Episode 440 - Stars of "The Thin Man"

Summary

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Stars on Suspense, Episode 440 – Stars of "The Thin Man"

Podcast: Stars on Suspense (Old Time Radio)
Host: Mean Streets Podcasts
Date: February 19, 2026

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Episode Overview

This episode of Stars on Suspense celebrates the legendary Hollywood pairing of William Powell and Myrna Loy—classic stars of the beloved "The Thin Man" films—bringing them together again in performances from radio's "Suspense" and a special Lux Radio Theater adaptation. The host sets the mood for a month-long look at Hollywood romance by highlighting the sophisticated banter and chemistry of Nick and Nora Charles (Powell and Loy), alongside other performances by co-star Maureen O'Sullivan.

Listeners are treated to three riveting “Suspense” dramas featuring the trio, followed by the famed radio presentation of The Thin Man—infusing thrill, wit, and mystery, all laced with vintage broadcast charm.

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Key Discussion Points & Summarized Stories

1. Introduction: Hollywood Romance & The Thin Man Legacy (00:51–03:42)

• Host introduces the episode's theme: Powell & Loy's partnership, their iconic roles as Nick and Nora Charles, and the overall appeal of "The Thin Man" series as both romantic comedy and detective story.
  • "It's martinis and mystery with Nick and Nora." (02:12, Host)
• The episode features:
  • Maureen O'Sullivan in "The Black Shawl" (Suspense, July 27, 1944)
  • Myrna Loy in "Library Book" (Suspense, Sept 20, 1945)
  • William Powell in "Give Me Liberty" (Suspense, Oct 21, 1948)
  • The Lux Radio Theater presentation of The Thin Man (June 8, 1936)

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2. "The Black Shawl" – Psychological Thriller (06:54–33:03)

Starring: Maureen O'Sullivan (Susan Appleby) & Dame May Whitty (Mrs. Masters)

• Plot Summary:
  Young Susan Appleby is hired as a companion by the enigmatic Mrs. Masters, eventually realizing she's a prisoner in a house haunted by loss and madness.
• Key Tension: Susan's mounting fear as she discovers she cannot leave, and the house's oppressive, prison-like nature (barred windows, locked doors).
• Atmospheric Exchange:
  • "I say I'm about to be murdered. I'm not certain—no one's even threatened me. But I say I am going to be murdered." (06:54, Maureen O'Sullivan)
  • "I'd much rather—settled. Let me have it. It'll be sent early tomorrow." (20:46, Dame May Whitty; Susan is denied any chance to communicate.)
• Creeping Menace: Introduction of John, Mrs. Masters’ mentally disturbed son.
• Resolution (32:10–33:03):
  Susan is rescued just as the unstable Masters family attempts to murder her—Mrs. Masters hangs herself as her crimes are uncovered.
• Notable Moment:
  • "You're an awfully stubborn fellow, darling." (11:09, Announcer/Rob, illustrating vintage courtship banter)
  • "The shawl—The black shawl." (32:43, Maureen O'Sullivan; image of death—shawl as motif.)

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3. "Library Book" – Mystery with Wit (36:03–62:23)

Starring: Myrna Loy (Prudence Roberts) & William Powell (Lt. Murphy)

• Plot Summary:
  Librarian Prudence Roberts becomes embroiled in a kidnapping case after discovering a ransom note constructed from missing pages in "Gone with the Wind."
• Comedic Moments:
  • Myrna Loy’s dry wit dealing with oddball patrons:
    • "I personally very seldom read best sellers." (36:48, Myrna Loy)
    • "Men never make passes at girls who wear...—please, will you confine yourself to your driving?" (53:17, Myrna Loy, sparring with the cabbie)
• Building Suspense:
  Prudence investigates previous borrowers, ends up renting a suspicious room, and follows a man to a remote house—uncovering the captive, Melanie.
• Climactic Sequence (58:12–60:08):
  The captors set the house on fire; Prudence and Melanie barely escape as Lt. Murphy arrives in the nick of time.
• Resolution:
  Melodramatic banter as the case wraps, with Lt. Murphy suggesting a date.
  • "From now on, call me Toots." (62:23, Myrna Loy—Prudence throws away her glasses, embracing adventure.)

