Nero Wolfe: The Case of the Vanishing Shells

Summary

"Nero Wolfe: The Case of the Vanishing Shells" - Detailed Summary

Introduction

In the October 22, 2024 episode of "Old Time Radio Nero Wolfe", hosted by Adam Graham, listeners are immersed in a classic detective tale featuring the brilliant and reclusive detective Nero Wolf, portrayed by Sidney Greenstreet, and his astute assistant Archie Goodwin, voiced by Gerald Moore. Titled "The Case of the Vanishing Shells," this episode delves into the mysterious death of a theatrical producer amidst threats and intrigue within the bustling New York City theater scene.

Characters

• Nero Wolf: A genius detective known for his exceptional intellect and reluctance to engage in fieldwork.
• Archie Goodwin: Nero Wolf's charismatic and proactive assistant who handles investigations outside the office.
• Doris Moray: An aspiring actress who becomes the client seeking help against threatening notes.
• Emil Stoner: A theatrical producer whose sudden death becomes the central mystery.
• Paula Kenyon: Emil Stoner's divorced ex-wife and current fiancée to playwright David Banning.
• Rick Hunter: The director associated with Emil Stoner's productions.
• David Banning: The playwright engaged to Paula Kenyon and a key figure in the unfolding mystery.
• Inspector Kramer: The local homicide inspector involved in the investigation.

Plot Summary

The Threatening Notes

The episode begins with Doris Moray contacting Archie Goodwin about receiving threatening notes that demand she withdraw from the cast of Emil Stoner's upcoming production. Worried about her career and fearing for her safety, Doris insists on seeing Nero Wolf, but due to his preference for remaining in his brownstone, Archie takes on the role of intermediary.

Doris Moray [05:10]: "Very well, Mr. Goodwin, but I would prefer to see Mr. Wolf."

The Client's Dilemma

At a hotel, Doris Moray meets with Archie Goodwin, expressing her determination not to be intimidated by the threats. She mentions her involvement with Rick Hunter and the tension arising from her potential lead role in the new play.

Doris Moray [05:57]: "Other? Is that all I mean to you? What can they divulge that'll harm us?"

The Murder

During their meeting, news breaks that Emil Stoner has been found dead in Paula Kenyon's apartment. Archie Goodwin rushes to the scene, discovering Stoner's body with peculiar clues: a horoscope folder, an unlit cigarette with Paula's monogram, and a missing hat. Nero Wolf advises Archie to dig deeper, emphasizing that a body is always present in true cases.

Nero Wolf [13:02]: "Have you found a body yet? Call me after you find the body."

Investigation Unfolds

As Archie investigates, inconsistencies emerge. The absence of Stoner's hat and the presence of the gun link back to Doris Moray, who owns a .25 automatic rifle. Further scrutiny reveals that the threatening notes and the gun point towards a premeditated attack. Nero Wolf instructs Archie to interrogate key suspects, including Paula Kenyon and playwright David Banning.

Archie Goodwin [16:03]: "I own a gun. A small .25 automatic, but it's not here."

Confronting the Culprits

In a dramatic courtroom-like confrontation, Nero Wolf presents the amassed evidence to the suspects:

• Rick Hunter: Alibi questioned as he claims to have been in the cocktail lounge all afternoon.
• David Banning: Initially appears unfazed but reveals motive tied to Paula Kenyon and the casting dispute.
• Paula Kenyon: Engaged to Banning and connected to Stoner through professional ties.
• Doris Moray: Reveals ownership of the gun but denies involvement.

Nero Wolf [27:35]: "And you still had a motive to kill him?"

The Twist and Resolution

Through meticulous analysis of the evidence, including the absence of empty shell casings despite multiple gunshots, Nero Wolf uncovers that the murderer cleverly concealed the gun and the shell casings to mislead the investigation. He deduces that David Banning orchestrated the murder to secure his position with Paula Kenyon, manipulating events to eliminate Stoner and remove competition for his desired spotlight.

Nero Wolf [28:35]: "You filmed with rage, you got your gun... and shot him as he sat reading a horoscope."

Key Clues

1. Unlit Monogrammed Cigarette: Found in Stoner's hand, linking back to Paula Kenyon.
2. Missing Hat: Indicates an unusual departure from Stoner's habits, suggesting the killer's familiarity with his routines.
3. Lack of Empty Shells: Points to the murderer's attempt to hide the evidence of the gunshots.
4. Horoscope Folder: An unusual item that may hold personal significance or coded messages.
5. Gun Ownership: Doris Moray's possession of a firearm connects her to the scene, though motives point elsewhere.

Notable Quotes

• Nero Wolf: "I've gone out. I won't start on anything tonight." [03:25]
• Archie Goodwin: "Nero Wolf's office, Archie Goodwin speaking." [03:11]
• Nero Wolf: "Either a body beautiful. Or a dead one." [13:07]
• Archie Goodwin: "I'm a very stupid fella." [18:33]
• Nero Wolf: "When did you see him last?" [14:06]
• Archie Goodwin: "Let George do it." [32:23]
• Nero Wolf: "Some beer, Archie?" [29:15]

Conclusion

"The Case of the Vanishing Shells" masterfully weaves a tale of ambition, jealousy, and deception within the competitive world of theater. Nero Wolf's keen observations and Archie Goodwin's relentless pursuit of the truth illuminate the intricate web of relationships and motives that culminate in uncovering the true perpetrator. The episode not only showcases classic detective storytelling but also highlights the enduring chemistry between Wolf and Goodwin, making it a standout installment in the Nero Wolfe series.

Listeners are left with a profound appreciation for Wolf's deductive brilliance and the timeless allure of Old Time Radio mysteries.

