← Down These Mean Streets (Old Time Radio Detectives)
Down These Mean Streets (Old Time Radio Detectives)
Episode 639 - Maltese Falconers (Suspense, Inner Sanctum, Nero Wolfe, Bold Venture, & Screen Guild Theatre)
02:31:48
The Maltese Falcon premiered in movie theaters eight eighty-four years ago this month, and we're celebrating the anniversary of one of Hollywood's best mystery pictures with a showcase for its stars - Humphrey Bogart, Mary Astor, Peter Lorre, and...
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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. Hello and welcome to down these Mean Streets and more old time radio detectives and crime. Sol this month marks the 84th anniversary of the release of one of the best detective films ever made, John Huston's adaptation of Dashiell Hammett's novel the Maltese Falcon. And it featured one of the best casts in Hollywood history, anchored by Humphrey Bogart as Sam Spade, Mary Astor as Bridget o', Shaughnessy, Peter Laurie as Joel Cairo and Sidney Greenstreet as Casper Gutman. Today, in celebration of that classic film and its cast, we'll hear each of those actors in an old time radio mystery. And then we'll hear all four of them together in a radio version of the movie. First up is Peter Laurie, who played the sniveling but sinister Joel Cairo. He stars in the Moment of Darkness, a mystery written by John Dixon Carr. Presented on suspense on April 20, 1943. 3Aman is murdered in the middle of a seance. But at the moment of the crime, everyone in the room was holding hands. So whodunnit? Laurie co stars with Wendy Barry and George Zuko and plays a character who knows more than he's telling. Next is Mary Astor, who gave Hollywood one of the all time great femmes fatale as Bridget o'. Shaughnessy. She stars in the Silent Hands, an episode of Inner sanctum mysteries from May 13, 1944. A reporter is on the trail of the woman in white, a murderess on the loose. An anonymous tip leads him to a strange pair of sisters, but he still has to figure out which one of them is the murderer. Up third is Sidney Greenstreet, who earned an Oscar nomination for his debut film performance as Gutman, the fat man who would do anything to get his hands on the Maltese Falcon. But we'll hear him as a good guy, although he's one who would do anything to stay put in his house. He's Nero Wolf, Rex Stout's brilliant but eccentric master detective. And we'll hear him in the Case of the impolite corpse from December 8, 1950. Larry Dobkin Co stars as Wolf's loyal assistant Archie Goodwin and the pair try to find out who killed an executive who was burning the midnight oil in his office. And last but certainly not least, is Humphrey Bogart, who became a star and cemented his big screen Persona with his performance as private eye Sam Spade. We'll hear him along with his wife, Lauren Bacall, in an episode of their syndicated mystery adventure series Bold Venture. The Bogarts play Slate Shannon, proprietor of a Cuban hotel, and Sailor Duvall, his lovely ward and sidekick. In the episode We'll Hear Today, a man is attacked at Shannon's hotel, and it leads our heroes into the lucrative black market world of forged American passports. And finally, all four of our stars come together to recreate their roles as the Screen Guild Theater presents the Maltese Falcon, an adaptation that Originally aired on September 20, 1943. Our salute to the cast of one of Hollywood's best mysteries begins right after these messages. There's a common phrase that's being kicked around in your house and mine more and more every day, and that is high cost of living. Sound familiar? I'll bet it does. I'm sure you've heard Mother and Dad mention it more often than once, and you will undoubtedly hear it many more times as the days go by. Now, just in case you're hazy on exactly what it means, let me give you a rough idea. It means that the cost of your clothes and food has gone up to a point where the family budget has become somewhat strained. Well, that's one of those things. And you can't be expected to increase the family income. But there are some things you can do to help. For instance, take better care of your clothes when you come home from school. Change into old clothes before you go out to play. Take care of your health, because doctors and medicines are expensive. Eat well, but don't waste. Take your full share, but eat all you take. Try not to ask Mother and Dad to buy you things you don't actually need. Make the best of the most of what you've got. Try to be more than usually careful of your school equipment, such as paper, pencils and so forth. Make them last and go as far as you possibly can. Remember that all members of a family must pull together at a time like this. So do your share. Let's turn back the clock about 24 hours and drop in on Mr. And Mrs. Johnson. They're just returning from a football game. Well, here we are, home at last. And boy, am I hungry. So am I. Let's start thinking about some food. Big juicy hamburgers, maybe. Say, that's for me, with plenty of catsup. Uh huh. Del Monte Catsup. It has such marvelous flavor. And Mrs. Johnson really knows her catsup. Del Monte Catsup. The zestiest, liveliest catsup that ever pleased a man. Now that football season is in full swing, you'll find Del Monte Catsup a bigger help than ever. When planning lunches before the game or supper afterwards. It's a smart hostess who serves hearty food and lots of it. With plenty of Del Monte catsup handy to add bright, rich spice tomato flavor. Yes, that marvelous tomato flavor you find in Del Monte catsup. The only catsup made with pineapple vinegar. That superlative vinegar that coaxes out all the best in tomato flavor. Remember, for real zip and zest, it's Del Monte Catsup every time. Next time you go shopping, look for Del Monte Catsup. You'll like its quality and you'll like its thrifty price. Say, there's a girl in our neighborhood who's always been mighty fond of Brenda. Starr follows her adventures regularly in the funny papers. So she was mighty thrilled when she found that Brenda is one of the characters in that new series of comic buttons that Kellogg's Pep is putting out. So thrilled in fact, that she started to specialize in collecting Brenda's star buttons. And she already has five of them pinned right on her jacket. Of course, most of the fellows and girls in the gang think that it's more fun to collect different buttons. And that's why they want Cindy and Vitamin Flint, Heart and Superman and all the others. Of course, however you do it, it's dog gone. Exciting. Fun. As you know, the best part is these comic buttons are so easy to get. You don't send in any money, not even a box stop. And you can't buy them anywhere. But there's one of these exciting prizes in every package of Kellogg's Pep the Sunshine Cereal. The crisp, tender whole wheat flakes with that catchy sunshine flavor makes mighty good eating for breakfast. So crisp and and fresh and toasty that, well, you want to pitch right in and eat hearty. And that's always a good idea on a cold morning. Yes sir, Kedog's Pep is mighty good for you. Mom knows that. So remind her to get plenty of Pee the Sunshine Cereal. Kellogg's pet. Do you like rich delicious chocolate flavored malteds? Well, you can make a malted just like that right in your own kitchen with Kraft Chocolate flavored malted milk. Just make a tasty paste of Kraft chocolate flavored malted milk and a little milk in the bottom of a big glass. Fill the glass with chilled milk, stir it once more and there. A craft malted is mighty nourishing too, because it's filled with all the food values in milk. Get a jar of craft chocolate flavored malted milk from your grocer and enjoy a craft malted off. I dedicate this program to the fight against crime. Not merely crimes of violence and crimes of dishonesty, but crimes of intolerance, discrimination and bad citizenship. Crimes against America. This is the man in Black. Here again to introduce Columbia's program. Suspense. In our starring Hollywood cast this evening is Mr. Peter Laurie, who appears as a mysterious gentleman called George Ravel. Ms. Wendy Berry plays our worried heroine, Marjorie. Mr. George Zuko is the lawyer, Alex Stevens. The story called the Moment of Darkness is tonight's tale of suspense. If you have been with us on these Tuesday nights, you will know that suspense is compounded of mystery and suspicion and. And dangerous adventure. In this series are tales calculated to intrigue you, stir your nerves, to offer you a precarious situation and then withhold the solution until the last possible moment. And so, with A Moment of Darkness and with the performances of Peter Laurie, Wendy Berry, George Zuko and our other players, we again hope to keep you in suspense. The Tranbleau crack express train from Paris to the French Riviera, which in these carefree days before the war used to make the journey from Paris to Nice overnight at the Gare des Sud. On this particular mild spring evening, the train with its glistening wagon lis or sleeping cars, waits in the station filled with smoke and the iron coughing of engines. You can hear the excited crowd at the slamming of compartment doors. You can see the guard standing by with his watch in hand with his horn ready to blow as a signal. I want you. Make sure that my eyes. I want you. You better get in, Emily. The train just about ready to start. Commotion. There. The last moment. Just before the signal, a girl in a light summer dress carrying a small suitcase hurries along the platform towards car number 10. The girl is blonde and evidently English. And as she hurries towards the guard. Roommate. Hurry up, please. Yes, yes, of course. Is this carriage number 10? Oui, mademoiselle. Numerodise. Hurry, please. Thank you. I'll get in. This corridor must be at least a mile long. Car 10, compartment number six. Compartment number six. Compartment. Here it is. Yes. Come in. Mr. Stevens. I. Oh. Oh, I beg your pardon. That's quite all right. Won't you come in? I. I thought this was Mr. Stevens compartment. It Is his compartment. I'm sharing it with him. He. He is on the train, isn't he? Oh, yes, yes. He's going to look for some luggage that failed to turn up. In the meantime. Won't you come in and sit down? Thank you. As an old friend of Toby Stevens, why do you smile? Nothing. It's just odd to hear a dignified man like Mr. Stevens called Toby, that's all. Well, it suits him. As an old friend of his anyway. May I introduce myself? I'm Ken Blake, on vacation from the American Consulate in London. How do you do? My name is Gray. Marjorie Gray. I most particularly wanted to have a word with Mr. Stevens. Ms. Gray, will you pardon my impertinence if I ask? Ask what? Whether it's about your Aunt Hester at Monte Carlo and the man who seems so determined to scare her to death. You know about that? Yes, a little. After all, that's why Toby's left his law practice and come all the way from London. He said. Mr. Stevens. Marjorie. Great Scott. What are you doing here? I came up from Monte Carlo especially to see you. I thought I'd find you in Paris, but when I got to your hotel, they told me you'd gone. Cook said they'd reserved a compartment on this train for you. So. Well, here I am. But why? Before you see Aunt Hester, Mr. Stevens, I want to know what you meant by that letter you wrote me. I meant exactly what I said, Marjorie. I'm going to expose this faker George Revell. Excuse me. If you two want to talk, I'll just clear out of here. Oh, no, Ken. Stay where you are. Really, Mr. Stevens. You made an impression on her. Ken. When the girl suddenly becomes thoroughly British after speaking, spending half her life on the Riviera, well, you made an impression. Don't talk like that, Toby. She won't get annoyed with you for saying it. She'll just get annoyed with me. Marjorie, this is Ken Blake. We've met. Thanks. I asked him to come along with me. And for a very good reason indeed. Ken was for years at the American Consulate in Paris. He knows all the heads of the sure General. That's the Scotland Yard of France. And in particular, he knows the great detective Flemond, who's the chef de sureted. I thought Kent might be very useful when we nab Ravel. But I tell you, Ravel is dangerous. Dangerous, my eyes. Something's going to happen. I know something dreadful is going to happen. Now, let's face the situation, Marjorie. Your Aunt Hester is middle aged, wealthy and, oh, if only Uncle Paul hadn't died. He was the decentest person I ever knew. But he did die, my dear. And Hester can't be consoled. She can't eat, she can't sleep. She can't think of anything except getting in touch with his spirit. Along comes this faker of wel to give seances. I wonder if he is a faker. You're not falling for this tommy rot, surely? Really, Mr. Blake, if I'd asked for your advice in this matter. I beg your pardon, Ms. Gray. When we get to Nice, I'll take the first train back to Paris. No, no, wait, Peter. I didn't mean to be rude. It's nice of you to help us, but it's the whole atmosphere of Monte Carlo. That's quite all right, my dear. We understand. Of course, there's Aunt Hester in that villa over the Mediterranean. Mediterranean. There's Ravel, all thin and quiet and swarthy, with those somber looking eyes of his. He. He seems to dominate her just as Mr. Stevens used to dominate her. My dear, that's rather a strong word for an easy going old buffer like me. The things Ravel does at those seances are terrifying. I don't know whether he's an imposter or not, but I am sure nobody else can do what he does. Now there, Marjorie, is where you're wrong. I can. You can? Yes. I promise to duplicate in front of your aunt every single trick Ravel ever performed. That's impossible. Is it? Let them see. I'll put it up to Mr. Blake. It isn't merely that Ravel is tied up, tied hand and foot in a chair while these horrible things are going on. I know there are people who can get out of ropes and back into them again. But Ravel let you take one precaution that shows there can't be any trickery. No? And what is that precaution? Just before the lights go out, he takes a piece of white paper. Well, he puts one under each foot. He take a pencil and draw an outline around the shoe on the paper. If he moved the millionth fraction of an inch, it would show in the outline later. It never does. Well, look here, Toby, that's a bad one. Why does it strike you as being so funny? Because I can do it too. Just give me a moment of darkness, that's all. You mean he gets out of his shoes or something like that? No, he could hardly get out of his shoes and back into them without disturbing the outline. Then he doesn't leave his Chair, after all. On the contrary, he can be all over the room. Well, how in Satan's name does he do it? My dear fellow, there's nothing simple. The Villa Bijou, Monte Carlo. The next evening, on the lighted terrace, that white villa overlooking the olive groves in the sea, three people are seated at their ease, enjoying the night air. Below glitters the town, a white palm garden. But even its lamps are dimmed by the firework illuminations