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4. "Give Me Liberty" – Crime & Moral Descent (65:59–91:35)

Starring: William Powell (Earl French), with voices by Maureen O’Sullivan & Myrna Loy

• Plot Summary:
  Earl French, a convicted embezzler, survives a train wreck while in custody, escaping with $250,000 hidden somewhere. Shackled in handcuffs, he’s betrayed by both his own greed and a clever, ruthless hobo who realizes who he is.
• Moral Undertones:
  French’s growing desperation, humiliation, and moral collapse as he’s unable to enjoy his loot—ultimately killing his accomplice in a feverish bid for freedom.
  • "Do you know what it means to see food all about you and not be able to buy it?...I couldn't buy a ten-cent file." (74:47, William Powell)
  • "My hands—my hands covered with blood. Her blood. Mine..." (89:14, William Powell—crisis point.)
• End:
  French is found, insane, next to the corpse and his untouched fortune—his liberty meaningless.

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5. The Thin Man – Lux Radio Theater Adaptation (98:00–150:32)

Stars:

• William Powell as Nick Charles

• Myrna Loy as Nora Charles

• Supporting: Maureen O'Sullivan (Dorothy Wynant), Dame May Whitty, and more

• Plot Summary:
  Nick & Nora Charles are drawn out of retirement to investigate a complex web of murder and disappearance centered on the Wynant family. Sparkling repartee, upper-class parties, and clever deductions ensue.

• Highlights:

  • Nick and Nora’s Dynamic:
    Their witty marital banter brings levity—“Charming. What's the matter now?” (101:51, Nick to Nora)
  • Complex Plot:
    Multiple suspects (family, secretaries, lovers), red herrings, and a dramatic dinner-party reveal—classic detective story but with romance and humor.
  • Classic Scene (139:00–145:23):
    All suspects gathered for a climactic dinner where Nick unveils the killer. The murderer, McCauley, is dramatically unmasked.
  • Memorable Quotes:
    • "It's martinis and mystery with Nick and Nora." (Host, 02:12)
    • “I give you three murders and you aren't satisfied.” (137:47, Nick)

• Vintage Hollywood Cameos:
  Meta moments with the original film’s director W.S. Van Dyke and screenwriter James Seymour, plus Theda Bara—a rare treat for old-time radio buffs.

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Notable Quotes & Moments (with Timestamps)

• “I say I'm about to be murdered. I'm not certain—no one's even threatened me. But I say I am going to be murdered.”
  — Maureen O'Sullivan, "The Black Shawl" (06:54)

• “From now on, call me Toots.”
  — Myrna Loy, "Library Book" (62:23)

• “Do you know what it means to see food all about you and not be able to buy it? ...I couldn't buy a ten-cent file.”
  — William Powell, "Give Me Liberty" (74:47)

• “I give you three murders and you aren't satisfied.”
  — Nick Charles (William Powell), "The Thin Man" (137:47)

• "I'm going to have a party, a dinner party—everything from Russian caviar to Camembert cheese...And I'm going to invite all the suspects."
  — Nick Charles (Announcer), "The Thin Man" (138:52–139:00)

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Segment Timestamps

| Segment / Story | Timestamps | |-----------------------------------------------------|-------------------| | Host Introduction / Thin Man Legacy | 00:51–03:42 | | "The Black Shawl" (Suspense) | 06:54–33:03 | | "Library Book" (Suspense) | 36:03–62:23 | | "Give Me Liberty" (Suspense) | 65:59–91:35 | | "The Thin Man" (Lux Radio Theater) | 98:00–150:32 |

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Tone & Style

Throughout the episode, the banter is sparkling, gently sardonic, and rich with golden-age Hollywood sensibility. The thrillers veer from atmospheric and gothic ("The Black Shawl") to lightly comic (Loy’s librarian in "Library Book") to hardboiled noir ("Give Me Liberty"), culminating in the urbane, playful sophistication of Powell and Loy as Nick and Nora.

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Final Thoughts

This episode is a masterclass in vintage Hollywood radio—delightfully blending suspense with wit and romance. From atmospheric chills to effervescent banter, Powell, Loy, and O’Sullivan (plus Dame May Whitty) offer a showcase of why their chemistry, comedic timing, and skill made "The Thin Man" a classic and their appearances on radio a continual treat for fans old and new.

