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- [00:10]
A
The hushed voice, the prowling step in the dead of night, the crime that is almost committed. The stir of nerves at the ticking of the clock. The rescue that might be too late, or the murderer who might get away. Mystery and intrigue and dangerous adventure. We invite you to enjoy stories that keep you in suspense. Hello, and welcome to a bonus episode of Stars on Suspense. Earlier this week, we heard William Powell, Myrna Loy and Maureen o', Sullivan, the stars of the Thin Man. But the Thin man is unique in the series of movies we've covered on the podcast. It's the only one we've heard so far that had a sequel. In fact, a whole series of films. William Powell and Myrna Loy reprised their roles of married detectives Nick and Nora Charles in five more Thin man films between 1936 and 1947. And the second film in the series, like the first, was recreated on the Lux Radio Theater. So we're extending our visit with Mr. And Mrs. Charles. And today we'll hear the radio adaptation of after the Thin Man, a broadcast that originally aired on CBS on June 17, 1940. I'll be back next week with the stars of From Here to Eternity. But for now, sit back, relax and enjoy. William Powell and Myrna Loy in After the Thin Man. Lux presents Hollywood. The lux radio theater brings you william powell and myrna lloyd in after the thin man. Ladies and gentlemen, your producer, Mr. Cecil b. Demille. Greetings from Hollywood. Ladies and gentlemen. When Edgar Allan Poe popularized the detective story, he found the great common denominator of American entertainment. Millions of us have stayed up past bedtime to explore the fascinating realm of who done it, including the President of the United States. And you can find devotees in every walk of life. Rich man, poor man, beggar man, thief, and probably policemen, too. Perhaps we haven't investigated this branch of the drama quite as often as we should in the Lux Radio Theatre. But when we do engage a manhunter, we get the very best. Tonight, our play is after the Thin man, adapted from the MGM picture and naturally starring the same two players that go with A Thin man story, Myrna Loy and William Powell. It's an occasion for great rejoicing, but we also must hang our heads a little because it's exactly four years since Ms. Lloyd was last at this microphone. There's more to the story of after the Thin man than just the exciting quest of a criminal, because our detective is the extraordinary Nick Charles. And Nick has a lovely wife named Nora. They happen to be very much in love. But even love can't keep Nora from interfering with her husband's business when she has an idea. And Nora is a girl with many ideas. Together they can solve just about any problem you give them. But you don't really need a detective to discover that Lux Flakes is the simple answer to your household problems. It's a deduction that millions of women have made after giving Lux Flakes a trial. Now, if your wits have been thoroughly sharpened and you're ready for anything to happen, we raise the curtain on the first act of after the Thin man, starring William Powell as Nick Charles and Myrna Loy as Nora. The railroad station in San Francisco. Into the dim maze of tracks rolls a mighty streamliner, sleek and shiny after its mad dash across the country. With a final throb of its powerful engines, it comes to rest. From the gate tumbles a crowd of reporters and photographers. They rush breathlessly up and down the length of the platform, eager to be the to greet the arriving celebrities. Mr. And Mrs. Nick Char. Where's Nick? Is he in? He's probably in that car over there. Come on, let's get a statement for you. Is Nick Charles in this car? Charles? Two cars back. Thanks. Oh, there he is.
- [05:13]
B
Hey, Nick.
- [05:13]
A
Hello, Nikki. How does it feel to be home? You going to stay with us a while? From the Chronicle, Mr. Charles. Guy's easy. One at a time. Darling. These are the gentlemen of the press. Gentlemen, my wife.
- [05:25]
B
How do you do?
- [05:26]
A
How's about a statement, Nick? Are you going to keep on with your detective work? No, gentlemen, I've retired. Now on, I'm just going to take care of my wife's money so I'll have something my old age. Oh, you said you'd retired before, but I noticed you took that thin man case in New York. That thin man was a puke. They're still talking about it. You'd take a case like that now, wouldn't you? Not a chance. I just took that to please my wife. She wanted some excitement. Well, I guess you had it, Mr. Charles.
- [05:47]
B
Oh, it was wonderful. Two men tried to kill him, but he's not going to take any more cases. You can print that.
- [05:52]
A
That's the girl. So long, gentlemen. Come on, darling. Goodbye.
- [05:57]
B
Goodbye. Nice to have met you. Dick, slow down. I can't keep up if you're going.
- [06:02]
A
Excuse me, lady. I guess I wasn't looking where I was going.
- [06:06]
B
No, I guess you were.
- [06:07]
A
Hiya, Fingers. Well, well.
- [06:09]
B
Nick Charles.
- [06:10]
A
Well, how are you? Fine. How's business, Fingers? Business? Oh, I quit that racket.
- [06:14]
B
Nick. My purse. It's gone.
- [06:16]
A
Oh, that's a shame, all right. I want you to meet Fingers McCoy. This is my wife, Fingers. Your life. Say, I didn't know she would. Oh, I'm sorry about your face, Mrs. Charles.
- [06:29]
B
What'll I do, Nick? I know I had it with me.
- [06:31]
A
Oh, it'll turn up, won't it, Fingers? I certainly hope so. Sure. Well, so long, Nick. Glad I bumped into you.
- [06:39]
B
Goodbye, Mrs. Charles. Goodbye, Nick. I've got to go back to the train.
- [06:43]
A
No, I wouldn't bother, darling. Let's get home.
- [06:46]
B
I just can't go off.
- [06:47]
A
Come on, now. Come on. You don't want to embarrass him, do you?
- [06:50]
B
What do you mean, Fingers?
- [06:51]
A
He's a purse snatcher. Think of his feelings.
- [06:53]
B
A purse snatcher? Well, he must have taken it.
- [06:56]
A
Certainly. But you see, he didn't know you were my wife. You'll get it back in the morning mail, darling. He's a very honest pickpocket.
- [07:01]
B
Oh, Nick, you do know the nicest people.
- [07:04]
A
Hiya, Nick. Welcome home. Hiya, Bumps. How's the boy? Have a better, Nick. In the pink. See you around.
- [07:09]
B
A prize fighter, darling?
- [07:11]
A
No, no. Wrestler.
- [07:12]
B
Oh, a wrestler. Well, that's different.
- [07:14]
A
I. And the gate. What's a good way? Well, hello, Slats. How's everything? I'm doing okay.
- [07:19]
B
Glad to see you, pal.
- [07:20]
A
Likewise.
- [07:20]
B
Now, there's a sweet character. He ought to be in jail just to play safe.
- [07:24]
A
He got out last Tuesday.
- [07:25]
B
Oh, welcome home, Nora. Oh, hello. Thank you.
- [07:29]
A
Nice to see you, my dear.
- [07:30]
B
Thank you very much.
- [07:31]
A
Now, who are those people?
- [07:32]
B
Darling, you wouldn't know them. They're respectable. You know, darling, the best thing about going away is coming back home.
- [07:51]
A
I suppose you remember that tonight is New Year's.
- [07:53]
B
I know. Got your keys, darling?
- [07:55]
A
Yeah. I also suppose you've got some ideas on the subject.
- [07:59]
B
Very definite ideas.
- [08:00]
A
I was afraid of that.
- [08:01]
B
I want to lock the doors and plug the bells, cut off the telephone and crawl into bed for months.
- [08:06]
A
Mrs. Charles, you're a woman after my own heart. I won't be awake at midnight so I'll kiss you now Happy New Year, Nora.
- [08:13]
B
Happy New Year, darling.
- [08:18]
A
Hi, folks. What you standing out there for? Come on in. Hey, what is this?
- [08:23]
B
Well, it's our house.
- [08:24]
A
All right, come on. Make yourself at home, folks.
- [08:27]
B
Well, let's go in, darling. He says it's all right.
- [08:29]
A
Oh, well, as long as we're invited. There's the bar right in there. Help yourself. Thank you very much. Okay.
- [08:35]
B
What's the celebration?