from the Promenade des Anglais. When the Principality of Monaco celebrates its ruler's birthday, great rockets go hissing upwards to burst in bloom in colored fires against a black sky. I don't like those fireworks. The noise upsets me. I wish they'd stop. Never mind the fireworks, Hester. You've heard my proposition. Give me an answer. What's more, you spill broth on your jacket at dinner. You're the clumsiest eater I ever saw. Here, here, let me take a hackage into. Please, Aunt Hester. Won't you answer, Mr. Stevens? Why don't you two let me alone, both of you. We're only trying to help you. Don't you believe that? Yes, I. I believe it. But I'm happy. I talked with my husband twice last week. Now look here, Hester, this has got to stop. Why? Ravel's a fraud and I can prove it. If Monsieur Ravel is a fraud, what does he gain by this? Has he not asked for money? I don't know. Has he? No, not a penny. You haven't changed your will by any chance? People do queer things sometimes that even their solicitors don't know about. Oh, no, dear. I haven't changed my will. When I die, Margery inherits everything. I am a lonely woman. I'm getting old. I haven't got much to look forward to. Why don't you go your way and let me go mine? Suppose Ravel is a fraud? Just suppose it. Well, all right, have your way. You wouldn't like to think you'd been deliberately tricked in him, would you? No, no. Now listen, Hester. If I prove to you these so called miracles were really tricks that I can do myself. Oh, don't be ridiculous, Alex Stevens. I ought to prove that here and now. Would that shake your faith a little? Yes, I. I suppose it would. I. But how did you become so clever all of a sudden? How did you become so gullible all of a sudden? You used to scoff at this sort of thing. You used to be gay and lively and go to the casino. Well, that was before all night. You're Shivering. Marjorie, if you feel cold. But a rap. I'm. I'm not cold. It's only. Only what? Got a kind of presentiment that there's something dreadful hanging over us. I can't tell what direction it's taking or who's in danger, but I'm sure it's going to burst. Just as sure as a. My, George, look at that rocket. Yes. Red and gold stars and a deathly white blaze like the life we're living. You can see every leaf in the garden, every blade of grass. And we can also see. Look there. Revel and Ken Blake coming up the path. This Ken Blake, Mr. Stevens, are you sure he's quite honest, my dear Marjorie, Ken's all right. I've known him for years. I thought he came here to help expose Ravel, but he and Ravel are as thick as thieves. What sort of game is going on here? Dame? Mademoiselle, you spoke of a game. Yes, Monsieur Ravel, I did. So did I. Friend Ravel, are you ready for my demonstration tonight? Demonstration? In the seance room upstairs. You claim you can bring back the dead. Pardon me, monsieur, I claim nothing. When I'm in trance, I cannot tell what happens. But I can. I'm going to make ghosts walk by perfectly natural means. You know, Monsieur Stevens, I don't understand your logic. Logic? Yes. You wish to. How do you put it? Expose me. But how will you expose me by these childish tricks? If I show you a counterfeit ten pound note, does that prove there's no bank of England? I'm not going to argue subtleties with you. You can always beat me there. I'm a plain, ordinary man with a little common sense to back me up. No, no, no. Come on, my friend. Not an ordinary man, surely? Just exactly what are you hinting at? Yes, I. I'd like to know that. Oh, Madame Hester, believe me, I didn't mean to upset you. I wouldn't upset you for anything. No, I'll bet you wouldn't. Well, I kiss your hand, Madame. I'm all apologies. Well, let this gentleman do what he likes. But I warn him it is dangerous. Dangerous? How is it dangerous? That's the first time you've spoken, Mr. Big. Why have you been so quiet? Please, Marjorie, please. Now be a good girl and stop interrupting. I'm sorry, Aunt Hester, but he's been muttering to himself and moving from one foot to the other and looking guilty. Confound it, I'm not looking guilty. Aren't you? No. It's a hot night. I Don't like this business at all. Why will a seance be dangerous? Why? Because we shall be tampering with evil forces. Evil forces, my foot. Oh, you doubt it? Yes. This brave Monsieur Stevens is challenging the unseen world. He's mocking at forces he does not understand. Believe me, monsieur, they are not mocked without danger. I'll risk that, thanks. Well? Up in a seance room with a door bolted on the inside, we shall be at their mercy. The evil forces, the elementals, will wax and grow strong. They can take us in their grip as I take this walking stick. And you've got strong hands, Monsieur Ravel. The hands of evil spirits are stronger, much stronger, I'm afraid. I wonder if we ought to do this. I've been wondering the same thing. What does your aunt say? I don't know what to say. I'm so confused, and I want to break down and cry. I suppose we'd better do it, or Alex Stevens will never let me hear the end of it. For the last time, monsieur, will you be warned of danger? No. Very well. Oh, Madame Hester? Yes, Monsieur Fabel? Do you believe that I am an impostor? No, no, dear, of course not. But, but in your heart you are not yet convinced? Well, I don't know. You know, I'm not such a fool as some people seem to think. But if something did happen, something to show there are living forces beyond this world, it would convince you utterly. Oh, yes, I, I, I suppose it would. Then shall we allow Monsieur Stevens to go on with his demonstration? I have a feeling we shouldn't do this, I'm afraid. Upstairs at the Villa Bijou, there is a small, bare, deeply carpeted room. Its only furniture consists of a round table, five chairs and a large cabinet. Phonograph. There is only one door, and there are no windows. In one chair, a little way back from the table sits Mr. Alexander Stevens. He is tied hand and foot, the outline of his shoes drawn with pencil on pieces of paper so that he cannot move. Now then, friend Raphael, have you quite finished tying me up? Oh, yes, yes. And I bet you you won't get out of these nights. We'll see about that. Are the rest of you ready? Yes. Yes. All right. Oh, dear. I wish I'd put some smelling salts in my handbag. Well, what do you want us to do now? We'll have conditions exactly as they are for Mr. Ravel. I'll sit in this chair back from the table. You four sit around the table, clasping hands to form a circle. All right. Let's get on with it. Ken, will you start the gramophone? I believe it's customary, Mr. Ravel, to have hymns played at the beginning of a seance to establish the proper frame of mind. Yes, monsieur, that's true. You fool. What did you say? Oh, nothing, monsieur. Please continue. Start the gramophone. Ken. When you've done that, turn out the lights on that switch by the door. Then join the circle, clasp each other's hands tightly and don't let go. Unless. Unless what? Well, unless something gets me. Be careful, monsieur. Go on, please. Start the gramophone. All right. Here goes. Now the lights. Ken, switch out the lights. Lights. Yes, yes, yes. There you are. It's pitch dark. I can't see my way back to the table. Here, Ken. Here's my hand. Thank you. Mine. On the. On the other side, Mr. Blake. Thank you. I've got my bearings now. Are all of you clasping the hands of the next person? Then quiet and wait for what's going to happen. Ken, look. Look where? Over there, where Mr. Stevens is sitting. What about it? There's a luminous spot in the dark. About the size of a shilling. Shh. Shh. Shh. Play it. Play it, please. Did anything touch the back of your neck? No. What was the worst? Alex Stevens. I know it. This was not on a program, madam. Break the circle and get those lights on. The luminous spot is still there. Oh, hurry, Ken. I can't see my way in the dark. I don't know which direction the lights are. Wait a minute. Here's the wall. If I grope along here, I ought to find the sw. Yes, yes, Here it is. Lights. Quiet. Quiet. Silence. Mademoiselle, if you please. What's wrong with Mr. Stevens? What's that sticking out of his chest? It's the handle of a dagger. And a good deal of blood has soaked through his coat too. Oh, Monsieur Blake, will you turn off his gramophone? Yes, certainly. But you're not saying that Toby Stevens is dead? I'm afraid he is, my friend. That's a direct heart wound. Perhaps 10 seconds of intense agony. And in the end, was the door still bolted from the inside? Yes. Then we are all alone here, the four of us. This rash gentleman one imagines did not kill himself. He's too well tied up. I know who killed him. Mr. George Ravel. You did? With luminous paint. I killed him, mademoiselle, with luminous paint. I mean, that was part of the trick. You tied him up. You were the only one who touched him. And what of that, mademoiselle? Luminous paint doesn't show up in the light. You smeared a little of it on his coat. That showed you exactly where to strike in the dark. I commend your good sense, madame. But there are two excellent reasons why I had nothing to do with this. The first reason I must keep to myself. But the second reason can easily be proved. Well, what is it? Well, up to the time that man screamed, you yourself were holding my right hand, and Madame Hester was holding my left hand. Did either of you let go at any time? No. No, that. That is, I didn't. What about you, Aunt Hester? No, no, Marjorie did. I didn't let go either. He never moved. Hold on. Wait a minute. Promise. You speak up. I was holding Marjorie's hand on one side and her aunt's on the other, and they didn't move either. Nobody let go or left the circle. That's true. Consequently, none of us could have killed Toby Stevens. Yes, it is true. Somebody must have sneaked in here. Oh, no. As you said yourself, the door is bolted on the inside. Then who the devil did kill him? Well, that's the question. Has anybody ever seen that dagger before? No. It looks like one of those curio things you buy in the shops. Yes, and with the design of wooden scroll work on the handle. No fingerprints will show nothing else except some musical instruments, a tambourine, an accordion and a speaking trumpet. You know, I blame myself for this. You ought to. Why? Because you killed him. Don't ask me how, but I know why. Indeed, mademoiselle. You found my motive. Yes. Yes, I have. You've got Aunt Hester fully believing in you now, haven't you? Easy, Marjorie. In another minute, you'll be talking about forces and elementals, and heaven knows what. You'll be saying it was a spirit hand that killed Mr. Stevens because nobody else could have. Please, Marjorie, brace up. Someone's gotta send for the police. Why don't you send for the police, Ken? Couldn't you help us there? Help you? How? Mr. Stevens said you knew the heads of the surety. He said you knew this man, Flamond, who's supposed to be the greatest detective in France. Oh, but this isn't French territory. Monte Carlo is the independent state of Monaco. I'm sorry, Marjorie. Ordinarily, I might have helped. You mean you won't help it? I'm sorry, Marjorie. I can't. Then I've got to help myself. George ravel, you killed Mr. Stevens. But how? Yes, how? 24 hours later, 24 hours of blind puzzling in the railway station at Nice Nine miles from Monte Carlo, the night express for Paris is already underway. The guard has blown his signal and the great wheels grind. A young man, hatless and worried, pushes through the crowd past the already moving train. Too late. Nothing. I'm getting aboard this train. Oh, my God. Monsieur. I'm sorry to have caused you any trouble, Guard. But do you happen to know whether. Marjorie. Ken Blake. What are you doing on this train? Exactly the question I wanted to ask you. Walk along the corridor with me, will you? All right, Marjorie, you little idiot. What's the idea of running away? If it's any of your business, Mr. Blake, I'm not running away. I'm nearly going to Paris. You were told to stay in Monte Carlo. Don't you know you can land in jail for this? They'll put you in jail, too, won't they? Yes, I suppose so. What's the idea of going to Paris? First of all, I had to get Aunt Hester away from that man Ravel. She really thinks he can call up ghosts now. Is your aunt on this train? Yes, in that compartment there. Second, I'm going to Paris for some real help. I'm going to the Surete. I'm going to see this man Flamande. You won't find Flamond in Paris, Marjorie. And you'll certainly never get him to arrest Georges Ravel. Oh, and why not? Because, my dear idiot, Georges Ravel is flamand. What are you saying? The man who calls himself Ravel is really Flamond, the head of the whole French Detective Bureau. He made me promise not to tell anybody. Then that's why you've been looking so guilty for two. Yes. I tried to tip you off today, but the police were with us all the time. So he is a fake spiritual medium. Mr. Stevens was right about that. And I still say I'm right about the other thing. Whoever he is, Ravel killed Mr. Stevens. But how? And why? Oh, I don't know. This alleged detective, did he tell you why he was masquerading as a medium in Monte Carlo? No. All I know is that we're in one sweet mess. We've left town without permission. They'll probably stop the train and send us back in a patrol wagon. Oh, no, no, no, my friend. That won't be at all necessary. Ravel? Yes, Mademoiselle Ravel. Or Flamande. Well, since you know me as Ravel, call me that. You. You knew that I was on this train? Oh, naturally. Look here, old man, I kept quiet about you because your swore it was a Matter of life and death. But will you answer a couple of questions now? Oh, with pleasure. Why did you pose as a medium? Because the Monacan government employed me to trap a murderer, so I had to work hard. You say undercover. All right. Why was Toby Stevens killed? Stevens was killed because he was a blackmailer. A blackmailer? Yes, mademoiselle. Does that surprise you? Yes. Oh, yes, of course. Very much. I tried to warn Stevens, but the fool wouldn't listen. And then? Well, I wasn't quick enough. Stevens was murdered, of course. By one of us four in the seance room. That's impossible. Hmm. Impossible? Oh, no. The trick was baffling because of its simplicity. I'm sure you killed him. One moment, mademoiselle. Let me show you what I mean by trick. Baffling, because it is so simple. Take, for example, the pencil outline drawn on a paper around the medium's shoes. Did Stevens tell you how I did that? No. On this train two nights ago, he. He started to tell us. Then he just stopped in the middle of it and laughed. You see, the medium leaves his chair. Well, he makes tambourines rattle and ghost forms appear. Yet the Penslau Klein is not disturbed. How does he manage it? Well. How does he manage it? Well, quite easily. He returns to his chair. He turns over the two pieces of paper. He takes another pencil and draws an outline of his shoes on the reverse side of the paper. You look at it and imagine it's the same outline we drew. Precisely. So easily. Are people misled? And it was the