The Fat Man 46-09-09 (034) The Crooked Horse

Summary

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Podcast Summary: The Fat Man – “The Crooked Horse”

Podcast: Harold's Old Time Radio
Episode: The Fat Man 46-09-09 (034) The Crooked Horse
Original Air Date: September 9, 1946
Host (Character): Brad Runyon, “The Fat Man”
Release Date (Podcast): August 17, 2025

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Overview

In this gripping episode from radio’s golden age, detective Brad Runyon (“The Fat Man”) is hired to investigate a mysterious murder that may never have happened, according to the official record. What seems to be a routine crime unravels into a high-stakes espionage plot involving secret agents, coded messages, a vanished corpse, a missing formula, and deadly double-crosses. Set almost entirely within the shadowy corridors of a second-rate hotel, “The Crooked Horse” is a classic blend of murder mystery and Cold War intrigue.

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Key Discussion Points & Plot Breakdown

1. The Case Emerges ([00:16]-[05:18])

• Runyon’s Philosophy on Detectives:
  Runyon opens with musings on the misconceptions about detective work – “not all criminals have a yellow streak down their back.”

  “Life of a real detective isn’t made up of silk dressing gowns, briar pipes and intricate clues any more than the life of a real soldier is pretty uniforms.” (B at [01:11])

• A Distressed Client:
  A straightforward, unglamorous woman enters Runyon’s office describing a murder she overheard at the Parker Hotel ([02:28]).

  • She heard suspicious code words (“white” and “black”), what sounded like a silenced gunshot, and saw a “dead man, slumped, eyes wide open” through a keyhole. ([03:59])
  • Yet, hotel records show the room (610) was never occupied.

2. The Clues and Contradictions ([05:41]-[11:09])

• Questioning the Staff:
  Runyon investigates the desk clerk, who insists “610 is reserved” and denies any incident or conversation with the client during the night ([07:07]).

  • Conflicting stories: The clerk says he never left the desk or met the woman ([07:51]). Is someone lying?

• Room Search and Shadowy Figures:
  Runyon stealthily searches room 610 and is interrupted by someone trying the door (suggested to be “Walker”), further muddying the waters ([09:27]).

3. The Client’s True Identity & Espionage Intrigue ([11:09]-[15:34])

• Exposed Eavesdropping:
  Runyon discovers the woman was purposefully eavesdropping on room 610 using a cocktail glass pressed to the wall ([11:22]).

  “A cocktail glass with water on it makes a swell Dictaphone if you press the glass and put your ear to the stem.” (B at [11:22])

• She Comes Clean:
  Pressed, she confesses: she’s a US secret agent trailing foreign operatives and a dangerous formula is at stake ([12:46]).

  • The supposed “victim” was a foreign agent, murdered by someone posing as his contact.
  • The killer, she theorizes, is a rival agent who knew partial passwords.

4. The Web Tightens: The Body, The Missing Formula, and Dead Ends ([15:34]-[22:51])

• Who Is Walker?
  The man Runyon saw is likely the murderer, using an alias, trying to rent 610—but “Walker” suddenly checks out ([17:11]).
• Dead End – or Just Dead?
  Room 610 yields nothing new, but Runyon and the agent uncover the body, disguised in another guest’s bed ([19:16]).
  • Classic hardboiled moment:

    “That’s the man… stiff as a poker. Shot right in the heart.” (B/A at [19:31])

• A Second Body:
  Runyon finds the night clerk (Evans) murdered in his own ransacked room—he too was searching for the formula ([21:18]).
• Danger for the Agent:
  The female agent is briefly captured and tied up ([22:51]), but Runyon rescues her.

5. Final Showdown: The Crooked Horse ([24:02]-[28:13])

• Re-examining the Scene:
  The formula eludes both, though every inch of the room is turned upside down—twice. Runyon deduces an intentional misdirection.

  “The easiest way in the world to fool people is by what you might call misplaced attention…” (B at [24:34])

• The Crooked Horse:
  The breakthrough: an off-kilter image on the wallpaper—a poorly aligned horse—hides the secret. The formula is scrawled on the back of the wallpaper itself, not on a separate piece of paper ([25:10]).
• Walker’s Return and Deadly Standoff:
  “Walker” bursts in, brandishing a gun. Runyon is forced to drop the wallpaper-formula. At the last moment, he drop-kicks Walker as he bends over, and a fatal gunshot ends the confrontation ([27:12]).