- [08:37]
A
We're giving a surprise party to Nick and Nora. Nick and Nora, Sure. Don't you know Nick and Nora?
- [08:43]
B
No, we don't.
- [08:44]
A
Neither do I, but that's not going to spoil my fun. It's New Year's, so what's the odds? Go on in. Fake it. It's a cinch. Oh, thanks for the tip. Sure. Get in there and get some of that Napoleon brandy before it's all gone, Dude. May I have this dance, Mrs. Charles?
- [09:00]
B
Thank you, sir. You're a gent. Who are all these people?
- [09:04]
A
Well, now, let's see. It looks like Mo Stone over there. He's a bookie. A fella with him as a police captain. And I've believe the gentleman in a loud suit runs a pool room. That fellow in a fireman's hat.
- [09:14]
B
Never mind. I get the general idea.
- [09:16]
A
Mrs. Charles. Welcome home, madam.
- [09:19]
B
Thank you.
- [09:19]
A
How are you, peters? Never better, Mr. Charles. I'm sorry about the parties there, but they forced their way in. Knowing my friends, I can believe that.
- [09:26]
B
Nick, I smell something burning.
- [09:28]
A
Probably just the living room rug. Or if I may be allowed to suggest, sir. That's probably Mrs. Charles, aunt. She's been calling all day and very much annoyed. She wants you to come to dinner this evening, Mrs. Charles.
- [09:38]
B
Oh, dear.
- [09:38]
A
Goodbye, darling. See you next year. She expects you too, Mr. Charles. Me? Aunt Catherine wants me to come to dinner.
- [09:45]
B
There must be some mistake. She couldn't want you, Nick. I'll take it in the bedroom, Peters. Nick, come with me.
- [09:50]
A
If it's your Aunt Catherine, get out of it. No more family dinners. I wouldn't go through that again if you had twice as much money.
- [10:01]
B
Hello? Hello, Nora? Who is this? This is Selma. Oh, hello, darling.
- [10:06]
A
Darling? Aunt Katha.
- [10:08]
B
Shut up. It's my cousin Selma. How are you, Selma? Nora, I had to call you. I wanted to make sure you were coming tonight. Well, I'm afraid not, Selma. You see. Nora, you've got to come. I'm in terrible trouble.
- [10:18]
A
What?
- [10:19]
B
Please. I can't tell you now. But you must come. I'm desperate. I. Wait a minute. They'll not put down that boat. I won't. I'm speaking to Nora. Hello? I told you you not to call anyone. Hello, Selma. Give me the phone. Hello, dear. Hello, Is this. How are you, Nora? This is Aunt Catherine. Well, what's the matter with Selma? Oh, nothing at all, dear. You know Selma well enough not to pay too much attention to her. We'll see you tonight, Nora. Well, you see, it's New Year's Eve, Aunt Catherine.
- [10:44]
A
The old battle axe.
- [10:45]
B
Shut up. What? Excuse me. Aunt Catherine. I was talking to the dog. Oh. We'll expect you at 7:30. All right, Aunt Catherine. We'll come. Goodbye.
- [10:56]
A
What did you say?
- [10:57]
B
I said we'd be over for dinner.
- [10:59]
A
Oh. My own wife.
- [11:01]
B
I'm sorry, Nicky, but I had to do it. It's Selma. She's in trouble. You like Selma, don't you?
- [11:06]
A
Not as much as that.
- [11:07]
B
But she sounded so funny, as if she'd been crying.
- [11:10]
A
Living as your Aunt Catherine, I can't say I blame her.
- [11:15]
B
Selma. Selma, stop that crying. Do you want the servants to hear you? I don't care. Aunt Catherine. I'm going crazy. I can't stand it any longer. I'm going to call the police. You'll do nothing of the sort. Haven't we paid out enough to hush up his other scandals? He never did anything like this before. How do we know?
- [11:33]
A
But what.
- [11:33]
B
He may be dead. I told you I'd handle this. I can't go on this way. Rob is my husband and. Let me. Quiet. Yes, Henry.
- [11:41]
A
Beg pardon, madam, but should I set a place for Mr. Robert tonight?
- [11:44]
B
Certainly. Mr. Robert will be here.
- [11:46]
A
Very good, madam.
- [11:48]
B
You know he won't be here, Aunt Kathleen. I know nothing of the sort. Now go upstairs and make yourself presentable. When Nora comes, I'm going to tell her. You will not tell her. I will not have that husband of hers snooping into our family affairs. I don't care. He can help us. I'm going to tell him the whole story.
- [12:08]
A
Nick.
- [12:09]
B
Nick. Aunt Catherine wants to speak to you.
- [12:13]
A
What did I do now? Use the wrong fork.
- [12:14]
B
Nick, listen. Do you know why Robert wasn't here tonight?
- [12:17]
A
Sure. Because he's smart.
- [12:19]
B
I'm not fooling. He's disappeared.
- [12:21]
A
That's swell. Now if we could only get rid of Aunt Catherine, we'd be all set.
- [12:25]
B
Come on. She's in the library with Selma. Here he is, Aunt Catherine. Oh, Nicholas. I'm sorry to take you away from the family.
- [12:36]
A
Oh, that's fine. I mean, it's quite all right. Well, what's. What's all this about? Selma, how long has Robert been gone?
- [12:43]
B
Three days. Three days without a word?
- [12:46]
A
You notified the police?
- [12:47]
B
Certainly not. And we're not going to. Oh, no. Robert may be kidnapped. He may be lying dead somewhere. But we mustn't do anything about it. Our precious name might get in the paper. Oh, don't pay any attention to her. She's exaggerating the whole affair. However, to please her, I thought you might investigate the matter quietly. With your experience as a. As a Flat foot. And I didn't mean to be as blunt as that.
- [13:07]
A
Why not? It's all in the family.
- [13:08]
B
Selma, have you any idea where Robert might be? No. But there's a woman mixed up in it. I know it. Selma, you know nothing of the sort. What about the vanity case they sent me from that Chinese restaurant? It was a stupid mistake on their part. Mistake? Some woman left it. He was there with some woman. Selma, you know that Robert worships you. How can you say that? You know he hates me. He only married me for my money. He never did love me. Sometimes I wish he were dead.
- [13:29]
A
Well, I. I'm a little confused. Tell me, Selma, do you want him back or don't you?
- [13:35]
B
Of course she wants him back. Don't, Selma. Come, Selma. I'll take you up to your room. Dr. Callum will be here in a moment. He'll give you something on your nerves. Excuse me, Nora. Nicholas. Well, Nick, what do you think about it?
- [13:48]
A
I'm not thinking at all. What are you getting me into? There are lots of detectives in this town. Men who need the job.
- [13:54]
B
But no one is good as you, Nicky.
- [13:56]
A
That won't get you a thing. I've retired.
- [13:59]
B
But this is different. This is for Selma. You will help find Robert, won't you?
- [14:03]
A
Why? I didn't lose him.
- [14:04]
B
It's your chance, Nick. It'll get you in right with the family.
- [14:07]
A
That's just what I'm afraid of.
- [14:08]
B
Nikki.
- [14:09]
A
Get your hat, darling. We're going to get out of here while we still got the chat. Well, where's it going to be? Still New Year's Eve. We ought to go someplace.
- [14:21]
B
All right. Let's go look for Robert.
- [14:22]
A
Now, listen, my sweet. Hello, Nick. Hello. Oh, hiya, David.
- [14:27]
B
David, how nice to see you. What are you standing out here for?
- [14:29]
A
Oh, they don't let me in the house anymore. Selma said she'd try and meet me later.
- [14:33]
B
I'm afraid she won't be able to make it. Did you know that Robert had disappeared?
- [14:36]
A
If he has, that's the only decent thing he's ever done. What's he been up to lately, David? The last thing he pulled on me was a couple of days ago. Called up and said that if I'd give him $25,000, he'd go away and leave Selma to meet lovely boy.
- [14:48]
B
What did you say?
