaving that Sigma Xi key in the dead girl's hand? But Greg, you said the key didn't have any name on it. Exactly. That was the point, Lou. Any genuine key such as Major Courtney owned has the name on it, doesn't it, Major? Yes, invariably so. The absence of the name suggested that it was a dummy key. You were playing a scientist in your picture. And so you were obviously wearing a prop key to give authenticity to the part. Careless of you to let the dying girl wrench it off your watch chain in the struggle. Yes, wasn't it? I must watch blunders like that in the future, Gregory Hood, I don't like you. Gunfire is pretty common on this set. And I think I'll give you a little treatment. Fremont, you haven't a chance of getting out of this studio. You should know that. And think of the publicity it'll give us. Phil, it'll be terrific. It'll be sensitive. Shut up, Lou, you little rat. What do you say, Mr. Gregory? Ought to mind your own business, Hood. I'd say. Look out above you. Do you expect me to fall from it? Got him. A falling paint bucket.

[Character/Actor]

Oh, boy.

[Narrator/Host]

Knocked him out cold. Gee, but you're lucky, Greg. Fine detective I am. Saved from being shot only by a freak accident.

[Character/Actor]

But it wasn't an accident, Mr. Robin Hood. Jeeper. Hey, look.

[Narrator/Host]

Up there in the catwalk. It's little Ann Norwood. Ann, darling, how can I thank you?

[Character/Actor]

Take me out to dinner, Mr. Hood, and then we can go dancing together. Is it a date?

[Narrator/Host]

Yes, darling, it's a date. And you dance beautifully.

[Character/Actor]

So do you, Mrs. Hood. I'm afraid I'm a little short for you, though.

[Narrator/Host]

Not a bit of it, Anne. I like my women petite. By the way, young lady, perhaps you'll tell me how you happened to be up on the catwalk this afternoon.

[Character/Actor]

Well, Mr. Hood, when you went out of my dressing room with Major Courtney, I could see by your face that something was wrong. I got scared for you, so I stepped out of the dressing room and.

[Narrator/Host]

And shadowed me, huh?

[Character/Actor]

Yes. I got to stage eight ahead of you and climbed the ladder to the catwalk so that I could see what was going on. Did I hurt Mr. Fremont when I toppled that paint bucket over on me?

[Narrator/Host]

Not seriously, Anne, but you stunned him and probably saved my life. How can I ever repay you?

[Character/Actor]

Well, there is one way, Mr. Hood.

[Narrator/Host]

What is it, Anne?

[Character/Actor]

You told me at lunch that. Well, that you'd never married because hadn't met the right woman.

[Narrator/Host]

That's right, Anne.

[Character/Actor]

Keep on waiting, Mr. Hood. Please. Keep on waiting.

[Narrator/Host]

Greg, that was really a swell story. But what a detective you turned out to be. Why, Harry, what do you mean? I solved the case. What more do you want? Oh, I know, Greg. But to overlook the fact that that gun might have real bullets. Well, if it hadn't been for Aunt. I know, I know it was a slight oversight on my part. But, Harry, I can Make a little mistake now and then. Can't, I suppose. Now, Harry, don't stand there and tell me you never make a mistake. Not when it comes to choosing a wine, I don't. Because I always choose Petri wine. I don't know why I bother talking to you. Oh, yes, you do. You like to hear about good wine just as much as the next fellow. And I like to talk about Petri wine because Petri wine is good wine. Why, it's just got to be. After all, the Petrie family has been making wine for generations. Winemaking is their heritage. A heritage passed on down from father to son, from father to son, from generation to generation. It's easy to understand why the Petri family knows so well the art of turning luscious sun ripened grapes into fragrant, delicious wine. And it's easy to understand why the Petri business has grown and grown so that today the Petri family are America's largest independent winemakers. Yes, the making of Petri wine is a family affair. And the Petrie family intends to keep it that way. Because by so doing, they can be sure that every bottle of wine that bears the name Petri is and always will be good wine. Well, Gregory, which particular story from the Casebook do you have lined up for us next week? Next week, Harry, I'm going to tell you about a strange woman who claimed to be able to see into the future. She predicted two violent deaths with frightening accuracy. The third death she happened to prophesy was my own. See you next Monday, Harry. The Casebook of Gregory Hood is written by Dennis Green and Anthony Boucher. Original music composed and played by Dean Foster. Gail Gordon plays the part of Gregory Hood. The Petri Wine Company of San Francisco, California, invite you to tune in again next week, same time, same station. The Casebook of Gregory Hood comes to you from our Hollywood studios. This is Harry Bartel saying good night for the Petrie family for a solid hour of exciting mystery dramas. Listen every Monday on most of these Same stations at 8 o' clock to Michael Chain, followed immediately by the Casebook of Gregory Hood. This is the Mutual Broadcasting System. Okay, Shane, get the picture? A guy in front of you with a.38, a guy in back with a rifle, and you with nothing. If wishing will make it so, you better start wishing to be somewhere else fast, because this is your director, Bill Russo, inviting you to listen to Michael Shane, that reckless redheaded Irishman back at his old haunts in New Orleans. In another transcribed episode, we call it the Case of the Model Murder. Wager My compliments to the chef. This shrimp, superb. Look, maybe I'm talking out of turn, Mr. Franklin. After all, you're hiring me. But 20 a day is mighty short wages for some of the things I get involved in. And I've learned that the phony cases usually have the biggest hospital bills. Phony. Mr. Shea? Yeah? I get a message that you want to see me urgently. Okay. I come dashing down here expecting you to be tearing your hair or dying from a leaky artery. So what do I find? You find me in a seafood bar enjoying New Orleans most succulent river shrimp and sipping excellent dry Manhattan. That's right. Then you give me a story about a girl, Marianne Chevny. I have to find her and bring her to her home by Friday midnight or she loses 8 million bucks. Is that too complicated? No, Mr. Franklin, it's too simple. Instead of giving me any details, here you go out chewing your shrimp and sipping my Manhattan. Waiter, one more of the same dry. Be sure you won't join me, mister. She. Look, look. This picture you gave me, is it the only one you have? The most recent, yes. It was taken a few weeks before Marianne ran away from home seven years ago. She never got along with her father. What about this Friday business? Why Friday after seven years? Simply because Friday at midnight, Marianne will be 25. So she's got to return home by then or she doesn't get her money. Brilliant. Wait. Another order of shrimpling. You're sure giving me a lot of time, Mrs. Thursday. I got one whole day. Marianne's father was your partner. Half owner of Chevy Franklin importers, huh? That's right. Chevy died over three weeks ago. Why the sudden concern now? Oh, I haven't been idle. I've been running ads for the girl in the papers. Yeah, you've been a busy little bee, you have, Mr. Shane. All right. What happens to the 8 million if Marion Chevaly doesn't get home in time? It goes into the business. But you're the business now. That's right. Don't look so perplexed. It's quite simple, really. Yeah, something simple. You're hiring me to find her so that you can lose $8 million. Precisely, Mr. Sheriff, wait up. Another dry manhatt. We'll return in a moment to the new adventures of Michael Shane and the case of the model murder. From the minute I walked into the seafood bar at the Carlton Manor hotel and sat down opposite Franklin of Chevy Franklin importers, I knew I was walking into something with more angles and a course in Advanced geometry. My first impulse after hearing his story was to tell Mr. Franklin to go pedal his shrimp. Only I suddenly remembered that the only jingle I could raise in my pockets was the sound of my car keys rattling around. It seems his partner Chevny had died some three weeks before. And 8 million bucks he couldn't take with him was waiting for his errant daughter Marianne, who'd run away from home seven years ago when she was 18. I was supposed to find the girl and bring her to her late father's house before Friday midnight tomorrow night. Well, I took another look at the photo of the girl. The words Harrison Halstead Model Agency was stamped on the back. At least she'd worked there seven years ago. I decided to give it a whirl. The receptionist was a sugar blonde with a cooperative look in her eyes.

[Character/Actor]

Well, I sure would like to help you, Mr. Shane, but I really don't know any Ms. Chevy.

[Narrator/Host]

And you handle a lot of models here.

[Character/Actor]

That's right.

[Narrator/Host]

This photograph help anyone?

[Character/Actor]

Pity. No, I'm afraid not.

[Narrator/Host]

It's taken seven years ago.

[Character/Actor]

I just bet you'd go for something.

[Narrator/Host]

A little older and you'd have a good breath. The boss around?

[Character/Actor]

Well, yes, Mr. Sheen, but I don't know.

[Narrator/Host]

Oh, yes sir.

[Character/Actor]

Mr. Sheen's looking for a girl by the name of Shevy. Mr. Houston?

[Narrator/Host]

Sorry, can't help you. This photograph? No. What do you want with her? Well, she's got $8 million coming to her. Sorry, Mr. Shane. Oh, that's okay. Ms. Winters, get Miller on the phone, will you? Set. It'll be ready at 2 this afternoon.

[Character/Actor]

Yes sir.

[Narrator/Host]

He recognized the photo, did he? Mr. Shane, you're a real good kid. Company girl. Loyal.

[Character/Actor]

Thank you.

[Narrator/Host]

Follow the rules.

[Character/Actor]

Uh huh.

[Narrator/Host]

Look, I'm just trying to help a penniless girl get 8 million bucks.

[Character/Actor]

Well, take one of our cards, Mr. Shane. You just might want to come back.

[Narrator/Host]

Thanks. I don't have 8 million.

[Character/Actor]

But you don't need 8 million.

[Narrator/Host]

How much?

[Character/Actor]

Just enough for Rice Steak and Big Deal.

[Narrator/Host]

It's a deal. Ms. Withers struck me as a girl with the wrong name. There's nothing chilly in her attitude. As for this Horstead character, he was one of those guys with a monogram complex. Everywhere you looked you found HH Staring you in the face. Harrison Halstead on his tie, on the pocket of his shirt. Even the cigarette lighter on the reception desk had the same two H's sort of leaning against one another. The agency card Ms. Winters had given me. They were there too. As I waited for the elevator I turned the card over. The handwriting was nice and firm. Matey Carter, 2614 Mount York Avenue. Might be able to help you, I thought. Shame. How would you get along without that winning personality of yours? Lady Carter's place was a little bungalow in a court. There was a light on behind curtains. I rang the bell. Yes, Ms. Carter?