same way with a murder. But there couldn't have been any trick about the murder. None of us left the circle. We were all clasping hands when we heard that scream. Don't you agree? Oh, yes, I agree. I can't stand this any longer. We've heard Mr. Stevens utter that horrible scream. What makes you think it was Stevens who uttered that scream? I beg your pardon? What makes you think it was Stevens who screamed? Well, wasn't it? Oh, you assumed it. Yes, we all assumed it. But up to that time, Stevens wasn't even hurt. Wasn't hurt? You see, the source of sound cannot be located in the dark. It was the murderer who uttered that appalling cry. In a few seconds of darkness, before the lights went on, the killer simply leaned across and drove that dagger into Stevens chest. And you proved that? Yes. If Stevens had been hit at the time of the scream, blood would have blotted out the spot of luminous paint. Yet Marjorie Gray saw the pain shining after the scream. That's true. Marjorie I heard you say so. You put the luminous paint there. Revel. You were the only person who touched him. Oh, no. There was one other person who touched him. Who was it? Another person in full sight of you. Said Stevens had spilled broth on his coat and swabbed at his chest with a handkerchief. You mean. I mean, of course, the real murderer. Your Aunt Hester. Yes, Marjorie. Your Aunt Hester. Aunt Hester. Keep back, all of you. Oh, so you managed to find a revolver. Marjorie. I poisoned your Uncle Paul. I poisoned my husband. And Alec Stevens knew it. You can't get away, madam. Keep away from the door. I never believed in spiritualism. I let myself be influenced by a medium because Alex Stevens would try to stop it. He was getting money out of me. He wanted no other influence. Don't open that door, madame. But I am opening. Oh, Aunt Hester, don't. I told you I wasn't at as cool as I looked. I had the knife in my handbag. Stop her, Kim. Stop her. Well, mademoiselle, she has committed many crimes, but now she has paid for them all. And so closes the moment of darkness. Starring Peter Laurie, Wendy Berry. With George Zuko. Tonight's tale of suspense. This is your narrator, the man in black, who conveys to you Columbia's invitation to spend this half hour in suspense with us again next Tuesday when Agnes Moorhead and Ray Collins will star in a study in terror titled the Diary of Sophronia Winters. The producer of these broadcasts is William Speer, who, with Ted Bliss, the director, Wilbur Hatch and Houston Marowick, conductor and composer, and John Dixon Carr, the author, collaborated on tonight's suspense. This is the Columbia Broadcasting System. Pomale Brushless and Pomale Blather. Shaving cream present Inner Sanctum Mysteries starring Mary Astor. Welcome, friends of the Inner Sanctum. This is your host, Raymond, inviting you to come in through the squeaking door and catch your breath. Now, don't be embarrassed. Many of my guests here out of breath, but they won't tell on you, I assure you. They won't breathe a word of it. You see, they were warm too, when they came in. But they've cooled off now. You see, I've kept them on ice. Now, if some of them seem a bit unfriendly to you, don't mind. They can't help being dead. Tonight's Inner Sanctum story, the Silent Hands, is an original radio drama by Robert Sloan and Robert Tallman and stars Mary Astor in the role of Mina Kohler as after is soon to appear in one of Metro Goldwyn Mayer's 20 year anniversary pictures meet me in St. Louis. Tonight's inner Sanctum drama is directed by Hyman Brown. Men Inner Sanctum mysteries ask you to shave with pomale brushless or pomale blather shaving cream. Either pomale brushless or pomale blather shaving cream gives you a clean, comfortable shave every time, free from razor burn. Or mail the carton top to us and we'll refund your money. When a murderer sneaks up behind you and you haven't a rear view mirror handy, the best thing to do is listen carefully and try to hear the sound of the silent hands. High up on the bluff overlooking a West coast harbor, police cars feel their way through the fog on their night patrol. They're on the lookout for a mysterious woman in white who has already strangled three men and pushed their bodies over the cliff. Attention all police cars. Attention all police cars. Woman in white evening dress reported walking with middle aged man in Overlook Park. Investigate right away. Investigate right away. Michael. Yes, Nina? It's getting chilly. Finish your cigarette, will you? Let's go in. Of course, Nina. Here, take my coat. In the meantime, look over your shoulders. Thank you. What Trembling? What's the matter? Nothing. Just nerve, that's all. Michael. What, dear? My bag. It's gone. Are you sure you had it with you? Oh, yes, positive. Oh, it must be around here somewhere. Go on ahead, Nina. I'll find it for you. No, I. Oh, all right. But be careful of the cliff. Don't you worry, dear. Go on ahead. I'll catch up with you in a moment. Don't be long, Michael. Don't be long. I won't. Always losing a bag I'm always finding it for. Is it me neck joke? No, no, please don't. Don't push me over. Don't you ever go home, Barnes? Got one other story to get out, huh? I'll be finished in a minute, McGraw, and then we can leave. Okay. Hello? Barnes speaking. Mr. Barnes? Yeah? You want a good story for your paper? Get into a cab and drive to Overlook park right away. The fourth victim of the woman in white has been found. What? Tell me that again, please. I didn't catch the address. Quick, McGraw, get on another phone and trace this call. I'll call as long as I can. Okay. Did you say that was Overlook Park Meadow? Hello? Hello? Never mind, McGraw. She rang off. Well, who was it? Some dame trying to give me a tip on a murder. He said the woman in white had taken care of another victim. The woman in white. Yeah. We'd better get over to Overlook park right away. There may be a story. Wait a minute, Pike. What's the matter? You scared? Sure I am. You don't know who that was? It might be a trap. Come on. Don't be a fool, Barnes. You might be the next victim. You gotta call a cop and tip off every other newspaper in town. Come on, McGraw. Every second counts. Holy mackerel. That dame was right. Look, down there on the rocks. What is it? A man's body. Man without a coat. We better get the plate. Yeah, we'll throw the story in and then we'll. Hey, wait a minute. Look at this. Barnes. Don't touch anything. Walls. I just want to see if. Yeah, the same, all right. What's the same? This metal ring on the ground. A piece of silk next to it. That's what they found before in every one of these murders. I don't know. The cops say it's like an East Indian trick practiced by highway thieves. A precious stone or coins left on the road. When a traveler stoops over to pick it up, Wham. A silk noose is slipped over the neck and in a few seconds, all over. Yeah. Somebody watching us. What? Over there. Climb that hedge. Something moving. Something white. You got a gun? No. Neither have I. Well, I'm a better not fool around. Which way do we go? Back to the car? No, there's a house beyond those trees. Maybe we can get to a phone. Okay, let's run forward. Right. What the devil's that? Sounds like some kind of a tropical bird. You mean here? The park? This isn't a park. That tropical bird you hear is in the aviary next to the house. It's part of my private collection. You live in that house? Yes, with my sister. These are our grounds, gentlemen. And your trestic things. Well, maybe we're looking for a telephone. Madam. We're from the Chronicle. I don't care where you're from. You have to leave immediately. But someone's been killed. You'll have to leave immediately. My sister is ill. She can't have any excitement. Nina. Nina. Go back into the house, Carolyn. Nina. I've been looking for you. Where have you been? You know very well I've been out here feeding the birds. Why do you ask? Because I didn't see you. I thought perhaps you went back to the place. Carolyn, you catch cold out here. We better go back in the house. But who were these men, Nina? Reporters, dear. We'd like to use your telephone, miss, if there's one in the house? Why, of course. Come along. I'll take you to it. Thank you. If you men are reporters, I suppose you want to phone your paper about. About what? Nina, you're hurting. I'm sorry, dear. If I held your arm too tightly, I didn't want you to stump. You're lying. You don't want me to talk. That's not true, Carolyn. You. You can say anything you please. Go ahead. Say anything you please. Oh, Nina, please forgive me. I didn't mean what I said before. I'm just upset because you've left me along so much tonight. But I haven't left you alone, dear. I've been in the house with you all evening. Don't you remember? Oh, yes, of course. You've been with me all evening in the house. I think you're strong enough now to take these gentlemen inside and show them to the phone. I'm going to stay out here for a while and speak to the birds. Yes, Nina. This way, please. Now go along with. I'll be with you in a minute. Okay. I'll put the call through. Are you staying behind just to watch me? In a way, yes. You're a fool. Maybe I am. But these birds you've collected fascinate me. Especially the gaily colored ones which were brought over from the Orient. Oh, are you a fancier? In a manner of speaking. At least I know that the creature with the yellow bill and the green eyes is a very rare species. I had to write a story about it once. Indeed. It's found only in certain parts of India. What if it is? You've been to India, haven't you? Never. You're lying. I'm not accustomed to being spoken to like this. But you are accustomed to lying. Only that alibi about not being out of the house and I won't stand up. Won't it? Now, that dress you're wearing is torn. And the piece that's missing from it is in my pocket. I found it out there on the cliff near a metal ring and a bit of silk. Now you're lying. I have the evidence right here in my hand. Give it to me. Not so fast. Let go of my hand. Let go. Open it. Open it. I'll dig my nails into you. Wait a minute. Wait. I'll open it. There. I knew you were lying. There's nothing in it. Oh, of course not. But I found out what I wanted to know. For a woman, your hands are abnormally strong. So now it's your turn to watch me and follow me around. This in the drawer? Not necessarily. Your friend must think I intend to run off before the police arrive. But he's wrong. I have nothing to fear from the police. Of course not. Don't stand there and grin at me. I'm cold, miserable. You had any manners, you'd take off your coat and offer it to me before I freeze the bed. You can have my coat, thank you, Wilma. Where are you going? Back to the house. There's a police car there now. Well, good. I'll go back with you. Just a moment. What's the matter? My watch. I. I've lost my watch somewhere along the church. Who are you kidding? I just saw you throw it over in the grass. Here it is. What's it doing? Where did she go? To where? Myself. Oh, hum. Sorry to see my GR Go like that. He was such a nice boy. But you know, it's his own fault in a way. He never should have tried that jump without a parachute. He may hurt himself someday. Like the fellow who, when shaving, gives himself a good case of razor burn. Men, when you torture your face with razor burn, don't just blame your razor blade. Instead, try Pomali Brushless. That's smooth, easy to spread, won't clog your razor shave cream. You see, Pomelee Brushless literally lubricates your skin. So your razor just glides along without tugging, scratching or scraping. Yes, mister. Even the toughest beards lie down and wilt when you use Pomali Brushless. And your face is cool, comfortable, not drawn or dry. So why don't you quit bothering with a shaving brush and try Pomale Brushless. You buy Pomale Brushless in the big money saving victory jar and we'll guarantee you a clean, comfortable shave every time. And we know you'll sing Goodbye Forever to painful razor burn. Let's get back to Nina and that beautiful Indian rope trick. After that double header killing, Nina was picked up by the police and put in jail on suspicion of murder. But the case against her was still pretty slim. And when Barnes went down to his cell to get a story for his paper. You seem very confident for a woman who has so little time left to live. You're meddling, Mr. Barnes. Something that doesn't concern you. Oh, it does concern me. McGraw was a good friend of mine. I'm warning you not to interfere, Mr. Barnes. You'll regret it. If you do, you'll regret it more. I have everything to gain and nothing to lose. Nothing but your life. What about yours? They'll never Convict me? They'll be for sure I'm innocent. They can't even keep me here another 24 hours or your lawyers are going to spring you. Huh? I have influential friends, Mr. Barnes. And when I'm free, I want to be left alone. You understand? You don't frighten me, Miss Kohler. I'll get the goods on you if it's the last thing I ever do. If you try, it will be the last thing you ever do. Ms. Cola? Oh, thank you. You're free. You're free to. Yes, I know. George told me he was getting out of RIT. You see, Mr. Barnes, I have influential. Well, they won't always be able to help you. No. Come along, Carolyn. I have so much to tell you. Yes, dear. Mr. Barnes, you've got to help me. What? It's a matter of life and death. Come to the house tonight at 10 o'. Clock. I. I'll be feeding the birds in the aviary. Right. Carolyn, what are you doing? I'm coming, Nina. I'm Ms. Kolar. Ms. Kolar. Oh, Mr. Barnes. Thank heaven you're here. I was afraid you wouldn't come. Well, you said it was a matter of life and death. It is. It is. My sister's been lying to the police and she's made me lie for her, too. What do you mean? Well, that night you were here, that night Michael was killed. She told you she was in the house with me all evening. But she wasn't. She was out with him walking through the park. Why didn't you tell the police? I couldn't. I couldn't. I was afraid of what she might do to me. You don't know her, Mr. Bond. She'd kill me if she thought I was telling you this. But I've got to tell somebody. I've just got to. Wait a minute, kid. Get hold of yourself. The night this fellow Michael was killed, your sister made you say that she was home with you all evening. Yes, that's right. Did she tell you why she wanted you to lie for her? Yes. I don't believe that. She had nothing to do with Michael's death. But there was no way of proving her innocence. She was afraid that police might convict her on circumstantial evidence if I didn't give her an alibi. I see. Now, one more question, Ms. Kola. You've been to India, haven't you? Yes, we lived there a number of years. I thought so when I saw that bird with the yellow bill and the green. What? By the way, where is that Bird. I don't see it. It's gone. The case is empty. Your sister must have taken it away. I had seen Mr. Barnes. He was dead. Selena. Why are you so frightened? Carolyn? Have you been talking out of school? No. No. What have you told him? Nothing. Nothing. I