Philip Marlowe 48-11-28 010 The Hard Way Out

Summary

Podcast Summary: Harold’s Old Time Radio

Episode: Philip Marlowe 48-11-28 #010 "The Hard Way Out"

Air Date: September 23, 2025
Main Theme:
A riveting episode from the Golden Age of radio, this installment of "The Adventures of Philip Marlowe" presents a classic Raymond Chandler mystery. Detective Philip Marlowe is drawn into the web of a desperate embezzler, a seemingly loyal wife, and a cast of would-be helpers—all of whom may be taking "the hard way out." With themes of deception, loyalty, and betrayal, this episode delivers hard-boiled detective storytelling at its finest.

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Key Discussion Points & Plot Breakdown

1. Setting the Scene: A New Case for Marlowe

[01:00-03:14]

• Philip Marlowe is approached by August Quigg, president of Quigg and Slater, regarding Frank Emery, the company’s general manager, who has embezzled $60,000 over the past year.
• Quigg’s motivation isn't retribution but to help Emery recover:

  “I want to save Frank Emery, not condemn him.”
  (August Quigg, [03:28])

Notable Details:

• Quigg sees potential in Emery, likening his own rise to power to Frank’s trajectory before his recent troubles.
• Marlowe is hired to find Frank and uncover what went wrong prior to contacting the police.

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2. Meeting Sheila Emery: The Loyal Wife?

[05:29-08:28]

• Marlowe contacts Frank’s wife, Sheila, who is distressed and confused by Frank’s behavior and the accusations.
• Their lavish lifestyle (expensive car, $100 dress, sailboat, beach cottage) seems incompatible with Frank’s salary, raising Marlowe’s suspicions.
  • Sheila: “Frank said we could afford those things. I know because I was worried when we bought the boat.” ([07:14])
  • Marlowe points out Frank only earns $175 a week, conflicting with what Sheila believes.

Memorable Line:

• Marlowe, to Sheila:

  “Some guys do funny things when they're too much in love.” ([07:51])

• They agree to search Frank's contacts and investigate his recent activities.

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3. Suspicious Figures & New Leads

[08:28-11:01]

• As Marlowe leaves the Emery’s, he encounters Keith Slater (son of Quigg’s late partner), who claims he’s trying to prevent Frank from doing something rash.
• Slater reveals Frank is “just about out of his mind,” echoing Frank's paranoia about being usurped.

Insights:

• Office politics and familial legacy are strong undercurrents.
• Both Sheila and Slater present themselves as allies to Frank, though their motives become questionable as the plot unfolds.

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4. Chasing Emery: The Beach Cottage & The Trap

[12:21-15:22]

• Marlowe follows a trail to the Emerys’ beach cottage but finds it deserted; Frank catches him at gunpoint.

• Frank, desperate and cornered, appears ready to commit suicide and locks Marlowe inside.

  • Frank: “The police do get to me, Marlo, they won't find anything but a corpse.” ([14:50])

• Marlowe escapes, warns Sheila, and deduces Frank’s plans are more complicated.

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5. A Murder at the Factory

[16:00-18:40]

• Marlowe finds Quigg murdered in his office, shot with a .45.
• Slater arrives “coincidentally,” and they speculate Frank must have done it and will now kill himself.
• Sheila is also in grave emotional distress, fearing for Frank's life and what he might do.

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6. Piecing Together the Double Cross

[19:05-20:24]

• At the Emery house, Marlowe finds a suicide note from Frank and a note from Sheila indicating she's going after Frank at their boat, the Carefree.
• Marlowe has a “wacky idea” after spotting a tobacco shop’s number, linking it to Frank.

Quote:

• “I'm thinking that Frank Emery's suicide's a big, fat phony.” (Marlowe, [21:25])

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7. The Truth Emerges: The Boathouse & Final Discovery

[22:20-24:45]

• The harbor patrol is called as Frank’s boat is spotted running out to sea, apparently abandoned.

• On board, Frank’s body is found—shot through the heart with the .45 in his hand—seemingly a suicide.

• Marlowe notices a detail: an ejected cartridge outside the cabin, not inside, and applies some classic detective logic.

Dramatic Deduction:

• Marlowe:

  “When a man is shot with a .45, he drops. He doesn't walk in, close the door and then fall.” ([25:10])

---

8. The Double Murder Revealed

[25:46-28:40]

• Marlowe confronts Slater and Sheila with the evidence:
  • Slater’s key is found in the plant door, implicating him in Quigg’s murder.
  • Sheila killed Frank on the boat, staged his suicide, and set the vessel adrift.
• Both murders were committed as part of an elaborate plot: Sheila wanted money and freedom to marry Slater, who needed Quigg out of the way to inherit full control of the business.