[Character/Actor]

What do you want?

[Narrator/Host]

I'd like to talk to you.

[Character/Actor]

What do you want?

[Narrator/Host]

I'm looking for Marianne Chevly.

[Character/Actor]

I don't know anybody by that name.

[Narrator/Host]

Ms. Winters at the Halstead Agency.

[Character/Actor]

I can't. I can't. I don't know her. She isn't here.

[Narrator/Host]

You see? You're going to lower the volume. What do the neighbors think?

[Character/Actor]

Coming.

[Narrator/Host]

Thanks. Now, look, Ms. Carter. I'm not trying to do anything but find Ms. Chevy so I can give her $8 million she doesn't want. Well, you see, it doesn't pay to keep secrets. Where is she?

[Character/Actor]

I don't know.

[Narrator/Host]

How do you know she doesn't want the money?

[Character/Actor]

She told me.

[Narrator/Host]

Oh, you spoke to her?

[Character/Actor]

No.

[Narrator/Host]

No.

[Character/Actor]

Why don't you leave me alone? I don't know anything.

[Narrator/Host]

Look, all I want. Never mind, Ms. Carter. Maybe I got a bum steer. Sorry I bothered you. I suppose I could have broken her down if I'd kept at it. But I suddenly found what I came for. There was an envelope face down on the desk. From where I was standing, I was able to read the return address on the flap, big as life. It was the initials M.C. apartment 5. And the address. 318 East 54th Street, New York City. M.C. marion. Chevy. As I drove back to town, I began to get a familiar feeling. Maybe I don't have eyes behind my head, but I do have a little spot between my shoulder blades. It's got a special talent. If somebody's following me, it begins to itch. It had bothered me a little right after I left the Hallstead Agency. But I didn't pay much attention to it right now. It was giving me the squirms in high gear. And I decided to do something about it. I pulled off the main road onto a side street, but quick. I parked, doused the lights and waited. Cars kept going by, and I spotted a maroon job with one light dimmer than the other coming around the block for the second time. This time it went about a hundred yards past me. And then it parked. I waited. Nobody got out of the car. The spot between my shoulders stopped itching. I knew I was on solid ground. I got out of the car and started up the street. I saw the guy behind the wheel of the maroon job looking straight ahead as if he had nothing better to do than just sit there. I pulled the door open and slid into the front seat. Huh, what's doing, Champ? Nice tail job. No pro job. Well, you're not so bad yourself. Spotting it. New Orleans does that for me. There's a field of the city. He must be from out of town. Yeah, Working. Yeah. Jonathan Franklin. Never heard of him. Franklin Chevy in porters. Bananas, I think. I hate bananas. Who is it? You're doing all the talking, Champ. This is a tough town for strangers. Not so tough. You're not so tough either. All right. Nice tie you that slips up nice and easy. You can't talk, champ, but you can sure listen. It's a very pretty color. You're telling. Let's see. I shoulder host a 45 automatic. Okay, you gotta breathe now, but don't overdo it and take a tip. I don't like being followed. And strangers in town ought to be courteous. You're a pretty tough boy, Shane. No, no, I'm the easygoingest guy in the world. I just don't like being tailed. Remember, mind your man is when you're in a strange city. Champ Franklin was in the dining room of the hotel carving up some rare roast beef with Yorkshire pudding on the side. I dropped into a chair on the other side of his table and told him what I'd found out. As usual, he got real interested. New York, eh? Will you join me, Mr. Shane? You're real worried about getting Marianne Chev me back here before tomorrow night, aren't you? Oh, you can't rush things, my boy. Now this case smells clear across the river. Don't you trust me, Mr. Franklin? One moment, Mr. Shane. Wait up. Yes, sir. Bring me a phone, please. If you were saying. I said somebody's been telling me. I'd like to know why you're implying, Mr. Shane. That because I don't trust you, I've hired someone to watch you. In a nutshell, that is not true. But the fact that someone is following you is very disconcerting. Your telephone, Mr. Franklin. Oh, thank you. You pardon me, Mr. Shane. Travel desperate. Hello, this is Jonathan Franklin speaking. Will you arrange for a charter plane with the New Orleans charter service, please, in the name of Michael Shane? In about an hour. It's now 8:30. The plane is to go to New York and leave here at 9:30. Thank you. Well, you're full of surprises, Mr. Franklin. I've got another one for you. Yeah, if you Succeed in bringing Marianne back here before midnight tomorrow. There's a thousand dollar bonus for you. Sometimes we. Mr. Franklin, your conversation is positively brilliant. A chartered plane to New York and a thousand dollar jackpot at the end of the rainbow. I felt like a captain of industry as a plane got the right away from the airport tower and circled in for a landing. New York, great little city. It was 4 o' clock in the morning when the taxi pulled up in front of 518 East 54 4th Street. I told the cabby to wait. What's money to me? Took the stairs of the brownstone two at a time. Apartment five was at the end of the hall on the first floor. I knocked. Nothing happened. I knocked again. Nobody could sleep like that. Then I tried the door. Locked. Apparently Marianne was a dirty. Stay out late. Across the hall the door to apartment number four, said manager. I walked over and started knocking again. Well, what is it? What is it? I'm sorry to get you out of bed, old time, but I'd like you to open the door to apartment 5. Are you crazy? Waking a body at 4 in the morning? Look, I'm a private detective. I'm looking for the girl who has that apartment. I want to get in, so I'll be there when she gets home. Private detective? I'm sorry. If it was a police, it would be. Does this give me the necessary rank? $5. All right, make it 10. Why don't you tell me he was a private detective in the first place? Hey, light switch. Yeah, yeah, yeah. Make yourself comfortable. Thanks. Here's your pound of flesh. Now you won't tell her that I let you? What's the matter with you? There. Over there on the floor in the hall. First I saw a lot of blonde hair and then I saw there was a girl attached to it. She probably would have been real pretty without that bullet hole in her forehead. We'll return in a moment to the new adventures of Michael Shane and the case of the model murder. A glutton by the name of Jonathan Franklin had waved an ice cold, but strangely enough, it still had a strong odor. My assignment was to find Mary Ann Chevy and get her back to her late dad's home so she could collect 8 million bucks according to the terms of her inheritance. Well, I picked up the trail at the Harrison Halstead model agency where Ms. Chevy had once worked. Mr. H.H. and his secretary, Ms. Winters, acted like I was after atomic secrets. As I left, Ms. Winters shoved a card in my hand with the name and address of Mady Carter. Ms. Carter had the willies. Bad. But I picked up the information that the girl I was looking for was in New York. Franklin stopped eating roast beef long enough to charter a plane for me. I arrived at the end of the trail just in time to find my quarry. Still warm, but with a bullet in her head. My police. We'll have to call the police. Yeah, well, not before I make a phone call. Long distance. It won't be long now. Will you, John? Because they get real mad if you don't tell long distance. I want you to get me Mr. Jonathan Franklin at the Carlton Manor in New Orleans. Collect Michael Shane at this end. That's right. This is circle 65970. My reputation, you know. This will be in the papers. Don't you be police all over the place. And reporters. Yeah, yeah, and her blood stains are nice carpet. I feel real sorry for you. Hello? Hello, Mr. Franklin? Yes, yes, what is it? Take your earmuffs off. You might like to hear this. Just a second, Mr. Franklin. Look, look, old timer, don't you have a telephone in your own apartment? Yes, but I never thought of that. Well, think of it. Well, Shane, the gal is dead. Really? Yeah. What do you want me to do? Come on home. Done a good job. You're not sorry? No. Should I be? Well, what about the one grand bonus? I guess that's cold turkey, huh? We'll talk about it when you get back. Yeah, yeah. Cold turkey, did you say? Yeah. I'm glad you mentioned it. That's an excellent thought. With a glass of cold milk, of course. Goodbye, Mr. Shay. I had a little time before the cops had come. So I started moseying around the apartment. First thing that caught my eye was a cigarette lighter on an end table. It looked familiar, Very familiar. All of a sudden I knew why. It was a monogram on it. Yeah, two H's, sort of leaning against each other. I got the long distance operator again and put in a call to Mr. Halstead, also collect.

[Character/Actor]

There is no answer.

[Narrator/Host]

Are you sure you got the right guy?

[Character/Actor]

Harrison Halstead's residence in New Orleans.

[Narrator/Host]

Orange 2435. Okay, thanks, operator.

[Character/Actor]

Shall I try later?

[Narrator/Host]

No, thanks. I didn't know how, but it was pretty obvious that Halstead was in this thing up to his ears. I kept on wandering around the living room. And then I found it. There was a letter on the table in a girl's handwriting. The date was just two days ago. And the letter started with the words Dear Matey. I didn't have to read the signature to know it was Marianne I took a good look at the girl on the floor. Her hair was blonde, only there was about a sixteenth of an inch of dark brunette showing at the hairline. I got real smart then I finally figured it out. This girl was Mady Carter. And the frightened girl back in New Orleans was really Marianne Chevron. Only somebody else had apparently made the same mistake. And it was my guess he was hightailing it back to New Orleans to correct his error. I made a quick call to homicide to pay my respects and then headed for the airport. Luckily, the plane was ready to go when I got there. Shane, you had the girl in your hands, and then you waltzed off with a dream. One thing was clear. Mary Anthony. Chevy had plenty to worry about. It took me just 10 minutes from the time I landed back in New Orleans to get to her place. The door to Marianne's bungalow was locked and there was no answer to my banging. I started around the house trying to get a look see inside. Nothing. Nobody home. When I got around to the rear and peeked in the bedroom, I saw why the place was empty. Either she decided to run or else she'd been taken on a trip without a return ticket. I scrambled over to Carlton Manor and guess what. Yeah. Jonathan Franklin was eating it seems you made a mistake, Mr. Shay. How do you know? The papers. Wasn't Marianne who was killed in New York. Was a girl by the name of Carter. Meline Carter. You still want me to find Marianne? Oh, of course. Let's see. It's three now. You only have nine hours left. Will you have some lunch, William? No, thanks. Don't you ever find time to eat? Yeah. Yeah, but I'm peculiar. I only eat three meals a day. Marianne Chevney's life was in danger, and I wanted to get to her while she was still hale and hearty. I drove over to Halstead's agency. Ms. Winters still had that cooperative look.

[Character/Actor]

Well, hi there.