  “Life is made up of chances, sweetheart. Besides, I used to dropkick for my college football team.” (B at [27:17])

6. Resolution, Trust, and a Nation at Stake ([28:13]-[29:00])

• Trust Issues:
  Runyon won’t hand over the formula to the agent, uncertain of her true allegiance, but promises to see it “gets to Washington.” ([27:54])

  “…if you’re on the level, you’ll be okay. You can keep on working. Nobody will ever know who you are. If you’re not, well—it’s the chance I take for liking your face.” (B at [28:24])

• The Aftermath:
  The agent escapes via the fire escape as police close in. Runyon calls his police contact, Sergeant O'Hara, to report “a dead man. What, again? There are three.” ([28:54])

• Closing:
  Runyon leaves to ensure the formula makes it safely to Washington, hinting at national consequences.

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Notable Quotes & Memorable Moments

• “The girl wasn’t beautiful, but there was a straightforwardness about her that spelled brains.”
  – Fat Man (B) [01:40]

• On Espionage:
  “I'm a United States secret agent.”—Agent (A) [12:46]
  “Swell story.”—Runyon [13:15]

• On Misdirection:
  “The easiest way in the world to fool people is by what you might call misplaced attention.” —Runyon [24:34]

• Revealing the Hidden Formula:
  “Here. Look here at this strip of paper behind the bed. See this figure of a horse? The horse is split in two where the paper joins…” —Runyon [25:11]

• Action Finale:
  “This life's made up of chances... I used to drop kick for my college football team.” —Runyon [27:17]

• Bittersweet Goodbye:
  “See that the formula gets to Washington. Now here's an address. Just take it there, that's all. Do you understand?” —Agent (A) [28:33]

• “I think I’ll just hang onto this piece of wallpaper… If you’re on the level, you’ll be okay…”—Runyon [27:54/28:24]

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Important Timestamps

• [02:28] — The female agent recounts the mysterious murder-contact.
• [07:51] — Hotel clerk denies seeing the client or leaving his post.
• [11:22] — “Cocktail glass Dictaphone” eavesdropping method revealed.
• [12:46] — The woman reveals she’s a secret agent.
• [19:16] — The disguised dead man is discovered.
• [21:18] — The night clerk is found murdered.
• [24:34] — Runyon explains “misplaced attention.”
• [25:10] — The formula’s hiding spot is revealed: behind the “crooked horse” wallpaper.
• [27:12] — Final confrontation and action sequence.
• [27:54/28:24] — Runyon refuses to give up the formula, leaves for Washington.

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Tone and Style

The dialogue is classic hardboiled: clever, quick-witted, and direct, blending noir cynicism with fleeting warmth. The world is ambiguous, trust is hard-won, and even victory is shadowed by doubt.

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Conclusion

The Crooked Horse is a taut, suspenseful story of deception layered upon deception, where a vanished body leads to a deeper web of international espionage. With classic radio atmosphere, hardboiled repartee, and a twist-laden plot, it stands as a compelling reminder of why The Fat Man became one of radio’s most enduring detectives.

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Transcript

[A]

Weight, 237 pounds. Fortune Danger. Who is it?

[B]

The Fat Man. The American Broadcasting Company brings you the adventures of Dashiell Hammett's fascinating and exciting character, the Fat Man. A fast moving criminologist who tips the scales at 237 pounds. Tonight's adventure, the Crooked Horse. And now, here's the Fat Man. You know, if a young man told me he wanted to be a detective and ask my advice, I think the most important thing I could tell him would be this. The life of a real detective isn't made up of silk dressing gowns, briar pipes and intricate clues any more than the life of a real soldier is made up of pretty uniforms. Parades and bugle calls. They're both tough, hard businesses. And no matter what the sweetness and light boys say, it just isn't a fact that every criminal has a yellow streak down his back any more than it was true that every enemy soldier was a coward at heart. Sure, there are yellow crooks, but not all of them. Because it stands to reason that a job of violence simply won't appeal to a man who scares easily. And believe me, whether you like it or not, this is a more mighty important thing to know when you're dealing with a murderer. The girl wasn't beautiful, but there was a straightforwardness about her that felt brains. There wasn't any coyness or fear in her voice. She looked me straight in the eye. I liked her. She tossed her perky little hat on my desk and tapped the cigarette on the back of her hand.