Notable Quotes:

• Marlowe:

  “You see, it's sort of like an equation: two pounds of tobacco and two pieces of brass added up to two bodies and two murderers.” ([27:31])

• Ibarra (police lieutenant):

  “She pulled one of the richest double crosses on record.” ([28:40])

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9. Epilogue: Marlowe’s Cynical Reflection

[28:40-29:35]

• Marlowe reflects on the darkness and treachery he’s encountered and decides to change his Christmas cards to read, “goodwill toward men.”
  • Marlowe:

    “The lady turned out to be the tiger...” ([28:50])

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Notable Quotes & Moments by Timestamp

• [01:00] Marlowe’s opening hook:

  “When I started I thought one man was in trouble and three were trying to help him... I knew they had all been in trouble and all had taken the hard way out.”

• [04:52] Marlowe’s probing question to Quigg:

  “Were you ever in a jam like this yourself...?”

  • Quigg’s nostalgic reply hints at personal empathy.

• [07:51] Marlowe on desperate love:

  “Some guys do funny things when they're too much in love.”

• [14:50] Frank’s fatal declaration:

  “When the police do get to me, Marlo, they won't find anything but a corpse.”

• [25:10] Marlowe’s detective logic:

  “When a man is shot with a .45, he drops. He doesn't walk in, close the door and then fall.”

• [27:31] Marlowe on the case:

  “Two pounds of tobacco and two pieces of brass added up to two bodies and two murderers.”

---

Important Timestamps & Segments

• 01:00: Marlowe introduces the case.
• 03:14: Quigg reveals Frank’s embezzlement.
• 06:10: First meeting with Sheila Emory.
• 08:28: Encounter with Keith Slater.
• 13:18: Clue from the tobacco shop phone number.
• 14:33: First direct confrontation with Frank Emery.
• 16:00: Visit to the factory, Quigg found murdered.
• 19:19-20:24: Sheila heads out to the boat; Marlowe suspects Frank’s suicide is staged.
• 22:20: They board the Carefree and discover Frank’s body.
• 25:10: Marlowe’s deduction overturns the suicide theory.
• 27:31: Marlowe exposes the dual plot.
• 28:40: Epilogue and reflection.

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Tone & Style

Classic Chandler: sardonic, hard-boiled, occasionally sentimental.
Marlowe is wisecracking and emotionally astute, balancing sharp observations (“Some guys do funny things when they're too much in love”) with a bleak awareness of human nature. The dialogue sparkles with cynicism and wit, capturing the Golden Age detective style.

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Conclusion

This episode encapsulates the twisty, noir-drenched drama of Marlowe’s world. What begins as a plea for help unravels into betrayal and murder, with both love and greed giving way to tragedy. Chandler’s hard-edged storytelling and quick dialogue shine, keeping the listener guessing until Marlowe’s final deduction.

Transcript

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[Philip Marlowe]

When I started I thought one man was in trouble and three were trying to help him. But after I found two pounds of tobacco, two pieces of brass and a boat without a pilot heading straight out to sea, I knew they had all been in trouble and all had taken the hard way out.

[Narrator]

From the pen of Raymond Chandler, outstanding author of crime fiction, comes his most famous character as CBS presents the Adventures of Philip Marlowe. And now with Gerald Moore starred as Philip Barlow, we bring you tonight's exciting story, the Hard Way Out.

[Philip Marlowe]

I had killed a shank of the afternoon in a Hollywood department store trying for the fifth consecutive year to select something unique in a personalized Christmas card. A bright eyed sales girl finally suggested in desperation, a smoking 38 spelling out Noel in delicate wisps of white curling smoke. Well, I gave up, settled for a reissue of last year's unoriginal message. An hour later I was driving out towards Sepulveda and my new client, August Quigg. And I was glad to be away from the pre holiday crowds and back to work. When I pulled up in front of the factory building, an immodest sign told me the man I was to meet inside was president and co founder of Quigg and Slater, manufacturers of nothing but the best in construction materials.

[August Quigg]

Come in, come in. Be with you in a minute. I'm on the phone. Listen, August Twig does not change his policy overnight, slater. Not after 25 years. You should Know that you of all people. Never mind the excuses, Slater. Those you always have. And they make me sick.

[Philip Marlowe]

Partnership trouble, Mr. Quigg?

[August Quigg]

Oh, no. My partner is dead now. Ten years. That was his son, Keith Slater. But he has nothing to say here. His father left it that way. Well, sit down, Mr. Marlowe, please. Slater is not what I want to talk to you about.

[Philip Marlowe]

All right, Mr. Quigg. Who is the man and what's his problem?