[Narrator/Host]

Hi. Where's your boss?

[Character/Actor]

Out.

[Narrator/Host]

Been in today.

[Character/Actor]

Well, I know. As a matter of fact, he hadn't.

[Narrator/Host]

You trying to reach me home?

[Character/Actor]

Yes, I did.

[Narrator/Host]

He wasn't there.

[Character/Actor]

Oh. Is something wrong?

[Narrator/Host]

Something's very wrong, sweetheart. Look, that note you slipped me last night.

[Character/Actor]

Not the kind I usually write.

[Narrator/Host]

Mady Carter. You knew I was looking for Mary Ann Chevne.

[Character/Actor]

I said Mady Carter might be a help. She's a friend of Ms. Chevny's.

[Narrator/Host]

You didn't know? There was a switch.

[Character/Actor]

Switch?

[Narrator/Host]

Mady Carter was in New York. She was killed last night.

[Character/Actor]

Killed?

[Narrator/Host]

Halstead could have taken a plane up there last night, couldn't he? Well, I don't know. As far as you know, he could have, couldn't he?

[Character/Actor]

Yes. I haven't spoken to him since last night.

[Narrator/Host]

Dummies. You're a bachelor?

[Character/Actor]

Yeah.

[Narrator/Host]

Lives alone, huh? In town or in the country?

[Character/Actor]

Both.

[Narrator/Host]

He has a country place. Where?

[Character/Actor]

I'll tell you in a minute. You want me to look it up?

[Narrator/Host]

You bet I do, sweetheart. If I'm not too late, it might make the difference between a long and wealthy life or a.45 slug. To Marianne Chevy. It took me almost an hour to drive out to where Horstein had his beach hole. The place had a real subtropical flavor, bordering on the Gulf, surrounded by a mass of lush undergrowth and stubby cypress trees. I didn't bother to announce myself. I just barged in. She'd been here all right. It was a woman's jacket over a chair in a big paneled living room and a purse half open on the floor. I went to the back door and opened it and looked out. Bounced off a stone and I caught a glint of the bullet as it wind off on its ricochet. It had come from the left. I ducked back into the house. We had shells to whoever he was. Was no sense my perching like a sitting duck. So I started toward the front. The living room had been empty a moment before, but now there was a man in it. A man with a gun. Halstead. Stop where you are, Mr. Shane, and raise your hands. Where's Marianne? It's none of your business. I said raise your hands. Look, Halstead, don't be coy about this thing. There's a guy out there with a gun, a big gun. He's got big ideas. So have I. Move back against the wall. Look who's working for who around here. Sticking your nose in where it doesn't belong. Shane told you yesterday there was anything about Marianne Chevy you ought to concern yourself with. What did you do with her? Let's just say she's in protective custard. Yours? As I said, that's none of your business. Hello, Champ. What you doing? Still tailing me, huh? Yeah, and this time no necktie. Very bad taste, huh? Drop that rifle. I don't think so. Gotta practice for your men. Oh, this is real cute. Champ is in the kitchen with a rifle and you're in here with a pistol horse. Did you both have a grudge against me? Only you can't stop worrying about each other. Who is that man in the kitchen? I don't know. I haven't figured it out yet. But I think he's after Marianne too. Honor it, you, Champ? Could be. But right now I get more places. Missed again. Just stick your head into that doorway once more, Mr. Shane. I'll give you just three seconds to tell me what you want. I told you, I want the truth. Now, what difference does it make what I want with a girl? If you're already all right, Shane, I want you. We'll be back in just a moment with Mike Shane and the thrilling climax to our story. It was a second or two before I realized hosted fired at the lady with the rifle, not me. But I wasn't inclined to administer first aid to Champ lying in the kitchen doorway. Because from the look on Halstead's face, he was getting ready for a repeat performance. And then I got a shock, like when the shower suddenly turns from hot to cold. Marianne, the real Marianne, stepped into the room and went over to Halstead. I figured it was time to call a halt and settle who was who. Hello, Marianne.

[Character/Actor]

You. You killed me.

[Narrator/Host]

No, The Champ in the kitchen. It was his work.

[Character/Actor]

Why don't you leave me alone, all of you.

[Narrator/Host]

All I've been trying to do is bring you back to your father's home by midnight tonight so you can inherit the 8 million he left you. Marianne and I were married last night, Shane. What now, the matter of her inheritance is my business. So why don't you leave us alone? I will if Marianne or Mrs. Halstead will go back to her father's house.

[Character/Actor]

But why, Mr. Shane? Why should I go back there?

[Narrator/Host]

Well, if the 8 million doesn't mean anything to you, the thousand I stand to collect means plenty to me. I knew it was the right time. Six o' clock, when I walked into the dining room at the Carlton Manor, Jonathan Franklin was having breast of guinea hen under glass and a white wine. Well, won't you sit down? I'll have the way to get you. No, no, thanks. Yeah, you look calm and relaxed, Mr. Shane. Success? Yes, splendid. And Marianne? I found her and her husband. Her husband? That's right. Oh, your boy is down at headquarters, Mr. Franklin. Headquarters? My boy? Yes, the Champ. He talked when he came to. He got a little over eager. After he trailed me to Halstead's beach house and hosted Wingedon. Oh, the way I figured, it wasn't a question of Marianne getting back to her father's home before her 25th birthday. No, this wine is delicious. 1929. So turn. Now it was a question of whether or not she'd reach her 25th birthday. That's why? You had me searching for her to find her. So you could have her killed before she did. Now you're not going to spoil my dinner. You know, there's an old saying, Mr. Franklin. The foolish person eats himself into the grave. You say he talked? Yes. He told us why he'd been following me. So that if I found Marianne, he could kill her. He told us how he was sent to New York before I left. I should have guessed that. Mr. Franklin, it only takes 10 minutes to get to the airport from here. Why make the charter for an hour later? You have a point. And there was only one person besides myself and Marianne who knew the address of Mady Carter in New York. I should have thought of that. I suppose you finished with your dinner, Mr. Franklin? Yeah. Because if you are, there are some men waiting for you in the lobby. Homicide detail. You're spoiling my digestion, Mr. Shane. Doesn't matter, Mr. Mr. Franklin, from now on, you'll be eating crow. Howdy. Appetite.

[Character/Actor]

Mike? What I can't understand is why Mr. Franklin was so eager to get his partner's money. He must have made the same amount himself. After all, $8 million, that's enough bait for anybody.

[Narrator/Host]

Sweetheart, with his appetite, Maybe he needs 16 million to keep in groceries. Especially with prices where they are today. Now I need your steak. And will you have red wine served with it? Waiter. Sparkling burgundy. Domestic year of 1948 this is your director, Bill Russo, again. Our story is based on characters created by Brett Halliday. The music is composed and conducted by John Duffy, and Michael Shane is portrayed by Jeff Chandler. The new Adventures of Michael Shane is a Don W. Sharp production, transcribed in Hollywood and distributed exclusively by the Broadcasters Guild. Next week you'll hear Michael Shane and another three thrilling adventure from mysterious and colorful New Orleans. 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. This time, each carried a torch and each was burned by it. They heal the hero worshiper and the hard bitten blonde. And all because of a woman already two days dead. From the pen of Raymond Chandler, outstanding author of crime fiction, comes his most famous character in the Adventures of Philip Marlowe. In just a moment, tonight's story. But first, a message from the Ford dealers of America. Tonight, more than 110,000 enthusiastic motorists own new 1950 Fords. Here's what Donald L. Gibson, a pilot from Kansas City, says about his 50 Ford. As a pilot, I'm naturally interested in engines. And that's why I bought a 50 Ford. That V8 really ticks along. And ticks is just the right word because it's as smooth and quiet as the Swiss movement and the good watch. And it's not just the Ford engine that's fine. The ride is just like flying in smooth air. And the car handles like a dream. Anyone who's thinking of buying a new car should certainly take a check ride in the 50 Ford. We Ford dealers are swamped with comments like that. But don't take anyone's word for this new 50 Ford. Prove it for yourself. Look up your nearest Ford dealer in the classified phone directory. Or perhaps you know him personally. He'll arrange a test drive in the 50 Ford. Test drive it for comfort, for power, for safety and for the quietness which is its mark of quality. Yes. Before you buy any car at any price, Test drive the 50 Ford at your Ford dealers tomorrow. Now with Gerald Moore starred as Philip Marlow, we bring you tonight's exciting story, the torch carriers. The eight hours that had just slipped away had been a noisy assortment of big people with little troubles I hadn't wanted to help. And little people with big troubles I hadn't been able to. So by the time it was all over and I was heading for home, a cozy, quiet cocktail seemed like a good idea. One down and one to go. And to ease up. But even as I relaxed, the tension between the couple sitting at my left became more and more apparent. I looked down the bar. The girl was young, pretty and obviously afraid of the little man with her who had only asthma where a voice should have been.

[Character/Actor]

No.

[Narrator/Host]

Have I made myself clear?

[Character/Actor]

I don't know what you're talking about.

[Narrator/Host]

Now, look, sister Larry. Solid doesn't go for people snooping after another, and neither do I. It gives me work to do that's sometimes rough on a party. Brave boy. All right, little man, you've had your busy day. Hey, take your hands off as soon as you relax. Okay, okay. Get your Mitchell. Now, gentlemen, please, no fighting. I can lose my license for it. Now, you. You leave at once. Wait a minute, baldy. You heard him, buster. Okay. I said, when I come to see, say, anyhow. Walter. Walter, stop playing. You all right, miss?

[Character/Actor]

Yes, yes, thank you.

[Narrator/Host]

Are you sure? Would you like another drink?

[Character/Actor]

No, no, thanks. I. I think I'll go back to my villa.

[Narrator/Host]

Oh, you're staying here at the Wilshire gardens?

[Character/Actor]

Yes, Villa 12. It's just around the corner.

[Narrator/Host]

Maybe I better see you as far as the door. Little pal of yours might still be around.

[Character/Actor]

Well, thank you.

[Narrator/Host]

It's.

[Character/Actor]

This is really very nice of you, Mr. Marlow.

[Narrator/Host]

Phillip Marlow. What about you?

[Character/Actor]

What? Oh, Claire Osborne.

[Narrator/Host]

Now, look, Claire, I'm not trying to pry into your business, but in a way, people like Larry Salter are my business.