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Transcript

[Announcer]

Would you hand me that, please? Thank you.

[William Powell]

Now, let's see.

[Announcer]

Survey. Survive. Susanna. Suspect. Ah, here we are. Suspense. Meaning held in doubt, expressing doubt. The state of being uncertain, undecided or insecure. State of anxious expectation or waiting for information such as to keep one in suspense. Therefore delay acquainting him with what he is eager to know. Suspense.

[Host]

Hello and welcome to Stars on Suspense. With more Hollywood legends and radio's outstanding theater of thrills. Our month long series of Hollywood romance continues today with a married pair of detectives in a classic mystery comedy. It's the Thin man, the fast paced adaptation of Dashiell Hammett's novel. It kicked off a film series and it starred William Powell and Myrna Loyd as Nick and Nora Charles. Nick is a retired detective and Nora is his wealthy wife. Nick is content to leave crime solving behind and spend his time sipping martinis with Nora and walking their dog, Asta. But a plea from a woman to find her missing father puts Nick back into the world of sleuthing. And he brings Nora along for the ride. Written by husband and wife team Albert Hackett and Frances Goodrich and and directed by W.S. van Dyke, the movie excels as both a detective story and a romantic comedy. The Thin man was a smash success and was followed by five more films with Powell and Loy reprising their roles. You can find all of the Thin man pictures on Blu Ray from the Warner archive, including a nice six disc collection of the whole series. You can also rent or buy the Thin man digitally from your preferred provider. Today we'll hear Mr. Powell and Ms. Loy along with their co star Maureen O' Sullivan in Thrillers from Suspense. First up is Ms. O' Sullivan who plays the daughter of the titular thin man. He's the missing person, not a description of William Powell as Nick Charles who asks Nick to find her missing father. We'll hear her co star with Dame Mae Witty in the Black Shawl from July 27, 1944. Then Myrna Loy stars in Library Book from September 20, 1945. And William Powell plays an escaped convict in Give me Liberty from October 21, 1948. Finally, we'll hear Powell and Loy as Nick and Norman Nora in the Lux Radio Theater presentation of the thin man from June 8, 1936. It's martinis and mystery with Nick and Nora. But first, three stories from suspense. We'll kick things off with Maureen o' Sullivan right after these messages.

[Announcer]

Ed Stevens of Long Beach, California is the Whistler fan who receives a $20 Signal gasoline book this week as a token of our appreciation for sending in this limerick. There once was a driver named Abbott whose car took off like a rabbit. Signal Ethel said, he is the fuel for me.

[Maureen O'Sullivan]

From.

[Announcer]

From now on I'll make it a habit. Signal. Signal. Signal Gasoline. Your car will go far. We'll go farther. Gasoline. If, like our friend Abbott, you like pickup that's quick as a rabbit, then Signal Ethyl is a gasoline for you. But flashing pickup, mind you, is only one of the improvements you'll discover when you power your car with this super fuel. In addition, you'll enjoy Signal Ethel's extra power that makes cars fairly fly up hills and makes passing safer. And you'll be amazed at your engine's contented ping free purr. For Signal Ethyl is scientifically engineered to bring out the very peak of performance your car is capable of regardless of age. So why not discover how much fun driving can be? Next time, treat your car to a tank full of the gasoline that's packed with more gold. Next time, fill up with Signal Ethel. And don't forget, tomorrow when you ask your grocer for the new Rinso, buy a cake of Lifebuoy. At the same time, Lifebuoy's rich, purifying lather goes right after dirt and perspiration leaves you feeling extra clean. So use Lifebuoy daily in your bath or shower. Remember, it's the only soap especially made to stop. And now, a tale well calculated to keep you in suspense. Roma wines presents suspense. Roma made in California for enjoyment throughout the world. Salud. Your health, senor. Roma Wines toast the world. The wine for your table is Roma wine made in California for enjoyment throughout the world. This is the man in black here for the Roma Wine Company of Fresno, California, to introduce this weekly half hour of suspense. Tonight from Hollywood, Roma Wines bring you as stars Dame May Witty and Miss Maureen o'. Sullivan. And so, with the performances of these two distinguished leading ladies in the play called the Black Shawl, we again hope to keep you in suspense.