[A]

I heard a murder in room 610 of the Parker Hotel at 2:30 this morning.

[B]

Now this isn't the police station, Mr. Fin.

[A]

The police wouldn't be interested, Mr. R. Why not? Because the body of the dead man is gone. The hotel doesn't think there was a murder. In fact, the night clerk says there wasn't anybody registered in room 610.

[B]

So what's your interest in the matter?

[A]

What would you do if you heard somebody in the next room to yours murdered, heard a door slam, heard running footsteps go down the hall and when you looked through the keyhole, saw a dead man staring at you?

[B]

I'd either go back to sleep and see if I couldn't have a nicer dream or I'd go downstairs and tell.

[A]

A hotel clerk it wasn't a dream and I went down to see the clerk. We looked at the register and there was nobody listed in room 610. We went upstairs. The room was empty.

[B]

Did it look as if it had been occupied.

[A]

No. That's why I came to you. Something very peculiar happened in that room last night, and I'm sure a man was killed.

[B]

You said you heard this murder. What do you mean? Did something wake you up?

[A]

No. I was in bed reading, when I heard a knock on the door of the room next to mine. The door opened. I heard a man's voice say, 1001 pardons, but have you the time? Another man's voice answered, but of course, the time is now.

[B]

That doesn't make much sense. You're sure you heard that?

[A]

Yes. It sounded so strange that I continued listening closely. I heard footsteps in the room, and then there was a slight pause. Suddenly the second voice said, white. There was another pause, and the first man answered, black. And then I heard an exclamation of surprise or anger.

[B]

From black or white, I couldn't tell.

[A]

Almost immediately I heard a soft popping noise. As if someone had cut off a very weak firecracker. Then I heard a groan of pain and the slam of a door. Footsteps ran down the hall quickly. By the time I opened my door, the hall was empty. You know the rest.

[B]

Did you get a good look at the man's face through the keyhole?

[A]

Yes. It was directly in front of the keyhole. He was sitting in a chair facing the door. His body had slumped back, but his head was hanging one side. His eyes were wide open.

[B]

Light was on in the room?

[A]

Yes, but it was off when I came back with the clerk.

[B]

And there wasn't anything in the room that looked suspicious?

[A]

Nothing. What do you make of it, Mr. Runyon?

[B]

I think the hotel people are probably right. I think you had a very realistic nightmare.

[A]

I tell you, it wasn't a nightmare. I'm positive of it.

[B]

Why so positive?

[A]

Because this morning I stopped at the hotel desk and looked in the box of room 6 10. If that room had been unoccupied, there would have been a key there. The box was empty. Mr. Runyon.

[B]

I'd like to see the clerk who was on duty at the desk here last night. Where can I find him? I was on duty last night. What's wrong? That's what I want you to tell me. I don't understand. Can we talk for it a little more private? Ah, yes. I guess so. Just let me. Sir, I have a bit of a problem, and perhaps you can help me. Oh, yes, sir. Just a second, please. Okay. What is it? Sir, I suppose you think I'm silly. But you see, I am a very light sleeper. The slightest noise awakens me And I have great difficulty in getting back to. Please. Now I'm a very busy man and most certainly I need my rest. Oh, I'm sorry sir. I am already registered here in the hotel Walker. My name? Oh yes sir. My room is directly on the street and it is quite noisy. I was wondering if I might not have another room. Perhaps one on the back near the corridor. Well, I don't know sir.

[A]

Room 6 10.

[B]

I noticed it as I came out this morning. It seems to be in a position where it would be quieter than one of the others. Room 610? Well, I don't know sir. Just a second. I'm sorry sir, but room 610 is reserved. Reserved? Yes sir. I'm afraid there are no other vacancies on that floor. Perhaps in some other.

[A]

But perhaps I could have the room.

[B]

Just for the afternoon. I really feels that I could write there. Sorry sir, but that's quite out of the question. I see. Well, thank you. Sorry sir. A popular room, isn't it? Beg your pardon sir? Room 610. Isn't that the room the young lady thought she heard a murder in last night? Afraid I don't follow you. Didn't you say you were on duty here last night? That's right. Were you the only clerk thought. Didn't a girl registered in room 608 come down about 2 o' clock this morning to tell you she'd heard a murder committed in room 610 the room next to hers? Didn't you both go back and find a room empty?