[Character/Actor]

Larry Salt? How did you know about him?

[Narrator/Host]

Your little pal in the bar wasn't whispering. I'm a private detective, Claire, and I see a lot of people get in over their heads. Hate to see it happen to you. You know, these people play rough. Usually for keeps. Maybe you better tell me about it, huh?

[Character/Actor]

Well, this is my place. Oh, Mr. Marlow, I'll be frank with you. A month ago I got into a jam. It was an investment. I'd made some stock.

[Narrator/Host]

A sure thing, I was told, and they usually are.

[Character/Actor]

Anyhow, the certificates weren't quite gilt edged and they took a dive, a deep one. And to protect myself, I needed more money. So I. I took a bracelet I had, a diamond one and got a loan on it.

[Narrator/Host]

From Larry Salter?

[Character/Actor]

Yes, from Salter. A friend. A person I thought was a friend recommended him to me.

[Narrator/Host]

So you cashed your bracelet, covered your investment, got your money back, and now you want the bracelet again. Correct?

[Character/Actor]

Yes. But Salter isn't around. He's hiding.

[Narrator/Host]

How do you know?

[Character/Actor]

Well, I went to the club he runs up on his trip. I overheard it there. Two men spoke of him as being on an extended vacation for his health. Of course, I didn't believe that. So I went around the back, found a door open and got into Salter's private office.

[Narrator/Host]

Maybe that in itself is a wonderful way to get into trouble deep.

[Character/Actor]

Yes, I know, but I just had to find out where Salter could be located so I could pay him and get my bracelet back. Here, look. This paper was folded under Salter's memo pad. On one side it says Madge Gladstone, 274. The last number's missing, torn off and on the back. Meet at 1010 1010. Can this help us any?

[Narrator/Host]

But first, Claire, a couple of questions that might help even more. Who was that ersatz little Caesar who slapped you in there?

[Character/Actor]

One of the men I overheard talking at Salters Club. He must have seen me and then followed me here.

[Narrator/Host]

That figures. Now look, honey, you're scrambling awful hard for a thousand buck bracelet. What's the rest of it?

[Character/Actor]

The rest of it? Well, you're out of your.

[Narrator/Host]

Honey.

[Character/Actor]

Oh, excuse me.

[Narrator/Host]

That's better.

[Character/Actor]

I might just as well tell you. The bracelet isn't mine, Mr. Marlow. It belongs to My aunt. I live with her in San Diego.

[Narrator/Host]

Oh, you borrowed it while she was away, maybe, huh?

[Character/Actor]

Yes. Please. I've learned my lesson. I only want to get that bracelet back. Now, Mr. Marlowe, please, please, will you help me? I'll pay you anything.

[Narrator/Host]

Never mind that now.

[Character/Actor]

Oh, please, I. I must know where Larry Salter is.

[Narrator/Host]

Okay, Claire, we'll try to find out. But on one condition. Huh?

[Character/Actor]

Which is what?

[Narrator/Host]

That you go inside, lock all doors and windows, sit next to the phone, and until you hear from me again, do absolutely nothing on your own. Agreed?

[Character/Actor]

Oh, yes, agreed, Mr. Marlowe. Thank you very much.

[Narrator/Host]

Maybe it was because the sweet young kid had the kind of voice you could still hear long after she was gone. You know, one of those lingering sounds like. Like the echo of a train whistle hanging on crisp early morning air. But when I was at a pay phone, I stopped wondering and started dialing numbers. Prefix Gladstone and followed by 2, 7, 4, and then in order, 1, 2, 3, and so on until after, no answer once, wisecrackers twice, and a babysitter who thought I was a masher from her high school. I finally scored at number five. The answer took me to a dame named Madge Gilbert at a place called the Beekman Plaza. It wasn't the kind of place you'd go for mother. And Madge Gilbert wasn't the kind of girl mother would put up with. However, she must have been nice to look at once. And from the smile, pleasant to know.

[Character/Actor]

Okay, Mr. Busy Guy, now that we're together, what is it?

[Narrator/Host]

Well, for one thing, the name's Kirby, and you can drop the fancy handle.

[Character/Actor]

Uh huh. And for another thing, Kirby.

[Narrator/Host]

I want to find Larry Saldivate quick.

[Character/Actor]

Why?

[Narrator/Host]

Got a proposition for him.

[Character/Actor]

He won't be interested. Sit down.

[Narrator/Host]

How can you tell? You don't know what it is.

[Character/Actor]

No, but I do know what at the moment Larry is. Yeah, and in three letters, my friend. The word is sad. He lost his lady love. Drink?

[Narrator/Host]

No, thanks. What do you mean, his lady love? I heard that you and Larry.

[Character/Actor]

I don't mind what you heard. All that used to be the pre Janice trial period.

[Narrator/Host]

The sad comes from Janice finding a better deal, maybe, huh?

[Character/Actor]

No, she was killed. Automobile accident, night before last.

[Narrator/Host]

Saw her with her?

[Character/Actor]

No, again. She was alone and drunk. That's probably the way Larry is right now. A blind fool fell it up.

[Narrator/Host]

Way sure. Look, baby, believe me, it won't put out the toilet you're carrying.

[Character/Actor]

Shut up. Sorry, I brought the whole thing up. Now, what was that proposition you mentioned?

[Narrator/Host]

Larry exclusively. Where is he?

[Character/Actor]

The foundry on Cushing.

[Narrator/Host]

Where?

[Character/Actor]

The foundry in leased Los Angeles. Hey, wait a minute, Kirby. You seem kind of lost for a friend of Larry's.

[Narrator/Host]

I'm just fuzzy on locations, that's all.

[Character/Actor]

How about numbers? The address down there, what is it? Come on, fast.

[Narrator/Host]

10 10. Unless it's been changed recently.

[Character/Actor]

It hasn't. Okay, busy guy. You're still all right.

[Narrator/Host]

Thanks. And if you play it real close, I think you'll be too. See ya. Cushing Avenue in East Los Angeles is industrial, literally wrong side of the tracks and about as non hollywood as an honest day's work. And all the way there I kept blessing the dumb luck that had made me answer 1010 for the address before I'd even had time to think. When I pulled up and parked away from the place, I hoped that luck would continue. Because ahead was the foundry, or what remained of it. And in no sense did it look like friendly territory. I found a metal staircase climbing from what had once been a loading ramp up to the yard foreman's office, where a single staring, unshielded light inside said that somebody was home. And when I quietly gone up those stairs, I saw through a glass door who that somebody was. Larry Salter, alone next to a telephone and pitching dots at a smiling face on a calendar across the wall that read January 1928. And I knocked with the barrel of my.38 on the dirty glass door. Told me to come in without looking up. Make yourself at home, neighbor. Be with you in a minute. Aha. I did it. Her front tooth. I've been trying for that all night. So glad you made it. Now it won't be on your mind while we talk. About what? Bracelets. Bracelets? Neighbor, this is an iron foundry. What you want is a jewelry. Let's save each other a lot of time and level, huh? I'm a private detective named Marlow Salter, and at the moment working for Claire Osborne, who now has the price of a bracelet. Wants it back in a hurry. Do we do business? No, we don't. And it's not because I don't like your neighbor, but. But because one, I never heard of any Claire Osborne. Two, bracelets are stuffed for second story men, which I am not. And three, you ought to get yourself a pair of sneakers, stupid. You've been followed all the way through the yard, up the stairs and into this room. An old gag, Sully. No, no gag. So while you still can, you better put that gun away, because my boy cover takes a strange delight in messing people up real bad, you bracketed chum. You better drop it fast. Yep, that's better. Now Marlow, without any double talk about babes and bracelets. Let's have it. You're one of Freeman best boys, aren't you? You think I had something to do with him getting knocked off in that ditch? You're here to square things away, that's it, isn't it? No, it isn't. And get your hands off me. Okay, I won't touch you again. But that's more than I can say for Cobra. Yeah, lots of. Oh, it was a toss up with a Culpa's gun on the side of my head, other side of my head on the floor had done the damage. Either way it didn't seem to matter because I couldn't make it back any further than Larry Salto's voice. It sounded like it was coming from the bottom of the well, even though I could see him talking into the telephone. Okay, my place later. It's 8100 North Lucerne in Hollywood. But then I couldn't even see that anymore. Oh, oh, oh. Good evening, Wiltshire Gardens hotel, Villa Villa 12, please. Yes, sir. One moment please. Oh, hello, Marlowe. Claire, listen, I'm over in East Los Angeles to Marlowe.

[Character/Actor]

Did you find him? Do you know where Larry Salter is?

[Narrator/Host]

Yeah, I think so. 8100 North Lucerne. It's up in Hollywood, near you. Now listen, Claire, about the bracelet.

[Character/Actor]

There is no bracelet.

[Narrator/Host]

What?

[Character/Actor]

There was no odd, no trouble on the stock market and no loan made.

[Narrator/Host]

Why do you want to know where Saller is? What do you want from him?

[Character/Actor]

His life. Goodbye, Mr. Marlow.