- [14:49]
A
I asked him to give me a couple of days to think it over. You know, 25,000 would be cheap if he'd really go. Why don't you take up a collection? There are a lot of People who'd like to contribute. Tell me, did you see Selma? How is she?
- [14:59]
B
I'm terribly worried about her.
- [15:01]
A
I know. I am, too. Come on, David. We're going to go someplace and get the taste of respectability out of our mouths. Thanks, but I couldn't.
- [15:07]
B
Oh, David, why not?
- [15:08]
A
I've got too much on my mind. Well, I'm glad you're back anyway. Happy New Year to you. Happy New Year.
- [15:15]
B
Selma was a fool not to have married him instead of Robert.
- [15:18]
A
They can't all be as lucky as you, darling. Well, where are we going?
- [15:23]
B
How do you feel about some Chinese food?
- [15:26]
A
Awful.
- [15:26]
B
Oh, I'm so sorry. Because we're going to that Chinese restaurant that sent the compact. Selma for lychee, please, darling.
- [15:33]
A
Now, see here, I'm not looking for Robertson.
- [15:36]
B
Of course you're not. I.
- [15:49]
A
Hey, Mars. Yeah? Fella here wants a table. Well, tell him we're all filled up. I did. He says to tell you his name is Nick Charles. Nick Charles. Where is he? Over by the dog. Ah. N. This is more like it.
- [16:07]
B
You must feel right at home in a place like this. Too bad we didn't bring Aunt Catherine.
- [16:11]
A
Hello, Nick. How are you? Hello, Dancer. Tell me, haven't any tables. Oh, I guess I can find one, seeing as it's you. You just slumming, that's all, Dancer. Why? Just wanted to make sure. I don't like business calls on New Year's. Oh. Say, I want you to be my partner. Hey, Lum Keith. Come here. Yes. Why don't you meet a friend of mine? Lum Keith, this is Nick Charles and Mrs. Charles. Oh, I'm your friend. You bet you. You sent his brother up. Nick Ling, remember? Oh, yes, yes. He's the one who spread a tong war out to include sticking up a bank. You. You bet you. You catch my brother, you play trick on him. Don't play trick on him or catch him. You bet. You still in jail? Oh, you bet you. Four, five years?
- [16:57]
B
More.
- [16:57]
A
Goodbye. Nice start.
- [16:59]
B
Please. Is he a tong man too, Mr. Dancer?
- [17:02]
A
No, but you never can tell how close brothers are. I thought you might like to know, Nick. Thanks. He's a good guy to have liking him. Oh, there's a table over there by the wall. This way, Mrs. Charles.
- [17:13]
B
Nicky. There's Robert.
- [17:15]
A
I know I saw him before.
- [17:16]
B
Why didn't you tell me? Robert. Robert.
- [17:19]
A
Oh, hello. Good evening, Robert. Happy New Year. Is it?
- [17:24]
B
Robert. What are you doing in a place like this? We just saw Selma, Robert. Yeah, she's terribly worried about you. Don't you Think you'd better go home.
- [17:32]
A
Sure. I'll go home when I feel like it and not before.
- [17:36]
B
Robert.
- [17:37]
A
Oh, let him go. Got your table, Mick? Oh, is that fellow friend of yours? On the contrary, he's a relation. He's been hanging around here drunk for three days. He's got a case on our prima donna.
- [17:47]
B
I wish you'd toss him out. His wife is going crazy.
- [17:49]
A
Oh, that's too bad. I'll speak to his girlfriend.
- [17:54]
B
Well, I've done my duty.
- [17:58]
A
Hey, Polly. Polly, come here.
- [18:01]
B
What's up, Dancer?
- [18:02]
A
Listen, that boyfriend of yours is pretty drunk.
- [18:04]
B
So what? I thought that was the idea. Keep him happy.
- [18:07]
A
Sure, but a couple of his relations just blew in.
- [18:09]
B
Relations? What do we do?
- [18:11]
A
Well, give the customers one more song and then knock off for the night and take him out of here.
- [18:15]
B
Okay, okay, but I'm getting sick of that guy.
- [18:17]
A
It'll just be Lamar, honey, and then he can turn him loose.
- [18:19]
B
Tomorrow's a holiday. The banks will be closed.
- [18:22]
A
That's right. Well, then the next day. Ah, what's the difference? Ain't it worth it?
- [18:25]
B
I guess so.
- [18:26]
A
That's the girl. I'll make it snappy, Polly. I'll keep an eye on him. Hey, Polly.
- [18:31]
B
Yeah, what?
- [18:32]
A
I got a message for you.
- [18:34]
B
What is it?
- [18:34]
A
Your brother's looking for you.
- [18:36]
B
My brother? Where is he?
- [18:37]
A
In your dressing room. He wants to see you right away. Hello, Polly. What's the matter? You don't look so happy to see me.
- [18:46]
B
Please, Bill, don't try to start anything.
- [18:48]
A
I'm in a hurry. You've been in a hurry ever since I got back.
- [18:50]
B
Can I help it if I gotta work?
- [18:51]
A
That's not what I'm kicking about. What's going on with this drunk Robert Landis?
- [18:54]
B
Nothing.
- [18:55]
A
Oh, no? Then what's this check doing on your dressing table?
- [18:58]
B
Give me that.
- [18:59]
A
A check made out to you signed by Robert Landis. Get out of here.
- [19:02]
B
What are you.
- [19:02]
A
Shut up or I'll smack you right in the teeth. I'm in on this, you know.
- [19:05]
B
Phil, please.
- [19:06]
A
If you don't cut me in, the party's off.
- [19:07]
B
I can't cut you in.
- [19:08]
A
The check's yours, ain't it?
- [19:09]
B
Yes, but.
- [19:10]
A
But what? But what? Let me go.
- [19:12]
B
Let me.
- [19:12]
A
Sure, but this is just to remind you that I'm in on the deal.
- [19:18]
B
You big lug. Look what you've done to my face. How am I going to explain that?
- [19:22]
A
There's a lot of things you'll have to explain before I'm through. You and Dancer are taking this landisky for plenty of dough, aren't you?
- [19:27]
B
What about it?
- [19:28]
A
How much? Come on, how much?
- [19:30]
B
25,000.
- [19:31]
A
Did you get it yet?
- [19:32]
B
No.
- [19:33]
A
Go ahead, spill it.
- [19:34]
B
Some friend of his wife's is putting it up to get him to leave her alone.
- [19:37]
A
So you're going to keep him drunk and then collect it for him. When? I don't know when.
- [19:41]
B
I said tomorrow night.
- [19:43]
A
Okay, I'll be around the next morning early. What are you doing here? Hi, Dancer. Just leaving. So long, Polly. What did that he'll want?
- [19:57]
B
Nothing. It's okay, Dancer.
- [19:58]
A
Now listen, there's a switch in the plans. I just heard that that doe is being handed over tonight.
- [20:02]
B
Tonight?
- [20:03]
A
That David guy is meeting Landis in front of his house. Now you better be with Landis.
- [20:06]
B
He I'll be there.
- [20:07]
A
I told Nick that you were taking Landers home. Now make sure they see as you go out.
- [20:10]
B
Sure.
- [20:10]
A
And when the dough's delivered, you know what to do. I'll be across the street just in case something goes wrong. Now get going. And no slip ups. Hey, must be clear.
- [20:31]
B
Happy New Year. Nikki.
- [20:33]
A
Where have you been?
- [20:34]
B
Trying to find a phone. I wanted to call Selma and see if Robert got home.
- [20:38]
A
Oh, come on. There must be a phone in Dance's office. He won't mind. Hello, Dancer. Men. What are you doing in this office? The was calling a number. Any objections? Once a gum heel, always a gum heel. I don't like gum heels. And I thought you'd quit it when you married a pot of money.
- [21:05]
B
Did he call me a pot?