[A]

No.

[B]

I don't understand. I didn't see any girl early this morning. What's more, I didn't leave the desk all night. I lit a cigarette, walked to the far end of the lobby where I could watch the clerk at the desk. Ten minutes passed. Then another clerk came on duty and my boy said a few words to him, walked across the library, lobbied to an empty elevator. The door shut, the hand on the dial swung slowly around the number 10 and stopped. There was another elevator standing open. I got in and rode up to the sixth floor. The corridor was empty. I took a pass key out of my pocket and walked slowly down past room 608 and stopped in front of 6:10. The passkey worked fine. I went into 6:10 and locked the door behind me. There's a typical second rate hotel room. Double bed, a couple of chairs, a desk with some aged writing paper, an unused Gideon Bible. A chest of drawers stood against one wall. Ill fitting, faded wallpaper of an ancient hunting scene looked down on the room from all sides. I tried to dress the drawers first. Three hairpins, the silk stocking with a run and the stub of the theater ticket were all I found. The desk was empty, and there was nothing under the mattress or the ragged pro rug in the center of the floor. On top of the desk stood a glass bowl of artificial flowers. My elbow was resting on the desk six inches from it When a key slid into the lock of the door. My arm jerked around and hit the bowl. The key went out of the lock, and footsteps ran off down the hall. The corridor was empty when I opened the door. I closed it and locked it. Then I walked next door to 608.

[A]

Oh, come in, Mr. Runyon. Have you learned anything yet?

[B]

Maybe.

[A]

What?

[B]

How long have you been here in your room?

[A]

A couple of hours, I guess. Why?

[B]

Hear anything in the next room? The one where you thought you heard the murder last night?

[A]

Oh, me? Oh, I haven't heard anything in there. Why did you think?

[B]

I don't know. Something isn't adding up, sweetheart.

[A]

What do you mean?

[B]

I mean the night clerk told me he didn't see you last night. And he didn't come up here to the room next door.

[A]

What? But. Oh, that's ridiculous. Of course he did. He's lying.

[B]

Are you sure he's the one who's lying?

[A]

Of course. Wait a minute. You don't think that I'm lying? Yeah, sweetheart, but I'm not, I tell you. Why should I lie about that?

[B]

That's. That's what I'd like to find out.

[A]

I don't understand. Why on earth would that curse lie to you?

[B]

A little early in the day for martinis, isn't it?

[A]

What are you talking about?

[B]

This cocktail glass. You know, a cocktail glass with water on it makes a swell Dictaphone if you press the glass against the wall, put your ear to the stem.

[A]

What do you mean?

[B]

I mean that you didn't accidentally hear anything in room 610 last night. You did hear something. You were using this glass, and you were listening. Why?

[A]

But I tell you that, sweetheart.

[B]

I just knocked a bowl of flowers over in that room. And you didn't even hear that you.

[A]

Were in, just in room 16?

[B]

Yes. Somebody stuck a key in the door just before the flowers went over. It couldn't have been you, could it?

[A]

Why, no. What did you find in the room?

[B]

Nothing. What did you think I might find?

[A]

I don't.

[B]

Now come clean. If you want my help, you've got to tell me the truth. What's it all about why were you listening against the wall last night?

[A]

I can't tell you that.

[B]

Okay, honey. Been nice knowing you.

[A]

Oh, no, wait, please. I I need your help.

[B]

Well, then talk. And talk straight.

[A]

All right. I guess there is anything else for me to do. Promise me, though, please give me your word that you'll keep secret what I'm going to tell you. It's very important. More important than you know.

[B]

Okay.

[A]

I'm a United States secret agent.

[B]

Then you prove it.

[A]

Of course not. At least not here. Obviously, I can't carry identification when I'm on a mission. I'm completely on my own. Funds are deposited in a certain bank for me. And I use them in any manner I see fit to achieve my end. This morning I saw fit to hire you because I need help.

[B]

The peculiar occurrences in the next room are, of course, part of the job you're working on.

[A]

Of course.

[B]

Swell story.

[A]

It's a true one. Mr. Runyon, I really need your help. Won't you please believe me?

[B]

Maybe I must stop. Okay, I'll play it blind. What's the setup?