[Narrator/Host]

Wait a minute, Claire. Claire, listen to me. I. Oh, my head. I wouldn't try it. What? Hey, Koba, listen. Shut up. You don't have to go no place until Larry Salter comes back and says so. Now relax, chum. In just a moment, the second act of Philip Marlo. But first, a brief message from the Ford dealers of America. Over 100,000 motorists are experiencing the engineering leadership built into the 50 Ford. As owners, they already know that it's the one fine car in the low priced field. And it's personal experience that counts in buying a car. That's why the Ford dealers of America are issuing this special invitation to test drive this new 50 Ford for yourself. In the classified phone directory you'll find the name of your nearest Ford dealer. Perhaps you know him personally. He'll be delighted to arrange a test drive tomorrow. So get behind the wheel and test drive it for the comfort of its midship ride and its unmatched roominess. Test drive it for the power and quietness of the only V8 in the low priced field. The kind of engine found in America's costliest cars yet priced lower than 10 different six cylinder cars. Test drive it for the safety of its own king size brakes. Largest in the low priced field. Before you buy any car at any price, you'll find it to your advantage to Test drive the 50 Ford at your Ford dealers tomorrow. Now with our star, Gerald Moore, we return to the second act of Philip Marlowe and tonight's story, the Torch Carriers. I turned to the poker face cover and the.45 both staring at me from across six dusty feet of concrete floor that made the ancient East LA foundry seem colder and even more lonely. You don't stay put so good, do you sweetheart? You're kind of heavy handed with that gun, aren't you? Cover. You want to try again, sweetheart? I'll pass. Standing here staring at each other's apt to get dull, don't you think? That's entirely up to you, sweetheart. You bleed pretty. You'd like that, wouldn't you kid? Look, just so I don't get plugged by mistake. Better let me sit down before I fall down. Help yourself. Over there on that box. So we keep me between you and the door? That's right. You're a good boy. You got no idea. Hey, come on. How long do we play like this? I'll tell you better when Orville the Squeak gets back. What's Orville the Squeak? She runs errands for Larry. Like finding out what's phony about a certain young babe in her bracelets that don't exist. So that's where the bird with the whiskey soprano fits. That's the way the punk operates, huh? Well, that way Kovu will both die of old age before. Oh well. You hear that? Somebody moved downstairs. Maybe this is visitors night in the old foundry. Don't get your hopes up, sweetheart. Those live here. They're rats. They eat small dogs. And one thing more. Mahalo. Listen out. What's that for, punk? Dropping your hands out of your lap where I couldn't see him. Don't try it again. I'll put it on your bill. You know Kobe, you're holding me here on Larry sold his orders and yet I'm the only one who knows what schedule I happened to him tonight. Maybe you better tell me. Sure, sure. Only first I want to know something. What about the late Mr. Freeman Best? Freeman was scum Low stinking scum. Nobody misses him. I mean nobody. And Larry didn't kill him. That's out. But he was connected, wasn't he? And there was a girl named Janice Trow. How does she figure? You better let that one set, sweetheart, for your own sake. Now let's have your end, and fast. What's supposed to happen? Did you hear it? Yeah. What? Don't tell me a tough boy like you gets jumpy. All right, give. Come on, wise boy. Jabber look over. Won't do you any good anyway. I'm the only one who. Shut up. There was something. Maybe your rats are big enough to wear shoes. Shut up, I said. And sit right there. I'll blow you in, too. And I mean it'squeak. Is that you? Who's out there? Answer me. As cover edged out of the room, I. I fell along the side of the box I've been sitting on for a jagged chunk of metal slag I'd spotted earlier. It was about the size of a baseball and heavy. I picked it up, then moved across to the opposite wall near the door. You get out of here. The boss is through with you. Now. Beat him. I stepped out and saw Koba standing at the head of the stairs, his back to me. I threw the lump of iron slag with everything I had. Caught him like a hammer between the shoulder blades. His head from his fingers clawed at the air and he pitched face first down the stairs. I caught a glimpse of a woman ducking out of sight behind the foundry furnace. It was Madge Gilbert.

[Character/Actor]

You killed him, didn't you? Cover's dead.

[Narrator/Host]

I don't know and I don't care. What are you doing in this boarded up rat trap?

[Character/Actor]

There's nobody else here. Just us and Cobra.

[Narrator/Host]

Creepy number they call. All the squeakers do. Any minute.

[Character/Actor]

That nasty little lost gives me the woolies.

[Narrator/Host]

You made your bed, baby, but let's not get lost. What are you after in here?

[Character/Actor]

I've been thinking plenty about that torch you're talking about. I decided if you carry the same old one long enough, you're bound to get burned.

[Narrator/Host]

Finally felt the heat, huh?

[Character/Actor]

Yeah, plenty. So I came here looking for you or Larry.

[Narrator/Host]

Couldn't make up your mind?

[Character/Actor]

Certainly. I wanted to tell Larry I was through with him.

[Narrator/Host]

He'd have beat you to it, but you found me, so.

[Character/Actor]

Okay. But if Larry or the squeak come back after what I'm gonna tell you, you gotta help me get out of here. Larry'd kill me.

[Narrator/Host]

Okay, kid, let's have it.

[Character/Actor]

You wanted to know about Jana's trial. Yeah, okay, I'll tell you. She was beautiful. I'd be the first to admit. A brunette, like every woman wishes she was. And Larry fell for her. She took him away from me just like I'd been dead 10 years. Only she was rotten. Never once a clean thought in her twisted, dirty little brain.

[Narrator/Host]

So says the jealous lover.

[Character/Actor]

Jealous? Sure, I was jealous at first. Just hurt and disgusted. She was double crossing Larry every time he turned around. But there was nothing I could do. I tried to tell him.

[Narrator/Host]

So far it's strictly stock. Madge.

[Character/Actor]

Yeah, all but this one time I made it stick. She borrowed Larry's car to take that slimy Freeman vest out for a ride in it with extra laughs. Because it was Larry's car, mind you. And Freeman Best. In case you haven't heard.

[Narrator/Host]

I've heard.

[Character/Actor]

Well, I got a lead that they were gonna wind up at the Bridge Cafe. I made Larry take me out there to prove what I'd been telling him about Janice was true.

[Narrator/Host]

You proved it?

[Character/Actor]

Sure. We waited for him at the bridge. They showed up all right, doing 90. She couldn't make the curve and they hit the bridge railing. Killed them both.

[Narrator/Host]

Wait a minute. Wait a minute. You're stretching, baby. Freeman Best body was found 30 miles south.

[Character/Actor]

Sure. Sure it was. Because Larry couldn't. Couldn't bear the idea of Janice Trow being found with Freeman Best. He tried to protect her and keep everybody from finding out what a tramp she really was. He pulled Freeman's body out of the wreck and hauled it clear down to Long beach and dumped it. I watched him do it.

[Narrator/Host]

And all this business is just to keep that secret about Janet's Trow.

[Character/Actor]

Sure. Gee, can you imagine a love like that going to waste? Why, even with her dead, even now he won't as much as speak to me. I'm not so bad. I've tried and I've waited, but he won't drop it. So it's all yours, Kirby. And take it. I hope you put it right where it hurts him the most.

[Narrator/Host]

No dice, baby. Kirby was a stall. I'm Marlow, private detective.

[Character/Actor]

What? Gee, how cheap did I sell out anyway?

[Narrator/Host]

That depends. The only ax I'm grinding is for a girl named Claire Osborne. Ever hear of her?

[Character/Actor]

No.

[Narrator/Host]

That's funny. For some reason she hates Salter even more than you.

[Character/Actor]

Listen, it's Orville. It's Orville.

[Narrator/Host]

You stay where you are.

[Character/Actor]

I'm scared of him.

[Narrator/Host]

I'll pull his fangs. Just don't get absent minded about which side you're on.

[Character/Actor]

Hello, Orville.

[Narrator/Host]

Where's Larry?

[Character/Actor]

I don't know. I've been waiting for him.

[Narrator/Host]

Where's cover, then? I got something important.

[Character/Actor]

Cover? Oh, he went out for a few minutes.

[Narrator/Host]

Yeah. I don't like this, sister. You in here all by yourself. Something's wrong. What is it? Come on. What's the matter? Hold it, Orville. You. Why the gun? Yes. What do you know about Claire Osmond? I don't think I know the party. Sure you do. A cute little brunette named Claire Oswin. I want the straight dope on her, and I want it now, not later. Take over.

[Character/Actor]

Hey.

[Narrator/Host]

Answer my questions, you creep. You won't get anything out of me. Larry will take care of folks, you jerk. Maybe there's something on that'll give me an answer without talking back.

[Character/Actor]

Look. He always wrote things down in a little notebook. It's inside his jacket.

[Narrator/Host]

Yeah. Yeah, you're right. Here it is. Let's see. Oh, sure. Sure, this is it. Claire Osborne arrived from San Diego last night by plane registered at Wilshire Gardens as Claire Osmond. According to driver's license, her real name is. For Pete's sake. No wonder. I'll see you, kid. It took me 20 minutes to get from East LA over to Lucerne and another five to find the bleak white bungalow that belonged to Larry Salter. Its front windows were dark when I drove past it parked on a side street and walked back. But in the rear, one window showed a light. The screen door was open, so I eased myself into the service porch where I could see Salter sitting at a kitchen table. A look on his face of hurt defiance, like a small boy accused of something he hadn't done. I couldn't see who was facing him, but there was no mistaking the voice.

[Character/Actor]

I love my sister.

[Narrator/Host]

It was Claire.

[Character/Actor]

All my life, Janice was everything to me. And now she's dead and you killed her. That's true, isn't it?

[Narrator/Host]

I've already told you once, kid, you're making a mistake.

[Character/Actor]

Oh, no, I'm not. You're going to pay for my sister's death. No court will ever call it murder, but that's what it was. You did it just as surely as if you'd strangled her with your own hands. And now I'm going to get even for Janet.

[Narrator/Host]

Claire. Hey, Marlow.

[Character/Actor]

You crazy fool, why did you come here?

[Narrator/Host]

Give me that gun, Claire.

[Character/Actor]

I know you. Stay out of this. You can't stop me. Nobody can. Even if you shoot me, Marlow, I'll kill him.

[Narrator/Host]

Now, listen to me. Before you start pulling that trigger, you better know all the facts. Everything Salta here has done since your sister's death has been to shield and protect what little she herself left of a good reputation. She turned bad, Claire.

[Character/Actor]

She. You're lying.

[Narrator/Host]

No. No. What reason have I got to lie? I'm telling you this because it's true. And I can prove it.

[Character/Actor]

I don't believe you. You're trying to trick me.

[Narrator/Host]

It was your big sister who tricked you years ago. She was no good. She was that double crossing dirty cheater. Wouldn't shoot square for five minutes.

[Character/Actor]

Stop it.

[Narrator/Host]

Now. There's more. The night she died, she was two timing Larry. But even in spite of that, he risked his neck to move the body of the other guy just so so she wouldn't be found with the kind of cheap trash she'd been running around with. And do you know why? Because Larry Salter there loved your sister. Loved her every bit as much as you did loved her.

[Character/Actor]

Yeah, I know now. This can't be true.

[Narrator/Host]

Yes, it's true, kid. All of it. I loved her, all right. It's just too bad that Janice went like she did. Oh, Marlowe. Okay, baby, the hard part's over. Come on. Come on. Give me the gun. You don't want to shoot anybody. Not now. Feel better now, Claire?

[Character/Actor]

Yes, I. I'll be all right when I get used to a few new ideas.