[August Quigg]

My general manager, Frank Emory?

[Philip Marlowe]

No.

[August Quigg]

He has embezzled $60,000 of this company's money in the last year.

[Philip Marlowe]

Then isn't this a great time for you to climb the nearest rooftop and scream copper?

[August Quigg]

No, because I want to save Frank Emery, not condemn him.

[Philip Marlowe]

Why? What's so special about a general manager who keeps dipping itchy fingers into the till?

[August Quigg]

Mr. Marlow, Frank Emery has worked for me for seven years. And in that time he has climbed from shop worker to plant foreman to general manager. And that is something which took me 15 years.

[Philip Marlowe]

Which proves what?

[August Quigg]

That Frank can one day go right to the top here, to my job, the honest way. And that is just the path he was on until a year ago when he got married.

[Philip Marlowe]

Then he started to fill his pockets with company lettuce. Before he'd even gotten rid of the rice, is that it?

[August Quigg]

Yes, but don't leap to any conclusions, Mr. Marlowe. Because his wife, Sheila, is a very sweet woman. Everybody knows that. And if anything, she should be a good influence.

[Philip Marlowe]

Mr. Quigg, what's Frank Emery's salary?

[August Quigg]

175 a week.

[Philip Marlowe]

When'd you last see him?

[August Quigg]

This afternoon, about 2:00'.

[Philip Marlowe]

Clock.

[August Quigg]

I called him in here, but I didn't say anything about the shortage. We just talked. I asked him if he thought he needed a vacation. He only sulked. He said he'd be all right in a little while. Then he left. But when he got back to his desk, he only stopped there long enough to pick up his hat. That was three hours ago.

[Philip Marlowe]

You call his house since?

[August Quigg]

Twice. But I got no answer. Here's the number, Marlowe, and the address. Now we better stop talking, start moving. I must know what Frank Emory plans to do. Yeah, this is my private number. Plant will close in half an hour, but I'll be here working late.

[Philip Marlowe]

Okay, but before I get going, Mr. Quigg, one more question. Just so all this will make some sense to me. Were you ever in a jam like this yourself? A long time ago, maybe. And you know what it's like to be in Emory's shoes.

[August Quigg]

You're a pretty alert fellow, Mr. Marlowe. I do seem to remember a rich man who once kept me out of a lot of trouble. But the details aren't very clear anymore. So good night and Good luck.

[Sheila Emory]

Hello?

[Philip Marlowe]

Mr. Frank Emery, please.

[Sheila Emory]

I'm sorry, he's not in. Is this Philip Marlow?

[Philip Marlowe]

Yeah, that's right. That should make you Sheila Emory, huh?

[Sheila Emory]

Yes, I just finished speaking to August Quigg at the plant, Mr. Milo. He told me about you and about Frank.

[Philip Marlowe]

Take it easy, Mrs. Emery. Crying isn't going to help Frank any.

[Sheila Emory]

Yes, I know, but how can I help Frank? What can I do?

[Philip Marlowe]

I'm not sure, but look, can you meet me right away? I'm at the Golden Crown. It's a cocktail lounge on Santa Monica Boulevard near Bradley.

[Sheila Emory]

Yes, of course, Mr. Marlow. I'll be there as soon as possible.

[Philip Marlowe]

Exactly 34 minutes later, a two tone sleek convertible about the size of a pool car glided to a stop in front of the Golden Crown. The loveliness behind the wheel was wearing a hundred dollar hand knit dress that just wouldn't let go. I knew it couldn't be Sheila Emery, but it was. She was a tall, luscious blond with blue gray eyes that was set wide apart in a face that any angel would have gladly traded his wings for. Now, five minutes later, we were seated inside at a quiet corner booth.

[Sheila Emory]

But only two weeks ago, everything was perfect, Mr. Marlow. Frank didn't seem to have a care in the world. Then all of a sudden, he changed. He became quiet, almost morose.

[Philip Marlowe]

You never suspected that he was stealing from Quinn?

[Sheila Emory]

Of course not. And I still think there's some explanation. Something we don't know about.

[Philip Marlowe]

Maybe. But from where I sit, it looks like you two have been keeping up with the Vanderbilts instead of the Joneses. It always dents the bank account.

[Sheila Emory]

Just what do you mean by that, Mr. Marlowe?

[Philip Marlowe]

Exhibit A, that knit one pearl two number you're wearing.

[Sheila Emory]

What?

[Philip Marlowe]

Exhibit B, that splash of automobile you drove up in.

[Sheila Emory]

But Frank said we could afford those things. I know because I was worried when we bought the boat.

[Philip Marlowe]

What boat?