haven't said a word. You're lying. Go into the house, Carolyn. Just a moment. Are you meddling again, Mr. Barnes? I'm more than meddling. I'm going to protect the state's key witness in this case against. Oh, you have told him. Yes, Yes, I told him everything. I don't care what they do to me. I don't care. I don't. Be quiet. Be quiet. How long do you think you can keep this up, Ms. Caller? Aren't five cold blooded murders enough for you? You're a fool, Bond. Phone the police, Carolyn. Hurry. I'll keep her here until they arrive. Carolyn, don't you dare phone the police. I tell you, she'll kill you if you don't. Yes. Yes, I'll call them. Carolyn, come back here. Jig's just about up, Ms. Caller. You think you're clever, don't you? Not especially. But I know who committed those murders. You don't. You're wrong, Mr. Barnes. I can prove that you're wrong. You're wasting your breath. But I'm innocent, I tell you. And I can prove it if you give me half the chance. What chance did you give McGraw? I wasn't anywhere near McGraw when he was killed. And Michael was my best friend. Tell that to the cop. Give me a break, Mr. Barnes. I'll admit I was with Michael that night he was killed. But I didn't do it. I couldn't have done it. You couldn't have done it? No. I'll show you why if you let me go back to the place where it happened. What do you think I am? I think you're a gentleman, Mr. Barnes. And I know you want to find out who murdered your friend. You never will find out. If they convict me, you'll never find the real murderer. Won't you believe me? Won't you give me this one last chance? I don't know. Please. Please let me. Let me prove that you're wrong. Okay. Where do you want to go? Back to the edge of the cliff. Michael and I were standing just back here. Mr. Bond. Yes, go on. We were talking about the mysterious murders that had taken place on these bluffs overlooking the harbor. We were joking about the fact that I was a woman dressed in white. You're in white again tonight, Ms. Kohler? Yes, it's my favorite color. I see. We stood here for a while and then the cold air chilled me, so I asked Michael for his coat. May I have your coat, please, Mr. Barnes? What's the idea? I want to show you what happened. Do you have to be that graphic? Yes, it's important. The details are terribly important. All right, you can have my coat. But I'm warning you, Ms. Kohler, I know the game. Flipping a silk noose over a man's neck is done more easily when his coat's off. That's why all the victims were found in their shirt sleeves. But Michael was the only one I knew. I couldn't possibly have had a motive for killing the others. They're complete strangers to me. That's not much of a defense. Psychopathic murderers often kill without a motive. They do it for the thrill it gives them, whether they know their victims or not. All right, Continue with your story, Ms. Kohler. Well, after I put on Michael's coat, I started toward the house. And then I missed my bag. I guess I left it near the edge than this over there somewhere beside that rock. What's the matter? Isn't that another bag over there? Where? Beside the rock. Get it, Mr. Barnes, and bring it here. What? Bring it here. Oh, no, you bring it here. Oh, all right. If you're that frightened of me, I will. Just an ordinary bag. I don't know why you were afraid of picking it up. Nothing could have. I knew you couldn't resist another victim, Mr. Barnes. But you forgot about my strong hand and this coat I borrowed from you. You should have known better than to try that trick while I still had it on. There are other ways of committing murder, Ms. Ka. And I'm sure a psychopathic killer like yourself knows most of them. Yes, I do. He where you are? You're. You're smarter than I thought, Ms. Kohler. I never dreamed that you might have gone in that bag. That was the chief's idea. You underrated our police force, Barnes. We've suspected you for some time. We couldn't get the goods on you till tonight. We? Yes. Didn't you know there were women, Detective? My sister and I have been leading you on ever since you killed Michael. And all the time I was figuring I could pin the rap on you. That Barnes boy gave me the willies. And that, of course, leads to the gimmes. Well, look here. Here's flat top with the wanties. I want lots of lather. I want lots of lather. Okay. You men who use a brush when you shave, you want lots of lather. And you'll get lots of lather simply by using Palm Olive Lather Shaving cream for an honest whisker wilter. Millions of men prefer it. In fact, more men use pomoly than any other lather shaving cream. Here's why. First, Palmolive Lather Shaving cream gives lots and lots of lather. He man lather with millions of moist bubbles to blitz your beard. Second, Palmolive Lather lubricates your razors, feeds your shave and leaves your skin smooth, cool, comfortable. So if you're a lather and brush user and want to avoid razor burn, get Palmolive Lather. For a smooth, easy shave that you'll whistle your way through, get Palmolive Ladder Shaving cream knowing it's going to leave your skin smooth, your face clean and comfortable, or your money back. Well, it's time to fold up the ghost now, those little folds and put them back in the closet with the family skeleton, which is something. But remember, the next time you're out in the park on a foggy night, keep your shirt on. And keep your coat on, too. Although silent hands are liable to give you a pain in the neck. By the way, this month's inner sanctum mystery is Send the Spider to the Fly by Richard Shattuck. Well, if there's no more business to scare up, I guess I'll turn on the darkness. Thanks. So until next week when Palmolive Brushless and Palm Olive Leather Shaving creams bring you another inner sanctum mystery. Good night. Pleasant dream. What is the 14 day Palm Olive plan? Yes, what is the 14 day Palm Olive plan? It's the biggest beauty news in years. Doctors tested this plan proved it brought lovelier complexions to two out of three. Of all the women tested, here it is. Wash your face with Palmolive soap, then massage for a full 60 seconds with Palmolive's lovely soft lather. Then rinse. Do this three times a day. Easy to do. Yet 36 doctors prove this palm olive plan brings a lovelier complexion to two out of three women. No matter what type of skin you have, dry or oily, the 14 day palm olive plan works. So get palm olive. See what palm olive can do for your skin in only 14 days. This is CBS, the Columbia Broadcasting System. Ladies and gentlemen, that phone bell means adventure. Hello? Hello? The young man answering the phone is Archie Goodwin. And the mountain of a man engaged in deep thought in the oversized armchair is Nero Wolf. Is that somebody's gonna be murdered who has no manners. Well, what do you want Nero Wolf to do? Teach him manners. Oh, hold on. Mr. Wolf. Yes, Archie? We've got a prospective client. In case someone she knows gets murdered, she'd like you to do something about it. Very well. However, I advise her. Yes? Not to get murdered herself. I never take a corpse for a client. Greatest detective in the world. Yes, Archie is so right. He is the greatest detective in the world. And the fattest and the least energetic. He's Nero Wolf, created by Rex Stout and brought to you over this NBC network in a new series of Adventures by Mr. Sydney Greenstreet. Tonight it's the case of the Impolite Courts. It began on a certain night at 8:40 when Walter Channing, an advertising executive, was dictating in his office to his charming secretary, Brenda Barclay. Brenda, take a memo. Yes, Mr. Channing. This is to be mimeographed and sent to the entire staff. The entire staff? Yes, sir. Notice effective at once, one hour. Lunch periods will be strictly enforced. Employees will post time of departure and time of return. Yes? What is it, Mr. Channing? Bennett, I'm busy. I've got to see you, Mr. Channing, about this afternoon. This afternoon was unfortunate, Bennett, but it happened. I lost my temper. I'm sorry. So am I, Mr. Channing. I've been with the firm 14 years and I. Well, because a man blows up once in 14 years. Mr. Channing's office. Oh. You've got to reconsider, that's all, Mr. Channing. I never reconsider. Bennett, it's your wife. But Mr. Channing, that will be old, Bennett. It won't be all. You can't wipe out 14 years of a man's life. Even you can't do that. Channing, it's Mrs. Channing on the phone. Oh, hello. You're where? That's in this building. Since when has Dr. Ellis kept evening office hours? I told you, there's nothing wrong with you. No, I can't. I don't know when I'll be through and I don't want you hanging around up here. Well, take a cab or walk. I don't care what you do. What? I can't understand you. What? What? Goodbye, Doris. Where was I? Walter. Yes? You are going to reconsider about Tom Bennett, aren't you? Bennett was insolent this afternoon. I won't tolerate insolence. Yes. Shine. Mr. Churning Shine. No. What's he doing down here this time of night? Half the staff's working overtime. Kelly's an enterprising shoeshine boy might have missed someone on his rounds this afternoon. Walter, A bar. Tom Bennett. Forget Bennett. Look, do you upset the ink well? Quick, blot the stuff. Yes, of course. Did any spill on you? Spot my trouser cuff? Lucky you didn't get on the carpet. Walter, about Tom Bennett. I told you to forget Bennett. All right, Walter, all right. Well, maybe you shouldn't. Maybe you'd be better off to use him as a model. A model? If he knows he's not wanted around here, he'll have the self respect to get out. Meaning? Well, you've known for a long time you're not wanted and you're still here. How you'd like to fire me. Denying that would be silly. I've been with this firm 15 years. In January, employees get a bonus of stock shares after 15 years service. That's what I'm waiting for and you know it. Suppose we get back to that memorandum. You'd like to get me out before I collect those shares, wouldn't you? I said let's get on with the memo. You'd be petty enough to do it too, if you knew how. There may be a way. There isn't and you know it. I'm too careful. You can't fire me without cause. And I've given you no cause, Walter. Nothing you can possibly dictate one of your vicious little memorandums about. Don't try my patience too far, Brenda. Walter, this can't be us talking like this. You and me hating each other. I find it remarkable there ever was anything between us except hate. Walter, I mean it. Look at you. You were flashy when I met you. You're getting flashier. That means cheaper. Brenda, stop it. Too much lipstick, too much rouge, hair too bright, dress too tight. You're trying too hard, Brenda. You're labeling yourself like a sound wagon. I wonder what it is that stops me from killing you. Cowardice, of course. Now, when you've stopped sniveling, we'll get on with a memorandum. You ready? Yes, I'm ready. Notice. In the interest of economy and efficiency, junior executives will confer in the conference room. Not in private offices. Mid afternoon coffee and personal phone calls and daily shoe shines will be eliminated. Your name is Barclay. Brenda barclay. Very well, Miss Barkley. What can I do for you, Mr. Wolf? I. I don't know how to begin. Maybe I can make this easier all around by briefing Mr. Wolfe on the Walter Channing case. Hey, that's funny. What? Violet eyes. I always thought there was something the poets made up, Archie. Huh? Oh, the ch. The Channing case. Yes. One moment, Ms. Barkley. Look this way, please. To me, an eye is functional, object found. Mammals, birds, fish, potatoes and horticulture. Thank you. Go on, Archie. Walter Channing was the boy wonder of advertising at 33. Executive Vice President of Winslow, Hart & Stradmeyer. Just 24 hours ago they found him at his desk, shot through the heart. They? Who is they? A knight porter and a shoeshine boy. Is that right? Yes. He'd been dead about an hour. The bullet went through Channing, his desk chair and lodged in the windowsill behind him. Police thought at first it was suicide. The gun.38. Found it on the floor 10ft away. No fingerprints anyhow. No clear ones. Seldom are on a gun. But you say suicide was suspected. Why? The gun was 10ft from the body. It was the. The smudges. Smudges? Powder burns. According to the papers, he was sitting at his desk. There were no signs of a struggle. The gun was held against his chest and fired. But it wasn't suicide, Mr. Wolf. Walter Channing would never have killed himself. The police have already decided that. Finally, according to the evening papers. And I presume you, Ms. Barkley, are a suspect? No, not yet. But you expect to be. That's why you came to me. When the police talked to her, I. Doris, his wife. I've been Walter Channing's secretary for eight years. At one time we thought we were in love. Mrs. Channing was aware of this? Yes. Oh, it was a long time ago. It was over. It was finished a long time ago. But she never believed that. Neither did Alan. Alan who? Alan Melick, Head of the media department at the agency. We were going to be married when I. When Walter and I decided you were in love, Ms. Barclay, who finally decided you were not you or Mr. Channing? He did. I see. Mr. Melick believes you did not share this change of heart. Yes. Oh, he's such a fool. I dare say you fear Mrs. Channing or Mr. Melick, or both, will reveal the ill fated romance. You know what the papers will make of it? What the police will try to make of it. Ms. Barkley, did you kill Channing? No. Oh, no, I swear I didn't. Oh, Mr. Wolf, I didn't. Please, for heaven's sake, no tears. Archie, put her in a cab. Yes, sir. Then come up to the plant room. There are some things I'll want you to execute for me. Yes, sir. Women. Bah. Yes, Ms. Goodwin. I. Jackson, the night porter. He was working late that night. Mr. Channing, his secretary, Mr. Bennett, Mr. Melick and his secretary. About 10:30 I met the shoe shine Kelly on Mr. Channing's floor. There was a light burning in Channing's place. We went in to turn it off, Kelly and me. And there he was, sitting at his desk, a hole this big in his chest. Tell me, Mr. Bennet, did Channing have any enemies in the agency? Channing was asleep. The girls hated him and men were afraid of him. He'd send out memos like this one around here. Take a look at it. It's typical. No coffee, no shoeshangs, no office conferences. If you want my opinion as one employee out of 150, whoever killed Walter Channing did the rest of us a favor. You're Amy Long, secretary to Alan Mealit. Now what can you say? I can tell you plenty. How she jilted Mr. Mealy, took up with Mr. Channing, got thrown over by him. I wouldn't go so far as to say Brenda Barkley would murder anyone. But if she did, Walter Channing would be one a Channing get his shoes shined on you. I called the agency men, sir. You know, it was Jackson and me found him. Everyone else had gone and left himself, poor soul, sitting at his desk dead. This specimen, a minimus tree orchid. Beautiful, isn't it? Mrs. Channing? Mr. Miller, I could never quite like orchids. They have no smell, you know. It's pretty all right, but tulips