Sam Spade - 51-07-21 - Life Can Be Murder

Summary

Podcast Summary: Harold's Old Time Radio – Philip Marlowe: Life Can Be Murdered

Episode Details:

• Title: Philip Marlowe - 51-07-21 - Life Can Be Murdered
• Release Date: July 7, 2025
• Host/Author: Harold's Old Time Radio

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Introduction

Philip Marlowe: Life Can Be Murdered transports listeners to the atmospheric world of Raymond Chandler's most famous private detective, Philip Marlowe. Set in the bustling heart of Los Angeles, this episode weaves a complex tale of mystery, deceit, and unexpected relationships within the iconic ambiance of Bell's Trifle Inn—a quintessential English restaurant on the Sunset Strip.

Meeting at Bell's Trifle Inn

The story unfolds with Philip Marlowe (voiced by Gerald Moore) frequenting Bell's Trifle Inn, a meticulously detailed establishment that exudes authentic British charm. The inn, managed by the charismatic Belle Smithers, serves as a central hub for the unfolding narrative, hosting a mix of regulars and newcomers.

At [01:45], Marlowe engages in a familiar banter with Belle, who affectionately calls him "Milo." Their conversation hints at a deeper, more personal backstory, with Marlowe expressing his struggles with relationships:

Marnie Carr [01:45]: "Milo, you old dog. You've been neglecting me."

Philip Marlowe [01:48]: "Yeah, well, I've tried to stay away from you, honey, but I can't. You're bigger than both of us."

This exchange sets the tone for Marlowe's complex character—a man torn between his professional duties and personal entanglements.

Encounter with Marnie Carr

The introduction of Marnie Carr marks a pivotal moment in the episode. Marnie, portrayed with depth and vulnerability, seeks refuge and companionship at Bell's. Their interactions are marked by subtle flirtations and underlying tension, hinting at secrets yet to be unveiled.

[03:28] Marlowe comments on the familiarity of Marnie's stories:

Philip Marlowe [03:28]: "Yeah, just a few thousand times, Val. But don't worry, I like it. Matter of."

As their relationship develops, Marnie's cryptic references to her past and her connection to education in Ogallala, Nebraska, create an air of mystery around her character.

The Murder of Ann Harkness

The calm of Bell's Trifle Inn is shattered with the news of a murder. Ann Harkness, a taxi driver from New York, is found dead, having been shot shortly after her arrival in Los Angeles. This incident propels Marlowe into the heart of the investigation.

[07:15] Marnie confides in Marlowe about her predicament:

Marnie Carr [07:15]: "Yes, you can."

Her subtle hints about her brother Paul and the chaotic events surrounding the murder intertwine her personal story with the central crime, deepening the intrigue.

Investigative Journey

Marlowe's methodical approach to solving the murder is highlighted through his interactions with law enforcement and his relentless pursuit of the truth.

[09:00] Lieutenant Matthews briefs Marlowe on the case:

Lieutenant Matthews [09:00]: "She'd eat a double order."

As Marlowe delves deeper, he uncovers inconsistencies in eyewitness accounts, notably the elusive presence of Marnie at crucial moments. His determination leads him to connect the dots between Marnie's brother and the victim, revealing a tangled web of motives and relationships.

Unraveling the Mystery

Key evidence emerges through Marlowe's keen observations and interrogations. The discovery of a note addressed to Mrs. Edwards and signed by Marnie raises suspicions about her involvement or potential victimhood.

[16:42] Marlowe's persistence in seeking information pays off when he interacts with Peggy at Mr. Felix's beauty salon:

Philip Marlowe [17:07]: "Oh, I can't either. But don't worry, my lips are sealed."

This interaction provides Marlowe with a crucial lead—Marnie's contact details—which becomes instrumental in his quest to find her before the situation spirals further out of control.

Confrontation and Revelation

The climax of the episode centers around Marlowe's confrontation with Paul, Marnie's brother, revealing the tragic circumstances that led to Ann Harkness's murder.

[25:12] Marnie confesses:

Marnie Carr [25:12]: "Phil, I've been such an Idiot."