[A]

Well, the man who was murdered last night is an important foreign agent. He arrived from Europe yesterday in Tampa's hotel. I followed him and got this room next to his. Now, there's another agent of the same government. Already operating in this country. But we don't know who he is. Some time ago, we discovered that he had come into possession of a very valuable secret paper. A formula which our government alone had. The man in the next room was to contact this unknown agent and then return to Europe.

[B]

And your job was to stop him?

[A]

Yes. When the door opened last night and I heard the strange password, I thought, of course, that the unknown agent had arrived.

[B]

But it wasn't the right man.

[A]

No. Whoever entered that room last night was obviously trying to impersonate the real agent. When he failed to give the correct countersign to the second password. The man in the next room must have reached for a gun. And the imposter was forced to kill him.

[B]

Have you any idea who the murderer might be?

[A]

He's probably an agent for some other foreign power. Who had even more information than we did. At least he knew one of the passwords, which is more than I knew.

[B]

It's possible that the contact had already been made without your knowledge. And the murdered man had the paper.

[A]

I I don't see how the contract could have been made without my knowledge.

[B]

Well, that would have been easy. The secret paper could have been hidden in the room waiting for the man from Europe. I don't think that happened, though.

[A]

Why not?

[B]

Because I think I saw the murderer down in the lobby a little while ago. He said his name was Walker. He was anxious to rent room 610. He said he was registered in the hotel.

[A]

Then the paper must still be in the room.

[B]

I went over it pretty carefully and didn't find anything. That's why I don't think it was hidden there. I think the other agent, the one who was supposed to contact the man from Europe, still has it. I think he found the body and guessed what had happened. Maybe he didn't know whether the dead man was his agent or somebody his agent had killed. At any rate, he knew he had to get rid of the body.

[A]

But how? Where?

[B]

Now, listen to me. You stay here with your wine glass. Keep your ear on the next room.

[A]

Where are you going?

[B]

Down to the lobby. I want to find out which room this fellow Walker's registered in.

[A]

But. But the body. You said you knew.

[B]

I said I think I know. It would be easy if the real agent happened to be the right person.

[A]

The right person? What do you mean?

[B]

I mean the night clerk. Can I help you, sir? Yeah, I'm looking for a fellow works here. Whose night clerk? Mr. Evans? Yeah, that's the fellow. Is he around here now? Why, he went off duty a little while ago. He was on all night, so I imagine he's asleep in his room. What room does he have? He's in 1003. Very. Not at all, sir. Oh, by the way, I believe there's an old friend of mine here in the hotel. His name is Walker. I wonder if you could tell me what room he's in, too. Certainly, sir. Just a second. Walker. Walker. I don't seem to. Oh, yes. This must be your friend, Henry Walker. Yeah, that's the one. Well, I'm afraid you're too late, sir. Mr. Walker checked out of the hotel about half an hour ago. Walker's gone? Checked out?

[A]

Gone. And he did find the paper?

[B]

I don't think so.

[A]

But why would he leave then?

[B]

I think he was worried about the missing body. When he realized the murder hadn't been discovered, he came down and tried to rent a room where the body had been told the room was vacant but was reserved. What would you do in a case like that?

[A]

You mean he guessed that the night clerk must be the unknown agent?

[B]

Exactly. And he must have realized that the clerk would suspect him for trying to get the wound. So he checked out and moved to a safer place. Well, I think he'll be back either to See the clerk or to look that room over again.

[A]

Where's the clerk now?

[B]

He's asleep in his room. You hear anything next door?

[A]

No, no, nothing. But. But if the clerk is the other agent we ought to.

[B]

You keep. Right now I want to look the murder room over again. See if I can find the missing body.

[A]

That's the kill the dead men were sitting in when I looked through the keyhole.

[B]

Yeah, I know.

[A]

What are you going to do?

[B]

I'm going to try and figure something out. After you heard the muffled popping sound, which must have been a gun with a silencer, you heard the door slam. Then you heard running footsteps going away, right?

[A]

Yes. And by the time I opened my door, the corridor was empty. This door was locked. It was about 15 minutes later that the clerk and I came back up here.

[B]

So if the clerk happened to be on his way up here when you were going down, he could have passed you in the elevator.

[A]

Then he discovered the body.

[B]

Exactly. A dead man is hard to move. It didn't take the clerk long to hide the body. So it must be near here. Maybe the room across the hall. Let's take a look.

[A]

Somebody asleep in the bed.