[Maureen O'Sullivan]

Listen to me. Please listen carefully and tell me if I'm right. I say I'm about to be murdered. I'm not certain no one's even threatened me. But I say I am going to be murdered. This is just a plain, ordinary looking kitchen that I'm sitting in. That but for me, I know it is a death house. If it were only three days ago and I could live them all over again. Or if it only were. The fair was being held in town and everyone was gay and Robert was Late as usual, but I didn't care.

[Dame May Whitty]

Susan. Not waiting for Rob again, are you?

[Maureen O'Sullivan]

Have you ever seen me when I haven't been?

[Dame May Whitty]

And him a lawyer for the watch factory.

[Maureen O'Sullivan]

Somebody ought to teach him how to tell time.

[Announcer]

Hey, how about a dance, Sue? One short one before that boyfriend of yours comes around to steal your way?

[Maureen O'Sullivan]

Oh, thanks, George, but I'd rather wait. If he's not quick about it, he'll find nothing left to steal except the bench.

[Dame May Whitty]

All right, but let me know if.

[Announcer]

You'Re interested in a change of habit.

[Dame May Whitty]

Hello there.

[Maureen O'Sullivan]

Oh, hello.

[Dame May Whitty]

I've been watching you sitting there and I wondered whom you were waiting for.

[Maureen O'Sullivan]

Oh, just a friend.

[Dame May Whitty]

I see. I don't wish to seem inquisitive. Please don't misunderstand. It's only that your face struck me as being unusually bright and alive as well as being uncommonly pretty. Thank you. Now, you see, I have an eye for faces. My son was a sculptor. He worked almost entirely with heads and my job was choosing them. It's all very foolish, I'll admit. More so since he departed some time ago.

[Maureen O'Sullivan]

Oh, I am sorry.

[Dame May Whitty]

Thank you. That's precisely why I was watching you. Of course, I know nothing about you any more than you do of me, but. By the way, what's your name?

[Maureen O'Sullivan]

Susan Appleby.

[Dame May Whitty]

Mine is Elizabeth Marston.

[Maureen O'Sullivan]

How do you do?

[Dame May Whitty]

I live just the other side of town. Let me come to the point, Susan. I admire your looks and I like the way you act and speak. I'm not a young woman and I'm lonely. I have been ever since I lost my son. I need a companion. Someone who can stay with me and help me do. And you resemble closely my very first companion. Companion? My best remembered one. Oh, but I'll pay you well. £30amonth. Your chief occupation will be to brew me some tea and talk to me. Are you interested?

[Maureen O'Sullivan]

Well, I have been seeking that sort of a position, but I. Splendid.

[Dame May Whitty]

You need look no longer.

[Maureen O'Sullivan]

But you know nothing about me.

[Dame May Whitty]

I know that I like you and that I want you to accept my offer. I'll return here at the same time tomorrow evening. If you do want the position, please be here. And believe me, I hope you are here. Good night, Susan.

[Maureen O'Sullivan]

Good night.

[Dame May Whitty]

See you tomorrow at 8.

[Maureen O'Sullivan]

All right, I'll be here.

[Announcer]

Darnold. What do you mean you'll be here?

[Maureen O'Sullivan]

Oh, Rob, you frighten me.

[Announcer]

Well, you were whistling our tunes or I thought you were expecting me.

[Dame May Whitty]

What do you think you're doing?

[Announcer]

Making dates with strange women? Believe me, she is a strange woman?

[Maureen O'Sullivan]

Mrs. Masters? Oh, no, she's nice. And, Rob, she offered me a position.

[Announcer]

Doing what?

[Maureen O'Sullivan]

As a companion. Just what I wanted. And at £30amonth, darling.

[Announcer]

No small sum, that. Too bad you can't manage it.

[Maureen O'Sullivan]

But I'm thinking seriously of it, Bob.

[Announcer]

Well, stop then. I don't want you ever to have one serious thought about anything.

[Maureen O'Sullivan]

Now, Rob, I'm going to take it.

[Announcer]

What do you know about the old hen?

[Dame May Whitty]

Nothing yet, Sue.

[Announcer]

Did you look at the way she dressed? Black from shoes to shawl? Why, the shawl's so large and black, you'd hardly know she had a face.