- [21:08]
A
I don't like to be critical, Dancer. You know it doesn't look quite right when you and your partner and your prima donna and your best customer all go out at the same time. And it gives the place a sort of a vacant look. Have you ever been thrown out of a place, Mr. Charles? How many places was it up to yesterday, Mrs. Charles?
- [21:26]
B
How many places have you been in, Mr. Charles?
- [21:28]
A
Hello, Aunt Catherine. This is Nick Nicholas. What? When I see. Yes, I will by. If you're throwing here, you can beat it.
- [21:46]
B
What's the matter, Nick? Bad news? Dental. You'd better.
- [21:49]
A
Ah, Polly, come in. Another of our travelers has returned. Now if only Lum Key will no sooner said than done. Oh, someone called me. Quite a gathering the clan, isn't it? I wonder which one of you would be most surprised if Robert Landis walked in. Now you know there's no chance of that, don't you? All of you. Now I don't know what you're talking about. Now get out of Here.
- [22:10]
B
What is it, Nick? What's happened?
- [22:12]
A
Robert's been killed.
- [22:14]
B
Killed?
- [22:14]
A
He's killed on the front steps of your aunt's house. Police are questioning Selma. What's that gotta do with us? Go on, get out. You said that before, Dancer, and it's foolish. I'm not going to get out. On the contrary, we're gonna have a lot more people in. Listen, you. Hello, Nick? Charles speaking. I want to get hold of Lt. Abrams, the Homicide squad. Why are you calling him? It's a cinch none of us shot Landis. That's so. Well, then maybe you'd likely explain how you knew he was sh. The curtain falls on Act 1 of after the Thin man with Myrna Loy and William Powell. During this short intermission, before Mr. DeMille presents Act 2, we introduce a very charming guest. Strike up the bamboo. That music, ladies and gentlemen, welcomes a real Southern Bell. Ms. Mary Nell Porter from Memphis, Tennessee. In private life, she's a debutante. But this spring she's touring the country in a very important role as maid of Cotton. Representing our huge cotton industry. We're certainly delighted to welcome you to the lux Radio Theatre, Ms. Porter.
- [23:30]
B
Thank you very much, Mr. Roy. I'm so glad to be here.
- [23:33]
A
I hear that you've been doing quite a little flying the last three months.
- [23:36]
B
I certainly have. Over 12,000 miles.
- [23:39]
A
And on top of that, I understand that you've had a staggering schedule of fashion shows and radio speeches and personal appearances in 30 different cities.
- [23:47]
B
It has been a very interesting experience. And I've enjoyed meeting so many nice people all over the country. We've had such large crowds at all our cotton fashion shows.
- [23:56]
A
Well, I'm sure the women want to hear about that.
- [23:58]
B
I'd love to talk about it. You know, cotton is terribly smart this year for playsuits and street dresses and evening frocks.
- [24:05]
A
Now, here, just a minute, please. How about giving us some details?
- [24:09]
B
Well, there's a very good looking red and white striped daytime dress with big sleeves. And has a very full skirt with the cutest Dutch boy pockets. I wear it with blue shoes.
- [24:19]
A
That sounds very patriotic.
- [24:20]
B
It surely is. Red, white and blue is always fashionable this year. A lot of the dresses on our show are patriotic.
- [24:27]
A
I see where the stripes fit in then.
- [24:29]
B
Well, they're smart, too. And so are flower prints. My bathing suit has tropical flowers scattered all over it.
- [24:36]
A
Oh, so cotton goes swimming?
- [24:38]
B
I should say it does. And dancing, too. You should see one evening dress in our fashion show. It's a brilliant red muslin with large white Hawaiian Flowers all over it.
- [24:48]
A
Straight from the South Seas.
- [24:49]
B
Well, straight from a storybook. It has the sweetest puff sleeves and a long Basque bodice.
- [24:55]
A
Well, tell me, is cotton all glamour?
- [24:57]
B
Goodness, no. It's simply wonderful for wine in town, too. Things like gingham or bouquet or seersucker make beautifully tailored suits. They're cool as can be and awfully easy to take care of.
- [25:09]
A
Ms. Porter, don't you find it hard to keep all these lovely cottons fresh on your trip?
- [25:14]
B
Not at all. You see, the whole wardrobe is flexible. Even some of my shoes and bags.
- [25:19]
A
That makes things easy, doesn't it?
- [25:21]
B
I should say so. Why, New Quick Luxe flakes are simply wonderful. They take such beautiful care of all the lovely new cottons. You know, everything safe in water is safe in luxe.
- [25:31]
A
Ladies, please note, this year, smart cottons are really fine fabrics. And they must be treated gently. Just like washable silks, rayons and woolens. New Quick Luxe is so mild, it keeps them new looking longer.
- [25:45]
B
That's why we use it for everything in our cotton show.
- [25:48]
A
Well, we've certainly enjoyed having you with us tonight, Ms. Porter.
- [25:51]
B
Thank you so much. I'm. I glad to met you all.
- [25:54]
A
Good night and good luck on your trip home.
- [25:56]
B
Thank you. Good night.
- [26:01]
A
Now, our producer, Mr. Demille. Act two of after the thin man. Starring william powell as nick charles and myrna loy as nora. It's two hours later with mystery shrouding the death of race Robert Landis. The police have been questioning Selma, who discovered the body. Now the grilling is over and her nerves are worn to the breaking point.
- [26:30]
B
They're going to arrest me. They're going to arrest me, Nora. No. No. Of course they all believe I did it. Aunt Catherine, everyone. They don't, Selma. They don't think that at all. I know. I heard them. Now, darling. I didn't kill him, Nora. I didn't. I'm sure I didn't. I couldn't have. What? What do you mean? Nora, you'll help me, won't you? Tell me what happened.
- [26:49]
A
Everything.
- [26:49]
B
He came to the house at midnight to get his things. He said he was leaving me. I tried to stop him. He pushed me away and went down the stairs. I followed him to the front door. While he was letting himself out, I went to the library table. There was a gun there. A gun seller. I didn't mean to use it. I only wanted to frighten him, to make him come back and listen to me. All right, go on. I went to the door. He was standing on the steps, looking up and down the street. And then there was a shot and he fell. Where did the shot come from? I don't know. I don't know. All right, darling, never mind. You've been through enough. You better lie down now and rest. I can't. I can't rest. I've got the bank. I've. Nora. Yes? David. What about David? He thinks I'm guilty, too. He thinks I killed Robert Selma Hubbard. He must think so, or he wouldn't have taken. He wouldn't have taken what? Nothing. But he mustn't think that I couldn't bear it. You must tell him. Tell him I didn't do it. Couldn't you tell him? No. No. Somebody might be listening. You go to him. Tell him. Hurry.
- [27:57]
A
Who is it?
- [27:58]
B
It's me, Nora.
- [28:01]
A
Hello, Nora. This is a surprise. Come in.
- [28:04]
B
I got over as soon as I could, David. Selma said that.
- [28:07]
A
Is there anything wrong?
- [28:08]
B
Well. You mean you don't know?
- [28:10]
A
Know what? What's happened?
- [28:11]
B
Robert's been killed.
- [28:12]
A
Killed? That's impossible.
- [28:14]
B
What do you mean?
- [28:15]
A
I saw him only a little while ago.
- [28:16]
B
How long ago?
- [28:17]
A
About 10 o'. Clock. I met him in front of the house and gave him $25,000 in bonds.
- [28:21]
B
Wait a minute. This is too much for me. Where did he go then?
- [28:25]
A
He went inside the house to get his things.
- [28:28]
B
Oh. Then it was when he came out again that he was shot.
- [28:31]
A
I've got to see Salma. Will you come with me?
- [28:33]
B
Come on.
- [28:34]
A
No. No, you don't. Stay right where you are, the both of you. What is this? Who are you? Detective Malloy, Homicide Squad. We've had our eye on you, buddy. Trying to make a getaway, huh? Are you crazy? Listen, someone's been kidding you, Officer. Sure. Remember you were kidding too when you were seen throwing that gun into the river. David, it's all right. There's been a mistake. Tell Selma, will you?