[Sheila Emory]

The carefree. It's a 30 foot sailboat. We dock it near our cottage just beyond Santa Monica.

[Philip Marlowe]

Hey, wait a minute. A sailboat, a cottage at the beach, that car. Just how far do you think 175 bucks will stretch these days?

[Sheila Emory]

What do you mean? Frank makes twice that, plus bonuses.

[Philip Marlowe]

Not unless he has a very fancy paper route on the side. Because 175 period is the figure that Quig quoted to me an hour ago.

[Sheila Emory]

Oh, no, no, I can't Believe that Frank wouldn't lie to me that way.

[Philip Marlowe]

Some guys do funny things when they're too much in love. Oh, now, look, tears take time, honey. How about holding him back long enough to give me some dope? That'll put me on Frank's trail, huh? I mean, names and numbers, his clubs, his friends, anything will. Give me a line.

[Sheila Emory]

Yes, of course. But all that information is in his address book at home.

[Philip Marlowe]

All right, Holmes, are next up? Just between us, Sheila, what are the chances that Frank has an extracurricular interest on a back street somewhere?

[Sheila Emory]

Another woman? Oh, no. I'm sure that's not the way things are. Frank loves me very much.

[Philip Marlowe]

Yeah. Yeah, I guess so. Believe me, if he doesn't, we're not looking for an embezzler. We're after a maniac. Come on, let's get out of here. When we left the Golden Crown, Sheila was still crying and in no shape to drive. So after parking my coupe in a nearby lot, we floated out to the Emory place in Brentwood in a two tone Nash, which did at the push of a button, except dry a girl's tears at her house. Sheila pulled herself together long enough to give me a handful of addresses that might possibly lead to Frank Emory. But just as I was about to leave, I noticed a single phone number scribbled in pencil on the edge of a desk blotter. It was Crenshaw 22131. Since Sheila couldn't explain it, I wrote it down on a slip of paper and filed it in my pocket and left. But once outside, I remembered that my car was still on Santa Monica Boulevard at the Golden Crown. So I started back to the house to call a cab. I stopped suddenly at the sound of somebody in the shadows alongside the house. When I moved toward the noise, a man darted out between two trees and I went after him. Get your hands off.

[Sheila Emory]

Why?

[Philip Marlowe]

So we can play another round of hide and seek? No dice, brother. I'm getting too old for it.

[August Quigg]

Now, who are you?

[Philip Marlowe]

What are you doing around the Emery place? Come on, let's have it.

[August Quigg]

Say, wait a minute.

[Philip Marlowe]

Aren't you.

[Narrator]

Aren't you Marlow, the man August Quig hired?

[Philip Marlowe]

That's right. But you still haven't answered my question.

[Narrator]

Oh, no, but I will, now that I know who you are. I'm Queer Keith Slater.

[Philip Marlowe]

Julie, dear.

[Narrator]

Quigg must have told you of me, the wastrel son of his late partner.

[Philip Marlowe]

He did, but you're still parrying. Slater, why were you hiding behind those trees?

[Narrator]

Correction, Marlow, I wasn't hiding. I was waiting for Frank Emery.

[Philip Marlowe]

All right, we won't argue terms. Why were you waiting?

[Narrator]

Because I want to get hold of Emery and help him before he goes too far. You see, Marlow, he came back to the office after you left.

[Philip Marlowe]

What, did he talk to Quigg? No.

[Narrator]

The place had just closed and the old man was out for dinner.

[Philip Marlowe]

Did you talk to Emery?

[Narrator]

Yes, and it wasn't much fun. That poor fella's just about out of his mind, Marlow. He raved on for an hour and a half about how unfair Quigg was. Said he knew that I was the one who'd get to run Quig and Slater after the old man died.

[Philip Marlowe]

I don't follow that. When did you become the fair haired boy around there?

[Narrator]

I'm hardly that, but I do own a quarter of the plant. Unless, of course, Quigg fires me one day. Those are the terms of my father's will.

[Philip Marlowe]

But Quigg won't fire you, is that it?

[Narrator]

He wouldn't think of it after all. That would keep my dear father from resting easy in his grave.

[Philip Marlowe]

Okay, okay, let's skip it. Exactly what did Frank Emery tell you, Slater?

[Narrator]

He said that August Quigg was a two faced liar and that he'd settled with him in his own way. I told Quigg that when he got back from dinner. And I also reminded him that Frank had a key to the office.

[Philip Marlowe]

That didn't phase Quigg, did it? No.