[Narrator/Host]

Yeah.

[Character/Actor]

What's going to happen to me now?

[Narrator/Host]

Well, that's pretty much up to you.

[Character/Actor]

How do you mean?

[Narrator/Host]

The world, smart spins like mad, honey. You have to keep up or get lost.

[Character/Actor]

Like I was tonight. I was lost, Marlo. Terribly. Everything I had any faith in was gone.

[Narrator/Host]

Yeah, I know. That's because you had blind faith, Claire. You know, that's okay for kids, but you're a big girl now.

[Character/Actor]

Yes, I get it. From now on, it's me on my own two feet and my eyes wide open.

[Narrator/Host]

Well, take it easy, baby. It's fun to close him once in a while. After I dropped Claire off at her hotel, I. I remember the drink I'd started out to get in, left half finished on the bar. But it was too late now to stop anywhere. So I drove home and poured myself a nightcap in my own apartment. I carried it over to the window and looked out across the city at the endless miles of winking lights. Each one a torch. Everybody carries a torch for something. Some for a love they can never have. An ideal that's out of reach. And some just. Just from memory. Funny thing. So many Dark corners get their only light from a torch that somebody carries. Philip Marlow will be back in just a moment. But first, here's a message from the Ford dealers of America. More than 110,000 delighted motorists are already driving the new 50 Ford. Here's what Jack Farrell, hotel manager, says. I did a lot of shopping around and chose Ford for styling. And I'm certainly glad because I found there's plenty of car beneath its beautiful body. There's plenty of power under the hood too, and it's as comfortable as a high priced car. I could go on for hours about the quietness, the economy and the comfort of my car. But it all adds up to this. The 50 Ford's a mighty fine car to own. We Ford dealers are not surprised that new owners rave about their 50 Fords. We've studied this new Ford from stem to stern. We know every detail of its 50 ways new for 50. But until you get behind the wheel, you won't be able to believe how good it is. That's the reason we want you to Test drive the 50 Ford. The classified phone directory will give you the name of the nearest Ford dealer. Or perhaps you know him personally. Why don't you phone him tomorrow? Before you buy any car at any price, you owe it to yourself to Test drive the 50 Ford. Be sure and be with us again next week when Philip Marlow says this time everything that happened from the orange haired man with a map past the oath of the pitchfork to the body at the covered bridge was wrong. Dead wrong. The adventures of Philip Marlow bringing you Raymond Chandler's most famous character. Star Gerald Moore are produced and directed by Norman McDonnell and are written for radio by Robert Mitchell and Gene Levitt. Featured in the cast were Sammy Hill, John Dana, Vivi Janis, Harry Bartel, Wilms Herbert and Edgar Barrier. The special music is composed and conducted by Richard Orant. This is Roy Rowan speaking. Stay tuned now for Gangbusters which follows immediately on most of these same CBS stations. This is cbs, the Columbia Broadcasting System. Palm olive soap, your beauty Hope and luster cream shampoo for soft, glamorous, caressable hair. Bring you our Miss Brooks starring eve Arden. Our Ms. Brooks teaches English at Madison Hive. Like many other romantically inclined people, she sent the object of her affections, Madison's bashful biologist, Philip Boynton, an unsigned card for Valentine's Day. And then she sat down to wait for his reply.

[Character/Actor]

It wasn't that his reply was long in coming. It just didn't come at all. Knowing Mr. Boynton, I wasn't too surprised that he forgot about Valentine's Day. But I was determined to change the locale of our next date. For the past six weeks we had spent every Friday afternoon at the zoo. Now, I am definitely not anti animal, but I am a schoolteacher. And hence after spending three hours in the monkey house, I just can't afford to buy Taboo by the court. I was brooding about it and cafeteria on Friday when Harriet Conklin walked over. Mind if I sit down with you, Ms. Brooks? Not at all, Harriet. But don't you usually have lunch with Walter Denton? Yes, I do. But he's manager of the basketball team, you know, and he's giving the boys an extra skull practice. Really? Whose skull are they using today? I hope you're not expecting Mr. Boynton to have lunch with you, Ms. Brooks. He told me he was eating his lunch in the laboratory because he didn't want to leave McDougal alone. Oh, don't tell me that frog is sick again. Not actually sick. It's just spring fever or something. It's kind of fun to have lunch without any men around anyway. Don't you think so, Ms. Brooks? Well, yes and no. What do you mean yes and no? No, we haven't had a real woman to woman talk in a long time. You know. Walter Denton is crazier about me than ever. All I have to do is whistle and he comes running. Really, it's the only way to train them. That's what you ought to try with Mr. Boynton. I have. But every time I whistle, he opens his lunchbox. Walter just smothers me with attention. Sometimes his dog like affection and constant worship become absolutely cloying. Well, I wish Mr. Boynton would cloy me once in a while. By the way, Harriet, when Walter takes you out on a date, where do you usually go? Oh, all sorts of places, Ms. Brooks. A drive in the country or a long walk in the park. Sometimes we go to a movie and hold hands. Do you ever go to the zoo? The zoo? Gosh, no. Except when Mr. Boynton takes us there for his monthly lecture. That's where I've got an edge on you kids. I hear it every week. But Mr. Boynton takes you to the movies once in a while, doesn't he? Oh, yes. As a matter of fact we went last week. Was it romantic? Oh, extremely. We stood in a crowd of people behind a velvet rope for a while and then an usher said, there's one down front. Yes, that was the last I saw of Mr. Boynton for three hours. I finally got a seat in the balcony. Golly, that's a shame, Miss Brooks. You couldn't hold hands at all, could you? Not even with the long gloves I was wearing. But about those Friday's in the Monkey House. Harriet. I'm surprised at you, Miss Brooke. You don't really let Mr. Boynton take you to the monkey house every week, do you? No, I think it's the Monkey house. It can't be the Taj Mahal with all those bananas. Well, well, if it isn't Madison High's fairest. May I join this charming bevy of pulchritude? Why, Walter, what a lovely speech. Yes, you are a delightful child, Walter. But if you'll excuse me, Ms. Brooks, I'd like to get my entree at the steam table. Oh, can I be of service, fair Harriet? I'll gladly fetch what you want. No, thank you. But if you'll sit up nicely when I return, I'll pat you on the head. Arf. Arf. Can I get you anything, Miss Brooks? No, thanks, Harriet. Just bring back a roast beef bone and a can of strong heart. See you in a few minutes. Okay, Harriet. You know, I think it's wonderful the way you kids get along. You're very fond of Harriet, aren't you, Walter? Very. Plus which, Harriet's the principal's daughter, and I'm manager of the basketball team. And there are things that I can accomplish quicker if I can get to Mr. Conklin without having to go through regulation channels all the time. What's good about getting to Mr. Conklin so fast? Well, I like getting things done fast that need getting done fast. Like new jerseys, for instance. Like new jerseys? What, for instance? Not new jerseys, anything. New jerseys for the basketball team. Oh, we need them badly. You do at that. The ones the team wore in their last game looked awfully fuzzy. They didn't wear any in their last game, but I'm sure the new ones will come through all right. I'm taking Harriet out on a date tonight, and I can bring it up casually when I see Mr. Conklin at his house. I don't like to suggest a career for you, Walter, but I have a feeling you're going to kiss an awful lot of babies before you're much older. Oh, I could never be a politician. I'm too sincere. Oh, but why are we talking about me? You seem to have a problem of your own on your mind, Ms. Brooks. Is it that obvious, Walter? I have been thinking about Mr. Boynton, but only in connection with getting him out of the zoo and into my parlor. That shouldn't be too tough. What kind of a web are you spinning? Web? Look, Ms. Brooks, at the risk of feeling like a traitor to a fellow male, I'll help you plot Mr. Boynton's overthrow. But frankly, I'm kind of hungry right now. Then why don't you eat, Walter? And we can finish building the bomb after lunch. Oh, say, there's Mr. Leblanche, the new French teacher. Oh, he ought to know plenty about romance. He's a real Frenchman. I'll call him older. Don't you dare, Walter. When I'm ready to take my case to the United Nations, I'll let you know. Besides, I've seen Mr. LeBlanche on dates with Ms. Enright lately. So what? Ms. Enright goes on dates with anybody. Gosh, every time she sees Mr. Boynton, she makes goo goo eyes at him. That's not nice, Walter. Ms. Enright's eyes are always that way. I mean, it's unethical. Unethical is better than lonesome, Ms. Brooks. Oh, Mr. LeBlanche. Walter.

[Narrator/Host]

Please, call me Walter.

[Character/Actor]

Yes. Would you be kind enough to come over here a minute? I'd like to talk to you about something very important. Well, you better talk to me, Walter, because I refuse.

[Narrator/Host]

I bring my coffee along and. Oh, how do you miss Books?

[Character/Actor]

Fine. How do you, Mr. LeBlanc?

[Narrator/Host]

What? What did you want to talk to me about, Walter?

[Character/Actor]

It isn't important. I'll see you later. Now, that's what I call a real subtle maneuver.

[Narrator/Host]

He's a. He's a funny boy. No, no. Now, now, he's just you and I, mister. Ms. Brooks, eh?

[Character/Actor]

I'm afraid it's just you, Mr. LeBlanc. I've got to see Mr. Conklin about something.

[Narrator/Host]

Mr. Conklin, please. Ms. Brooks, I think Mr. Conklin is a fine principle, but do you have to mention him during the lunch period?

[Character/Actor]

You've got something there. I guess it can wait a while. It's only a question of giving him my weekly dollar.

[Narrator/Host]

You owe him a weekly dollar, Bow wit.

[Character/Actor]

It's a long and grim story, but I think I can boil it down to the repulsive essentials. A couple of weeks ago, I took an electric heater of his, connected it in Mr. Boynton's laboratory on an overloaded circuit and shorted the building, started a small fire and ruined the heater.

[Narrator/Host]

Why you do that?

[Character/Actor]

I like sirens. Oh, I didn't do it purposely, Mr. LeBlanche. It was an accident. One for which I'm Paying at the rate of a dollar a week. And today's Dollar Day at Madison.

[Narrator/Host]

Well, that is too bad, Ms. Books. But it is not money that causes you to look the way you do today.

[Character/Actor]

Is there a sign on my forehead? How do I look today?