- [28:52]
B
All right.
- [28:53]
A
Come here, sister. You're not telling anybody anything. You're going along with us.
- [28:57]
B
Where?
- [28:58]
A
On the headquarters.
- [28:59]
B
Oh. Oh, you don't understand. I'm Mrs. Nick Charles.
- [29:04]
A
Oh, yeah? And I'm Mother Goose. Come on, step on it. Hello, Nick. Jeff. This is Abrams down at headquarters. Oh, a mile. Say, Nick, we picked up a woman a few minutes ago with David Graham's apartment. She claims she's your wife. My wife?
- [29:26]
B
Yeah.
- [29:26]
A
Says her name's Nora. What about it, Nick? Nora. Nora. Oh, sounds like a phony to me. You better put her in the jug till I get down there. You're the doctor, Nick. In the Jug. She goes.
- [29:42]
B
Right down here, Mr. Charles.
- [29:44]
A
Thank you, Matron.
- [29:45]
B
Nick. Nick. Here I am. Over here.
- [29:48]
A
Well, hello. Fine way to start the new year, getting thrown in the can.
- [29:53]
B
Nicky, get me out of here.
- [29:55]
A
How long has this thing with David been going on?
- [29:57]
B
Oh, Nick, stop that and get me out of here. I've got something to tell you.
- [30:00]
A
About the case? Yes. Oh, no. I'll get you out on one condition. No more cases, no more detecting. Promise?
- [30:07]
B
But this is important. Do you want me to let her out, Mr. Charles?
- [30:09]
A
Definitely not.
- [30:10]
B
Nicky, please.
- [30:12]
A
Well, promise?
- [30:13]
B
I promise.
- [30:13]
A
All right, let her out. Nickel.
- [30:15]
B
Nick, have you been working on the case?
- [30:17]
A
I've been giving it my undivided attention.
- [30:19]
B
What have you found out?
- [30:20]
A
Nothing.
- [30:21]
B
Oh, Nick.
- [30:22]
A
The only new development is that Polly has a brother. Where? We don't know what about her?
- [30:26]
B
And Dancer and Lum Key.
- [30:28]
A
All in the neighborhood at the time of the shooting. We've established that, but we can't prove a thing.
- [30:32]
B
But, Nick, somebody killed him.
- [30:34]
A
Yes, I think that's been proved. Mrs. Charles?
- [30:36]
B
Yes?
- [30:36]
A
Lieutenant Abrams wants you for questioning.
- [30:39]
B
Questioning? Nikki, they don't think I'm mixed up in this.
- [30:42]
A
Don't worry, darling. If they find you guilty, I'll write you every day. This way, please, Nikki. Now, tell me, Mr. Graham, were you and Robert Landis on good times? Decidedly not. On Bad times, Mr. Graham, very bad. You and Mrs. Landis were once engaged, weren't you? Until Landis came along, yes. Ever ask her to divorce him and marry you? I may have. She never said she would. But you hope she would. And you thought that with him out of the way, she might. I didn't kill Robert. No, of course not. But you did pay him to go away? Yes. Lieutenant Abrams, my wife. Oh, come on in. I gotta ask her some questions. Mr. Charles, I'm sorry. Quite all right. Go ahead. Now, Mrs. Charles, why did you go to Mr. Graham's apartment? What?
- [31:25]
B
What?
- [31:27]
A
Maybe I'd better leave.
- [31:29]
B
No. Selma had a silly idea that David thought she. She killed Robert. She wanted me to tell him that she didn't.
- [31:36]
A
Why, I can't imagine how she could think a thing like that. It's ridiculous. I haven't seen her for a couple of days. There's Mrs. Landis, boss now. Will you come in, Mrs. Landis?
- [31:44]
B
David. Oh, I didn't want you dragged into this.
- [31:47]
A
Oh, no. It's all right, dear. Mrs. Landis, why did Mr. Graham think you killed your husband? I never said that. I never thought it for one minute.
- [31:53]
B
Don't, David. He had every right to think I Did it? He's just trying to protect me. He heard a shot. He rushed up to me and saw me standing near Robert with a gun in my hand. But I didn't fire the shot. It came from the street.
- [32:04]
A
You mean you didn't kill him?
- [32:06]
B
No. Look at the gun, David. It hasn't been fired.
- [32:08]
A
Oh, Selma, forgive me.
- [32:10]
B
Of course I forgive you.
- [32:12]
A
Well, that's all cleared up. Come on, Laura. It isn't cleared up as far as I'm concerned. I've got to have something more than that. Where's that gun, Mrs. Landis? I've got to see that gun.
- [32:21]
B
Well, I haven't got it.
- [32:22]
A
What?
- [32:22]
B
Well, David took it from me. David, where's the gun? What is it, David?
- [32:27]
A
Selma, I thought you were guilty. I thought I was doing the only thing. I threw it away.
- [32:32]
B
You threw it away?
- [32:33]
A
I threw it into the river. Oh, that's marvelous. But they can get it. I'll tell them where I threw it. I'll get divers to go down after it. They'll find it. They must. Bowie, she don't want that gun back any more than you do. Hey, Mac. Swear out a warrant for the arrest of Mrs. Robert Landis on suspicion of murder. Nikki?
- [32:57]
B
Nikki, are you awake?
- [33:01]
A
No. No, I'm not.
- [33:03]
B
Oh, I thought you were. Did you say something about scrambled eggs?
- [33:09]
A
No. No, I didn't. I suppose that means you'd like me to fix some for you.
- [33:16]
B
Oh, no, I don't care about them.
- [33:18]
A
Sure.
- [33:19]
B
Really.
- [33:20]
A
Good. Good night.
- [33:21]
B
Good night. After all, if I want scrambled eggs, I can get them for myself. Of course, I'm not as good a cook as you are, but. Oh, well, don't bother about me. You go on sleeping. I love to watch you sleep. You look so cute. Nikki, have you any pictures of yourself taken as a baby?
- [33:43]
A
No.
- [33:43]
B
Oh, that's a shame. I wanted to see what you looked like.
- [33:47]
A
I'll have one taken in the morning.
- [33:51]
B
Poor Selma. Poor David. Nikki, can you reach the water?
- [33:57]
A
Oh, yes, I suppose so. Yes.
- [34:01]
B
Oh, I didn't want it. I just wanted to be sure you could reach it.
- [34:06]
A
All right. Please go to sleep.
- [34:09]
B
I can't. I keep thinking of Selma down in that jail.
- [34:12]
A
Darling, there's nothing to worry about. Tomorrow they'll find the gun. They've only been fired. Selma will be free.
- [34:21]
B
Then you don't think she did it?
- [34:23]
A
For the 10th time, no.
- [34:25]
B
You're not saying that just to make me happy. You really mean it?
- [34:28]
A
Yeah, I mean it.
- [34:30]
B
Of course, you're right. She didn't do it. She couldn't have done it. I don't think I'd kill you if you ran off with another woman.
- [34:38]
A
Thank you, darling.
- [34:40]
B
I might, though.
- [34:42]
A
Nora, don't be morbid. Go to sleep. What my name? Up.
- [34:48]
B
Nick, the window.
- [34:48]
A
Keep her head down.
- [34:50]
B
Nick, somebody smashed the window.
- [34:52]
A
No, really.
- [34:53]
B
Look. There's a rock with a note attached to it. Nicky. A note?
- [34:57]
A
Let's see.
- [34:58]
B
What is it, Nick? What does it say?
- [35:01]
A
Silly little woman. I told her to stop writing to me.
- [35:03]
B
Oh, darling, please read it.
- [35:07]
A
Mr. Mick Charles. If you want to know something about the murder of Robert Landis, get a line on Phil Burns, the guy Polly says is her brother. He's an ex con and was married to Polly in Topeka, Kansas three years ago.