Her admission sheds light on Paul's troubled nature and the familial pressures that culminated in the night of the murder. Marlowe's empathetic yet resolute demeanor underscores his role as both investigator and confidant.

Resolution

As the dust settles, Marlowe reflects on the night's events with a mix of satisfaction and melancholy. The resolution ties together the personal and professional threads, leaving listeners with a poignant sense of closure tempered by the inevitable complexities of life and love.

[26:11] Marlowe muses:

Philip Marlowe [26:11]: "It was a nice evening. Short, but nice."

This final contemplation encapsulates the essence of Marlowe's character—his ability to find solace amidst chaos and his unwavering commitment to uncovering the truth.

Notable Quotes

• Philip Marlowe [07:48]: "She will. Night off, Matthew?"
• Marnie Carr [19:08]: "And walk softly by A. That's the landlady."
• Philip Marlowe [25:32]: "Take it easy, honey. You're okay."
• Marnie Carr [25:34]: "Sure, I'm fine. First I catch Paul stealing from the Edwards. Then I stand there like a zombie and watch him shoot down a woman he's never seen before."
• Philip Marlowe [25:57]: "Wait a minute. Wait a minute. That's probably him now."

Production Credits

Philip Marlowe: Life Can Be Murdered features a stellar cast led by Gerald Moore as Philip Marlowe. Supporting roles include Virginia, Greg, and Joan Banks, with Paul Dubov, Jim Nusser, June Whitley, Shirley Mitchell, and Marjorie Bennett enriching the narrative. Detective Lieutenant Matthews is portrayed by Larry Dobkin, adding gravitas to the investigative elements of the story.

The episode is produced and directed by Norman McDonnell, with the script crafted by Kathleen Height. The immersive soundscape is brought to life by special music composed by Pierre Garaganc and conducted by Wilbur Hatch, enhancing the atmospheric tension and emotional depth of the story.

Conclusion

Philip Marlowe: Life Can Be Murdered stands as a testament to the enduring allure of classic radio dramas. Through intricate storytelling, nuanced performances, and masterful production, Harold's Old Time Radio delivers an engaging and richly textured episode that captivates both longtime aficionados and new listeners alike. This installment not only pays homage to Raymond Chandler's legacy but also reinvigorates it for contemporary audiences, ensuring that the spirit of Radio's Golden Age continues to thrive.

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Stay tuned for more thrilling adventures of Philip Marlowe, and immerse yourself in the timeless charm of Old Time Radio on CBS stations near you.

Transcript

[Philip Marlowe]

Most Saturdays at this time, we spent an exciting half hour of adventure in action with America's public hero number one, Hopalong Cassidy. Well, even two fisted cowboys take summer vacations when they can, and Hoppy is no exception. Hopalong and Topper will be back with us riding the CBS air trails again, nine weeks from tonight, September 22nd. Get this and get it straight. Crime is a sucker's road and those who travel it wind up in the gut of the prison of the grave. There's no other end, but they never learn. From the pen of Raymond Chandler, outstanding author of crime fiction, comes his most famous character in the Adventures of Philip Marlowe. Now with Gerald Moore starred as Philip Marlow, we bring you tonight six exciting story. Life can be Murdered. A sign in the half light above the entrance reads Bell's Trifle in. If you say it fast enough, you may be right. It's authentic English script and it hangs over the door of an authentic English restaurant just south of the authentic Sunset Strip. Owned and barth, headed by Bell Smithers inside. From the paneling to the prime rib, from the Welsh rabbit to the dartboard at one end of the bar, it's the Union Jack all the way. And it figures, Belle's authentic too. 100% pure Nebraska. I always sit at the bar.

[Marnie Carr]

Milo, you old dog. You've been neglecting me.

[Philip Marlowe]

Yeah, well, I've tried to stay away from you, honey, but I can't. You're bigger than both of us.

[Marnie Carr]

Ah, you and your palaver.

[Philip Marlowe]

Yeah, me and what you said.

[Marnie Carr]

You want a drink, honey?

[Philip Marlowe]

Yeah, but make it with your own light hand for a change, will ya? I'm tired of walking out of here on my knees. Just an ounce, the water'll float it.