[Maureen O'Sullivan]

She seemed charming.

[Announcer]

She might well be, but I'm not so bad myself. And I want you for a companion, too. Let's push the wedding date ahead, darling. Make it anytime you will.

[Maureen O'Sullivan]

Oh, now, we've gone through this so many times and you know it can't be done. But with the way you're coming along, and with £30amonth additional. Why, Robin, no. Time is all we'll have. All we need.

[Announcer]

You're an awfully stubborn fellow, darling.

[Maureen O'Sullivan]

Oh, you know I'm right.

[Announcer]

How many evenings off will she allow you?

[Maureen O'Sullivan]

We didn't get that far.

[Announcer]

Where's the place at, then?

[Maureen O'Sullivan]

That's strange. She left so quickly, I never had a chance to ask.

[Announcer]

Call it off, Sue, I.

[Maureen O'Sullivan]

Why, Rob.

[Announcer]

Well, I don't like it. You know nothing about her, not even where she lives.

[Maureen O'Sullivan]

Well, I told you, I hardly spoke to her. Tomorrow I'll know everything.

[Announcer]

All right, my darling, you win. Oh, but let me hear from you as soon as you sit there.

[Maureen O'Sullivan]

Of course I will. Why, everything's going to be fine.

[Announcer]

I'm silly. Sure it will. Hello, darling.

[Maureen O'Sullivan]

Hello, Rob.

[Announcer]

Everything will be fine for us. The night falls. Suspense. Roma wines are bringing you as stars Dame Witty and Maureen o', Sullivan, whom you have heard in the prologue to the Black Shawl by RR Lewis, Tonight's study in suspense. Far from the scene we have just left, far to the south, across the equator, is another scene I ask you to visit with me. It is just before the dinner hour on the beautiful roof terrace cafe of the Hotel Metropolitano of Guayaquil, Ecuador. We are finishing our appetizers, an excellent sherry and lifting your glass. You remark to our host that you envy him such wine. He laughs. You are very kind, he says, but it is your own California you must praise for this splendid wine. For, you see, it is Roma California sherry. Yes, in many far countries where discerning tastes have found Roma wines, it is a luxury imported and Treasured for Roma wines are in every sense fine wines from the rich vineyard country of California. Products of age old winemaking skill aided by modern quality controls and tests. And here in the United States, Roma wines cost mere pennies a glassful because here there is no import duty, no overseas shipping cost. Such enjoyable flavor and constant quality, such low cost, such high wine values have made Roma by far America's largest selling wines enjoyed by millions with meals. When entertaining anytime to enjoy these delights yourself, ask for R O M a Roma wine made in California for enjoyment throughout the world. And now it is with pleasure that we bring back to our sound stage Maureen O' Sullivan as Susan and Dame Whitty as Mrs. Masters in the black shawl. A tale well calculated to keep you in suspense.

[Maureen O'Sullivan]

And so I was there waiting, as Mrs. Masters had instructed me. The following night we got into her car and she drove us off. It only seemed a mile or two from town, but we twisted and turned so many times that in the dark I became completely confused as to my whereabouts. Then finally we stopped.

[Dame May Whitty]

There it is. Straight ahead down the path. Miss Appleby. Welcome to Masters Hall. I'm in the parlour, Ms. Appleby. Won't you join me in a cup of tea?

[Maureen O'Sullivan]

Oh, thank you, Mrs. Master. I'd be very grateful if I might. I love my room.

[Announcer]

Good.

[Dame May Whitty]

Sit down over there opposite me, won't you?

[Maureen O'Sullivan]

I certainly will. The fire's as inviting as the tea.

[Dame May Whitty]

I've always had one burning whenever I'm home. I get cold so easily. That's why I always wear this shawl around me. Sugar? Thank you.

[Maureen O'Sullivan]

No Lemon or milk?

[Dame May Whitty]

Thank you. Now, Susan, tell me about yourself. Everything. All you've done, all you see in the future. For you.

[Maureen O'Sullivan]

Oh, there's very little to tell. I've always lived here in town. I expect I always shall Remain here.

[Dame May Whitty]

After your marriage, you mean, I presume you've such intentions.

[Maureen O'Sullivan]

I expect so.