Transcript

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[Archie Goodwin]

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[Doris Moray]

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[Archie Goodwin]

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[Doris Moray]

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[Archie Goodwin]

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[Doris Moray]

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[Rick Hunter]

Feel when you switch to GEICO and save on your car insurance? It's like going to work on one Thursday morning and thinking to yourself, just one more day until Friday. But then somebody in the elevator says, happy Friday. Then you check your phone quickly and discover today is actually Friday. So yes, Happy Friday. Random stranger in the elevator. Happy Friday indeed. Yep, switching and saving with GEICO feels just like that. Get more with GEICO.

[Adam Graham]

Welcome to the Great Detectives of Old Time Radio from Boise, Idaho. This is your host, Adam Graham. If you have a comment, go ahead and send it to me. Box 13. Follow us on Twitter RadioDetectives and become one of our fans on Facebook. Facebook.com RadioDetectives before we do get started, I do want to encourage you to check out Audible if you haven't already. Audible is a great service that allows you to get one audiobook per month as well as an audio subscription to your choice of the New York Times or the Wall Street Journal. You can listen to great mysteries like those featuring Nero Wolf, Sherlock Holmes or Poirot the latest best sellers, both fiction or NonFiction for just one low price. You can get a two week free trial and get a free audiobook by going to audiblepodcast.com old timerad that's audiblepodcast.com old time radio well, let's get into today's episode of Nero Wolf, the Case of the Vanishing Shells.

[Rick Hunter]

How do you feel when you switch to GEICO and save on your car insurance? It's like going to work on one Thursday morning and thinking to yourself, just one more day until Friday. But then somebody in the elevator says, happy Fri. Yay. Then you check your phone quickly and discover today is actually Friday. So yes, Happy Friday. Random stranger in the elevator. Happy Friday indeed. Yep, switching and saving with Geico feels just like that. Get more with Geico.

[Archie Goodwin]

Ladies and gentlemen, the ringing of that phone bell means mystery Adventure. Nero Wolf's office, Archie Goodwin speaking. Mr. Wolf. No, he isn't. Huh? Oh well, for you Maybe he is.

[Nero Wolf]

I am not here.

[Archie Goodwin]

Oh yes. Yeah, he's always here.

[Nero Wolf]

I've gone out.

[Archie Goodwin]

Oh no, he seldom ever goes out.

[Nero Wolf]

I won't start on anything tonight.

[Archie Goodwin]

Oh, sure, he'd love to start on a case tonight. What's your name? Oh, that's a beautiful name. Address?

[Nero Wolf]

Ah, gee, it's another woman. Hang up.

[Archie Goodwin]

No, no, no, honest I'm not Mr. Wolf, but I'm his agent. Yeah, I'll be right over, miss. Goodbye.

[Nero Wolf]

What's her trouble? Where are you going?

[Archie Goodwin]

She said she's received some threatening notes and she's afraid to leave her hotel. So long, boss. Ladies and gentlemen, it's that genius who is the bulkiest, bawkiest, most ponderous and most brilliant detective in the world. Yes, none other than that chairborne mass of unpredictable intellect, Nero Wolf. Created by Rex Stout and brought to you in a new series of adventures over this NBC network in the person of Mr. Sidney Greenstreet. We prefer to call tonight's story the Case of the Vanishing Ship. It didn't seem to be difficult at first, but. Well, I'm not a stupid individual, but so often, oh, so often I allow myself to become mesmerized by beautiful women. Heaven bless him. Doris Moray was such a woman. She phoned us first late one afternoon about 5:00, then again at 5:30.

[Doris Moray]

Very well, Mr. Goodwin, but I would prefer to see Mr. Wolf.

[Archie Goodwin]

Well, I said I'd be there at 6.

[Doris Moray]

Ms. Moray, I don't want to talk any longer on the phone. Please hurry. There, there's someone at the door.

[Archie Goodwin]

I'll see you in the cocktail lounge.

[Doris Moray]

At your hotel at 6:00. That's half an hour. Don't fail. Who is it?

[Archie Goodwin]

Emil Stoner.

[Doris Moray]

Oh, come in, Emil. You got my call, darling. Here, let me take your briefcase.

[Archie Goodwin]

I'll just put it here on the piano.

[Doris Moray]

Doris, I'm terribly upset about those threatening notes. Darling, I know it's upset you too, but I'm determined to find out who it is. I'm not going to let them bluff me out of my first chance to play the star part in one of your shows.

[Archie Goodwin]

But look, Dorius, there's that other part.

[Doris Moray]

Other? Is that all I mean to you? What can they divulge that'll harm us? What?

[Archie Goodwin]

Several things, and I can't afford. I mean at this time.

[Doris Moray]

You're frightened, Amil.

[Archie Goodwin]

Doris, I'm going to give the star part to Paula.

[Doris Moray]

Paula? You've been divorced for four years. Why?

[Archie Goodwin]

Because I feel she can play it better.

[Doris Moray]

Is that what you're going to say. Well, I can act rings around her.

[Archie Goodwin]

Now, now, now, look, Doris, I know it's a big disappointment to you, but.

[Doris Moray]

That'S the way it is. Get out. Get out. Go on across the hall to Paula. Give her the part. Louse up your show. She and that playwright of hers. Get out, Amel. But, Doris, you frightened little. Get out.

[Archie Goodwin]

I believe, Mr. Wolf, you're making a great mistake and not coming along.

[Nero Wolf]

Indy, I'm sure that what attracts you could not possibly be of interest to me.

[Archie Goodwin]

The gal needs help. Money is money, girls.

[Nero Wolf]

Money. Phooey.