are more in my line, Mr. Wolf. Tulips? Mr. I had to stand of emperors this spring. Emperor's come in, Archie. Emperors, Mr. Meelik. That's the name of a tulip, Mr. Wolfer, a peasant fly. I've heard of it of course. Archie. Mrs. Channing, Mr. Mellock, my assistant, Mr. Goodwin. Mr. Goodman. Didn't know you had company. Mr. Wolf asks us here to explain why Brenda Barkley is worried and you have both agreed to respect her position. Brenda ought to know I'd never tell the police anything to get her into trouble. Sir, he said phooey, Mr. Melick. Meaning he doubts what you say and does not admit your right to say it. A.J. Mr. Meelik, you say you'd never intentionally inform on Ms. Barclay. Certainly not. The tongue slips, sir. We would expect you to guard your. What do you think what I started to say? You asked us here because Brenda Barclay is your client. I despise Ms. Barclay, everyone knows that and why. But I wouldn't stoop to implicating her in murder. You believe her innocent then? Mrs. Channing, I believe she lacks the gumption to pull a trigger. Poison I wouldn't put past her at all. Mr. Meelik, would you be kind enough to see me home? Of course, Mrs. Channing. Good day, Mr. Wolfe. Good day. And Mr. Goodwin. You have, I suppose, an exhaustive report from me. Archie. Seven pages of notes. Save them and get me a bottle of beer. You're in a rosy mood. What happened? I said I would like a bottle of beer. No, you wouldn't. Archie, you better don't puff up about it. Those vest buttons won't stand the strain. I can't get you a bottle of beer. Why not? You ordered me to hold you to four a day. I rescind the order. You also ordered me not to let you rescind the order. What's the matter with you anyhow? I have had to entertain two very dull people too long. Both those dull people are prime suspects. Mrs. Channing is a woman scorned. Melek lost his girl to the guy who was killed. I can't blame her for throwing him over. Archie, the man grows tulips. What tulips? Well, give me a report. I checked the agency, everybody who was working down there the night of the murder. Also, I dropped in on inspector Kramer at homicide. Also I visited the morgue. Why the morgue? Because if I hadn't you'd have said why not the morgue? Go on. I drew a blank there. Kramer let me look at the clothes Channing was wearing. There was an ink stain on the left trouser cuff. An ink stain and a hole through his shirt front with plenty of powder smudge. Like the paper said, he was shot with a.38 at point blank range. Sitting down an impolite corpse. What? Discourteous. He didn't rise to meet his murderer. That is most significant, Archie. I know. I've got a theory about this case. No theories, facts, if you please. But Look, Channing owned a.38, that's a fact. It's disappeared. That's another fact. The murder gun was a.38 with the numbers filed off. And it could be Channing's own gun. Thereby proving what, Archie? That his wife had access to it? Your theory involves Mrs. Channing then? And Melek. She decides her husband is less trouble to her dead than alive. A regrettable tendency of wives, have you noticed? And she sells mealik on the idea? Now that wouldn't be be hard. They figure to make it look like suicide. But Melik loses his head and runs. Drops the gun on his way out and. Oh, you don't buy it. Enough of theories. The facts, Archie, out of your notebook. One, nine people were on the scene that night working late for one reason or another. Mrs. Channing tells me she was visiting a doctor's office in the same building. By the way, two, every one of those people hated Channing. Three, here's a sample of why he wasn't popular. Memorandum dictated the night he was killed. The staff got it the next morning. A whip cracker, Mr. Channing. Fact four, the ink stain in his trouser cup was partly rubbed out. With what? Cleaner of some kind. I didn't get brand. Fact five, there's a spot on the carpet near Channing's chair. Spot of what? Ink. Blood. Looks like ink. It looks like. Well, I didn't analyze it on the spur of the moment. My chemical set isn't working so good, boss. Truey. Archie, I want two things. Yes, sir. Get over to headquarters. The police have Channing's trousers. Suggest to Inspector Kramer that he have the stain analyzed. Suggest also that the spot on the carpet be analyzed at the same time. Be around him when the information arrives. This is Be Kind to the Police week. Phooey. I never have sought to beat the police on matters of fact, only on interpretation, deduction. Get going. Oh, and Archie. Yes? When you return, I should discourse upon the sanctity of desk hood. The sanctity of what hood? Desk hood. Now be off with you. And please remember you're tracking a murderer. Don't stub your toe. Good one. The thing on the carpet was a dye of some kind. Dye, huh? Mm. How long will it take the lab to give you the analysis on it, Inspector? Oh, not very long. I've got the report on what was used on the trouser cuff right now, though. And they found traces of carbon tetrachloride. Wait a minute. This goes in the notebook. A carbon tetrachloride and something else. Goodwin, what's Wolf afton Interpretations was what he said, Inspector. You object? No. Maybe I'll get an interpretation too. There's something else. Was perchlor ethylene Perchlora. Why, Inspector, such language. The phone. I not back here. Hello, Mr. Wolf? Yes? This is Brenda Barclay. Oh, Mr. Wolf. What is it, Ms. Barkley? You've got to come to Mr. Channing's office right away, Mr. Wolf. Mr. Goodwin has been to your office. Everything I need to know, he has. You've got to come, Mr. Wolf. Nonsense. I don't go out. My digestion disapproves of it. I disapprove of it. But Mr. Goodwin, he's in danger. What? What's that? Terrible danger. He needs you here at once, Auntie. In danger? Let me talk to him, please. Come, hurry. What's happened? Hello, Sparkly. Fritz, get out of the car. Bring me my wool muffler and worsted vest. See if you can find my galoshes. Confounded. I've got to go out. Go on up. Step to the rear of the car, please. Mister, will you please step back? I'm back as far as I can go. You are Elevators. Contraptions for little men. Come, come, take me up, young man. Hold it. Hold that car. I'm late for a date with a blonde. 16th floor, buddy. Evening, Mr. Goodman. Good evening. I was told you were in danger. Danger? I. Mr. Wolf, you would. What are you doing out down here? Sparkly's idea about me being in danger. Obviously she was lying. I suspected at the time, but I fell in with her suggestion. I'm anxious to end the case. My presence here is needed. Don't understand why she'd do such a thing. And why is your presence needed, 16th floor? It's a matter of perspective. Brenda's got a very nice perspective. She'll be around here someplace. The agency's got this whole floor down this corridor next to Channing's. Kramer came through on those reports from the lab. That smudge on the carpet wasn't ink, it was a dye. Powdered aniline. Brenda. Oh. Oh, Mr. Wolf, thank heavens you're here. Hey, I'm here, too. The police, they questioned me again this afternoon. I'm so frightened. Mr. Wolf, you've got to find the murderer before they. Baby, take it easy. Oh, hello, Archie. Hello. What's the idea of trying to pull a fast one on Mr. Wolf? I just had to see him. Please understand. Is this Channing's office? Yes. You told him I was in danger? At last, the place to sit down. I had to tell him something to get him down here. He's not happy. You comfortable there, sir? Ms. Barclay, come here. Mr. Wolf, I can explain. I thought if you were here where it happened, I mean, if you could see for yourself, then you'd. Young woman, there are many things. Things I'd like to say to you. Oh, now, wait a minute. She was scared, boss. However, I am too short of breath to do them justice. Archie. Yes? Round up everyone concerned with this case right now, including Mrs. Channing. Get them in here. Yes, sir. You help him, Miss Barkley. And close that window. Yes, Mr. Wolf. Fresh air. I've had enough today, thanks. To you. To last me a lifetime. If after all that exposure, I live a lifetime. What's going on here anyhow? A tea party? Find yourself seats. Keep your knees steady. All right, Mr. Wolf, everybody's here. Mr. Shoeshine Kelly. Here, sir. Here. It was you who found the body? Him and me, Ms. Wolf. How? May be Jackson a night man. You gentlemen can help us if you will. Oh, to be sure, Mr. Wolf, I'd like to know the exact position of the body when you find it. Well, he was setting up. That's it, sir. Sitting up straight, as you please. You'll oblige me if you demonstrate. Sit in the chair, please. His chair, sir, if you please. Abe, you. Ye. Oh, no, no, not me. Not on your life. There's no easy thing you ask, Mr. Wolf. I. But I'll oblige you. So it was like. Like this, I'd say. You agree, Mr. Jackson? A little more right, maybe. Yeah. That's the way he was. Archie. Yes, sir? Help me with a brief recapitulation. Well, so far as we know, Channing made no outcry. Therefore, he could not have been startled by the appearance of the killer. There were powder burns on the body, therefore the gun was against Shannon when it was fired. His own hand couldn't have held it closer. Nobody heard the shot. Probably because this officer soundproofed. The gun that killed him was lying on the floor 10ft from the desk in the direction of flight. Through that door. Go on, Archie. The killer was almost certainly well known to Channing. Or Channing wouldn't have let him come that close without a struggle or an alarm. Also, the killer had access to this office. Another proof that he's not a stranger. One more point, if I may, Argy. The killer, he or she is present here now. Good cheer in the room. Be quiet, everyone. We come now to the point I mentioned to you last night, Archie. The point I call the sanctity of desk hood. Sanctity of What? Desk hood, Mrs. Jenning. Explain, Archie. Still figure it's so important. Absolutely essential. I wrote it here somewhere. Oh. Desk hood refers to that area behind a desk where a man earns his livelihood, makes his career, builds his reputation. You mean here, where I'm sitting? So long as a man sits at his desk, he enjoys a curious area of privacy. He is remarkably safe from intrusion. That's it, Mr. Wolf. Sanctity of description. Think about it a moment. You see what I mean? Nonsense. I've gone around that desk hundreds of times. I'm sure she has many more. Hundreds if you mean what I think you mean, Mrs. Channing. You are dazed, lady. Mrs. Channing, when you approached your husband at his desk, what did he do? What did he. Why, he stood up and he stood up, Ms. Barkley, you agree? Yes. He'd have to stand up. At least he always did. But for his murderer he did not. Archie, resume from your notes, please. Well, whoever killed Walter Channing went around the desk without Channing rising, held a gun to his chest and pulled the trigger. Excuse me. If you will go behind the desk and stand facing Mr. Kelly. Hatchie here. This the way you mean? You know the angle of the body wound or the hole in the chair? There wasn't any angle. One was in a straight line with the other. From where you stand now in front of Mr. Kelly, if you wish to inflict an identical wound upon him, could you do it? Not from where I stand. I'd have to kneel. You'd have to kneel. Do so. No, please. The murder tableau. The question now, who could kneel before Channing get close enough to kill him from that position without alarming him in the least? Kelly, the shoeshine man. Hey, hey, wait a minute now. I. Shut up you and sit there. His motive is crystal clear. The memorandum. Memorandum? You have a copy? Aji in my notebook. Ah, yes, Ms. Barkley. Read the part which could explain Mr. Kelly's action. No, no, not was all over the office. Kelly must have seen it. Oh, wait a minute now. Notice, effective at once. Yes, here it is. In the interest of economy, daily shoe shines will be eliminated. That'd cut off Kelly's bread and butter. Kelly. I can't believe it. Nor can I. What? It's obvious. Kelly murdered Walter Channing. Mr. Wolfe. Now listen, I did nothing. The obvious can be too obvious. Meaning what exactly? Archie. Yes, sir. Brief these people on the ink stained trousers. Channing spilled ink on his trouser cuff the night he was murdered. Somebody tried to clean the spot off. What? According to the police analysis, carbon tetrachloride and perchloroethylene showed up those non inflammable ingredients used in many commercial cleaners. Exactly what are you getting at, Mr. Wolfe? One moment, Mrs. Channing. Mr. Goodwin also has an analysis of the spot on the carpet behind the desk. Archie. A powder form of dye. Aniline Dye used in what perhaps? Well, the lab suggested a shoe dressing. I got no powder dye. I swear I ain't, Mr. Wolf. I'm sure you haven't, Mr. Kelly. You'll find this particular type of dressing is used on Women's shoes. Suede shoes, usually. I don't understand. Wait a minute. Wait a minute. Yes, Auntie. If a woman. Now, suppose a woman knelt in front of Channing to clean that ink spot off his trouser cuff. That smudge could have rubbed off the tip of her shoe onto the carpet. Exactly. I believe you'll find a typewriter cleaner contains tetrachloride and perchlor. Ethylene. Something else just occurred to me. That memo was sent around the morning after Channing was killed. I never thought of that. True, Archie, and for only one purpose. To point suspicion at Kelly. But when the police didn't take the hint. Go on, Archie. Why, then somebody else was brought down here who would. Comes round to three questions, doesn't it? Who knew about the memo. Who had access to Channing's file, where he kept his gun, and who made sure Nero Wolf would see the evidence against Kelly? Three questions, Archie, with one answer. That spells the name of the murderess. Our own client, Brenda Barkey. Steak, Archie, marinated. You like it? I'm not hungry. Indeed. I suggest a tonic. That reminds me, I had a call you had. Doris Chanik. She had some idea about my explaining things to her. She found my explanation insufficient? No, but she felt it lacked the personal touch. Phooey. Hand me a can of beer. However, you do have the evening off. Yes, sir. Keep out of trouble. Doris Channing is a blonde. Let us try to keep out of trouble in the company of a blonde who wants to. Good night, sir. Good night, AJI. Good night. You have been listening to the new Adventures of Nero Wolf, starring Sydney Greenstreet. Tonight's transcribed story by William Kendall Clark was based on the characters created by Rex Stout. This is an Edmund Fadiman program, produced and directed by J. Donald Wilson. In the cast were Larry Dobkin as Archie Goodwin and Donald Morrison, Betty Lou Gerson, Bill Johnstone, Howard McNear, Mary Lansing and Barney Phillips. Next week at this same time, Nero Wolf and Archie will bring you the case of the girl who cried wolf. John Storm speaking near a wolf. Archie and all of our cast hope that our listeners have taken time out from this busy Christmas season to help brighten some youngsters. Christmas Day, be sure to send a thing, your choice