[Dame May Whitty]

It is the only thing that matters, isn't it? Having someone to care for. Yes, I know. Before my son left me, I desired nothing. The scope of his talent was the world we lived in. And beautiful it was. I suppose love is like talent in that respect. It too, creates a smaller world within the large one we inhabit and makes you want it never to disappear.

[Maureen O'Sullivan]

Did his talents receive recognition?

[Dame May Whitty]

To a limited degree. Everyone saw in his work the promise of a truly great sculptor. The promise never bore fruit. Because he hadn't enough time. Winter came far too early in his life.

[Maureen O'Sullivan]

How old was he?

[Dame May Whitty]

I lost him before he was 20. 1.

[Maureen O'Sullivan]

Oh, Mrs. Masters, that's terrible. So great a waste.

[Dame May Whitty]

That's it. You realize it, too. The waste. To lose a useless thing that can be forgiven. Or if the loss can't be helped, there's nothing we can say but to cast away genius, to kill it before it's reached its full expression. That no one can forgive, no one can forget.

[Maureen O'Sullivan]

Oh, no. No, please, Mrs. Masters. We have no control over such matters. They're God's will, of course.

[Dame May Whitty]

Thank you, dear. You're very sweet. I wish you more success in the world of your love. I'm sure you'll have more.

[Maureen O'Sullivan]

That's kind of you.

[Dame May Whitty]

Another good man ruined.

[Maureen O'Sullivan]

I should be insulted.

[Dame May Whitty]

Ruined by a woman. That's it. Smile. Laugh. Life can be so short. Remember, my boy. Enjoy life while you may.

[Maureen O'Sullivan]

I slept well that first night and did not awaken until almost 9. When I realized how late it was. I dressed quickly and ran downstairs. Mrs. Masters had left a note on the kitchen table telling me she'd gone shopping and I was to take my breakfast and then wait for her. I looked around to see if I might do something, but everything was in perfect order. I looked for a phone, thinking I'd call Rob, but I could find none in the kitchen or the center hall. Finally, I thought I'd take a look at the outside, get a bit of fresh air. I went to the front door and tried. Was locked. I turned the bolt and pulled. The door was still locked. I couldn't understand. Then suddenly I realized the door was locked from the outside. I ran to the kitchen, not afraid, but surprised. Then something struck me that I hadn't noticed before. All the kitchen windows were barred. I made a quick dash for the kitchen door.

[Dame May Whitty]

Hi, Susan. Good morning. Did you have a good night's rest?

[Maureen O'Sullivan]

Oh, yes, I did, thank you.

[Dame May Whitty]

Fine. But you're trembling. Is there a chill in the house? You really should stay away from the doors.

[Maureen O'Sullivan]

I know. I wanted a breath of air. The front door was locked.

[Dame May Whitty]

Was it? Oh, I must have done it automatically. You see, I've lived alone for so long and it's natural for a person who lives alone to lock all doors behind them when they go out.

[Maureen O'Sullivan]

Why are the windows barred?

[Dame May Whitty]

That goes back to the time my son did his work here. We had so much of it lying carelessly about all over the house. So much of value. Anyone might easily have climbed through the windows.

[Maureen O'Sullivan]

Of course. How it's silly of me. For a moment, though, I felt so much like a. Like a prisoner behind those bars.

[Dame May Whitty]

An unusual experience for you I take.

[Maureen O'Sullivan]

It a very unusual one.

[Dame May Whitty]

Now you're smiling again. That's fine. My boy always liked to see a smile on a woman's face without when. He always said they reminded him of death. Yes, death.

[Maureen O'Sullivan]

Next day I wrote to Rob. Please come to see me now, Rob, if you can. Everything's all right. Don't worry about me. But come to me. It's unbelievable, but I must tell you that I still don't know the address here. I cannot tell you how to find it, but someone must know Mrs. Masters and can tell you where she lives. I want to send this off to you now so I'll close. I can't tell you, darling, how great is my need to see you and my love for you. Sue. Misses Masters.

[Dame May Whitty]

Why, yes, Susan, what is it?

[Maureen O'Sullivan]

Where can I post a letter?

[Dame May Whitty]

Let me have whatever you want sent and I'll drop it in the box when I go shopping tomorrow.