[B]

That's what the hotel maid probably thought, too. You're a smart boy. That look.

[A]

Yes, that's the man. The man I follow from the airport. The man sitting in the chair, stiff.

[B]

As a poker, who shot. All right. Right in the heart. Here, help me go through his pockets.

[A]

All right. Had a suitcase when he arrived. Not your room.

[B]

The clerk probably got rid of it or took it to his own room. He could carry that where he couldn't carry a body. You see anything here that looks like your secret paper?

[A]

No. No, it's not here.

[B]

The clerk's probably got her. Or it's still hidden somewhere in the murder room.

[A]

What are you doing?

[B]

I'm going to cover this dead man up again. The chances are the body won't be discovered now for another 12 or more hours. I want you to go back to your room. Keep watching the room where this fellow was killed.

[A]

What are you going to do?

[B]

I think it's time I had a talk with the night clerk. I stopped in front of the clerk's room and listened. No sound came from inside. Nothing happened. I slipped my hand inside my coat, pulled my gun from the shoulder holster. Then I tried the door. It wasn't locked. The room was dark because the stairs shades were pulled down. But it wasn't dark enough to hide the figure of a man sprawling grotesquely on the bed, his head Hanging limply toward the floor. I groped for the light switch. It was Evans, the clerk. One of his hands clutched the rumpled sheet. The other was folded beneath him. A bright trail of blood slid down the side of the bed and formed a dark pool on the floor. I closed the door with my foot and looked around the room. Two suitcases lay on the floor, their contents beside them in a jumbled heap. Drawers had been empty, pillows flashed, rugs pulled up, pictures pulled down. The killer hadn't missed a prick. From the completeness of the search, it was pretty obvious he hadn't found what he was looking for. I switched off the light, locked the door, and started running for the stairs at the end of the hall. There wasn't time to wait for the elevator. The gun was still in my hand. When I opened the door of the girls room on the sixth floor, she was gone. An overturned choice on the floor near the door, the broken cocktail glass beside it. Everything else looked in order. Slipping the safety on my gun, I turned once more toward the hall. And I stopped. Something moved behind the closed door. The bathroom. I yanked it open and stepped back. The girl lay on her side on the floor, her hands and feet tied with stockings. A wash rag stuffed in her mouth served as a gag. Now, just a second. I'll have these on. There we are.

[A]

We've got to stop him. He hasn't found the papers yet. Quick. I tie my hands.

[B]

Right. Right. What happened?

[A]

It was only a minute or two after you left. I would have done a near the door, holding this glass against against the wall, listening. Suddenly I heard someone thumbing at the door of the room next door. I opened my door as quietly as possible to look out into the hall, but it must have heard me. He was standing right in front of me, by his hand.

[B]

You didn't scream?

[A]

No. No. He hit me. And it's all I remember until just a second ago. I don't know how long I was unconscious.

[B]

Wasn't long. I wasn't going more than 15 or.

[A]

20 minutes, but that's long enough. He hadn't found the paper, and that's why he came back. The clerk. What about him?

[B]

Dead. Just before I got there.

[A]

The clerk didn't have it after all. It was hidden in the room next door. Walker's had time by now. He must have found it.

[B]

Don't be so sure. Unless Walker is smarter than I think he is. The formula is still there.

[A]

Where?

[B]

I don't know yet. But we're going to have another good look at that room.

[A]

He certainly went through everything.

[B]

Yeah, it's the same le clerk's room.

[A]

But he must have found the formula. Why? There's no place else to look. He's even thrashed the mattress open.

[B]

Yeah, he opened it twice. He went through the pillows twice too. If he had found it, why go through the whole room twice?

[A]

I see what you mean. Then you think it's still here?

[B]

I'm sure of it.

[A]

But there's nowhere else to look. It's impossible that a piece of paper with that much writing on it could still be hidden in here.

[B]

No, you're wrong.

[A]

I don't understand.

[B]

Well, look at it this way. The easiest way in the world to fool people is by what you might call misplaced attention.

[A]

Then you mean there isn't any paper in this room?

[B]

Exactly. I told you that clerk was smart. He knew if anyone searched for the formula, they'd naturally look for a piece of paper. That's what I mean by misdirected attention. The formula's here, all right. But it isn't on a hidden piece of paper in an envelope. That's why Walker and I didn't find it.