[Archie Goodwin]

Yeah, well, we could have dinner out for a change. They have one of the finest chefs in town at that hotel.

[Nero Wolf]

You're most impolite. I'm trying to read this book.

[Archie Goodwin]

Poetry, Archie? Yes, sir.

[Nero Wolf]

Shut up.

[Archie Goodwin]

Well, we need money. That filthy green cabbage is necessary to our existence. This may be a tough case. You know, I.

[Nero Wolf]

You're sufficiently intelligent sometimes.

[Archie Goodwin]

If I sat around like you do, I'd weigh 500 pounds, too.

[Nero Wolf]

Archie, leave the room. Besides, it's only 300.

[Archie Goodwin]

What a way to run a business. Orchids, beer, books.

[Nero Wolf]

Don't keep the charming client waiting.

[Archie Goodwin]

Okay, I'm going, I'm going.

[Nero Wolf]

And always remember, there is a telephone.

[Archie Goodwin]

Thank you, waiter. Oh, good evening, Ms. Moray. I'm Archie Goodwin.

[Doris Moray]

Well, I didn't expect. I mean, Please sit down.

[Archie Goodwin]

Well, I think I should explain the absence of Nero Wolf. There's. There's so much of him that it's not too convenient to transport it above. I do all the outside work and.

[Doris Moray]

I'm sure you do it well, Mr.

[Archie Goodwin]

Well, you know, some women call me Goodwin and some call me Mr. Goodwin. And yes, the unattached call me Archie.

[Doris Moray]

Hello, Archie.

[Archie Goodwin]

Oh, splendid. I'm glad to hear it. Now we can get right down to the nasty old business that's troubling you, Doris.

[Doris Moray]

First, here's the 500 retainer fee.

[Archie Goodwin]

We thank you. Now, what's the note about?

[Doris Moray]

There are two notes, both printed by hand. Will you hand me my purse, please?

[Archie Goodwin]

Oh, sure.

[Doris Moray]

Thank you.

[Archie Goodwin]

I see. Doris Moray, if you fail to withdraw from the cast of Stoner's next production by start of rehearsals Monday, both you and Stoner will have a blasted reputation and perhaps other injuries from which you will be unable to recover.

[Doris Moray]

The other one is like it, only more vehement.

[Archie Goodwin]

Someone or a group of someones are intent on keeping you out of Stoner's shows. Huh? Too bad. His next one is said to be a sure smash hit and a star making Part for the leading woman?

[Doris Moray]

Yes. Emil Stoner wants me to play it. He's been planning on it ever since David Banning wrote the play.

[Archie Goodwin]

What does David Banning think of you playing the part?

[Doris Moray]

Well, I. I don't think he's too enthused about it. You see, Mr. Stoner and Paula Kenyon have been divorced for four years, but she has continued to be his top leading woman. Now she's engaged today to Banning, who wrote this play.

[Archie Goodwin]

Oh. Makes things a bit difficult, of course.

[Doris Moray]

Rick Hunter, Stoner's director is.

[Archie Goodwin]

Hunter is somewhat in favor of your playing the part.

[Doris Moray]

Well, Rick Hunter is very fond of my work.

[Archie Goodwin]

And very fond of you as well, huh?

[Doris Moray]

Yes, unfortunately, I. I like Rick Hunter tremendously. But Amel Stoner has been of greater interest to me. In fact, we're more or less engaged, Mr. Goodwin.

[Archie Goodwin]

Oh. Well. Had any words lately with the ex Mrs. Stoner? Paula Kenyon? Is that her name?

[Doris Moray]

Paul and I were great friends when I first joined the Stoner Productions, but I don't know, she. I don't think she appreciated the fact that Mr. Stoner and Rick Hunter, the director, took such an interest in me.

[Archie Goodwin]

Tell me, did you ever think you were in love with Rick Hunter?

[Doris Moray]

Yes, at first I was thrilled by his artistic imagination. And then as time went on, I realized that he was subject to melancholia. Mr. Stoner was more stable, and I needed someone older to advise me.

[Archie Goodwin]

What's wrong with your reputation of Mr. Stoner's?

[Doris Moray]

Well, there's nothing I fear, but I'm afraid Mr. Stoner is somewhat disturbed by these threats. He feels there's something in his past of sufficient import to really harm him. I think it's nonsense.

[Archie Goodwin]

Ellen, what we have to do is uncover this person of persons before you end up with ruined careers on Broadway. Where does the ex Mrs. Stoner live?

[Doris Moray]

Well, as a matter of fact, she lives just down the hall from me. Lived here for years.

[Archie Goodwin]

Oh. Well, I think it's advisable, honey, that you stay close to your room until we solve this thing.

[Doris Moray]

But I'm not afraid for my life, Archie.

[Archie Goodwin]

No. Well, I am. I'll see you into your room, Doris.

[Doris Moray]

Oh, now, please, Mr. Goodwin, if you.

[Archie Goodwin]

You don't trust the boy, huh?

[Doris Moray]

Well, I.

[Archie Goodwin]

Such beautiful eyes. Well, I. Lovely red hair. You could have the lead in my new play. I never wrote one, but for you, I'll try anything.

[Doris Moray]

Come along.

[Archie Goodwin]

Here's your bag. Well, hello, Doris.

[Doris Moray]

Oh, hello, Rick. Mr. Goodwin, this is Rick Hunter.

[Archie Goodwin]

Hiya, Hunter. Nice shows you've been putting on. I'VE just been admiring your work, Goodwin. Yeah. Oh, well, that's nice. I'm glad. Nothing like encouragement for a beginner, Mr. Hunter. You're ready for the big time, from what I saw. Heard from Emil Stoner today, Doris?