[Marnie Carr]

Okay, honey.

[Philip Marlowe]

It's your poison and my stomach lining. Hey, looks like most of the regulars are here, huh? Not sure they get tired of looking at the same old faces.

[Marnie Carr]

I can stand it as long as they can. No, Milo, I kinda like it clubby. This way you get a few people who just come in to see what a lady barkeep's like. But most of them are just regular folk, you know, real people who like.

[Philip Marlowe]

The food and drink, huh?

[Marnie Carr]

Oh, yeah, sure. Sometimes I forget. I get all carried away working my jaw.

[Philip Marlowe]

Cheers, baby.

[Marnie Carr]

Yeah, thanks, honey.

[Philip Marlowe]

Oh, you know, sometimes you forget a lot of things, I think. Like teaching school in. Where was it? Nebraska.

[Marnie Carr]

Ogalala. That name don't stick with you worth a darn, does it?

[Philip Marlowe]

Ogalala. Does that mean anything?

[Marnie Carr]

Oh, it does to the folks back There. County sees a key. County. That's right there on the South Platte River. That's just south of the North Platte River.

[Philip Marlowe]

Yeah, well, that's a no, Milo.

[Marnie Carr]

That's one thing I'll never forget. Teaching school back there in Ogallala out of Clare. If I hadn't done that, I wouldn't be doing this now. You see, these reach cattle folks, they come through from Cheyenne and what do they got but a 13 year old shaver?

[Philip Marlowe]

And where are they going with the shaver but England? And what do they need but a tutor?

[Marnie Carr]

And who do they draw but me? Right out of 10th grade Social Studies at Oglala High School. Now, I got a feeling you've heard this song before.

[Philip Marlowe]

Yeah, just a few thousand times, Val. But don't worry, I like it. Matter of.

[Marnie Carr]

Excuse me, Mrs. Smith. Oh, call me Belle, honey. What can I do for you? Well, the young lady said you kept the dart. The bar? The. Oh, for the dart. Oh, yeah, sure I do. Well, it is all right. Sewing darts. I'm waiting for someone and I. Oh, it's perfectly all right, honey. Just make yourself at home. There. There you are. Thank you. Oh, I. I hope I didn't bother you.

[Philip Marlowe]

Oh, I'm so glad you did. In fact, if you want to build a house, I'd like that too.

[Marnie Carr]

Well, thank you for the dive.

[Philip Marlowe]

Hey, Bill. That red hair, the green eyes.

[Marnie Carr]

No, Marlow. You and your.

[Philip Marlowe]

Don't say it. Just pour me another palaver and water.

[Marnie Carr]

If you don't beat all. I declare. Look out, Marlo. Bullseye. She made it, Marlo. Your head was right in front of the target and she still made it.

[Philip Marlowe]

Yeah, well, I'm very happy for it.

[Marnie Carr]

Frighten you. I had no idea your head was in the way.

[Philip Marlowe]

Neither did my head. As long as it's you.

[Marnie Carr]

I'm really sorry. Sorry? Why, we haven't had a bullseye all week. That rate's a drink and dinner on the house.

[Philip Marlowe]

A bell for two.

[Marnie Carr]

Of course.

[Philip Marlowe]

A bell girl.

[Marnie Carr]

Right now, tonight.

[Philip Marlowe]

Come again?

[Marnie Carr]

Where's Marlo? Here, naturally.

[Philip Marlowe]

That's my girl. Red hair and green eyes. Smile. A nice smile went along with the gag. We toasted throwing on my head and bell's solid sense of judgment and putting the dartboard at head level at one end of the bar. By the time we moved to a table for two, I knew her name was Marnie Carr. Before dinner was over, I had a pretty good idea that everything about her was all right with me. Hey, Marnie, you got that look again.

[Marnie Carr]

Oh, really? Which one?

[Philip Marlowe]

The dark one. Happens every time you look through the door.

[Marnie Carr]

Yes, I expect it does. You see, I'm not exactly a free agent.

[Philip Marlowe]

Oh?

[Marnie Carr]

Someone brought me here, said he'd be back. Ah.