[A]

You mean it might be written on the ceiling or.

[B]

Nothing is crude to that.

[A]

You know where it is?

[B]

I think so.

[A]

Where?

[B]

Look at the walls. Doesn't anything strike you as off key?

[A]

The wall, you mean?

[B]

Sure. I mean the wallpaper. Here. Look here at this strip of paper behind the bed. See this figure of a horse? The horse is split in two where the paper joins. The hind part is nearly an inch lower than the front part. Near the ceiling. The wall shows through. No paper hanger would be that careless.

[A]

Then there is a paper after all. And it's behind the wallpaper.

[B]

No, there isn't a paper behind there. That would show. Make a bones. Unless I miss my guess, the formula's written directly on the back of that strip of wallpaper.

[A]

Quick. Let's see.

[B]

No, not so fast. It might tear. Here, I got a knife. There. Look.

[A]

Yes, it is. It's a formula. Quickly. Let me have it.

[B]

Thank you, my friend.

[A]

Walker.

[B]

Oh, so you came back. Put your hands over your heads. Quickly.

[A]

How did you get.

[B]

I'm better at opening doors quietly than you are, my dear. So you really were an agent. And I, like a stupid fool, thought you were merely the guest in the next room. I should have killed you then. You've done too much killing already, Walker, or whatever your real name is. I have more to do too. Very clever of you to find the formula. You would make an excellent man. For this type of work, I like my type better keep your hands up high. Now turn around slowly facing me. That's good. Now you fat man. Drop the formula on the floor in front of you. But keep your your hand pie. Okay. Excellent. Excellent. Now I will just pick it up. Now you will get what? Not fast enough.

[A]

Son, you have an awful chance kicking him when you bent over. He might still have been able to shoot.

[B]

This life has made up a chances, sweetheart. Besides, I used to drop kick for my college football team.

[A]

Is he. Is he dead?

[B]

Yeah.

[A]

That shot. Somebody must have heard it. Quick, we've got to get out of here. Give him the phone.

[B]

Not so fast. I think I'll just hang on to this piece of wallpaper.

[A]

But you can't give it to me. I've got to return it, don't you see? Please, quickly, before somebody comes.

[B]

I'd be a fool to give you this paper. How do I know who you really are? All I've got is your word that you're an American agent.

[A]

But I am Art tell you I am.

[B]

Maybe. But I'm keeping the paper.

[A]

No, please, it's important. You've got to get back to Washington.

[B]

I still like your face, baby. Nice and looks honest. There's a fire escape back there by the window. Somebody from the lobby will be here in a minute. I'll see that the formula gets to Washington and stays out of this business.

[A]

But. But these murders, these bodies.

[B]

Leave that to me. See, if you're on the level, you'll be okay. You can keep on working and nobody will ever know who you are. You're not on the level. Well, it's the chance I take for liking your face. Besides, you haven't killed anybody. I'll get going.

[A]

Right. All right. But please see that the formula gets to Washington. Now here's an address. Just take it there, that's all. Do you understand?

[B]

Yeah, I understand, sweetheart. Move.

[A]

Goodbye and thank you.

[B]

Forget it, baby. Operator, get me Sergeant O' Hara at Police Headquarters, quick. Sergeant O' Hara speaking. Run. You know how. I'm in room 610 of the Parker Hotel with a dead man. What, again? He's a murderer. Better hurry. O'. Hara. Just a second. Just a second. Hurry, o'. Hara, this is important. Maybe hard to explain. The others too. What others? The other two dead bodies hidden here in the hotel. What? You must be crazy. I can't help you get out of. Yes you can, o'. Hara. You've got to. The fate of a nation is riding again. Are you drunk? What's that mean? It means that I've got to make a very important trip to Washington, o'. Hara. A very, very important trip. Next week at this time, the American Broadcasting Company brings you another adventure of Dashiell Hammett's exciting new character, the Fat Man. Next week's story is called the Dancing Tombstone. And as the Fat man says, a ghost makes its rounds silently, and a corpse is quiet forever. But mystery screams in a graveyard when the silence is broken by the dancing tombstone. Tonight's adventure of the Fat man, played by J. Scott Smart, was produced by Charles Powers. Music is under the direction of Bernard Green. Sergeant o' Hara is played by Ed Begley. And this is Gene Kirby speaking. This is abc, the American Broadcasting Company.