[Narrator]

He said he never worries twice. If Emory walked in on him, he'd think about what to do about it. Then I tell you, Marlow, we've got to get hold of Frank Emery and stop him before it's too late. In just a moment, back to the Adventures of Philip Barlow. But first, just one hour from now over most of these same CBS network stations, Eve Arden will be midway through her regular Sunday night role of our Ms. Brooks, America's most charming and most highly unusual school teacher. You've seen Eve Arden make her hilarious way through many a Hollywood movie. Now you can hear her every Sunday night as our Ms. Brooks. Just a little later over most of these same CBS network stations. And now with our star, Gerald Moore, we return to the second act of the Adventures of Philip Marlow and tonight's story, the Hard Way Out.

[Philip Marlowe]

It was nearly an hour later, before I was back in my office on Cahuenga with my finger in the dial of the telephone, checking the names and places that Sheila Emory had given me. Two nightclubs, three hotels and five friends. Later, I'd run through the list without A single kosher lead. Sitting there, thinking of all the places a guy could disappear to, I reached into my pocket for a lifesaver and found something else. The slip of paper that read Crenshaw 22131. The number I'd seen on the desk blotter at Emory's place. So with nothing more to lose than another millimeter off the tip of my index finger, I went back to dialings.

[August Quigg]

Pipe in tobacco shop, sir? Newton talking.

[Philip Marlowe]

Newton's what? Pipe in tobacco shop.

[August Quigg]

What can I do for you?

[Philip Marlowe]

Not a thing, old timer. My mistake. Pipe and September Tobacco shop. Marlow speaking.

[Sheila Emory]

This is Sheila Emory Marlow. I think I know where Frank is.

[Philip Marlowe]

You do?

[Sheila Emory]

Yes. At our cottage at the beach. It's closed up, but I was just going through some things in my desk when I discovered that the keys to the place were gone. And I clearly remember seeing them only yesterday.

[Philip Marlowe]

What's the exact location of that cottage?

[Sheila Emory]

It's two miles north of Santa Monica and down on the beach, directly behind a large white frame house on the Pacific coast highway, number 1221.

[Philip Marlowe]

You can't miss 1221. Okay, I'm leaving right now and I'll call you as soon as I can, so try not to worry. Somehow or other, I made it straight out along Sunset to the beach and then north as far as the large white frame house without being tagged for low flying by any of the boys in blue. When I got down to the cottage on the beach, I found it deserted and boarded up like opening night at an unlicensed peep show in Boston. Except for a couple of stray gulls who probably had insomnia, I was all alone. But the gregarious streak in me didn't suffer very long, because a minute later I had an unannounced visitor. It was a nasty caliber.45 automatic. And the man on the other end, who gripped the handle like he knew what he was doing, was none other than the general manager of Quiggin Slater, Mr. Frank Emery.

[Narrator]

Mind telling me who you are and.

[Philip Marlowe]

What you want here? Well, the name, which probably doesn't matter, Mr. Emery, is Philip Marlow. But my business with you is something else. I'm working for your boss, August Quig, and believe it or not, he wants to help you.

[Narrator]

That's a lie, Marlow. Nobody wants to help me, and you know that.

[Philip Marlowe]

This is a smart trick, but it won't work.

[Narrator]

It can't work, and I'll tell you why.

[August Quigg]

When the police do get to me.

[Narrator]

Marlo, they won't find anything but a Corpse.

[Philip Marlowe]

Is that clear? Suicide. Don't be a fool. What about your wife, Marlo?

[Narrator]

That's why I took the 60,000 bucks. So say your breath. Unless you're interested in joining me, do exactly as I say.

[Philip Marlowe]

Now, here, pick up these keys and open that door. Go on.

[Narrator]

Now throw the keys back gently.

[Philip Marlowe]

Please, Emory, listen to me. No.

[Narrator]

I've listened to too many people already.

[Philip Marlowe]

Now it's my turn to talk.

[Narrator]

But all I'm going to say is.

[Philip Marlowe]

Goodbye in my own way. You don't know what you're doing. Emory, stop a minute.

[August Quigg]

Think.

[Philip Marlowe]

This isn't the time to think, Marlo.

[Narrator]

This is the time to act.

[Philip Marlowe]

Now get in. Emory backed me into the cottage, stepped outside and pulled the door shut. I waited a moment until I heard his car start. Then I tried the door and knew I was wasting my time. Emory had run a piece of pipe through the handle and Gargantua himself couldn't have opened it from the inside. Took me 10 minutes to kick enough boards off one of the windows to wiggle out and another five to get to a phone. When I told Sheila that her husband was on her way home in a very desperate frame of mind, she promised to hold him at all costs until get there. 20 minutes later, I was in Sheila's house on Bundy Drive.

[Sheila Emory]

Marlow, what happened?

[Philip Marlowe]

Where's your husband?