[Maureen O'Sullivan]

Oh, I don't want to bother you. I'll take it down myself.

[Dame May Whitty]

No bother at all. There's nowhere else to post a letter, and I pass the box every day.

[Maureen O'Sullivan]

Oh, but I. I'd much rather settled.

[Dame May Whitty]

Let me have it. It'll be sent early tomorrow.

[Maureen O'Sullivan]

Of course. Here you are.

[Dame May Whitty]

Thank you. And Susan, I dropped my shawl. Would you mind?

[Maureen O'Sullivan]

Oh, not at all.

[Dame May Whitty]

Exquisite, isn't it? Will you join me in a cup of tea?

[Maureen O'Sullivan]

No, thank you. Mrs. Masters, this morning I said I was silly for feeling like a prisoner in your home. But the feeling is still there.

[Dame May Whitty]

What have I done or said that might create any such impression?

[Maureen O'Sullivan]

That's not the question I'm trying to answer. I just feel it. The answer I don't know is what do you want with me? What was that?

[Dame May Whitty]

Wait right here. I'll be down shortly. Where are you going? Upstairs. But you wait down here. Do you understand? No.

[Maureen O'Sullivan]

No, I won't stay down here. I'm frightened. I'm coming up, too.

[Dame May Whitty]

No, dear. Don't worry about the butt. It hasn't broken at all. No, there's not a scratch on it. Dear, dear, please don't cry. Susan, I told you to stay downstairs. What you come up for? All right, you know.

[Announcer]

Now.

[Dame May Whitty]

Miss Appleby, this is John Masters, my son.

[Maureen O'Sullivan]

That night at dinner, there were three of us. I couldn't bear to look at him. The twisted face, the dull, glazed eyes. Whimpering, grunting, unable even to speak a single intelligible word. And when I saw the two together, she with the horrible black shawl draped around her, I knew for certain that in her own way, she was as mad as her son. And I knew more surely than ever how great was my own danger. Late that night, I packed my bag silently and swiftly. Then I waited. It was well past midnight before I dared open my door and look out. The house was completely dark upstairs and down. I felt my way along and started down the stairs. I reached the bottom and went right to the front door first.

[Dame May Whitty]

Susan.

[Announcer]

Susan, where are you going?

[Dame May Whitty]

You couldn't possibly know your way about. Once outside the house, you'd surely have lost your way. Wouldn't she, John?

[Maureen O'Sullivan]

Stop it. Stop it.

[Dame May Whitty]

All right, John. Leave us now. John, dear. Did you hear me.

[Maureen O'Sullivan]

Miss Masters? You have no right to keep me here if I don't wish to stay. When I accepted this position, I was of the opinion that you lived alone. Conditions have changed, and now I wish to leave.

[Dame May Whitty]

Please, Susan, believe me, I. I don't blame you a bit. But think of me just for a single moment. Why do you think I asked you here? Do you believe it so easy for me, chained to this lost thing? No one to talk to day or night? I needed someone. I need you now.

[Maureen O'Sullivan]

You told me he was dead.

[Dame May Whitty]

I never told you that. Only that he left me. And so he has. No.

[Maureen O'Sullivan]

No, I won't stay. I go mad if I do.

[Dame May Whitty]

Very well, dear. It's no use trying to argue with you. But stay at least until tomorrow. You could never find your way tonight. And if you stay over, it'll give me a chance to find someone in town.

[Maureen O'Sullivan]

I'd rather go now, if you don't mind.

[Dame May Whitty]

Tomorrow night. Just until then. Even if I've no one. Well, you can leave after dinner tomorrow. I'll pay you two weeks wages if you do. Please you. You can't refuse me that. Well, I thank you. Thank you, dear Sus.

[Maureen O'Sullivan]

I shouldn't have stayed. I knew that from the moment I agreed. I slept badly, waking from time to time certain that I heard odd noises from the next room. Low chuckles, whispered, voiceless mutterings. But the night passed finally, and today it was uneventful. When Mrs. Masters returned from shopping in the village, she informed me that my successor would arrive tomorrow morning, and I was therefore free to meet leave immediately after dinner. She spent the rest of the day preparing the evening meal. It was as though it were a special holiday, so great with the pain she took. The dinner turned out to be wonderful, and Mrs. Masters was extremely gracious.