[Narrator/Host]

Well, there are only two things that can make a woman have the look you have on your face. One is an affair of the heart. The other is the meatballs in this cafeteria. But. But neither of them is incurable. Eh?

[Character/Actor]

I'm sure you haven't eaten those meatballs lately. Look, it's nice of you to try and cheer me up, Mr. LeBlanc.

[Narrator/Host]

Please, call me Paul. And I'm not trying to cheer you up. I'm trying to help you. First of all, tell me this. Did you receive any messages on Valentine's Day?

[Character/Actor]

Oh, scared? I got one from Zimmerman's Bakery, one from the finance company, a lovely little card from Bertie's Bicycle Shop. In the shape of a pump, that one was. And oh yes, a dandy little poem from Sam, our neighborhood scissor sharpener. I think I remember that one. It went, I've applied my grindstone to shears both old and new, but I never met a scissors one half as sharp as you. Wasn't that a peachy sentiment for Valentine's Day?

[Narrator/Host]

Quite amusing. Yes, but not to you, I'm afraid. Because you're not in love with Sam the scissor of Bertie the bicycle. No.

[Character/Actor]

My problem is BOYNTON the biology.

[Narrator/Host]

Ms. Brooks, since we have taken me into your confidence, I would like to make a suggestion. You must play. How do you say in this country? You must play? Difficult to acquire.

[Character/Actor]

Difficult to acquire. Oh, you mean hard to get.

[Narrator/Host]

Precisely. Now tell me. Tell me the truth. When Mr. Boynton asks you for an engagement, do you ever say no?

[Character/Actor]

Well, no. But it isn't just because of Mr. Boynton. I'd hate to disappoint 400 monkeys, that is. I haven't gone out with him much lately at all.

[Narrator/Host]

Because he do not ask you.

[Character/Actor]

Well, I like that.

[Narrator/Host]

I am glad. Ms. Wilkes, there's one way to get a man interested that never fails. You must make him jealous.

[Character/Actor]

I've tried that, Mr. LeBlanche, but he just doesn't jealouse very easily.

[Narrator/Host]

Ah, yes, but you've tried it only once. That is not enough. How do the big American advertisings work? Repetition. Over and over, the same thing. What is it you hear on the radio all the time? Smoke a penny. Again and again. Smoker. Benny. If you repeat this often enough, you know what happens.

[Character/Actor]

Yeah, Jack gets pretty burned out. No, Mr. LeBlanche, I'm afraid Mr. Boynton is too wrapped up in a frog to pay any attention to me.

[Narrator/Host]

Oh, but of course, I forget Monsieur Le Frog. You know, in France we have a proverb translation. The way to a man's heart is to his frog.

[Character/Actor]

That's very touching, but I don't see what it has to do.

[Narrator/Host]

Oh, it's so simple, really. Here you have a man with his little pet, Monsieur Le Frog. And here you have a woman with her pet, Mademoiselle Laphrogue. Now we convince the man that Monsieur Le Frog is lonesome. And where can his poor little frog find companionship? With Mademoiselle la Frog? And when the two little frogs are together, where are the man and the woman?

[Character/Actor]

Pricing junior beds for tadpoles?

[Narrator/Host]

No, no, Miss Brooks. No. The man and the woman are also together. Now, you know, Miss Books, what you have to do to get Mr. Boynton to beat a bastard. No. Yes.

[Character/Actor]

I've got to build a better frog trap. Look, Mr. Le Frog. LeBlanche. This idea's a little impression. Coming, Miss Brooks? Oh, you look better already. Hello, Walter. Mr. LeBlanche is quite an idea man. We were just discussing a really fantastic scheme. Not only fantastic, but ridiculous and absurd. Walter. Yes, Miss Brooks? Run down to Peterson's Pet Shop and get me a female frog.

[Narrator/Host]

Our Miss Book, starring Eve Arden, will continue in just a moment. But first, here is Vern Smith. The makers of Palm Olive soap are giving away $100,000 in prizes. First prize, $49,000. Plus over 4,900 other cash prizes in the Big 49 Gold Rush contest. Hundreds will strike it rich in this exciting Gold Rush contest. One of them may be you. It's easy to enter. Just finish this sentence in 25 additional words or less. I like Palm Olive soap because. That's all. Just 25 words or less to finish the sentence. I like Palm Olive soap because. Then mail your entry right away along with a Palm Olive soap wrapper. Try for your share of that $100,000 in prizes. Right now. Your chance of winning $49,000 is as good as anyone. Get entry blank with complete rules from your dealer. Or write your completed sentence on plain paper. Include your name and address and dealer's name and address. Mail with one Palm Olive soap wrapper for each entry to Gold rush contest box 49, New York. 8, New York. Better write that down. Gold rush contest box 49, New York. Eight, New York. Enter as often as you like, including one wrapper. With each entry, get Palm Olive soap right away to help win a lovelier complexion. And try for your share of the $100,000 in cash prizes.

[Character/Actor]

Well, I gave Walter my last dollar to buy a female frog. And while he was out getting it, I took advantage of a free period to visit Mr. Boynton in his laboratory. Hello, Mr. Boynton.

[Narrator/Host]

Oh, hello, Ms. Brooks.

[Character/Actor]

I just dropped in to say hello, Mr. Boynton.

[Narrator/Host]

Hello.

[Character/Actor]

Well, goodbye, Mr. Boynton.

[Narrator/Host]

Oh, don't go yet. I just been examining McDougal. You know, my frog, he's got me a little worried. He's way off his feet, and we'll look at him. Don't you think his eyes pop out more than usual?

[Character/Actor]

Yeah. Hi, Mac. Mac, don't you.

[Narrator/Host]

No, miss the spring.

[Character/Actor]

And it's just. After all, you raised him from a tadpole. And it's only natural that you should still think of him as your baby. But he's a big boy. Now, this. Mr. Boynton, did it ever occur to you that Mac gets lonesome all alone in that cage?

[Narrator/Host]

I let him out of the cage quite often. He hops all over the lab.

[Character/Actor]

But what good is that? He hasn't got any friends here.

[Narrator/Host]

Well, no. There are always a number of guinea pigs around. Of course, he doesn't pay much attention to them.

[Character/Actor]

Well, naturally, guinea pigs make fine friends for other guinea pigs. A frog might crave a different kind of companionship.

[Narrator/Host]

What about me? I'm very close to MacDougall. I've been his constant companion.

[Character/Actor]

If I were a frog, I don't think I'd consider that the ideal arrangement either. No, I think I'd want something a little more frog like.

[Narrator/Host]

Just what are you getting at, Brooks?

[Character/Actor]

Look, did you ever sit down and tell McDougal about the birds and bees?

[Narrator/Host]

What does he want with birds and bees? He won't even make friends with guinea pigs.

[Character/Actor]

Well, let me put it this way, Mrs. Davis. My landlady, has a cat named Minerva. Now, around this time of the year, Minerva keeps us both awake half the night with an almost incessant yowling.

[Narrator/Host]

Well, have you tried giving her a saucer of milk?

[Character/Actor]

That's not what she's yowling about, Mr. Bartle.

[Narrator/Host]

Milk's very infective with a cat, usually.

[Character/Actor]

Yes, I know. And believe me, if I thought it would quiet her down, I'd give her an autographed picture of Elsie the cow. But it won't. She's yowling because she's lonely.

[Narrator/Host]

Why, Miss Brooks, I didn't know you were so aware of These biological manifestations. Where did you learn all this?

[Character/Actor]

My mama done told me. I mean, since I've acquired my pet frog. Pet female frog, that is.

[Narrator/Host]

You have a pet frog, Ms. Brooks? What's her name?

[Character/Actor]

Her name? Millie.

[Narrator/Host]

Millie?

[Character/Actor]

Yes, from the picture. The mating of Millie. She's awfully cute, too.

[Narrator/Host]

You think Mac almost understood what you were talking about?

[Character/Actor]

Well, don't think for a minute he doesn't. What do you say, Mac? Would you like to come over and play with Millie this afternoon? Hooray. Today you are a man frog.

[Narrator/Host]

This is amazing. Miss Brooks, if you don't mind, I'd like to ask you if.

[Character/Actor]

Shine up your hope chestnut. Here it comes.

[Narrator/Host]

I'd like to ask you, Miss Brooks, how about a double date? That is, if you. If it isn't too much trouble, shall.

[Character/Actor]

We say my place for tea?

[Narrator/Host]

Splendid.

[Character/Actor]

Just bring a pogo stick and a deck of cards, Mr. Barnum.

[Narrator/Host]

A pogo stick and cards?

[Character/Actor]

Yes. While Mac and Millie play gin, you and I can have a hopping contest. La Moor. L'. Amour. Excuse me. Could you come over here to the door a minute, Miss Brooks? I've got to get to my next class. Oh, certainly, Walter. I'll just be a minute, Mr. Barnton. Did you get it, Walter? Yes, it's in this paper bag, Miss Brooks. Here.

[Narrator/Host]

Thanks.

[Character/Actor]

That's okay. I hope it works, Miss Brooks. Well, I'll see you in English.

[Narrator/Host]

What's in the bag, Ms. Brooks?

[Character/Actor]

This bag? Oh, just a roast beef sandwich Walter brought me.

[Narrator/Host]

It's a pretty active one. Look out, it's falling out of the bag. Here, let me see that. Here, I've got him. Oh, Miss Brooks, do you realize what you've got here?

[Character/Actor]

Sure, an F, R, O, G. I didn't want to mention it in front of Mac until we got home.

[Narrator/Host]

Oh, but this is a male frog. You can always tell because in the species Dimorphognathus from West Africa, there's a very apparent dimorphism in the dentition. The males being provided with a series of large serrated teeth in the lower jaw, which in the female is edentulous.

[Character/Actor]

Well, slap me with a wet lily pad. Excuse me, Mr. Boynton. I've got to be running along now.

[Narrator/Host]

Why, Miss Brooks, I've got to see.

[Character/Actor]

A boy about a frog.

[Narrator/Host]

Here, I'll put it back in the bag for you. Now just hold the top tighter and he won't get away again. I still don't comprehend why you got this mail frog.

[Character/Actor]

Well, I didn't know how you and MacDougall would react to the idea of keeping Millie company. So I thought I'd play safe and get this one, too.

[Narrator/Host]

I don't think Mac likes the idea very much. Don't be jealous, Mac.