[Sheila Emory]

I don't know. He hasn't been here.

[Philip Marlowe]

Oh, fine.

[Sheila Emory]

After you called me, I waited, but he didn't come back. Marlow, what did you mean when you said Frank was desperate?

[Philip Marlowe]

I'm afraid Frank intends to kill himself.

[Sheila Emory]

Kill himself? Oh, no. He can't.

[Philip Marlowe]

We still may be able to stop him. When he left the beach house, he was heading someplace to say goodbye. I figured for sure that meant you. But wherever he was going, he didn't want to be followed. He locked me in. And the gun. Holy smoke. Where's your phone?

[Sheila Emory]

Right over there.

[Philip Marlowe]

Oh.

[Sheila Emory]

What about a gun? Does Frank have one?

[Philip Marlowe]

Yeah, yeah. 45. Didn't come here to make his last goodbyes. It only leaves all this. Quigg.

[Sheila Emory]

Do you know what you're saying?

[Philip Marlowe]

Come on, come on. Answer that phone. No answer on Quigg's private wire.

[Sheila Emory]

You're accusing Frank of murder? He hates Mr. Quigg. Yes, but I know he couldn't kill him. He couldn't.

[Philip Marlowe]

Now, you listen to me. Your husband's cornered and he's decided to blast his way out of a hopeless situation. I'm going to Quigg's office. If Frank comes back, try to keep him here. But don't try too hard because it might be dangerous now, even for you. I drove down sepulved to the black hulking plant of Quigg and Slater, pulled over park and walked up the alley toward the side entrance. Through a barred window I saw the feeble nightlight that glowed in the outer office. Otherwise the place was dark. When I got to the door, I stopped. A diamond shaped key stuck out of the lock and the heavy door was ajar. I eased it open and listened.

[Sheila Emory]

Nothing.

[Philip Marlowe]

I pulled the key out of the lock and dropped it in my pocket. Then I went inside and switched on the lights. I found him on the floor next to the desk in his private office. He'd been shot in the chest, point blank with a.45, which meant that even before he fell, August Quigg was dead. The room was untouched. Quick's key case lay in the pencil tray on his desk. I snapped it open and saw what I expected. His diamond shaped key. I switched off the lights and started out. When I heard heels clicking up the hallway, I backed up against the wall and waited. It was Keith Slater. He hesitated in the open door, a startled look on his face. Good Lord. Quick. Hello, Slater. Where's it? Marlow? I wouldn't touch anything if I were you. The police will want to see it just as it is.

[Narrator]

Marlo. He's been murdered. I had no idea Frank would go this far.

[Philip Marlowe]

Yeah, he's full of surprises tonight. Are you sure he's not carrying any grudges against you?

[Narrator]

Frank and I are old friends. That old man in there was different. He wasn't human. He was a machine. A rock crusher with a concrete heart. I'm only sorry it was Frank who did that to him because he'll never be able to get away with it.

[Philip Marlowe]

He doesn't intend to plans to commit suicide any minute now. Tell me something straight, Slater. How does he feel about his wife? Is he jealous?

[August Quigg]

Jealous?

[Philip Marlowe]

Why?

[Narrator]

I. Marlo. You don't think that he might kill Sheila? I'm going to call her right away.

[Philip Marlowe]

Wait a minute. If Frank is there, a phone call would only hurry things. Come on, let's go.

[Narrator]

I don't like the looks of this, Milo.

[Philip Marlowe]

Neither do I. Sheila?

[Narrator]

Frank? Anybody home? They're not here. Neither one of them.

[Philip Marlowe]

Well, if they are, they're not talking.

[Narrator]

You've got a macabre sense of humor.

[Philip Marlowe]

Nobody's laughing, brother. Look, you check upstairs. I'll see what I can find down here. For once I hope it's nothing. I gave the ground floor a fast run through. It was neat and tidy from cobble Potted ivy on the dining room wall of the Sunbeam. Toastmaster on the breakfast tray. The only thing out of place was a bottle of scotch near the kitchen sink. And lipstick on the glass. Beside it said Sheila. I was back in the living room before I found out why she had needed that bracer. Propped against the bowl of violets on the coffee table were two notes pinned together. The top one was for me. From Sheila. It said Marlow. I just found this note from Frank. I'm sure he means that he's going out in our boat, the Carefree. I've got to stop him. Sheila. I turned to Frank's note and was reading it as Slater came down the stairs.

[Narrator]

Nothing unusual upstairs. Milo, did you. What's that? What have you found?

[Philip Marlowe]

Frank's suicide note. He asked Sheila to forgive him and forget him. Here, read it yourself. I'm gonna call the police. Sure. He means that he's going out in our boat to care for your sick. Say, what's wrong?