[Doris Moray]

I talked to him once this morning. Have you been sitting in the cocktail lounge all afternoon?

[Archie Goodwin]

Yeah, that I have. Honey. I want to see you play that lead, baby. And I think I just about got it all settled.

[Doris Moray]

Dreaming about it won't settle it. Liquor never accomplished anything in itself, rick. Come on, Mr. Goodwin.

[Archie Goodwin]

He's a very jealous man, Doris. In fact, right now I can feel his thoughts piercing me between the shoulder blades. Oh, excuse me. Here's a phone book.

[Nero Wolf]

Yes, Archie?

[Archie Goodwin]

How do you know it's Archie?

[Nero Wolf]

I felt the time is exactly right for you to call.

[Archie Goodwin]

I wish you felt it was time to earn some money.

[Nero Wolf]

Is this a worthwhile case?

[Archie Goodwin]

Well, she's a beautiful redhead.

[Nero Wolf]

And that, of course, makes it very worthwhile.

[Archie Goodwin]

Yeah, Well, I got 500 as a.

[Nero Wolf]

Retainer foo your pittance and probably all you'll ever get.

[Archie Goodwin]

What do you mean by that?

[Nero Wolf]

She's probably guilty.

[Archie Goodwin]

Look, boss, she's the victim. Receive notes threatening her reputation and her health if she plays the star part in Emile Stoner's new production. Also, they threaten Emil Stoner. Likewise, the playwright Dave Banning is engaged to Paula Kenyon. Incidentally, she lives here at the hotel, too, just down the hall from Doris.

[Nero Wolf]

I remember her. And the playwright wants Paula Kenyon to play the part. Well, Archie, you have only the beginning. It is probably too late to prevent whatever is going to happen.

[Archie Goodwin]

Like what, for instance?

[Nero Wolf]

Have you found a body yet? Call me after you find the body.

[Archie Goodwin]

What body? There's no body.

[Nero Wolf]

But there will be, Archie. There's always a body where you are concerned. Either a body beautiful. Or a dead one. Right.

[Doris Moray]

Thanks for seeing me to my room, Archie.

[Archie Goodwin]

Oh, I'm not stopping here, Doris. I'll take a look inside.

[Doris Moray]

But I'm not.

[Archie Goodwin]

Oh, I insist. Part of my job, you know. If I fail to take every precaution, Mr. Wolf would never. Well, look in that chair.

[Doris Moray]

Emil.

[Archie Goodwin]

Emil? Emil Stoner. Oh. Three red dots on his shirt front. Uh, Doris. Doris. Hold on.

[Doris Moray]

I'm all right. Yes, I'm all right.

[Archie Goodwin]

All right, sit down.

[Doris Moray]

That's it.

[Archie Goodwin]

Now, let's see. The body's still warm. What's this crumpled in his left hand? A horoscope. Between the fingers of his right hand, an unlit cigarette. My grand pk Paula Kenyon. His horoscope is from March. Something he picked up from your desk here.

[Doris Moray]

I don't believe in astrology.

[Archie Goodwin]

Where'd he get this cigarette? With Paula Kenyon's monogram.

[Doris Moray]

Poor Amo. Poor Amo. I didn't believe anyone would really harm us. Why was I so stubborn?

[Archie Goodwin]

When did you see him last?

[Doris Moray]

Please, shouldn't we do something? Call the police?

[Archie Goodwin]

No, no, no. Not yet. When did you see him?

[Doris Moray]

Why, I saw him this morning. I'm so shocked I can hardly think clearly.

[Archie Goodwin]

Doris?

[Doris Moray]

Yes?

[Archie Goodwin]

There's a briefcase here on the piano with a newspaper on top of it.

[Doris Moray]

What? Oh, it is? Yes, it's. It's Emil's. He must have left it here this morning.

[Archie Goodwin]

It's strange. Emil Stoner was bald, but.

[Doris Moray]

But what?

[Archie Goodwin]

Well, I'm sure he's a man who always wore a hat, but I see no hat.

[Doris Moray]

He must have come up the elevator as I went down to meet you.

[Archie Goodwin]

Who would know he'd come up here? Your director, Rick Hunter. He said he'd been in the bar all afternoon. What else was it he said? Thought he had everything just about settled.

[Doris Moray]

Oh, no, Rick, couldn't he just. Oh, Mr. Goodwin, I couldn't believe that.

[Archie Goodwin]

I can believe anything about anybody. I learned that the hard way. In my book, everybody's guilty until proved otherwise. Even you, baby.

[Doris Moray]

What?

[Archie Goodwin]

Even you. Yeah. A Herald Tribune newspaper. Are you sure you haven't seen him since this morning?

[Doris Moray]

Doris, what are you doing? Absolutely nothing. Someone came in here and shot him. Call the police. I insist. Maybe.

[Archie Goodwin]

Why maybe?

[Doris Moray]

I did leave my door unlocked. Why did I do that?

[Archie Goodwin]

They couldn't have opened the door otherwise. Could he?

[Doris Moray]

No.

[Archie Goodwin]

Give me the check room, please. Oh, hello. Did you. Do you know Mr. Emil Stoner, the producer? You do? Well, tell me, did he check his hat with you this afternoon or this evening? He didn't. All right. Thanks. He must have carried it up here to this floor. Doris, do you have a gun?

[Doris Moray]

I own a gun. A small.25 automatic, but it's not here.

[Archie Goodwin]

Where is it?

[Doris Moray]

I had the handle repaired, and it's been in my dressing room for a week or two.