- [35:21]
B
Married three years ago?
- [35:23]
A
What are we supposed to do, send them an anniversary present? Look at the way this fellow spells Topeka. T O P E K E R.
- [35:32]
B
What's the matter with that?
- [35:36]
A
Nothing, darling. Good night.
- [35:37]
B
Oh, Nick, you can't go back to sleep now. Phone Abrams.
- [35:41]
A
What, and have him here keeping us up all night?
- [35:43]
B
Don't you see? If Phil is her husband, then he shot Robert because he found out about him and Polly. Oh, Nicky, you've got to call him.
- [35:51]
A
Just as you say. You hand me the phone.
- [35:54]
B
Oh, isn't it wonderful? Everything's working out beautifully. All we have to do is find this fellow Phil Burns and we've got the murderer here. Darling, call him. And now, who can that be?
- [36:06]
A
Oh, hello, Nick. This is Abrams. Oh, I was just going to call you. Yeah, well, maybe you better get down here. You know that guy Phil Burns, Polly's brother? Yeah, what about him? We traced him to his hotel. You find him? Yeah, but somebody else found him first. He's been murdered. Well, there he is. That's the way we found him, Nick. Dead for two hours at least. Strangled?
- [36:36]
B
Yeah.
- [36:36]
A
Looks like he was beaten up a bit before the strangling set in. Any fingerprints? All over the place. We're checking on him now. What else did you find? Nah, nothing much. He had a.38 in his drawer, six bullets in it and a little dough. Oh, yeah, and this key. I guess it's the key to Polly's apartment. It's got her number stamped on it. Another good guess would be that Solomon Landis didn't do this. Fair enough. But he wasn't killed the way Landis was either. Might be a good idea to check the chambers on that. 38. He might have fired it and slipped in a new shell. Okay. Anything else on your mind? Yes. That key to Polly's apartment. Could I borrow that for an hour? Sure. Here. Maybe you better give me a skeleton key, too, just for good measure. Okay. What are you looking for? The faintest idea. Just a hunch. Call you later. Okay.
- [37:22]
B
Nick, what did you find in there?
- [37:24]
A
Dead man.
- [37:25]
B
Is that all?
- [37:26]
A
Isn't that enough?
- [37:27]
B
Where are we going now?
- [37:29]
A
Well, I don't know about you. I'm going to visit Polly Burns.
- [37:33]
B
At this time of night? Without a chaperone?
- [37:35]
A
Nora, this is purely business.
- [37:37]
B
For me too. Come on, darling. She's not home. Ms. Burns keeps late hours, doesn't she? Nick, where'd you get that key?
- [37:58]
A
From Abrams. It was in Phil Burns pocket.
- [38:00]
B
Oh, it's good you had an answer for that.
- [38:04]
A
Go on in. Be quiet.
- [38:06]
B
Here's a light switch.
- [38:07]
A
You turn it on.
- [38:09]
B
What do you expect to find in here?
- [38:10]
A
I don't know.
- [38:11]
B
Well, how do I know what to look for?
- [38:13]
A
Don't look for anything. Go over there and sit down.
- [38:15]
B
Suppose she comes in. What do we do?
- [38:17]
A
Tell her it's a surprise party.
- [38:20]
B
Anything in the drawers?
- [38:21]
A
Give me a chance.
- [38:24]
B
Nick, why do you suppose people want a hole in the ceiling?
- [38:27]
A
They don't.
- [38:28]
B
Some people do. Look up there.
- [38:30]
A
Where?
- [38:31]
B
Up there. See? In the corner. A little hole in the plaster. What could that mean?
- [38:37]
A
Well, it might mean that the ceiling's falling down, or it might What? What's the number of this apartment?
- [38:44]
B
3D.
- [38:45]
A
I wonder who lives in apartment 4D. Let's go upstairs and find out.
- [38:55]
B
Here it is. 4D. This is right over Polly Byrne's apartment.
- [38:59]
A
What's the name on the bell?
- [39:01]
B
Uh, Anderson. Say, where did you dig up all these keys? We're going to visit Mr. Anderson or Ms. Anderson. It doesn't say which. Anybody home?
- [39:13]
A
Put on the light. Let's see. That hole in the ceiling downstairs was right under this corner. I'm right. These floorboards ought to be loose.
- [39:24]
B
Oh, I get it. Somebody took this apartment so they could see what went on downstairs.
- [39:28]
A
Exactly.
- [39:29]
B
Look through the hole, Nikki. What do you see?
- [39:32]
A
Well, that's funny.
- [39:34]
B
What is it?
- [39:34]
A
I can't see anything. It's the hole's been plugged up from the other side. What?
- [39:39]
B
But how?
- [39:40]
A
There's somebody down there now. Somebody who knows about this peephole. Whoever it is plugged it up while we were coming upstairs. Nick, you stay here.
- [39:47]
B
No, Nick, it may be the murderer. Nikki, wait.
- [39:50]
A
I got to see how it is.
- [39:55]
B
Listen, whoever it is just left. I can hear him going downstairs. Nick, let him go.
- [40:00]
A
All right. We've got to catch him before he gets to the street.
- [40:02]
B
Nick, wait for me. Well, you see who it was?
- [40:11]
A
No. He went through that door at the end of the hall.
- [40:14]
B
That must go to the cellar.
- [40:16]
A
Wait here and don't move.
- [40:19]
B
Nick, be careful. It's black as pitch down there.
- [40:22]
A
Right back. Darling, Would you like to come on upstairs? Do I have to come and get you? All right, have it your way. Come on. I can see you over there. Come on out or I'll.
- [40:52]
B
Nick. Nick, are you all right?
- [40:54]
A
I'm okay. Come on down.
- [40:58]
B
I can't see. Nikki, did he get you?
- [41:01]
A
No, but I didn't get him either. You get out through a window over there.
- [41:05]
B
Oh, darling, I was so scared. Where are you? Oh, Put your arms around me, darling. Are you sure you're all right? Oh, Nicky, you're bleeding.
- [41:16]
A
What are you talking about? I'm not bleeding.
- [41:18]
B
Nick, where are you?
- [41:19]
A
I'm here.
- [41:20]
B
Well, then, who's this man over here?
- [41:38]
A
You have just heard Act 2 of after the Thin Men with William, Paul and Myrna Loy. During this brief intermission, before Mr. DeMille presents Act 3, we bring you another story about Mary. She's washing dishes. Oh, boy, is she mad. I say, look at her hands. They're all red and coarse. Here, let's see your soap, Mary. Oh, it's harsh. And soap that's harsh pecks away at your hands. No wonder they're red and rough. Here's a friendly tip. Try New Quick Lux. It's so kind to your hands. So mild, so pure. I want you to hear about our one hand test of five dishwashing soaps, including Lux. Now, here's the story. In the words of one of the women who took the test, Mrs. Hugh Rennie of New York.
- [42:39]
B
She says, for 20 minutes, three times a day. That's just about the time I spend doing my own dishes. I dipped one hand in luxe suds and the other in suds from another soap.
- [42:50]
A
Mrs. Renney took that test for several weeks under conditions similar to home dishwashing. She goes on to say, at the
- [42:57]
B
end of the test, my luxe hand was still nice and smooth, while the other hand was coarse and red. I hadn't realized there was such a difference in dishwashing soaps. I'll never use anything but Lux.
- [43:10]
A
Hundreds of women took that one hand test with similar results. It proved luck's kindness to hands. Try it yourself and see. Ask for the generous, large box of New Quick Lux tomorrow and use it for dishes every day. It's so thrifty. Even in hard water. It gives more Suds ounce for ounce than any of 10 other leading soaps tested. It's fast, too. Yet it costs you no more. Remember New, Quick, Lux. In the same familiar box. We pause now for station identification. This is the Columbia Broadcasting System. The curtain rises on act 3 of after the thin man. In the thick blackness of the cellar, Nora has bumped into a man she thought was Nick. Now she discovers her mistake, and Nick rushes to her side. With quick, tense fingers, he strikes a match. There in the wavering light, a man stands propped against the wall. As they stare at his gleaming white face, he slumps to the floor at their feet.