[Narrator]

I thought you were gonna call the police.

[Philip Marlowe]

I was, but I noticed this phone number here on the desk blotter again. It's a tobacco dealer. Slater, I've got a very wacky idea. I'm gonna give it a try. Hello, Newton Tobacco Shop? Yes, but we're closed.

[August Quigg]

It's after midnight, you know.

[Philip Marlowe]

Yeah, I know. This is the police, Mr. Newton. We want some information. Police? Take it easy. Do you have a customer named Emory? Frank Emery?

[Sheila Emory]

Yes, he was in late this afternoon.

[Philip Marlowe]

What'd he buy? Tobacco. A special blend I make up for him. I see. How much of it did he get? Oh, my.

[Sheila Emory]

Let me think now. Two pounds.

[Philip Marlowe]

Yes, that's right.

[Sheila Emory]

Two pounds.

[Philip Marlowe]

I'm sure of it. Man could lay quite a smoke screen with two pounds of tobacco, couldn't he? Thanks, Mr. Newton. You've been a big help. What's the matter, Slater? You look troubled. Are you thinking the same thing I am?

[Narrator]

I don't know what you're thinking, Milo.

[Philip Marlowe]

This mighty weird for a guy who's planning suicide. To go buy himself two pounds of tobacco. A few hours before he blows his brains out. Put it succinctly, pal. And thinking that Frank Emery's suicide's a big, fat pony. This is Lieutenant Ivara Mallow Ibarra. Catching you at this hour is the best break I've had all night. How so? What's up, Marlowe? Guy's been murdered. And his killer, one Frank Emery, is getting away by boat. Can you sell the harbor patrol on running him down for me? It's his own, a sailboat called The Carefree, a 30 footer with an auxiliary motor. He'll be outer ways off Topanga Canyon. Well, that can be arranged. But where I find you, I'll need some particulars. I'm going to his beach place. It's in a little cove two miles above Santa Monica. There's a pier in a boathouse a couple of hundred yards beyond. Okay, Marlow, we'll find it. Now, listen, don't get your feet wet.

[Narrator]

Wait till we get there.

[Philip Marlowe]

The Emory beach house was deserted and dark, so Slater and I went on to the boathouse, which was dark, too. That's where we found Sheila lying on the planks, sobbing out the end of a long, hard cry. Slater ran to her and lifted her to her feet. Oh, Sheila.

[August Quigg]

Sheila, what happened?

[Philip Marlowe]

Where's Frank?

[Sheila Emory]

Oh, Keith, I was too late. I saw him leave. He waved to me and called goodbye. I begged him to come back, but, no, he never will.

[Philip Marlowe]

Don't be too sure of that, honey.

[Sheila Emory]

What do you mean, Marlow?

[Philip Marlowe]

Oh, wait a minute. Wait a minute. That boat coming in is probably Ibarra. Milo.

[Sheila Emory]

Yeah.

[Philip Marlowe]

Here, Ibarra.

[Narrator]

I got another boat out looking for.

[Philip Marlowe]

The Capre Marlow, so I came directly here. Who's this? Mrs. Emery, Mr. Slater, Lieutenant Ibarra. How do you do, Lieutenant Colonel. Well, Marlow, what's it all about? Well, embezzler killed his boss, set up a strong case of suicide, and at the moment is pulling a very fast switch. You mean he's not really checking out? How'd you figure? He bought two pounds of his favorite pipe tobacco today.

[Sheila Emory]

What's that?

[Philip Marlowe]

Wait.

[August Quigg]

Sheila.

[Philip Marlowe]

Well, that's interesting, Phil, but suicides are peculiar people. Okay, but I'll bet you my Sea Scout insignia against a dead jellyfish that he's got a small boat aboard and that he's going to get off the Carefree and row to shore. How about it, Mrs. Emery? Is there a small boat?

[Sheila Emory]

There's a rubber life raft in one of the lockers.

[Philip Marlowe]

That'll do it. It's all he needs. Senator Barras. Yes, Mooney, what is it?

[Narrator]

We just got a call on the.

[Philip Marlowe]

Radio from the other boat. They've spotted the Carefree running without light.

[Narrator]

Southwest, about 2 1/2 miles offshore. He's holding a steady course, but there's.