of anything you think a child would like for Christmas to the groups in your own town who are distributing these toy gifts to less fortune of children. Three chimes mean good times on NBC. Bold venture. Adventure, Intrigue, Mystery, Romance. Starring Humphrey Bogard and Lauren Bacall. Together in the sultry setting of Tropical Havana and the mysterious islands of the Caribbean. Bold venture once again. The magic names of Humphrey Bogart and Lauren McCall bring you bold Venture and a tale of mystery and intrigue. Hey, watch it, sailor. That's the second time in three blocks. The car's almost run you down. What's the matter with you? Shannon's Place. The Hotel nifty, rooms 350. What? No, I don't like it. You don't like what? Slogan. Find you stationary. The Hotel nifty, rooms 350. What's the matter with it? It tells the story. Says that Shannon's Place is a classy hotel and the rates are reasonable. Yeah, I know, but I. But what? Listen to this slogan. Shannon's Place, Rest in Havana in your private cabana. Who's got cabanas? It makes it a problem, doesn't it? It's too late anyhow. Sanchez has already printed the stationery. My name's on the letterhead, isn't it? Right under running hot and cold water. That's nice. Hey. Hey, look, Sanchez. Shop is dark. Well, he just called you 15 minutes ago, didn't he? Yeah, he said come right over. The stationary was ready. Come on, Sailor. Sasha's sashes. It's Slate, Shannon. Try the door, Slade. It's open branches, Sanchez. Hey, something's wrong, Sailor. Strike a match. Something really is wrong. Look at the place. Yeah, torn apart like slake. There's someone here I'd never. No. I got him, Sailor. Hold him. I'll hit him. Slade, where are you going? Oh, Slate. What did you hit me with, Sailor? I don't know. I picked something up. Feels like a monkey wrench. I'm sorry. I guess my aim was bad. Hey, what's all this about? Who knows? Maybe somebody else doesn't like our slogan. We'll stop here first, Harry. At my place. That'll be nice. Only to heal the bruises the man gave you in the printing shop. Then you're going home. Here's my key. Open the door. After you, my dear. You've got a cut under your eye. There's collodion in the bathroom. I'll go. Reckon Sanchez? Joint. Exhaust. Collodion just won't help the tired feeling I got. What'd you do with Sanchez? Beat him up. Whispered a word of advice in his ear. Threw him in a private gutter where I can find him again. That'll make him understand. Sure it will, baby. It's the only way to talk to these people. Sanchez just didn't know what we've got going for us. Fake American passports. Man in my position could get fat selling things like that. There's such a hunger for them. But we need Sanchez. Will he keep engraving them for us? After what you've done to him? Now that he's figured out what he. He'll put his heart and soul into it. Because I asked him. Poor little man. He should never have tried to use his brain. Never said he was going to report us to the authorities and to the consulate. Have they ever questioned you about the things you do on the salary they pay you? I told him I was tutoring a Cuban lady in English. The boys at the consulate understand things like that. What about those people who walked in on you? Shannon? The Havana character? Yeah. It worries me. Leave him to me, Jim. Leave everything to me. Have I ever failed our great love? Have I, Mr. Shannon? He go to printing shop for stationary with name on top. He go inside, then hit a bargain when monkey range connect with noggin Ms. Sailor. She wish that she was dead for making lump on boyfriend's head. But Lump is happy, doing fine with cold compressors and iodine. Mr. Shannon. That's enough, King. Hold still, slave. Ouch. Hey, that hurts. And then cry on my shoulder. See, I know all the cures. I appreciate it. It's not every day a man gets the opportunity to get banged with a monkey wrench. I've looked up the records. There. There. That looks better. You can hardly notice, can you, King? The bump doesn't show a bit from this angle, Mr. Slade. Looks like a man wearing small top hat. Stand over here where I am. He looks like a man wearing two small top hats. I'll get it. I wish to see Mr. Shannon, please. Who are you? Oh, that is him in the chair. Please step aside. Hey, you can't barge in here, Mr. Shannon. What do you want, buster? I am Juan Sanchez. I have heard that you were at my brother's place of business. The business being that of printing. It is so. See? It is so. See? That's the way you want it. Having not found my brother Carlos, you called Senora Sanchez, the wife of my brother, informed her so that my brother was not at his shop, that the shop was ruined, that you were thrown here and there and hit heavily. See? That's a fair version of it. What's on your mind? On my mind is this. I know where is my brother. I will take care of the affairs of the family of Sanchez. And as I have heard a tourist say, you will keep your fat head out of my business. I will say goodbye to you. Goodbye. Close your mouth, Slate. Keep my fat head out of his business. That's what he said. Mr. Shannon. I don't care whose brother he is. I know you're going to find out what happened to Sanchez. I like Sanchez. I've done business with him for years. He's in trouble. He needs help. Rubs off on you, doesn't it? People's troubles. No, no, no, please. Hey, what goes on? Come on. There he is, on the patio. Hal, he's not going to take care of his brother's problems anymore. Juan is dead. Like I said, it rubs off on you, doesn't it? Yeah. Starts in a printing shop and it continues on my patio. Call the cops, Sailor. I'm going to find out what makes that shop print obituaries. The rotary press goes in that corner. Boys, be careful with it. This is very delicate equipment, very expensive. When you're through with that, boys, I want you. Are you one of the workmen? Will you please. I'm not a workman, but I could do some work for you that could please me. I'll make a note of that, miss. What name do I put down? Jenny Sloan. I'm Slate Shannon. I've heard of Slate Shannon. This is a red letter day for me. I sell a big order and I meet Slate Shannon. A girl like you sells printing equipment. There must be people who want to take you away from all this. There are. They do. Then maybe you can make a better offer. Yeah, but first I've got to find Sanchez. Why must that come first? His brother was shot down. Killed in my hotel. I figure things like that has a priority. It does, doesn't it? And you'd rather tell Sanchez his brother was killed? You don't know it's Slate, but you just made me an offer. I like it. We could tell them together. Where is he? He called my office from his home. Ordered all this. Asked me to install it for him because he was too sick to manage for himself. From his home, huh? Mm. So you'll understand, I'm needed here. I couldn't go with you. The things I understand, Ginny. Just you wait. Is there a phone here? There on the wall. Need change? Thanks. I've got. Hello? King? Put Sailor on. Tell her she can wash out my socks later. Put her on the phone. You good with socks? Jenny? Sailor has a. Oh, Sailor. Meet me down the corner from Sanchez house. Yeah, right away. I'll tell you why later. Uh huh. Well, Sailor, don't forget to put my argyles on the stretcher. Yeah, yeah, yeah, I know. I Haven't got any argyles. But I can dream, can't I, sailor? Better be, Ms. Duval. Chalk up another red letter for me. Tell me something, Ginny. I don't have to shout. I'll lean close. Better. Better. How come, Sanchez? A poor man, a sick man, can afford to buy all this equipment from you? What does he need it for? You'll ask him when you see him. Then come and tell me. 16, Avenida del Presidente. I want to know too. I'll do that, Ginny, Real soon. I still don't understand what you're trying to do, slave. I'm looking for some new answers. Well, tell me the new questions, huh? Why is that printing shop wrecked and put together again with expensive equipment? Where does a beautiful American girl named Ginny Sloan come into all this? A beautiful American girl, huh? Where did you find her? Next to a Linotype machine. You've got red printer zinc on your lapel. Yeah, you. You gotta watch those Linotype machines. Oh, here's Sanchez House. Let me knock. What's the matter? Don't I know how to beat on the door? No one's answered, have they? You looking for Senor Carlos Sanchez? See what happens when I knock? Slate. Taxi cabs appear. Yeah, we're looking for him, Chico. I give him to you. He's in the cab. Hey, come back here. I give you the car too. Let's go. Look, sailor. Sanchez. Oh, yeah. Beaten bloody. You want to go knocking on any more doors, Sailor? Now back to Boldventure. Our Stars High, Humphrey Bogart and Lauren Bacall. And the second act of our story. Look, Sanchez, try to understand. You stay here with us until you get well. Understand, Sanchez? S. Senorita Tuval, comprendo? You have been kind. Who did this to you? Beat you like this? Hurt you? Tell us, Sanchez. Do not ask me, senorita. I will not answer. You're beaten like a stray dog. Your shop is wrecked. Your brother is murdered. What does it get you? Keeping your mouth shut? Another beating because you like living this way? Please, Senor Shannon. The beating was to me. Do not take it unto yourself. It belongs to me. Cops tell me they found an illegal passport in your brother's things. A fake United States passport. Is that what you're mixed up in? All that fancy printing equipment? Did you order it? No. Of course I order it. How else does one attain such things? He buys it from a merchant. You bought yourself a whole lot, didn't you, Sanchez? The payment was good too. Look at you. Leave him alone. Slate Senior Slade. There's a man at the desk who wishes to talk with you. Be right there, King. Sing to Sanchez, Sailor. Kiss his cheek. Do something, anything. That'll take the hurt away. I'll try slate at the desk, huh, king? Yes, sir. Mr. Sleep. Is Mr. Harry Turner. King says you wanted to talk to me, Mr. Turner. It's on your mind. Carlos Sanchez. I've come to take him home. You a relative? Only a friend. Sanchez does printing for us at the United States Consulate. I've grown very fond of him. This morning we heard he'd been in an accident. I'd like to take him to his home, do what I can for him. How'd you know he was here? Some people saw you take him out of a cab. Bring him here. Word got around, got to the consulate. We got up a little collection and I was appointed to pick him up. All right. He's badly hurt. Take it easy with him, Sanchez. You want to see this man, See? Your turn. Hello, Carlos. I'm sorry about what happened. I've come to take you home. You want to go home with him, Sanchez? Of course he does. I asked Sanchez, see? I do. I'm very happy to go home with him. Happy, See? Okay. Give Turner a hand, Sailor. I'm going out. Where? All right, don't answer me. Surprise me when we get there. You're not going, Sailor. You clutter it up. This one belongs to me. Yes? Oh, hello, Slade. Am I disturbing you? Yes, you do. Come on in. Place looks a mess. I undressed on the way to bed last night. Wait till I pick up these things. Sit down right here. Thanks. You said you'd come to see me. You couldn't wait, could you? I've been thinking about you, Ginny. Don't do it that way, Slade. Too many men start off like that. Not Slate. Shannon. I knew a girl like you once. In Hong Kong. She wore bells on her ankles. And when I said goodbye to her, she tried to stick a knife into me. This scar on your cheek. Uh huh. There. So I can share it with that girl with bells on her ankles. That's funny. She did the same thing after she cut me. It's going to be good, Slade. I found Carla Sanchez. Later, Slade. He was almost beaten to death. Do you know why, Slade? Tell me why, Jenny. No. At this time. It means that much to you? Going to tell you why I don't like you so much, Slate. Last night you were in his shop. You were delivering a whole lot of merchandise. Expensive stuff. I told you. Yeah? That you worked for a printing supply house. But Sanchez never called you. He didn't order that stuff. I know. You delivered it to the wrong place. Listen to me, Slate. It's got something to do with passports. Sanchez is an engraver. A good one. He could have made plates for a counterfeit. Printed passports for illegal immigration to the States. He could make a lot of money out of that. A lot of people could. You and you. I don't see how a lot of people come to Shannon's place. The word could have it that your hotel's a fine place for people who want to go to America. Who do you work for, Jenny? Wait a minute. This is a small gun, Slate. I can make up a fine excuse to the police why I had to kill you. Who do you work for? I'd weep over your body till the police came. Jenny. Jenny, put the gun down. All right, Slade. You safe, sir. No more questions, Slade. No more questions. King, stop playing that thing and listen to me. Do what he says, King. A man with lipstick smeared all over his ugly puss. You gotta do what the man says. What? Been cuddling up with a liner type machine again, Slate? I see she got some new ink. The color's different this time. Yeah, it's tasty, too. Had Mr. Turner take Sanchez home. Carried him like he was a baby. Imagine a man doing desk work having muscles like that. Oh, you know that because he told you? Because I asked him. He swore it was desk work. I didn't believe him at first, but he finally convinced me. Nice fellow, that Mr. Turner. I bet he doesn't care if a Linotype lives or dies. King, here's 200 bucks. Go buy yourself a fake American passport. I don't wish to go no place, Mr. Slade. Besides, I got a passport. Humor the fellow, King, because the fellow wants to play cups and robbers. You know Havana, King. Find the right alley, wave 200 bucks under the right nose, buy the passport, then come back here and tell me who you bought it from. King might get hit. Slate, look what happened to Sanchez. Don't worry, lady sailor. King Moses take care of himself. He'd like Mr. Slade. Say I know Havana. Havana knows me. She will do me no hurt. What do you want here? Please, mister. They tell me come to you in barrio. They say for what I want. Go ask Mr. Harry Turner. You are Mr. Harry Turner? Where? In the barrio? At the place of the palace of Jollies. They say many times their people come to you for same thing I need. I have done bad thing in Havana, mister. I must go away. Two states will be nice. You're all alike. You do a bad thing, you must go away. Get in here. A pleasure, mister. They tell you what it costs? They say you will tell me this thing, mister. What's it worth to a man who has to go away? I have only $200American, mister. Is enough is all I got. Please, mister. They catch me prison. Give it to me 200. You get away cheap. The passport. You know Sanchez Printing Shop? You'll find it. Be there at nine o'clock tonight. The passport. I'll check with my mood. Knock it out. He told you to be there at nine tonight, huh, King? Yes, Mr. Smith. You did good. What do you think of your desk job now, Sailor? Well, he beats people, kills people. Makes