[Archie Goodwin]

I hate to do this, Doris, but I'm gonna move the body away from the back of that chair there. Yeah. Three wounds. One bullet went through the upper part of the chest, out the middle of the back, say, right through the heart. By the angle of the wound, he was shot while sitting down.

[Doris Moray]

Please, Mr. Goodwin, must we stay here?

[Archie Goodwin]

I want to give this room a thorough going over. We'll go down to the lobby. I want to use that phone booth again. And, Doris, I hope I know what.

[Doris Moray]

You'Re going to say. You hope? That gun of mine is still in.

[Archie Goodwin]

Your dressing room at the theater.

[Nero Wolf]

Wolf speaking.

[Archie Goodwin]

Oh, Mr. Wolf, may I have your autograph? I'm taking a correspondence course in how to be a detective, and I think you're a wizard.

[Nero Wolf]

So kind of you to say so.

[Archie Goodwin]

I would be just thrilled to have your autograph on the bottom of a paycheck.

[Nero Wolf]

Why are you calling from a phone booth?

[Archie Goodwin]

What? Who said I was?

[Nero Wolf]

It's obvious there's no room. Tone, reverberation.

[Archie Goodwin]

Oh, well, you shouldn't have to ask. You know everything before it happens.

[Nero Wolf]

You found the body then? Happened just before you got there.

[Archie Goodwin]

Oh. Now, look, I took the girl up to a room to be sure it was safe for her to go in and. Okay. Okay. And there, sitting in a big leather chair, was Emil Stoner, shot three times with a small caliber gun, dead about an hour. One shot went through the body from the upper part of the chest to the middle of back. Therefore, he was shot while sitting down. The killer was standing, huh?

[Nero Wolf]

I'm listening.

[Archie Goodwin]

Oh. Well, his left hand was clutching a horoscope folder, and between the index and second finger of the right hand was an unlit cigarette with a monogram on it. PK Emil Stoner is bald, but there was no hat in the room. However, on the piano was his briefcase, and on top of it, a 4 o'clock afternoon edition of the Herald Tribune.

[Nero Wolf]

Better look in the briefcase, Archie. No weapon?

[Archie Goodwin]

No, no weapon. But Doris Moray says she owns a.25 caliber automatic and it's in her dressing room at the theater. Also, she claims she hadn't seen Stoner since this morning.

[Nero Wolf]

You found no empty shelves about the floor?

[Archie Goodwin]

None.

[Nero Wolf]

What did you do with the bullet?

[Archie Goodwin]

What bullet?

[Nero Wolf]

One which passed through his chest and lodged in the back of the leather chair. Are you there, boss?

[Archie Goodwin]

I'm a very stupid fella.

[Nero Wolf]

Stop bragging.

[Archie Goodwin]

The bullet, boss. There ain't no hole in the back of that chair. I just realized it. Maybe he was standing up. Ah, then the killer must have been on stilts.

[Nero Wolf]

Archie, let us pretend, only pretend, that you're very observant. Now, proceed to Paula Kenyon's apartment. Just down the hall, you said, and see what she knows without divulging the fact that Stoner is dead. And look sharp.

[Archie Goodwin]

My gears must be slipping.

[Nero Wolf]

Archie, do you know what great event will be celebrated tomorrow?

[Archie Goodwin]

Yeah, my birthday. What'd you get me?

[Nero Wolf]

Cuthbert's correspondence detective course in four easy lessons. Bye.

[Doris Moray]

This is Paula's apartment.

[Archie Goodwin]

No answer. Let's see if it's open. Oh, there's no one in sight. Come on in. Now, look, if anyone walks in on us, we found the door open and we just came in to wait, huh?

[Doris Moray]

Which is the truth, isn't it?

[Archie Goodwin]

Yeah. Yeah, that's right. Yeah. Here on the desk we have a stack of horoscopes, Doris, and a box of Paula's Monogrammed Cigarettes.

[Doris Moray]

Mr. Goodwin.

[Archie Goodwin]

Huh?

[Doris Moray]

This is Amel's grave Fedora hatch.

[Archie Goodwin]

Then he was in this apartment this afternoon. What are you staring at? Oh, small, Pearl handled automatic. Yes.25 caliber. Yeah, it's been fired very recently. We won't touch it now. Does it look like yours, Archie?

[Doris Moray]

It is mine.

[Archie Goodwin]

Your initials.

[Doris Moray]

I found old Jenkins, the stage doorman at the theater, to look in my dressing room. Well, my gun isn't there.

[Archie Goodwin]

Did you leave the gun out in plain view in the dressing room?

[Doris Moray]

Yes, for several days anyway. Then I put it behind the mirror.

[Archie Goodwin]

I suppose many people have seen it.

[Doris Moray]

I'm sure.

[Archie Goodwin]

I hope, Doris, that your fingerprints are not the only ones on that gun.

[Doris Moray]

If they use my gun to shoot him in my apartment, why would they bring the gun back here and leave it in plain sight?

[Archie Goodwin]

Maybe they didn't do it just that way. No, his hat's here, the gun is here, and yet he's dead in your apartment.

[Doris Moray]

How can you answer that?

[Archie Goodwin]

Well, maybe he was sitting here waiting for Paula and someone called him out and over to your place and shot him. Doesn't make sense. Now, if he was sitting in this chair here and someone entered that door.

[Doris Moray]

Hey, what is it?

[Archie Goodwin]

Look in the chair back little round hole. Start looking for some empty shells around here.

[Doris Moray]

Find something?

[Archie Goodwin]

No. I want to make a call. He was shot with this automatic. Three shells were ejected. I certainly vanished.

[Nero Wolf]

Hear a wolf speaking.