- [44:40]
B
Nick.
- [44:40]
A
All right, take it easy.
- [44:42]
B
What's the matter with him? Is he. Is he.
- [44:44]
A
Yeah. Dead. Shot.
- [44:47]
B
When? When was he? I've seen that man before.
- [44:51]
A
You know him? Who is he?
- [44:53]
B
Light another match, quick. Well, of course I know him. His name is Pedro Dominguez. He used to be my father's gardener about six years ago.
- [45:03]
A
Your father's gardener? That does a lot of good. Come on. We better call Abrams. What'd you find out, Lieutenant?
- [45:17]
B
Was I right about his name?
- [45:18]
A
Yes, you are, Mrs. Charles. Pedro Dominguez. But he wasn't a garden of anymore. He was janitor of this building. Probably shot about five hours before you found him. But he's a very funny thing. Go ahead. We can stand a laugh right now. The telephone company tells us that about 11:30 last night. That'd be just before he was shot. Someone here called up information and asked for Nick Charles.
- [45:39]
B
Number, Our number. What would Pedro Dominguez be calling Nick for?
- [45:43]
A
I don't know. Do you, Nick? I can't imagine. I haven't even heard his name for six years. Did you remember him when you saw his face? No. That's funny, seeing he used to be Mrs. Child's gardener. Who remembers a gardener unless he squirts a hose at you? Did you recognize him right away, Mrs. Charles?
- [45:59]
B
I had to look twice. He's a lot grayer than he used to be.
- [46:02]
A
By the way, what did you find out about the person in the apartment over Polly Burns? Not a thing. Not a fingerprint in the place. Not a stitch of clothes. Only a hunk of lead pipe and a ladder. Piece of lead pipe and a ladder. That's interesting. Anything in Pedro's books? No. Just that someone named Anderson took the apartment a week ago. Paid cash in advance. That's all, huh? That's all. And the name is Anderson. No front name, no Mr. Mrs. Or Miss. That's just dandy. You know, I've got a Feeling that if we could just find out who took that room, we might have our murderer. Well, what do you think we ought to do? Get them all together in the Anderson apartment. Everyone that's mixed up in this. Let's shake them all up and see what happens.
- [46:43]
B
Yaran, are you going to take the murderer tonight?
- [46:46]
A
We're going to try.
- [46:47]
B
How are you going to do it, Nicky?
- [46:48]
A
I haven't the slightest idea. I'm just going to listen, pray that somebody makes a slip. Just one slip, Lieutenant. Get them all here. All set and waiting. Nick. Picked up Dancer and Lumpke at the Lychee. Polly was with them. Then there's that David Graham guy and your wife's cousin, Selma Lance. Anyone else? Yeah, a fat dame they call Aunt Catholic. I brought him along for luck as well. Oh, say, before you go in, I checked Phil Burns apartment. Dancer's fingerprints were all over the joint. Dancers. You sure? Sure, I'm sure. You haven't told him, have you? Not yet. All right, don't. What's your plan, Nick? Build up a case against each other. Throw all we've got at them and throw it hard enough to bounce. I'll make it bounce, all right. And keep them talking. Nick.
- [47:43]
B
Come on. The party's getting dull.
- [47:45]
A
Coming. Evening. Shut that door, please. It's enough. Sure. Ladies and gentlemen, I asked you all down here because we've just found that another murder has been committed. He's a man I think you all know. Pedro Dominguez.
- [48:06]
B
Pedro? Killed?
- [48:06]
A
Yes. What do you know about it, Polly?
- [48:09]
B
Nothing. I only saw him a couple of times when I went down to pay my rent.
- [48:13]
A
What about you, Dancer? You're in and out of this apartment. You must have known him. Sure, I know him. So what You, Lumke? I never been in this house before. You knew him, Selma.
- [48:23]
B
I. No, I don't think I remember. Selma, he was our gardener six years ago. Oh, David, you remember Pedro Dominguez?
- [48:30]
A
Yes, vaguely. A man with long white mustaches. What did you know about him, Mr. Graham? Nothing. That was six years ago. I haven't seen him since.
- [48:37]
B
Nicholas, I can't see what possible connection this can have with us.
- [48:41]
A
It's very simple, Aunt Catherine. You see, Pedro and Robert were both shot with the same gun. There was some monkey business going on we want to find out about. Seems that one week ago, Pedro rented an apartment to someone calling himself or herself Anderson. Did you ever see this Anderson, Polly?
- [49:02]
B
No.
- [49:03]
A
Did you ever hear anyone in the apartment just over you?
- [49:05]
B
No.
- [49:06]
A
I thought not. This Anderson intended to climb down into Your apartment one night with the aid of a ladder. And polish off Robert with this lead pipe. Then he was going to climb up to his place again. And leave you holding the bag for Robert's murder. Now, do you know anyone who would be interested enough in you to do that?
- [49:24]
B
Why, no.
- [49:25]
A
You're Dancer's girl, aren't you?
- [49:26]
B
I work for it.
- [49:27]
A
That's not what he asked. Well, did Dancer know that you were going away with Robert?
- [49:30]
B
Why?
- [49:31]
A
Come on. Come on. You told us before.
- [49:33]
B
You said you'd keep that a secret. I'll never trust a cop again.
- [49:36]
A
You've made a dicker with the police. Okay, Polly, but that ladder stuffs a lot of malarkey, Nick. No one did come down that ladder, and Landis wasn't killed in her place. The only reason the murderer didn't kill him that way was because he was found out. Pedro came in yesterday to clean up Anderson's apartment. And discover the loose boards on the floor. He didn't like the looks of things, so he put a new lock on the door. When Anderson came in, he found he was locked out. He heard Pedro telephoning me and he killed him. So what? So who is Anderson? I'll bite. Who? Polly, Phil had a key to your apartment, and Dancer had one. Yeah, who else? Nobody. He's trying to hang this murder up on us to protect his own family. That's Salma Dane. He knocked her husband off. Everybody knows that. And then you got your boyfriend David to throw away the gun. That's a lie. Now, just a minute, please. Look, Dancer, let's come clean. You and Polly and Lum Key were out to shake Robert lammas down for 25 grand, right? Oh, sure. Then I suppose I knock him off and stir up all this fuss before I get to dole. What kind of a stumble bum does that make me out to be? You're the kind of a stumble bum that left your fingerprints all over the room when you killed Phil Burns.
- [50:46]
B
Phil. Phil's dead?
- [50:47]
A
Yes. Strangled. Well, I didn't do it. Then why did you go to his place? Because I thought he'd gummed up my game. I figured he'd try to stick up Landers and had to kill him. So I pushed him around a little to learn the manners. And when I left him, he had a split lip and a couple of dents in him. But he was just as much alive as you are. If that means anything. Polly, who knew Phil was your husband?
- [51:08]
B
What?
- [51:09]
A
You were married, weren't you?
- [51:10]
B
Yeah.
- [51:10]
A
So Phil was your husband as if you didn't know. I never knew to know. But I wish I had. Polly, didn't you ever tell anyone that you were married? Polly?
- [51:19]
B
No.
- [51:19]
A
Would Phil have told?
- [51:20]
B
No.
- [51:21]
A
Did you and Phil talk about it?
- [51:22]
B
Yeah. One night last week. But no one could have heard. We were alone down in my room.
- [51:27]
A
Alone? Don't forget, Anderson could hear everything that went on in your room. Lieutenant, when was Phil Burns killed? Oh, about two, near as we can figure. At 3:30, Anderson threw this note in at my window. He was beginning to use some of the information he gathered while he was up here. Dancer, how do you spell Topeka? None of your business. This note is a poor attempt at illiteracy. The easy words are spelled wrong and the tough ones right. Like to see it, Lumke. It was meant just to steer me down to Phil's place to find his body. And your fingerprints. Dancer. Someone's framing you. Dancer. Yeah. You say you don't know this Pedro Lumke? No. Well, I've got a picture of him right here. This picture was taken about six years ago when.