passports on the side, money on the side. I'll have to know him better before I can give you an opinion. Say, what in the name of. What are you doing with knitting needles? You said you wanted some archives, didn't you? You think you can finish them by nine, sailor? I want to look spiffy for Mr. Harry Turner. I told you to go home, Sailor. What are you following me for? Don't you know I always follow you wherever you go? This time I just happen to be with you. Look, there's liable to be trouble. Well, if anything happens to you, I want to be there to get my argyles back. All right, Sailor, just keep your mouth shut, that's all. If you like it that way. Just the way it was before. Lights in this shop are out. The door is open. Anybody here? Hey, the back room. Let's go. Hello, people. How's business? You didn't think you were fooling anybody, Shannon, sending that guy around for a passport? You told me you weren't going to ask any more questions, Slade. I'm disappointed. Is this the one slate? I'm disappointed, too. I told you, Sailor, keep out of it. Ginny tells me she made you a proposition, Shannon. I've been thinking about it. What's the take? You'll be paid. All you have to do is let us use your hotel for distribution. But not for murder, huh? Give my place a bad name. You mean Sanchez? Brother Juan fell his family ties too strongly. He found out Sanchez had counterfeited those plates. He tried to tell his brother of the error of his ways. What did he do, threaten you? Oh, forget about him. He's dead, isn't he? But you didn't kill Sanchez because you needed him to print the passports. You just beat him up from time to time. Cz. You beat him up, it hurts him. Give him new equipment it makes him feel better. All right, Shannon, let's stop rubbing noses. You interested or not? I'm interested. As long as I know you're going to hold on to that job at the consulate. Job at the consulate? He sweeps floors there. When he goes out, he puts a carnation in his lapel and Havana thinks he's big. Well, Shannon, I haven't made up my mind. I know what's bothering you. That girl. Her? She means you, Sailor. Do what you have to do and let's get out of here. It's not that easy. See, you pose a problem. Jenny and I understand each other. She said it would be good between us. Better than that, Slate. You see, you're gonna be in the way, Sailor. Oh, I am, huh? You know how it is. Jenny and I met. Something happened. Man finds a new direction when a woman like Jenny happens. That's for all the good times we've had. And that's one for the road. Well, you settled it for me, Sailor. Harry, I'm in. Great. We'll think about you later, Mr. Vaugh. Sit down. I said, sit down. Welcome, Slate. Now we go to work, huh? I was wondering how you'd phrase it, Harry. What? Goodbye, Harry. Hello, Slate Chan. Like the girl I knew once in Hong Kong. She left a scar. There won't be any of those with me. Show me. Show me, Jenny. All right. Put the gun down. Go ahead. Put it down. I don't like my love mixed up with.45. Put it down. Drop it. You two are going to make a happy couple. Help me, Jenny. I'll pick up that gun, Sailor. I've got it. Who do I kill first? Slate, you cheap, rotten. When you run out of names, I've got a few more for you, Slate. You can let go of her now. That had to be done my way. I can handle a gun now, Sailor. You call the police. Say where? Go away. You bother me. I brought you something. You can take your dime store jewelry and you know who you can pin it on. Why don't you just turn around and look? See, I brought you a monkey wrench. Just what I've always wanted. I had an idea if you clobbered me over the head, it'd make you feel better. Thoughtful, huh? Give it to me. Here. Well, go ahead. Clobber me. What's the matter with you? What happened when you went to Jenny Sloan's apartment, she had a gun in her hand. Like you're holding that monkey wrench. I'll show you. Come here, Slade. Yeah, that's what happened. Sailor. And so our two stars, Humphrey Bogart and Lauren Bacall, have brought to a close our latest Bold Venture story. Special music was composed and conducted by David Rose. May we invite you to listen again next week at this time for another exciting adventure starring Humphrey Bogard and Lauren Bacall together in Bold Venture. Lady Esther presents the Screen Guild Players. The Screen Guild play tonight, the Maltese Falcon. The Starling Players. This is Humphrey Bogart, this is Mary Aster, this is Sydney Greenstreet, and this is Peter Laurie. Tonight, Lady Astor presents the Screen Guild Players in Warner Brothers sensational mystery story, the Maltese Falcon. It stars Humphrey Bogart as private detective Sam Spade, Mary Aster as Miss Wonderly, Sydney Greenstreet as Casper Gutman and Peter Laurie as Joel Cairo. This is the story of the Maltese Falcon and of the people whose lives it touched and seared. It began in San Francisco when a beautiful young woman who identified herself as Miss Wonderly walked into the offices of Spade and Archer, private detectives. Miss Wonderly had just told Sam Spade why she wished to engage detectives when Spade's partner, Miles Archer, entered the office. Oh, excuse me, Sam. That's all right, Miles. Come in. Miss Wendley, this is Miles Archer, my partner. How do you do? Well, I'm pleased to meet you. Miss Wonderly's sister ran away from New York with a fellow named Floyd Thursby. They're here in San Francisco. Miss Wandley has seen Thursby and has a date with him tonight. Maybe he'll bring the sister with him. The chances are he won't. Miss Wandley wants us to find the sister, get her away from Thursby and back home. But I want you to know that he's a dangerous man. I don't think he'd stop at anything. I don't believe he'd hesitate to kill Corinne, my sister, if he thought it would save him. Uh huh. What time is he coming to see you, Miss Wandley? After 8 o'. Clock. All right, Miss Wandley, we'll have a man then. Well, I'll look after it myself. Thank you, Mr. Archer. Will $200 be enough for a retainer? Plenty. It'll help if you meet Thursby in your hotel lobby, Miss Wandley. I will. Thank you again. Goodbye. Well, Archer, what do you think of her? Sweet. I'm going to enjoy shadowing her. Okay, sucker. You call me if you run into any trouble. Hello? Yes, this is Spade. This is Lieutenant Dundee. Spade. What's on your mind, copper? I thought you might be interested in knowing that your partner, Archer, was Found in an Alley near the St. Mark. Shot through the heart from close range. Blast spurred his coat coming down for a look at him before he's moved? No, you've seen everything I could. His gun was tucked away on his hip. It hadn't been fired. His overcoat was buttoned. Was he working, Sam? Well, he was supposed to be tailing a fellow named Floyd Thursby. What for? Now, don't crowd me. I'll see you after I break the news to Archer's wife. I'll be there in a couple of hours. Oh, hello, copper. Come on in. Make the news to Archer's wife, Sam. Huh? What kind of a gun do you carry? None. I don't like him much. You don't just happen to have one on you? Search me. Turn the dump upside down if you want to. I won't squawk if you got a search warrant. Why were you tailing Floyd Thursby, Sam? I wasn't. Archer was, for the swell reason that we who was paying good money to have him tailed. Who's the client? Sorry, I can't tell you that. You didn't go to Archer's house to tell his wife? I called up and the girl from your office was there and she said you told her to go. What are you leading up to? Just this, Spade. Floyd Thursby was shot down in front of his hotel about a half an hour after I talked to you. I came into my apartment just a few minutes ahead of you. I was walking around, thinking things over. I knew you weren't here. I tried to get you on the phone. Where'd you walk to? Just around. Thursby die? Yeah. How'd I kill him? I forget. He was shot four times in the back hotel. People know anything about him? Nothing, except he'd been there a week. Alone? Alone. You find out who he was, what his game was? No. I thought you could tell me that. I've never seen Thursby, dead or alive. I'll look spayed. You know me. If you did get Thursby, you'll get a square deal from me and most of the breaks. I don't know that I'd blame you a lot, man that killed your partner, but that wouldn't keep me from nailing you. That's fair enough. Now, would you mind scramming? I got some thinking to do and I'd like to get a little sleep before daylight. Hello? Yeah, this Sam Spade. Oh, I was just going to call you. Where are you? The Coronet on California Street. Apartment 101. What's that? The name's Ms. LeBlanc. Okay. I'll. I'll be right out. Good morning. Come in. Mr. Spade. Mr. Spade, I have a terrible, terrible confession to make. That. That story I told you yesterday was all just a story. Oh, that. Well, we didn't exactly believe your story, miss. Is your name wonderly or LeBlanc? It's really O'. Shaughnessy. Bridget O'. Shaughnessy. Oh. Well, Ms. O', Shaughnessy, as I said, we. We didn't exactly believe your story. We believed your $200. Oh, yes. You see, you paid us too much to be telling the truth. You knew that when you accepted the money. I suspected it. I was positive when Joel Cairo called on me. Joel Cairo? Yeah. Yeah, he seems interested in Floyd Thursby, too. What did he say? About what? About me. Nothing. What did he talk about? Well, he offered me $5,000 for a black statuette of a bird. He was pretty sure I had it or knew where it was. Do you? Oh, I think I know someone who does. And $5,000 is a lot of money. Right now, the police are trying to find out who hired us to tail Floyd Thursby. Mr. Spade, do they know about me? No, I don't think they do. I've been able to stall them so far. Must they know about me at all? Mr. Spade, couldn't you manage somehow to shield me from them? Maybe. But I'll have to know what it's all about. I can't tell you now. Later. I will when I can. You must trust me, Mr. Spade. I'm so alone and afraid. I've got nobody to help me if you won't help me. Be generous, Mr. Spade. You're strong. You're brave. You can spare me some of that strength and courage. Surely, sister, you don't need much of anybody's help. You're good. Chiefly your eyes, I think, and that throb you get in your voice when you say things like, Be generous, Mr. Spade. All right, I deserve that. But the lie was in the way I said it and not at all in what I said. Ah, now you are dangerous. Still, Cairo offered me $5,000. It's far more than I could ever offer you. If I must bid for your life, and that's good coming from you, have you given me any of your confidence, any of the truth? I can't go ahead without more confidence in you than I have now. Can't you trust me just a little while? How much is a little? And what are you waiting For I must talk to Joe Cairo. Oh, well, you can see him tonight. I know where to reach him. Oh, he can't come here. I can't let him know where I am, I'm afraid. We'll all meet at my place, then. All right. I'm delighted to see you again, Miss O'. Shaughnessy. I was sure you would be, Joe. Mr. Spade told me about your offer for the Maltese Falcon. How soon can you have the money ready? Oh, it is ready. You are ready to give us $5,000 if we turn the Falcon over to you. I shall be able to give you the money as soon as the bank opens in the morning. But I haven't got the falcon. Then why did you send for me? Because I'll have it in another week. Yes? Where is it? Where Floyd hid it. If you know where he hid it, why, why must we wait a week? And why are you willing to sell it to me? I'm afraid. After what happened to Floyd, I'm afraid to touch it except to turn it over to somebody else right away. Exactly what did happen to Floyd? The fat man, Gutman, is he here? I don't know. I suppose so. If you two let me interrupt for a second, I can answer that. Gutman is here. How do you know? Because he called me and asked me to see him. Have you? Not yet. I thought that after our friend Cairo here left, I'd find out just how you and I stand before I took on any more clients. Now do you know how you and I stand, Sam? Yeah, if I can believe anything about you. But you're such a liar. I am a liar. I've always been a liar, but I. I wouldn't brag about it. Was there any truth at all in that yarn you were telling me about Thursby and the falcon? Some. Not very much. Well, we got all night before us. I'm. I'm so tired. So tired of lying and thinking up lies and not knowing what is a lie and what is the truth. I wish. Look, honey, I think I'd better have a talk with Gutman in the morning. Now, Mr. Gutman, shall we talk about the falcon? No, by all means, Mr. Spade. But first, sir, answer me a question. Are you here as Miss Oshaughnessy's representative? Well, there's nothing certain about it either way yet. It depends. Maybe it depends on Joel Caro. Maybe. The question, then, Mr. Spade, is which you'll represent. It'll be Ms. O' Shaughnessy or Mr. Caro. I didn't say so. Who else Is there? There's me. Oh, that's wonderful, sir, wonderful. I do like a man who tells you right out he's looking out for himself. Don't we all? Uh huh. Now, let's talk about the black bird. Let's. Mr. Spade, have you any conception of how much money can be got out of that blackbird? No, but you just tell me what it is and I'll figure out the profits. You mean you don't know what that bird is? I know it's black enamel and about a foot high. And I know the value in human life you people put on it. Mr. O' Shaughnessy didn't tell you what it is he offered me. Didn't either. He offered me 10,000 for it. Do either of them know what that bird is, sir? What is your impression? Well, there's not much to go by, but I don't think so. If they don't know, I'm the only one in the whole wide suite world who does. Good. And when you tell me, there'll be two of us? Mathematically correct, sir, but I don't know for certain that I'm going to tell you. You think again and think fast. You'll do your talking today. You're through. What are you wasting my time for? I can get along without you. That remains to be seen. Mr. Spade. They're away. And there's another thing. Keep that gunman of yours away from me while you're making up your mind or I'll kill him. Well, sir, I must say you have a very violent temper. Take it over. You get till 5:30, then you're either in or out. For keeps. Grimmer. I'm gonna kill that guy. I could have done it easy when he was standing there with his back to me. Of course you could, my boy, but business before pleasure. And we'll be seeing Mr. Spade again before 5:30. So ends Act 1 of the Maltese Falcon, starring Peter Laurie, Sydney Greenstreet, Mary Esther and Humphrey Bogart. Act Two in just a moment. But first here's a word from our hostess, Lady Esther. Some weeks ago, I was being shown through a shipyard, one of the largest in the country, and stopped to chat with a young woman wearing a safety mask. It gave her a stern, rather severe look, but when she removed the mask to chat with me, she was young and blonde and very lovely. Her skin looked so dainty and fresh that I just couldn't resist saying, my, you look as though you