[Philip Marlowe]

Think he'll object to our little party, is that it?

[Marnie Carr]

No, not really. I. I guess I hope he doesn't come back.

[Philip Marlowe]

I hope so, too. Tell me, can I play 20 questions?

[Marnie Carr]

I'd rather you didn't.

[Philip Marlowe]

Okay.

[Marnie Carr]

You know, I really feel pretty silly. It's. Well, it's so easy being with you. Like I've known you a long time and I practically picked you up. You know, I've never done a thing like that in my life.

[Philip Marlowe]

Yeah, well, Belle picked us both up. I wouldn't worry about it.

[Marnie Carr]

I don't think you even heard me. It's very important to me that you know I've never picked anyone up.

[Philip Marlowe]

Sure, I believe you.

[Marnie Carr]

You know what I mean. It's like I'm doing something wrong and I should feel guilty about it, but I don't. Oh, dear. I'm not making any sense at all, am I?

[Philip Marlowe]

Look, why don't you just forget about it, huh? You said you felt easy with me. That's enough, isn't it?

[Marnie Carr]

Yes, that's enough. Well, I. I guess I really think I should go now.

[Philip Marlowe]

Oh, Belle. Never forgive you for not finishing the trifle. How special do you know?

[Marnie Carr]

Well, maybe I'll come back sometime. I'll eat a double order.

[Philip Marlowe]

Ah. Will you let me take you home?

[Marnie Carr]

Oh, I don't know.

[Philip Marlowe]

It'll be all right, Marnie. Very all right. Well, can I take you home? Yes.

[Marnie Carr]

Yes, you can.

[Philip Marlowe]

Good girl. We'll stop by the bar and slip Belle the grip, and then we'll be on our way.

[Marnie Carr]

Yes, I do want to thank you. Who did they draw but me? Right out of 10th grade Social Studies at Ogallala High School.

[Philip Marlowe]

Yeah. Yeah, you told me. Belle. Great story. You ought to change it a little, Belle, just for listener interest. Hiya, Matthews. Oh, hello, Phil. What brings you off? Ms. Carr, Lieutenant Matthews.

[Marnie Carr]

How do you do?

[Philip Marlowe]

Great. Dinner bell.

[Marnie Carr]

Dinner bell?

[Philip Marlowe]

Lost my head.

[Marnie Carr]

Honestly, Marlo. I declare. You say the darn. Just that.

[Philip Marlowe]

Yeah, I'm a regular yell.

[Marnie Carr]

Yeah, it was a very nice dinner bell. Thank you. My pleasure, honey. You come again.

[Philip Marlowe]

She will. Night off, Matthew? Yeah, so far. Hey, you two have a drink with. I think the young lady's anxious to go home.

[Marnie Carr]

Oh, I'm afraid I'm taking Phil out of his way, Lieutenant. But Bedford Drive isn't too far.

[Philip Marlowe]

Maybe he could now wait A minute, wait a minute. I'll make my own arrangements.

[Marnie Carr]

I know some lovely folks on Bedford, the Dickinson 600 block. Do you know them? No, no, I don't. I'm north of there, 2470.

[Philip Marlowe]

Oh, yeah. Well, we'll see you, huh? Night, Belle Matthews.

[Marnie Carr]

Good night. It's nice to meet you both. Yeah, good night. Turn right at this corner. It's the last house on the.

[Philip Marlowe]

Oh, say, Marnie, can we do this again?

[Marnie Carr]

Oh, I don't know. Still, I. Are you usually at Bell's? In case I get the urge to throw darts again.

[Philip Marlowe]

Yeah, well, I also have a home and I'll get a dartboard.

[Marnie Carr]

Let's keep it at Bell. Maybe later sometime I'll. Oh, wait a minute.

[Philip Marlowe]

Oh. Hey, looks like you got company car in the driveway.

[Marnie Carr]

Yes, I see it.

[Philip Marlowe]

I wonder the guy who was supposed to come back and didn't.

[Marnie Carr]

I'll say good night here, Phil. Don't bother coming to the door.

[Philip Marlowe]

Oh, now look, I think I. I mean it.