- [52:13]
B
Nick, what is it?
- [52:15]
A
Nothing. Except. Except that all this time I've been waiting for someone to make a slip. And someone has made it.
- [52:23]
B
Who?
- [52:24]
A
We've been wrong. This wasn't a killing for money. It was a murder of hatred, revenge. Polly, what did Phil go to the pen for?
- [52:37]
B
Blackmail.
- [52:38]
A
Blackmail? David, when were you supposed to give Robert the money to go away? This morning. In cash? Yes. But when he decided to go last night, you had to give him bonds. Yes. Where were you going to get cash on New Year's Day? A bank holiday? Funny, I forgot about that. No, you didn't. David, you never meant to give Robert that money. You didn't want him to go away. You wanted to kill him. You were going to get even with him for taking Selim away from you. Nora, is he fooling? Sure. And you were fooling when you said you hadn't seen Pedro for six years. You said Pedro had long white mustaches. Well, he's got long white mustaches now. But look at this picture. There he is. Six years ago. His mustache was neither white nor long. You didn't notice him six years ago any more than I did. You remember him as he was last night when you shot him. You killed him and then you killed Robert. Phil saw you do it. He was going to blackmail you, so you had to kill him, too. And then you threw that note in my window. Hope he could put me off your trail.
- [53:44]
B
David. David, don't let him say these terrible Things. Tell him it isn't true.
- [53:48]
A
Ask him why he threw away your gun, Selma. He knew it hadn't been fired. He knew you only had to show it to prove your innocence. Yet he threw it away. Asked him why he did that.
- [53:56]
B
David. David, why don't you speak?
- [53:58]
A
Wasn't it because you hated her as much as Robert? Wasn't because you wanted to get even with her, too? Wasn't it because you wanted to see her hang for Robert's murder? David, tell her the truth now, David. You don't have to pretend anymore. That is the truth. I've hated you, Selma and Robert ever since you threw me over for him. I've been watching. Waiting for the time when I could get even with you for having ruined my life. I did kill Robert. But not the way I wanted to. It was too easy, too quick. I wanted to see him suffer the way he'd made me suffer. And you. And you. I wanted to see you go gradually madder and madder as the day came when you were going to hang. Well, I'm not going to see you hang. But I'm still going to see you die. Don't be a fool. Down the way. I've got six bullets. One for her and one for myself. And the rest for anyone who tries to stop me. Get out of the way, Charles.
- [54:51]
B
I get him.
- [54:52]
A
I get him. Okay, Graham. I'll take that gun now. Nice work, Lum. Key. Nice work, Nick.
- [54:57]
B
He saved you. And you sent his brother up.
- [54:59]
A
Oh, sure. Mr. Charles sent him up. Number one detective. I'm not like my brother. I like his girl. I'm your friend. Oh, you bet.
- [55:08]
B
You.
- [55:16]
A
Tired, darling?
- [55:17]
B
Not very well.
- [55:19]
A
Can you believe it? We're alone. No reporters, no friends, no surprises.
- [55:24]
B
I suppose we really should decide where we're going.
- [55:27]
A
Oh, do you care?
- [55:29]
B
No. But I haven't any clothes.
- [55:32]
A
All the better. You won't have to pack. All I need in the world is you and a toothbrush. Hey, what's that you're doing?
- [55:41]
B
I'm knitting something.
- [55:42]
A
I've gotten very far with it.
- [55:44]
B
Yes, I have. There. It's done.
- [55:47]
A
Done? Why, hey, that looks like. Is that a baby's sock?
- [55:55]
B
And you call yourself a detective?
- [55:59]
A
Why, Mrs. Charlotte, We draw the curtain on after the Thin Man. In a moment, Mr. DeMille returns with our stars. While we're waiting, let's talk about babies. You know, families often speculate on the chances of the stork bringing twins or triplets. Well, here are some figures that may interest you. The chances of having twins is about 1 in 84 of having triplets. 1 in 7,500. That makes triplets a pretty rare occurrence. Mrs. Frances Bardol of Holbrook, Massachusetts. Was one of the mothers who drew the lucky number in 1939. And she's doubly lucky now because she has new Quick luck to help her in caring for her three small babies.
- [57:06]
B
She says the triplets have such sensitive skins. I wouldn't dream of washing their clothes in harsh soaps. Or rubbing them with cake soap. I just won't take chances on having woolens or diapers getting rough and scratchy.
- [57:20]
A
She's a wise mother, isn't she? She goes on to say, New Quick
- [57:24]
B
Blocks is so mild and gentle. It's the only thing I'd use for the baby's clothes. It's so safe for everything. Safe in water alone. I can depend on it never to make woolens harsh and scratchy. Or fade the pretty colors of little dresses and sunsuits.
- [57:40]
A
Yes, New quicklux is so wonderfully gentle. And so easy to use, too. So fast in water as cool as your hand. It dissolves three times as fast as any of 10 other leading soaps tested. Ask for the generous big box of New Quick Lux tomorrow. It comes in the same familiar package and costs you no more. Here's Mr. DeMille with our stars. As Bill Powell and Myrna Loy return to the microphone. We offer our congratulations to the Thin man on some first class detective work. Cecil, you're seldom wrong, but I'll have to mark that one up against you. However, if it's any consolation, everybody makes the same mistake.
- [58:22]
B
Brace yourself for a shock, Mr. DeMille. Bill is not and never was the Thin Man.
- [58:27]
A
He isn't. He never has been. Mercy manner. Can't we even believe what we see in the movies? Just for the record, the Thin man was murdered in the first Thin man picture. We haven't seen him since, except in
- [58:38]
B
the title, where he seems amazingly healthy.
- [58:41]
A
What's in the name? Draw the picture by any name you like. So long as you and Bill remain as our favorite to detectives. What's going to happen next to Nora and Nick?
- [58:51]
B
Well, there's another Thin man picture plan. But we haven't started making it yet.
- [58:55]
A
It's called the Shadow of the Thin Man. Very promising man hunt. I have entire confidence in both of you. By the way, Cecil, didn't I hear you say that you're going to do Showboat next week? You certainly did, Bill. And we are.
- [59:07]
B
Who's going to be in your cast, Mr. DeMille?
- [59:09]
A
We'll have Irene Dunn, Alan Jones and Charles Wininger. They were all in the cast of the motion picture. And they'll all be here on this stage to bring us the exciting drama of Showboat and the Great Song Hits by Jerome Kern. We embark at the usual time next Monday night for this cruise of adventure and romance along the Mississippi. And we hope you'll all be on board. Showboat is practically a command to listen. Good night, Cecil.
- [59:36]
B
Good night.
- [59:38]
A
Good night. Good night. Call you two on another case. Our sponsors, the makers of Lux Plates, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Irene Dunn, Alan Jones and Charles Winninger in Showboat. This is Cecil B. DeMille saying good good night to you from Hollywood. Heard in tonight's play were Julie Bannon as Selma, Fred Mackay as David, Edward Marr as Abrams, Mary Lou Simpson as Polly. Warren Ash as Dancer. Wally Mayer as Lum Key and Arthur Q. Bryan, Abe Reynolds, Walter White, Inez Seabury, Tristan Coffin, Eric Snowden, Russell Fillmore, Lou Merrill and Fred Shields. The American Red Cross needs millions of dollars for European war relief work. They're asking for your contribution now. Anything you can give the place to give your local Red Cross chapter the time as soon as you possibly can. William Powell and Myrna Loy appeared tonight through the courtesy of Metro Goldwyn Mayer. They will soon be seen together on the screen in if I I love you again. Our music was directed by Lois Silvers. And your announcer has been Melville ruk. This is the Columbia Broadcasting System.