[Archie Goodwin]

Archie, I'm in Paula Kenyon's. She's not here. Found his hat. A stack of horoscopes on the desk, Box of Monogram cigarettes. A.25 automatic which belongs to Ms. Moray. Recently fired, but not an empty shell in sight. No blood, but a single small hole in the back of the chair near the desk. Doris Moray is with me.

[Nero Wolf]

I will call Inspector Kramer now about the body and have ballistics check the bullets with a gun.

[Archie Goodwin]

The bullet in the chair back.

[Nero Wolf]

Did you find anything of particular importance in Emil Stoner's briefcase?

[Archie Goodwin]

Yes, I found. Never mind.

[Nero Wolf]

Bring the girl here at once.

[Archie Goodwin]

Okay, boss. Say, don't you think I better wait for Paula Kenyon? Uh. Oh, here she Is. Bye.

[Nero Wolf]

Bring her along, too, if you can.

[Archie Goodwin]

Goodbye.

[Doris Moray]

Hello, Paula. Well, Doris, what are you doing here? I wasn't aware that I left the door unlocked. Seems to be contagious this evening. I left mine unlocked, too. Hello, Dave. Ms. Kenyon. Mr. Goodwin.

[Archie Goodwin]

Hello, Doris.

[Doris Moray]

Hello, Archie. This is Dave Banning, the playwright.

[Archie Goodwin]

How are you, Mr. Banning? How do you do? I've heard all about your new play and I wanted to meet you. Doris thought you might be over here and the door was ajar, so we.

[Doris Moray]

Well, I just walked in. I hope you don't mind, Pa. Certainly not. I'm used to people just walking in.

[Archie Goodwin]

We were here a while ago and went down to the cocktail lounge for a while. When does the play open, or have you cast it yet? Mr. Stoner handles that part of it. Are you a prospective investor, Goodwin? Oh, I've had a number of flings in the business. Matter of fact, I expect to see Mr. Stoner tonight. You do?

[Doris Moray]

Tonight? Here? I don't understand. What's this fencing all about? Doris, you're not just visiting me? We've hardly spoken for.

[Archie Goodwin]

Oh, is that your gun, Ms. Kenyon?

[Doris Moray]

It's yours, Doris. Yes, that's right, Paula. He was in my dressing room.

[Archie Goodwin]

When did you see Mr. Stoner last?

[Doris Moray]

But I haven't seen him today.

[Archie Goodwin]

I had lunch with him. Why? What hat did he wear at lunchtime, Mr. Banning? Why the gray fedora?

[Doris Moray]

How did it get here? That's Amos. What is this? What are you two doing here?

[Archie Goodwin]

Where is Amel? Come on, cut out the melodramatics. Mr. Stoner is dead. He's what, Paula? And without any further explanation, I shall have to ask you to accompany me Downtown police, if you will, please. They're still in the front room, boss. I'll bring them into your office when you're ready.

[Nero Wolf]

Yes, R.J. i'm sure they're all anxious to talk. They've been sitting there for an hour now.

[Archie Goodwin]

Maybe we ought to make some sort of explanation to them, huh?

[Nero Wolf]

Why this sort of technique should work very well in this particular instance.

[Archie Goodwin]

Yeah, but I don't know about that director, Rick Hunter. He may be difficult.

[Nero Wolf]

Does anyone know that you found the completed and signed contract in the briefcase?

[Archie Goodwin]

No one.

[Nero Wolf]

Good. Now, we have the threat notes, the contract, the afternoon newspaper, the briefcase, the fedora hat, the gun, no ejector gels, the horoscope, the cigarette, and the two chairs, one with a small hole in it.

[Archie Goodwin]

Come in.

[Nero Wolf]

Ah, Inspector Kramer, at last. What have you?

[Archie Goodwin]

Well, we covered every inch of that place and didn't find A single empty shell. There were two bullets in the body. And the one that passed through him into the chair back in Paula Kenyon's place. They were all three fired from Doris Murray's little automatic.

[Nero Wolf]

Any fingerprints on the gun?

[Archie Goodwin]

None but Doris Murray's.

[Nero Wolf]

Not unexpected, to say the least.

[Archie Goodwin]

The bullet that was lodged in the chair in Paula's place went through his heart. Now, he was apparently shot in her room. But.

[Nero Wolf]

But how did he get into Doris Murray's place? I'll be able to explain that when we locate those three empty shells. Inspector, bring our guests in. Arjie.

[Archie Goodwin]

Come in, please. Ladies and gentlemen, Mr. Nero Wolf, Ms. Paula Kenyon.

[Doris Moray]

Hello.

[Archie Goodwin]

Ms. Doris Moray. Rick Hunter, the director. How do you do? David Banning, the playwright. How do you do?

[Nero Wolf]

Won't you be seated, please? May I present Inspector Kramer of Homicide.

[Archie Goodwin]

How do you do? Mr. Wolf has asked you here to such details as you recall which might be of assistance to him in the solution of the murder of Emil Stoner.

[Nero Wolf]

Mr. Hunter, as the director, whom did you favor as the star of your next production?

[Archie Goodwin]

Why, Doris Murray.

[Nero Wolf]

You have been deeply interested in Miss Murray.

[Archie Goodwin]

Hasn't done me much good.

[Nero Wolf]

But you do love her?

[Archie Goodwin]

I do.

[Nero Wolf]

And you are deeply interested in the progress of her career?

[Archie Goodwin]

I am, Most assuredly.

[Nero Wolf]

Did you know that Mr. Stoner had made out and signed a contract for a certain woman to play the lead in the new show?

[Archie Goodwin]

No.

[Nero Wolf]

You knew that Doris Marais had a gun in her dressing room?