[Marnie Carr]

I. Well, maybe I'll see you at Bell's again.

[Philip Marlowe]

Don't call us, we'll call you. Is that it?

[Marnie Carr]

That's it, Phil. Thanks. I liked it.

[Philip Marlowe]

Great work, Mama. So crazy about you. She's running the other way, Paul.

[Marnie Carr]

Well on. Unbelievably mad that I'd be back. Never mind, Paul. It's going to die. Good night, Bill. Thanks again.

[Philip Marlowe]

It wasn't ideal, the way the evening ended, not the way I'd planned it. But then how could you plan an evening like that? Girl meets dots, girl throws dart, girl meets boy. Didn't make much sense, but it didn't have to. It was a nice evening. Short, but nice. Monica was a nice girl, and I decided to leave it at that. Nice girl. It was straight up 11 o' clock when I got home. I thought about the red hair and the green eyes for several pleasant minutes. And then I went to bed to sleep. A chance to dream. Oh, well. Oh. Oh, hello, Matthewsville. Yeah, yeah, yeah. That girl you were with last night, where was it she lived? Where did she live? Look, it's not even 8 o' clock in the morning you're asking. Take it easy, Phil. Was it 2470 Bedford Drive? Yes, it was 2470 Bedford Drive. And if you hurry, maybe you can get there in time for breakfast. I'm already here, Phil. And you better come on out. The dame has been murdered. In just a moment we will return to the second act of Philip Marlow. But first, so you think this old world of ours is fresh out of miracles. Maybe you sort of long for the days of the Arabian Nights or folks of fable who possessed those magic wands, lamps, rings, talismans that all produced wonders. Well, if you do, you'll find CBS's Mr. Aladdin a refreshing gent to meet. He gets the name Mr. Aladdin from the fact that his exciting adventures have the atmosphere of miracles about them. Listen for him later this evening on most of these same CBS stations. And now, with our star, Gerald Moore, the second act of Philip Marlow and tonight's story, Life can be Murdered all the way to Beverly Hills. I tried hard to see the face of the guy in the doorway the night before. Paul Marnie had called him, but it was no use. You can't remember a face you never saw. And the car in the driveway when I took her home. A chevy coupe, gray, two door, 49 of 50. Ah, there are millions of them. It had been blue and bright with stars the night before. The morning was hazy overcast, and so was I. Matthews met me at the door. Come on in, Phil. Sure. Tell me, how long you known her? Last night. You sure? I'm sure. Any idea what happened? Oh, yeah, yeah. Someone was looting the place. Her back door was jimmied and some stuff missing. This dame must have interrupted it, got herself killed. Where is she? What, the cops? Yes, the cops. In here. I. Hey, that's not money. Did I say it was? Oh, no, but I. I thought that. Never mind. Do you know who this is? Yeah, Ann Harkness. According to identification in her purse, she's from New York. Taxi driver brought her here about 11 last night from the airport. And the coroner says she must have been shot shortly after that. Huh. You bring your girlfriend straight here from Bell's? Yeah. That's new for you, all right. Huh? That would put her here by 10:30, easy. So? So the taxi driver says a redheaded gal answer the door and let the Harkness woman in. That doesn't prove a thing. No, no, no, it doesn't. I'd like to talk to her, though, Phil. You know where she lives? She lives here, doesn't she? House belongs to Mr. And Mrs. Orville Edwards. They're out of town. They got called to Chicago yesterday with a death in the family. And the neighbors don't know anything about this. Ms. Carr, was it? Yeah, Monty Carr. Yeah. Well, I got a call into Chicago for the Edwardses. They ought to clear it up. That's something here, Lieutenant. Oh, hello, Mr. Marlowe. How are you, Mooney? Yeah, what do you got, Sergeant? Well, this Address book, phone number from the phone desk in the hall. Nobody named car listed, though. Okay. This note might be something from the big bedroom upstairs, front of the house. Oh, let's see. It's signed Marnie, Phil. It is? Let me have a look. Yeah. Dear Mrs. Edwards, thanks for the lovely remembrance. You're very thoughtful. I'll tell Miss Harkness to make herself at home. Yeah, whatever that means. I'll keep looking around with Kenneth. Do that, Mooney, huh? Well, as soon as the Chicago call comes through, we'll get our hooks into something. Look, Matthews, you mind if I look around? No, help yourself. You got any ideas? Yeah, I don't think Marnie had anything to do with it, and I don't know where she lives. Okay, okay, Phil. Only leave the note with me, huh? I looked around and tried to figure things that didn't figure. Marnie didn't live here, but she knew the Edwards. That is, she knew Mrs. Edwards, and she addressed her as Mrs. Edwards and signed herself Marnie. Maid, maybe, huh? Paul could have been anybody. And I wanted to find Marnie before I took up the matter of Paul. With Matthews upstairs by the phone in the master bedroom, I found something Sergeant Mooney had overlooked. Another address book. Smaller, with phone numbers. I flipped through it. There was nothing under C for car, but under M for money. There was a Crestview number, but no address. I decided to take the book with me. Are you still here, Phil? Yeah, yeah, just leaving. Oh, look, hey, what about that car girl? Yeah, she may be the sweetest kid in town, and she may be a killer. You never know. Thanks for the tip. And I didn't call you to get in my way, Phil. If I find her, I'll tell you. Fair enough? Yeah, yeah, fair enough. Just don't get lost finding her. It was kind of a break. Head start. At least I had a phone number for Marnie that Matthews didn't have. And I wasn't for her against him. He knew that I just couldn't think murder and Marnie in the same thought until I could. I'd string with her if I could find her. The morning haze was lifting somewhat as I stopped at a gas station on the Strip and used the payphone.