just stepped out of a bandbox. She laughed and said, a wife. I've been on the job since early this morning and I haven't even had time to repowder my face. But after all, I do use your powder, you know. Of course, she's only one of millions of busy, important women who use Lady Esther face powder. Partly because of its remarkable clinging quality. They explain that when they use Lady Esther face powder they have the comfortable feeling that their skin always looks smooth and fresh, never smell streaked, caked or shiny. But that's only one of the reasons why more lovely women now use Lady Esther face powder than any other kind. There are two other important reasons. First, the texture of my powder is so flattering that it hides little lines and blemishes. Makes your skin look younger. And second, the shades of Lady Esther face powder are so rich, vivid and alive they give new interest to a look of new beauty to your skin. And both the unusual texture and the flattering shades are the result of my patented twin hurricane method of making face powder. So if you'd like to have your skin look softer, smoother, younger and look that way for hours at a time, just try Lady Esther face powder. And now the curtain rises on the second act of the Maltese Falcon. Starring Humphrey Bogart as Sam Spade, Mary Esther as Bridget o', Shaughnessy, Sydney Green street as Casper Gutman, the fat man and Peter Lorre as Joel Cairo. Late in the afternoon following Sam Spade's visit to Gutman's apartment, a dying man staggered into Spade's office and collapsed on the floor. He died before he could speak to Spade but his papers identified him as Captain Jacobi of the steamship La Paloma. And clutched to his bullet torn chest was the Maltese Falcon. After depositing the Falcon in a railroad station check room and mailing the identification check to his private post office box, Sam met Bridget o' Shaughnessy and took her to his apartment. You know, Sam, I never would have faced myself in this position if I hadn't trusted you completely. Oh, that again. But you know, that's so you don't have to trust me as long as you can persuade me to trust you. But Sam, darling, I think we better let it go at that until we see what happens after gut feeling gets here. The fat man here? Certainly. Why not? Anyway, that should be him. So it's too late to change our plans. I'll be right back. Oh, hello, Gutman. Good evening, sir. I see you brought company. I can understand the gunman, but I didn't know Cairo was a friend of yours. We're old acquaintances. Now that we're all here, let's go in and sit down and be comfortable and talk. Sure. Come on in. Now, look, Angel, Gutman brought a couple of friends along. Good evening, Mr. Shaughnessy. Hello, Joe. You look unusually charming this evening, my dear. Thanks. The gun doesn't talk, Angel. Get away from me, punk. Stand still and shut up. Listen, you're not going to frisk me. Touch me and I'm going to make you use that gun. Ask your boss if he wants me. Shut up before we talk. Never mind, Wilma. Oh, you're certainly a most headstrong and unpredictable individual, Mr. Spade. Now, why did you send for me? You ready to make the first payment and take the falcon off my hands? The falcon? That's right, Angel. I've got it. Well, sir, I have in this envelope $10,000. 10,000? Oh, we were talking about more money than that. Yes, sir, we were, but there are more of us to be taken care of now. That may be, but I've got the falcon. I shouldn't. I don't think it would be necessary to remind you, Mr. Spade, that though you may have the falcon yet, we certainly have you. Yes, I'm trying not to let that worry me. But let the money wait. There's another thing to be taken care of first. We've got to have a fall guy. I beg your pardon? Police have got to have a victim, somebody they can stick for those three murders. True, too. Only two murders, Mr. Spade. Thursby undoubtedly killed your problem. All right, all right, two. Then the point, I've got to give the police a victim when the time comes. If I don't, I'll be it. Let's give him. Let's give him Wilmer here. Why, you dirty rat. He actually did shoot Thursby and Jacoby, didn't he? Anyway, he's made to order for the part. Let's turn him over to them. By God, so you are a character that you are. There's ever never any telling what you'll say or do next, except that it's bound to be something. Astonishment. Well, it's our best bet. With him in their hands, the police will forget the rest of us. Your plan is not at all practical, sir. Let's not say anything more about it. All right. I have another suggestion. Let's give him Cairo. Well, by God, sir, suppose we're giving you Mr. Spade or Mr. Shaughnessy. How about that, huh? Sam, you wouldn't. You people want the fork, and I've got it. A fall guy is part of the price I'm insisting on. You Seem to forget you're not in a position to insist on anything. No. If you kill me, how are you gonna get the forkin? By gadza, you are a character. Well, what else can I do? I'm sorry, Wilma, Terribly sorry. I want you to know that I couldn't be any fonder of you if you were my own son. But, well, if you lose a son, it's possible to get another. And there's only one Maltese Falcon. You rat. I'll kill you for this. Thank you, Mr. Spade. When you're as young as Wilmer, one simply doesn't understand these things. And how about some coffee? Bridget, put the pot on, will you? I don't like to leave my guests. Surely anything can get out of you. Now, sir, let's get down to business. I ought to have more than 10,000. Of course, sir. You understand this is the first payment. You still don't understand the falcon's worth. Well, a black enamel bird can't be worth millions. But it is. Otherwise I should not have spent 17 years of my life trying to acquire it. The black enamel you refer to, sir, is merely camouflage covering a solid gold bird encrusted from head to foot with the finest jewel. Okay, so I get millions later. How's about 15,000 now? Frankly and candidly and on my word of honor as a gentleman, 10,000 I gave you is all the money I can raise right now. But you didn't say positively. Positively. Well, if that's the best you can do, it's the best you can do. But it's understood the punk has to stand as the fall guy. That is part of our agreement, sir. Okay, I'll make a phone call. The Falcon will be here in an hour. It's a fake. This is not the Maltese Falcon. This is a lead imitation covered with the same enamel. See where I've shaved it off? With a knife. Lead. Pure lead. You bungled it. You got one. You and your stupid attempt to buy it from the Russian who owned it. He caught on to how valuable it was. No wonder we had so little trouble stealing it. You, you imbecile, you. You bloated idiot. Well, sir, what do you suggest? Shall we stand here and shed tears and call each other names or shall we pay the Russian another call in Istanbul? Are you going? 17 years I've wanted that ad litem and I intend to get it another year. Well, sir, that'll be an additional expenditure of time on only 5 and 15. 17%. I go with you. Good. And Wilma? Wilma? Where. Where is the boy? He must have had made his getaway while we were unwrapping the fog. A swell lot of thieves. Well, sir, I left to ask you to return my 10,000. I held up my end. It's your hard luck, not mine, if you didn't get what you wanted. I'm sorry, but I must insist. Oh, a hideout gun, huh? Okay. Thank you, sir. The shortest farewells are the best. Adieu. And to you, Ms. O', Shaughnessy, I leave the fake Fulton Falcon. As a little momentum, you come. Hello, Police Department. Lieutenant Dundee there. Put him on. Tell him Sam Spade's calling. Now, look, Angel, Gutman and Cairo will talk when the cops nail them about us. We've only got minutes to get set for the police. Now, give me your whole story, fast. Where. Where shall I begin? The day you first came to my office, why did you want Thursby? Shadows? I. I suspected him of betraying me to Gutman, and I wanted to find out. That's a lie. Gutman tried to make a deal with him. You had Thursby hooked and you knew it. You wanted to get him out of the way before Captain Jacoby arrived with the Falcon. Isn't that so? What was your scheme? I thought if he saw someone following him, he might be frightened into going away. Look, Archer hadn't many brains, but he wasn't clumsy enough to be spotted the first night. You must have told Thursby he was being followed. I told him, yes, but please believe me, Sam. I wouldn't have told him if I thought Floyd would kill him. If you thought he wouldn't kill Archie. You were right, Angel. Didn't he? Arch had been a detective too long to be caught shadowing a man up a blind alley with his gun tucked away in his hip and his overcoat. But he'd have gone up there with you, Angel. He was just dumb enough for that, Sam. And then you could have stood as close to him as you liked, there in the dark, put a hole through him with a gun you'd gotten from Thursby that evening. Don't. Don't talk to me like that, Sam. You know I didn't. Now, the police will be blowing in any minute. Now, angel, talk. Oh, why do you accuse me of such a terrible. Why did you shoot Archer? I thought Thursby would tackle him and one or the other would go down. If Thursby was killed, then you were rid of him. If it was Archer, then you could see that Thursby was caught. Was that it? Something. And when you find out that Thursby didn't mean to tackle Archie. You borrowed the gun and did it yourself, right? I guess so. I know so. You didn't know Gutman was here looking for you until you learned Thursby was shot. Then you needed another protector, so you came back to me. Yes. But. No, sweetheart, it wasn't only that. I would have come back to you sooner or later. From the very first instant I saw you, I knew that you. Angel. Well, if you get a good break, you'll be out of San Quentin in 20 years. Sam, you're not. Yes, Angel, I'm gonna send you over. But if they hang you, I'll always remember you. Don't, Sam. Don't say that, even in fun. It's not fun. I happen to be in the detective business and you killed my partner. Bad business to let the killer get away with it. Bad for every detective in this country. You're taking the fall. You've been playing with me, only pretending you cared to trap me like this. You didn't care at all. You don't love me. I. I think I do. But what of it? I won't play the SAP for you. No, it's not like that. You can't say that. I am saying it. You know down deep in your heart, you know that in spite of everything I've done, I love you. I don't care who loves who. You killed Archer. You're going over for it. Come in. Oh, hello, copper. Hello, Sam. We got Gutman and Cairo. We got Cairo. Gutman's dead, kid. Wilmer had just finished shooting him when we got there, so I ought to have expected that. You better put the cuffs on angel, copper. We're taking it down to the station. What charge, Sam? Murder. She shot Miles Archer. Oh, and you better bring that blackbird along too, copper. It's part of the evidence against Cairo. Hey, this is heavy. What's it made of? The stuff that dreams are made of. And so ends the story of the Maltese Falcon. Thank you, Mary Esther, Humphrey Bogart, Sydney Greenstreet and Peter Laurie for appearing with the Lady Esther Screen Guild Players tonight. And also for telling us the most exciting story. It was our pleasure, Mr. Bradley. We all had a wonderful time making the picture. And the radio version tonight. Brought back some wonderful memories then, too. Knowing that the benefits from these programs support the motion picture Country House and Clinic give us an added incentive. And now, before we tell you about next week's program, here's a word from one of America's best known beauty authorities. Lady Esther. Thank you, Miss Astor. Ladies. You know, it's surprising the number of letters new users of Lady Esther Face Powder have sent me in the last few months. So many of them say the same thing. That Lady Esther Face Powder is an entirely different kind of powder. But it does wonderful things for the appearance of the skin. Makes it look softer, smoother, and often years younger. Well, Lady Esther Face Powder is more flattering, more becoming. Because my powder isn't just mixed, just blended, like ordinary face powder. It's made by a method, new, unique, exclusively mine. You see, Lady Esther Face Powder is blown at whirling speed by my famous twin hurricanes. Yes, my patented twin hurricane process blows and whips color and powder particles together until they're evenly married, blended into a fine, smooth, sheer mist of beauty, finer in texture and truer in shade than powder ever made by ordinary methods. That's why Lady Esther Face Powder smooths out so much more evenly. And why the shades of my powder are so clear and alive. They make your skin younger, looking more vivid, far lovelier. Why don't you try Lady Esther Face Powder and see how much happier you'll be with the appearance of your skin. Before we tell you about next week's program, Humphrey Bogart has a word to say from our government. As you all know, the third War lone drive is on full steam. The drive to back the attack our fighting forces are making against our enemies as our share toward victory. We at home must buy $15 billion worth of war bonds, which means each one of us must dig down deeper into our own pockets. Each of us must buy at least one extra bond this month. We have to win this war. And we will win, all right. But how soon we win is up to every one of us. So buy an extra war bond this week, sure to help speed our day to victory. Next week, the Lady Esther Screen Guild Players will present highlights from Warner Brothers great new musical picture, thank youk Lucky Stars. It will star Joan Leslie, Dennis Morgan, Dinah Shore and Eddie Cantor. Be sure to listen. Humphrey Bogart can soon be seen in the Warner Brothers production thank youk Lucky Stars. Mary Aster is currently playing in the Metro Golden Mayor Technicolor production. Thousands cheers. Sydney Green street and Peter Lorry appeared through the courtesy of Warner Brothers music on tonight's program was arranged and conducted by Wilbur Hatch. To help your government save 10, buy the larger size of Lady Esther face cream. And at the same time, you will save yourself money to invest in war bonds and stamps. Truman Bradley speaking for Lady Esther. Thank you. Good night. This is the Columbia Broadcasting System. We just heard Suspense, Inner Sanctum, Nero Wolf, Bold Venture and the Screen Guild Theater adaptation of the Maltese Falcon that will do it for today's episode. Thanks so much for joining me. I hope you'll be back next time for more Old Time Radio Detectives. In the meantime, you can check out Stars on Suspense, my other Old Time Radio podcast. And if you like what you're hearing, don't be a stranger. You can rate and review the show in 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 Old Timer Radio Detectives. But until then, good night and happy listening. 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 extreme, 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.