[Character/Actor]

Let him live his own life.

[Narrator/Host]

We better not come over this afternoon, Miss Brooks. I'm afraid it'll only confuse Mac.

[Character/Actor]

Look, Mr. Boynton, I don't care if a frog wants to play hard to get, but there's something I'd like you to remember.

[Narrator/Host]

What's that, Miss Brooks?

[Character/Actor]

Well, I don't want to sound too much like an English teacher, but when one plays hard to get too often, one sometimes don't get got. Now, I'll just take this frog into my room and see how Walter happened to make such a. Well, there you are, Connie. I've been looking all over for you, Mrs. Davis. What are you doing in the hallowed halls of Madison High? Well, I know how you've been waiting for a valentine card from Mr. Boynton. And I just had to tell you that all hope isn't lost. But Today is Friday, Mrs. Davis. That's just it, Connie. Some mail came this morning that should have been delivered Monday. A valentine? No, a bill from the gas company. Now, that's the nicest bit of sentiment since Sam's scissors. They say that if we don't pay it immediately, they'll shut off the gas. Just my luck. With Mr. Boynton coming over for tea, it couldn't be the electric company promising to shut off all the light. No, son. And I'm short some money or I wouldn't bother you in school like this. You know, Minerva cost me a lot lately with her special diet. Just how much do you need, Mrs. Davis? Well, if you'll forgive a slang expression, one greenback will do it. I just happen to have one on me. He's in this bag here. Don't look so alarmed, Mrs. Davis. I'm not cracking up completely. Look, just take this frog back to Peterson's Pet Shop and they'll refund my dollar. I'll explain why I bought the frog later. You don't have to explain anything to me, Connie. If you want a frog for a pet, it's perfectly all right. But why are you giving it back? To keep the gas on, for one thing. Besides, it's a male frog, and I've got to have a female. Well, you don't have to spend any money for that. I'll get you a female frog in the park. I never thought of that. I'd Certainly appreciate it, Mrs. Davis. Will you Bring it back with you after you paid the gas bill. Certainly, Connie. And I just know that you'll be very happy together. And so, class, you are to have these compositions ready by next Tuesday. That's the end of the period. Class dismissed. Except Walter Denton. Come up to my desk, Walter. Oh, I'm glad you asked me, Ms. Brooks. I wanted to explain about that frog. You see, Mr. Peterson was out to lunch when I got to the pet shop, so I got you one out of the park pond. Was it all right? I mean, was she a girl? No, Walter, she was a boy with big serrated teeth in her lower jaw. What about the dollar I gave you? Oh, here it is, Ms. Brooks. I didn't have time to give it to you before. Thanks, Walter. That'll be all for now. Then I better get over to Mr. Conklin's office and make my payment on that heater. Well, here I am, Connie. Hello, Walter. Hello, Mrs. Davis. Goodbye, Mrs. Davis. Well, what do you think, Connie? Mr. Peterson didn't sell Walter that frog at all. I know, Mrs. But he said it was a very good specimen and traded me a lovely female for him. And instead of giving us any money, he promised that when our frog becomes a husband, we'll get the pick of the litter. I can hardly wait. But where's the female frog? Oh, I had that in a paper bag and it seemed very insecure, so I put the frog in a desk across the hall. Nobody saw me across the hall. But that's Mr. Conklin's office. Mrs. Davis, you wait right here. And if I'm not back in five minutes, call the coroner.

[Narrator/Host]

Now, what is it? Come in. Oh, it's you. Miss Brooks, please transact whatever business you have in this office in a hurry. I've got an appointment with the doctor.

[Character/Actor]

The doctor? What's the matter, Mr. Conklin?

[Narrator/Host]

Oh, just a checkup. Lot of nonsense if you ask me. My wife's been telling him all sorts of foolishness about the stuff. State of my nerves. To hear her tell it, I've not only got the world's highest blood pressure, but I'm jumpy, anxious, overwrought. Don't interrupt. And I'm ill tempered. Now, what is it you want?

[Character/Actor]

I just want to give you a dollar towards the heater I accidentally injured. Here.

[Narrator/Host]

Oh, thanks. Sit down for a minute and I'll give you a receipt. I've got a regular Board of Education receipt book around here somewhere.

[Character/Actor]

But Mr. Conklin, your desk drawer, please.

[Narrator/Host]

Ms. Brooks, don't tell me where I keep my things. Of course. It's in the desk drawer. Let's see now. Book should be right over here next to this blotter. Oh, that's funny. Oh, here it is, over by this frog. Hello, little frog. Miss Brooks. It won't take a moment to get the receipt.

[Character/Actor]

Hello, little frog.

[Narrator/Host]

Miss Brooks, where did this monstrous. Do you know anything about this horrible creep? How did this get in?

[Character/Actor]

Please, Mr. Coppin. Remember the world's highest blood pressure.

[Narrator/Host]

Never mind that. What is this frog doing in my desk?

[Character/Actor]

Calm down, Mr. Conklin. Ours isn't the only school that's overcrowded. I thought you'd never get home from school. Connie, how long did Mr. Conklin spend bawling you out? Oh, it seemed like hours, but actually it was only a few minutes. You should have been there when Mr. Conklin and Millie here faced each other across his desk drawer. Poor thing. Her heart hasn't stopped beating yet. Neither is yours, Connie. You're as jumpy as Minerva. Are you sure Mr. Boynton said he'd be over for tea? Oh, definitely, Mrs. Davis. I told him all about how lonely Minerva was and compared her to McDougal. So he's bringing Mac over to meet Millie. It's the first time in weeks we've had a date away from the zoo. That's Mr. Bolton now. I'll go make the tea, Connie, and you receive him alone. All right, Mrs. Davis. Coming. Well, it's nice to see you boys. Come in. Let's go into the living room.

[Narrator/Host]

Thank you, Miss Brooks. Here's something for millie. It's from McDougal.

[Character/Actor]

Oh, I'll open it for her. Will. Wasn't that thoughtful of Mac, Millie? Just what you needed, a clump of wilted lettuce. Here, I'll put it in this little box I keep her in.

[Narrator/Host]

I guess Mac wants to see what Millie looks like.

[Character/Actor]

Oh, of course. Here, just hold him up. There we are. This is Mac, Millie.

[Narrator/Host]

I think she likes him. But, Ms. Brooks, didn't you say you had a cat on the premises?

[Character/Actor]

That's right, Minerva. She usually sleeps in the piano during the day. Here, Minerva, come out of the piano. Oh, well, she'll probably wake up in a little while. Sit down, Mr. Barton.

[Narrator/Host]

Oh, before I do, don't you want to open this big box for me?

[Character/Actor]

Well, what in the world can this be?

[Narrator/Host]

It's a cat, Miss Brooks. I brought him over to keep Manura company.

[Character/Actor]

Well, here comes Minerva now.

[Narrator/Host]

They seem to like each other too. Miss Brooks. Miss Brooks, where are you going?

[Character/Actor]

You know where I'm going. I'll meet you by the third monkey from the left.

[Narrator/Host]

Eve Arden, as our Ms. Brooks returns in just a moment. But first, dream girl. Dream girl. Beautiful Luster Cream girl tonight, show him how much lovelier your hair can look after a Luster Cream shampoo. Only Luster Cream brings you K. Duma's magic formula. Blend of secret ingredients plus gentle lanolin gives loveliness lather even in hardest water. Glamorizes your hair as you wash it. Luster Cream, not a soap, not a liquid, but a dainty cream shampoo. Leaves hair fragrantly clean, free of loose dandruff, glistening with sheen. Soft, manageable, gives new beauty to all hairdos or permanents. 4 ounce jar, $1. Smaller sizes, either tubes or jars. Tonight, try Luster Cream Shampoo and be a dream girl. Dream girl. Beautiful luster. You owe your crowning glory too. A lost her cream shampoo. And now, once again, here is our Ms. Brooks.

[Character/Actor]

Well, Mr. Boynton finally took McDougal and his cat and left. Mrs. Davis and I had dinner and then we sat down in the living room to spend a quiet evening. Minerva went back to sleep and everything was nice and peaceful when the phone rang. Lie down, Minerva. It's not for you. Hello? Hello? Oh, I'm sorry, Minerva, it is for you.

[Narrator/Host]

Next week, tune into another our Ms. Brooks show, brought to you by Palmoly. Cope your beauty, hope and luster queen Champlain Pooh for soft, glamorous, caressable hair. Our Miss Brooks, starring Eve Arden, is produced by Larry Burns, written and directed by Al Lewis, with music by Wilbur Hatch. Here's good shaving news. Three men out of every four can get more comfortable actually smoother shaves with Palmolive Brushless Shaving Cream. This is not just a claim. Here's the proof. 1297 men tried the Palmolive brushless way to shave described on the tube. And no matter how they shaved before, three men out of every four got more comfortable actually smoother shaves. Try Palmolive Brushless yourself. See if you don't get more comfortable actually smoother shaves. The proved Palmolive Brushless way. More mystery liberally sprinkled with laughs. Listen to Mr. And Mrs. North, the exciting, fun fact adventures of an amateur detective and his beautiful wife. Tune in Tuesday evenings over most of these stations and be with us again next week at this time for another comedy episode of our Ms. Brooks. Bob Lamond speaking. This is CBS, the Columbia Broadcasting System.

[Character/Actor]

Foreign.

[Show Host/Commentator]

We just heard Gregory Hood, Michael Shane, Philip Marlowe and our Ms. Brooks that will do it for today's show. Thanks so much for joining me. I'll be back next time with more Old Time Radio Detectives. In the meantime, you can check out Stars on Suspense, my other Old Time Radio podcast. New episodes of that show are out on Thursdays. If you like what you're hearing, don't be a stranger. You can rate and review the show on Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com meansts OTR. I'll be back next time with more Radio Detectives. But until then, goodbye night and happy listening.

[Narrator/Host]

Now here is our star, Vincent Price. Ladies and gentlemen, in a prejudice filled America, no one would be secure in his job, his business, his church or his home. Yet racial and religious antagonisms are exploited daily by quacks and adventurers whose followers make up the irresponsible lunatic fringe of American life. Refuse to listen to or spread rumors against any race or religion. Help to stamp out prejudice in our country. Let's judge our neighbors by the character of their lives alone and not on the basis of their religion or origin.