[Marnie Carr]

Mr. Felixes. Good morning.

[Philip Marlowe]

What'd you say? This way.

[Marnie Carr]

This is Mr. Felix's beauty salon.

[Philip Marlowe]

Oh. Oh, is Marnie there, please?

[Marnie Carr]

I'm sorry, Ms. Marnie's not in today. Can someone else help you?

[Philip Marlowe]

No, I. Look, would you be kind enough to give me a home phone?

[Marnie Carr]

I'm sorry, sir. We're not allowed to give out phone numbers.

[Philip Marlowe]

Oh, but I'm an old.

[Marnie Carr]

It doesn't matter who you are. I can't give you her number.

[Philip Marlowe]

Okay, thanks.

[Marnie Carr]

May I help you, sir?

[Philip Marlowe]

I just talked to you a few minutes ago on the phone about Marnie.

[Marnie Carr]

I told you then, I tell you now, we are not permitted to give out numbers. How did you find us?

[Philip Marlowe]

Well, Mr. Felix is in the book and Marnie's not. Look, really, this is important. I'm doing this for her.

[Marnie Carr]

I've given Mr. Felix my word and I've never broken it.

[Philip Marlowe]

Yeah, well, I don't doubt it. Oh, Marty's friend here, you know, the special one. She keeps talking about her all the time. Isn't it strange I can't remember her name? Yes, yes, Peg. Sure, that's the one. Can I talk to him?

[Marnie Carr]

Well. Oh, all right. 36 desk, please. 36, please.

[Philip Marlowe]

Thank you.

[Marnie Carr]

I hope this never gets back to Mr. Felix. I can't imagine what he'd think.

[Philip Marlowe]

Oh, I can't either. But don't worry, my lips are sealed.

[Marnie Carr]

You blasphemy, Liz. Oh, yes. 36. Peg.

[Philip Marlowe]

This gentleman over here, Peggy. It's about money.

[Marnie Carr]

Ah. What about mine?

[Philip Marlowe]

Well, I don't have a home phone or her address.

[Marnie Carr]

She wouldn't give it to you, huh?

[Philip Marlowe]

Well, no, she.

[Marnie Carr]

She wouldn't. You look all right to me. What's wrong with you?

[Philip Marlowe]

Nothing. I'm a nice, clean cut fella.

[Marnie Carr]

Yeah, looks like.

[Philip Marlowe]

Yeah.

[Marnie Carr]

What do you want with Marnie?

[Philip Marlowe]

Well, I just want to see her. Good enough reason?