[Archie Goodwin]

Yes.

[Nero Wolf]

You were in the hotel cocktail lounge all afternoon until you Met Darius and Mr. Goodwin?

[Archie Goodwin]

Yes.

[Nero Wolf]

And you could have seen Emil Stoner into the lobby and go to the elevator?

[Archie Goodwin]

I could.

[Nero Wolf]

Could you prove that you never left the cocktail lounge until you met Doris and Archie?

[Archie Goodwin]

Maybe not.

[Nero Wolf]

Did you see Mr. Stoner going to the elevator?

[Archie Goodwin]

I did.

[Nero Wolf]

Mr. Banning, you wrote the new play. Were you in favor of Ms. Murray playing the part?

[Archie Goodwin]

I know. I felt Paula Kenyon was better suited for it.

[Nero Wolf]

You and Mrs. Kenyon are engaged to be married?

[Archie Goodwin]

Yes.

[Nero Wolf]

Anything happened, Mr. Stoner? You, as next in line, could assign the role as you saw fit?

[Archie Goodwin]

That's correct.

[Nero Wolf]

Did you know that Mr. Stoner had made a final decision on the part?

[Archie Goodwin]

I did not.

[Nero Wolf]

He didn't tell you anything about it at lunch today?

[Archie Goodwin]

No. I made a strong plea for Paula.

[Nero Wolf]

You know about the gun in Ms. Marie's dressing room?

[Archie Goodwin]

Everyone did, apparently.

[Nero Wolf]

Very well. Ms. Kenyon, did Emil sooner visit your apartment often?

[Doris Moray]

Not often. We were not on too friendly terms.

[Nero Wolf]

Did you phone him to visit you this afternoon?

[Doris Moray]

No. Who said I did.

[Nero Wolf]

No one. I merely asked, were you by any chance still in love with Emil Stoner?

[Archie Goodwin]

Now see here, I don't appreciate that kind of talk, mister. Relax, Mr. Banning.

[Doris Moray]

I was not in love with Mr. Stoner. That was over.

[Nero Wolf]

You and Doris Marie were one time very friendly. Yes.

[Doris Moray]

I found out how two faced she was. Emil was a fool to fall for. But you couldn't tell him anything. All she's interested in is a career.

[Nero Wolf]

You're not interested in your career, Ms. Kenyon?

[Doris Moray]

Well, yes, in a way.

[Nero Wolf]

You wanted the star pouch. You phoned Stoner this morning.

[Doris Moray]

Yes, but he said he was going to give it to her.

[Nero Wolf]

You knew about Doris's gun?

[Archie Goodwin]

No, I. You recognized it immediately, boss?

[Doris Moray]

Well, yes, I knew. What if I did?

[Nero Wolf]

Then you wrote these threatening notes to Ms. Marais.

[Doris Moray]

I did not. I did not.

[Nero Wolf]

You didn't know the contract had already been signed?

[Doris Moray]

No.

[Nero Wolf]

And you still had a motive to kill him?

[Archie Goodwin]

I wrote those notes. She had nothing to do with it. You can check them on my typewriter.

[Nero Wolf]

We know, Mr. Banning. We've already done that.

[Archie Goodwin]

I know how it looks, but Paula didn't do it. I knew he was coming to her place. I called him. I knew Paula was out. I did it.

[Nero Wolf]

If so, what did you do with the ejected shell?

[Archie Goodwin]

I threw them away. How many?

[Doris Moray]

Three. Oh, no, David, please don't.

[Nero Wolf]

I don't believe you, Mr. Banning. Ms. Murray, did you know the contract had been made out and signed?

[Doris Moray]

No.

[Nero Wolf]

You're lying, Ms. Murray, you said you didn't see Stoner this afternoon.

[Doris Moray]

I didn't.

[Nero Wolf]

You called him and asked him to visit you. You did get the threat notes and they frightened you. But you didn't know they would frighten Stoner.

[Doris Moray]

I did not phone him, nor did I see him.

[Nero Wolf]

Yes, you did. His briefcase was on the piano and he was there in the late afternoon because he brought with him a 4 o'clock edition of the Herald Tribune.

[Doris Moray]

What if he was there? I didn't kill him.

[Nero Wolf]

He told you then about his decision. He left hurriedly, forgot the briefcase and went to Paula's apartment to wait for her.

[Doris Moray]

That's not true. That's not true.

[Nero Wolf]

Filled with rage, you got your gun, which you said had disappeared from your dressing room, then calmly put it into your bag, walked across the hall and shot him as he sat reading a horoscope.

[Archie Goodwin]

No, no, no.

[Nero Wolf]

Archie. A handbag. Thank you. Notice I run my finger through a hole in the corner. She fired through the bag and see three empty shelves. And here's the contract made out to Paula Kenyon. Too bad, Ms. Marais.

[Archie Goodwin]

Well, that's a good day's work, boss.

[Nero Wolf]

Some beer, Archie?

[Archie Goodwin]

Right. Say, tell me, how did Stoner, if he was shot in Paula's room, get back to Doris's room? She couldn't carry him.

[Nero Wolf]

Oh, now, Archie, that's not too difficult. He walked.

[Archie Goodwin]

Shot through the heart. Impossible.

[Nero Wolf]

That's a fallacy, Archie. Official medical records show that people have walked a block in such instances.

[Archie Goodwin]

No wonder Doris was so shocked when she saw him back in her room.

[Nero Wolf]

The shooting took place after she called us. And it seemed unbelievable that anyone would leave the gun and not the ejector shells. Ergo, the gun must have been concealed when fired.

[Archie Goodwin]

Yeah, Paula would have no reason to do that because she was in her own apartment.