[Philip Marlowe]

Nobody at the wheel. Fact, she seems to be abandoned. Well, tell him to stand by, but leave her alone. We'll be right out. Well, Marlow, we'll know in a minute. Let's go, folks. Get aboard. A harbor patrol cut sliced through the black swells with the easy grace of a head waiter. After a ten dollar tip. And all the way out, it looked as though Marlow was gonna be the bright boy of the evening. When we pulled alongside, the Carefree, made a fast and boarded her, it still looked that way. Looked great. Right up to the point when Ibarra peered through the porthole in the closed cabin, jerked the door open and went inside. After that, it didn't look so good. Marlow, come in here. Is this Frank Emery? Yeah. Yeah, that's him. Ibarra. He's been shot over the heart from up close with a.45. Undoubtedly the one he still has gripped.

[Narrator]

In his hand there.

[Sheila Emory]

Lieutenant Ibarra. Is it Frank?

[Philip Marlowe]

Yeah. You better not come in, Mrs. Emory. Your husband has killed himself. I walked back to this turn and sat down. Ibarra was going through his grim routine inside, and I felt lousy. I stared down vacantly at my feet and only gradually became aware of the little brass cylinder that danced across the deck with every roll of the boat. I picked it up. It was an ejected cartridge from a.45. I'd found an empty.45 cartridge. All at once, things began to take shape for me. Hold everything. I was right. Emery didn't commit suicide after all. Phil, the man's body's right here, the gun in his hand. I know, I know. But he was murdered. Now, look, I found this out on deck. And the door to this cabin was closed. You remember, when a man is shot with a.45, he drops. He doesn't walk in, close the door and then fall. Did Emery have any keys on him? Yes, these are his. They're in the ignition by the wheel. Sure, sure. Look, look. This diamond shaped one. It matches one I've got in my pocket. Come on out on Decky Bar and watch closely. Hey, Slater. Slater, can I see your key to the side door of the factory?

[Narrator]

Why, certainly, Milo. It's right here in my pocket.

[Philip Marlowe]

It's not in your pocket because it's here in my hand. Slater, you were so excited when you shot Quig, you ran off and left it sticking in the lock.

[Sheila Emory]

No.

[Philip Marlowe]

And here's one for you, Mrs. Emory. While the Carefree was still tied up with a dock, you stood right here, surprised your husband in the cabin door and shot him. This little cartridge was ejected back to the stern. But you forgot about that because after you shoved him inside and put the gun in his hand, you closed the door. Then you started the motor, locked the wheel and cut the boat Loose.

[Sheila Emory]

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

[Narrator]

Ibari Bari.

[Philip Marlowe]

That's your gun. That was nice, Ibarra. Marlow, I wouldn't have believed this. Don't lose your place, because you'll have to go over it all again. Don't worry, I won't. You see, it's sort of like an equation. Two pounds of tobacco and two pieces of brass added up to two bodies and two murderers. Well, Marlow, it beats me that Mrs. Emery seemed to be nothing but sweet, soft and stay at home nights. Yeah? Yes. She pulled one of the richest double crosses on record. Ibarra. She let her husband steal a fortune for her and even helped him plan a fake suicide to get away. Then she turned around and used this plan, only no fake this time, to kill him so she'd be free to marry Slater. But you didn't want Slater without the money, right? Right. As long as August Quigg lived, Slater could never be sure of his income. So Slater killed him. And they hung that on Frank Emery too. Mm. And they worked a fast routine to pass the detective right through the middle of it all. While Slater killed Quig, I was with Sheila. Then Slater took me over while she killed Frank. They make a great team in a shell game wallow. Yeah, but you did all right. Well, see you tomorrow. The report, you know. Good night, Phil. I sat alone in the pier for a long time. I watched the waves come in. And gradually my mind got uncomfortable, entangled in the treachery and violence it had been wrapped up in all night. And the lady turned out to be the tiger. Then, as my thoughts plowed back through the whole mess of the afternoon when I'd been shopping for Christmas cards, I made up my mind to cancel my order and have an entirely new set printed up. They say it pays to advertise. And if that's true, right across the top of my new cards in big block letters, I'm gonna have the words goodwill toward Men. Who knows? Maybe it'll help anyway. I hope so.

[Narrator]

The Adventures of Philip Barlow, created by Raymond Chandler, stars Gerald Moore and is produced and directed by Norman McDonald, script by Mel Danelli, Robert Mitchell and Gene Levitt. Featured in tonight's cast were Barbara Fuller, Louis Van Ruten, Bill Alley and Edgar Barrier. Lt. Ibarra was played by Jeff Corey. The special music was conceived and conducted by Richard Arant. Be sure and be with us again next week when Philip Marlow says.

[Philip Marlowe]

I walked into it smiling because it had all the corny elements. The weird doctor, the beautiful girl, the gloomy house on the windswept cliff. Even the hulking menace. Only one thing was missing. The body. And that's when I stopped smiling. Because I turned out to be the cops myself. Almost.

[Sheila Emory]

Sam.