[Marnie Carr]

Best in the world. She don't feel too well today. She called me first thing this morning. Your fault.

[Philip Marlowe]

No, no, I don't think so. No. Tell me, what did she say when she called?

[Marnie Carr]

But she didn't feel too well.

[Philip Marlowe]

Ah, well, now, look, Peg, Does Marnie go out to Mrs. Edwards often?

[Marnie Carr]

Just when she's called to do her hair. Good enough reason.

[Philip Marlowe]

You're old. Best in the world. Do I get that phone number?

[Marnie Carr]

Ridgely 0040 040.

[Philip Marlowe]

Yeah.

[Marnie Carr]

And that's 1637 North Vermont, apartment B.

[Philip Marlowe]

Ridgely, 0401637, North Vermont, apartment B.

[Marnie Carr]

And walk softly by A. That's the landlady.

[Philip Marlowe]

Yeah. Well, I'll remember. Thanks, Peggy.

[Marnie Carr]

And if you don't find her, come back. I'll give you mine.

[Philip Marlowe]

Peg was something of a prophet. Among other things. Well, there was no answer to my knock at 1637 North Vermont, apartment B. And no answer to the phone call I placed in the lobby. So I quit walking softly by Apartment A knocked there and the doorway was suddenly filled with a solid block of granite.

[Marnie Carr]

Yes, I'm a landlady, but if she don't answer the door, it makes sense to me. She ain't in.

[Philip Marlowe]

Well, have you seen her this morning?

[Marnie Carr]

Ain't seen her since she went to work yesterday morning. Ain't seen him either.

[Philip Marlowe]

Her husband.

[Marnie Carr]

Husband? Young man. Even if I knew, I wouldn't tell you.

[Philip Marlowe]

And I was getting proud of my head. It could dodge anything from flying dots to door slams near the eyebrows. But that was about all I was proud of at the moment. I wasn't exactly closing in on Marnie. The landlady's snort didn't give me much of a line on Paul, if that's who she was exhaling about. And there was a matter of Ann Harkness, who flew into Los Angeles the night before just in time to be murdered. Well, I drove to a nearby drive in and mulled it over a sandwich. Coffee was grim, too. I was starting in on the routine that begins with, if I were Marnie, where would I go? When I got a flash of an idea, 10 minutes later, I was banging on another door. Belle? Belle? Anybody home? Bell.

[Marnie Carr]

Oh, Marlo, come in. I'll arrange for swinging doors first thing tomorrow.

[Philip Marlowe]

I'm sorry, Bill, but I got an idea.

[Marnie Carr]

I told you lately we're not open for lunch.

[Philip Marlowe]

I said I'm sorry, didn't I? It's just.

[Marnie Carr]

Oh, I'm sorry, too, Marlo. I guess I'm kind of off my feet today. I declare. You ought to see what that butcher sent me in the name of Prime Rib. And Charlotte Hall. Said she'd floundered like a beached whale all night. Bad tooth.

[Philip Marlowe]

Now, when you run down, and when.

[Marnie Carr]

I got here, this was here for you.

[Philip Marlowe]

Oh. Oh, let's see.

[Marnie Carr]

Someone shoved it under the door, I guess. At least that's where I found it. Well, and the Goshen. Come in, get enough people, we'll put on a floor show.

[Philip Marlowe]

You have been a busy boy, Phil.

[Marnie Carr]

Make yourself at home, Lieutenant. I got work to do.

[Philip Marlowe]