[Nero Wolf]

And these men are not the type who would have fired through their coats.

[Archie Goodwin]

And Doris, before she started down the hall, would naturally conceal the gun, huh?

[Nero Wolf]

In a handbag. Where else.

[Archie Goodwin]

Boss? Midnight. It's another day. I'm a year older.

[Nero Wolf]

Yes. Cuthbert's correspondence detective course in four easy lessons. Happy birthday, aji.

[Archie Goodwin]

You have been listening to the new Adventures of Nero Wolf, starring Sidney Greenstreet. Tonight's transcribed story was based on the characters created by Rex Stout. This is an Edwin Fadiman program produced and directed by J. Donald Wilson. In the cast were Gerald Moore as Archie Goodwin and Gene Bates, Betty Lou Gerson, Bill Johnstone, Peter Leeds and Vic Perrin. Next week at this same time, Nero Wolf and Archie will bring you the case of the party for death. Don Stanley speaking. Three chimes mean good times on NBC.

[Rick Hunter]

How do you feel when you switch to Geico and save on your car insurance? It's like going to work on one Thursday morning and thinking to yourself, just one more day until Friday. But then somebody in the elevator says, happy Fri. Yay. Then you check your phone quickly and discover today is actually Friday. So, yes, Happy Friday, random stranger in the elevator. Happy Friday indeed. Yep, switching and saving with Geico feels just like that. Get more with Geico coming up this.

[Adam Graham]

Week on the Old Time Radio Snack Wagon.

[Archie Goodwin]

Well, boy. Yes, Mr. Finley. Where are you, boy? What about my house? Well, I'll tell you, Mr. Finley. Where's your word?

[Nero Wolf]

You said you'd be over with a down payment.

[Archie Goodwin]

What are you made of, boy? Rock, maple or pine? Something has come up, Mr. Finley.

[Nero Wolf]

I got 15 people after this house.

[Adam Graham]

Listen to the Old Time radio snack wagon, snackwagon.net or wherever you get your podcast. Welcome back. Well, on this one, Wolf really operated much more like a traditional genius detective in the normal Nero Wolf fashion. And it turned out that his instincts were dead on about the case and what they would collect from it. And I'm all I'm kind of sorry. This is the last Gerald Moore episode. It seems like once Greenstreet and an Archie Goodwin work together where they've got some real chemistry going that the Archie Goodwin departs. I had the same thought with Lawrence Dobkin previous two more but this, this one I think really could have worked out well over the long run. Well, I've also been listening and watching quite a bit of Nero Wolf. Got the audiobook, not Quite Dead Enough, a couple interesting Nero Wolf novellas and also Black Orchids. And I finally saw the Golden Spiders, which predated the Nero Wolf mystery series on ae. I'm kind of disappointed to be through that because I enjoyed that series so much. I'm skeptical that anybody's going to quite get that same level that Timothy Hutton had. Really, Hutton's was just picture perfect, I thought. And the way he did the visuals and the sets, truly remarkable. I'm afraid the next Nero Wolf series might be with computer animation or something. Ooh, and that's gonna be alright. Now onto more pleasant thoughts. We got some comments on my article. I did review of Johnny Staccato. In the review I made a reference to the fact of the term Swinging Long Hair was the title of the last Johnny Staccato episode and I noted there wasn't anybody, not even a woman in there that had long hair. Tim writes back adam, I look forward to viewing this series if I ever come across it. In answer to your comment about Swinging Long Hair, since the show has a jazz motif, the phase might refer to playing classical music. Long hair music in a jazz tempo. Keep up the great work. I enjoy your podcast and particularly your commentary. Thanks so much. That translation helps. Although I guess it would have helped if the classical musician because there was a classical musician who came and was playing just like that in a jazz tempo. So that does make a lot of sense. And then we do have a comment from Tom says sadly, Cassavetes. John Cassavetes, the star of Johnny Staccato, rarely cared for any role he didn't create. And Cassavetes actually took the very extraordinary step. I mentioned this in my review of publicly criticizing his own program to get it canceled so he could go and work on other projects. And he actually Got it canceled 12 episodes early. One thing I did find in my research, I found a lot of interesting little nuggets about the actual Johnny Staccato program and its production and what Cassavetes thought of it and why it was a 27 episode run when 39 episodes was more or less the norm for a television series back then. But I did notice that a lot of the writers got some details about the show, about the actual show and the way it played out, what it was like they got it wrong. I've just sat there and I watched all 27 episodes over the last month or two and sometimes the descriptions of what the show was like just seem totally foreign to reality. And I guess if there's a lesson in there, it's to kind of be careful in terms of judging whether a show is going to be good or not. If the author who is talking about it, you know, hasn't seen it in 30 or 40 years. Because the situation with Johnny Staccato is because there were so few episodes made, there wasn't really any history of syndication. You basically had what I call gray market DVDs floating around with Staccato on it. And that would have been probably the main people who would have seen it. There just was just an episode or two released here or there. So the consequences, any TV critics say writing about in the 1990s or 2000s, they're writing from memory, they're writing from what they've heard from other people about the show rather than based on first hand knowledge. So it was an interesting phenomenon. It even ended up in the New York Daily news from 2002 found a piece that was totally inaccurate as to the way the series actually worked. So hopefully as more of these shows become available, some of the myths that have grown up about some of them will also be busted over time. Alright, well that'll do it for now. We'll be back tomorrow with Let George do it. In the meanwhile, send your comments to Box [e-mail] Remember, cast your vote for us on Podcast Alley podcastally and follow us over on Facebook facebook.com RadioDetectives from Boise, Idaho, this is your host Adam Graham, signing off.