If you know that, you also know I'm getting nowhere. Yeah, maybe. Hey, listen. You've been tailing me, Matthews. Tailing you for all. Yeah, that's what I said. No, just the boy's been going the same place as you have a little bit later, all the way around. And along about the second stop, the description began to fit you. It did. Now, look, tell me, how did your phone call to Chicago come up? Oh, we found out where your Marnie Carr fits in. Oh, yeah. That Harkness name was a friend from New York who came to call in the Edwardses. And they tried to intercept her when they got the call about the family death in Chicago. Only they couldn't reach her. Your money told Mrs. Edwards she'd stick around the house and wait for the Harkness name. That all? Well, they described some of the stuff that might be missing. We checked and it is. It is, yeah. Tell me, how do you figure Marnie by now? How can I figure a. Phil, she's missing. Yeah. Yeah, she is missing, isn't she? Phil? I said if I found her, I'd tell you. You remember? Oh, yes, I remember, Phil. I just want to make sure you do. I had a reason for not telling Matthews about the note Belle gave me. It was signed Marnie, all right, but it wasn't the same handwriting I'd seen in the note she left for Mrs. Edwards. It said, Phil, meet me at 8:30 tonight in the park above the bluffs. Santa Monica. That was all, except 8:30 was like six hours away. And it's just dark here at 8:30 and a fellow can get killed keeping that kind of an appointment. You ever wait six hours for something to happen? Oh, it's no fun. Neither is the thought that maybe something final has happened to a pretty nice person. I was almost sure now that Paul was my boy. But almost wasn't close enough. And I had to find Marnie, if she could be found. And I got to the park above the Santa Monica Bluffs about 15 minutes early. Left my car a block or so away, and all the way to the park I watched for a gray Chevy coupe, 49 or 50. When you look for them, they're hard to see. And then I saw it. Parking half a block down, a guy got out and headed into the park. I let him go. Got to his car about the time he reached the bluffs. I don't know what I thought I'd find, but not in my wildest dreams did I expect what I found. Three minutes later I was foot to floorboarding it up the coast highway toward Malibu. The Seaway Motel. 21245 Malibu Road. That's the way. The parking ticket I lifted from under the windshield wiper on the Chevy Red. And that was good enough for me. I hit two wrong dogs before I found the one I wanted. And I had a spring to lock. Marnie. He plays rough, doesn't he? Here, untie your wrists.

[Marnie Carr]

Knows he can get away with it. Phil, I've been such an Idiot.

[Philip Marlowe]

You love him a lot, huh?

[Marnie Carr]

Who? Who doesn't love their own kid? Friday?

[Philip Marlowe]

Paul is your kid brother?

[Marnie Carr]

Yeah. All mine. Write it down somewhere, Phil. Big sisters don't make good mothers.

[Philip Marlowe]

Take it easy, honey. You're okay.

[Marnie Carr]

Sure, I'm fine. First I catch Paul stealing from the Edwards. Then I stand there like a zombie and watch him shoot down a woman he's never seen before. Take it easy, honey. A. I'm sorry. I didn't want to drag you into this. He asked me who you were when you brought me to the Edwards last night. I'd never heard of you. But Paul had and.

[Philip Marlowe]

Wait a minute. Wait a minute. That's probably him now.

[Marnie Carr]

Be careful, Phil. He's crazy.

[Philip Marlowe]

Now be ready for him. Right behind the door. Your bright boyfriend stood me up. We got to get out of here.

[Marnie Carr]

Hey.

[Philip Marlowe]

Hey. What is this? You.

[Marnie Carr]

Oh, Phil, he's just a kid.

[Philip Marlowe]

Yeah, just a kid. I called Matthews and wounded up everything checked, everything balanced. Paul cried like the baby he was and blabbed his head off. When he came to, Marnie just cried. Funny how many people dispose of anything from mayhem to murder with the phrase he's just a kid. I bet someone said that about Capone, Dillinger and Pretty Boy Floyd. Now take Marnie, she's what a kid. The adventures of Philip Marlowe bringing you Raymond Chandler's most famous character star Gerald Moore are produced and directed by Norman McDonnell and written for radio by Kathleen Height. Featured in the cast were Virginia, Greg and Joan Banks with Paul Dubov, Jim Nusser, June Whitley, Shirley Mitchell and Marjorie Bennett. Detective Lieutenant Matthews was played by Larry Dobkin. Gerald Moore may soon be seen in the Santana production Sirocco. The special music is composed by Pierre Garaganc and conducted by Wilbur Hatch. Be sure to listen again next week at the same time when Philip Marlow says, this time a pair of cross telephone wires put the good neighbor policy into effect to the murderous accompaniment of an off key xylophone. One good neighbor almost kills another good neighbor fellow named Marlowe.

[Marnie Carr]

Sam.