[Dame May Whitty]

Dear Susan, we drink to you. My dear, dear Susan. To your future. To your man. To your future with your man.

[Maureen O'Sullivan]

Thank you.

[Dame May Whitty]

And may you remember this evening. All the rest of your days. All the rest of your days.

[Maureen O'Sullivan]

Thank you.

[Dame May Whitty]

Not at all. Not at all. My dear, let me pour you out some more wine. And some for you.

[Maureen O'Sullivan]

John, I'm really sorry that I must hurt you by leaving you this way.

[Dame May Whitty]

You. Hurt me? Why, my dear, if anyone has been.

[Announcer]

Hurt, surely it's you.

[Dame May Whitty]

We frightened you so, made you so miserable. You're the hurt to Aunt Susan, dear, not I.

[Maureen O'Sullivan]

Anything I've felt or said is forgotten now, always, when I think of you. I shall remember this evening, I'm certain of it.

[Dame May Whitty]

And so you may remember better. My dear, let me imprint the occasion still more clearly upon your mind. Do you know what happening it is we celebrate?

[Maureen O'Sullivan]

I expected it was my leaving.

[Dame May Whitty]

So it is. But did it seem likely that you alone would cause so much excitement in our home?

[Maureen O'Sullivan]

Well, I.

[Dame May Whitty]

Miss Appleby, this is the third anniversary of the most important event in the history of Masters Hall. We honor you by asking you to partake of our joy.

[Maureen O'Sullivan]

And I thank you for it.

[Dame May Whitty]

No need of that. You need only listen and be silent. Three years ago, my son was a genius. Today, he is my son. Three years ago, the world's door stood wide before us. Today, all the shoulders on earth couldn't break it down. It was shut upon us. Three years ago. Tonight, she slammed it as she left. My son loved her dearly. My first sweet companion. I warned him. I told him that no woman would put up with his temperament. He wouldn't listen. He loved her madly, madly. The perfect word. Furry. And for that, she slammed the door on him. Slammed it in his face, his heart, his head. That night, he lost the power of his mind. Ever since, we waited in vain for its return. But we've honoured the occasion. Don't think we've forgotten a John. Two years ago this evening, on the first anniversary Sally Thwaite left us, we told her the story. She was overwhelmed. She couldn't bear to stay and left quite suddenly. Last year. Catherine it was Kitty. Can't recall her last name at the moment. She wanted to leave us, too. How could we refuse? And now, tonight, Susan Appleby. Tonight, Susan, you are leaving. Where are you going, Susan?

[Maureen O'Sullivan]

To the kitchen. Excuse me, please. That is why I say I'm going to be murdered. I can't know for sure, but the way they laugh, the way they look, the way she sits there, fingering that ugly, torn black shawl. The shawl that looks like death. What can I think? What can I do?

[Dame May Whitty]

Susan, there's one thing more. This shawl, so beautiful. So exquisitely wrought. You must surely have noticed that I wear it all the time. It belonged to her. A gift from my son. In a haste, it slipped from her shoulders as she left. So this is all that remains of that lovely, wonderful creature. I should like you to wear it, if only for a moment. You're so much like her. And her memory is John's greatest comfort.

[Maureen O'Sullivan]

No. No. Don't come near me. Don't touch me, please.

[Dame May Whitty]

Just around your shoulder. I won't wear it.

[Maureen O'Sullivan]

Stay away from me. Please don't.

[Dame May Whitty]

Adore. Who would be coming here now? John? Watch her closely. I look through the window. I don't know who he is, but he must surely have seen the light in the kitchen. I'll just send him away. I'll only be a moment. Watch her, John. If she shouts for him, well, you. You mustn't allow that, must you, John? So you'd better be still. Susan. Hmm? Yes? What is it you want?

[Announcer]

I beg your pardon. I'm looking for a Miss Susan Appleby.

[Dame May Whitty]

You won't find her here. I'm sorry.

[Announcer]

Are you certain of that? It seems to me I recognize that shawl. It was worn by the woman Ms. Appleby went to work for night before last.

[Dame May Whitty]

Surely this is not the only black shawl in the world. Nor am I the only woman who wears one.

[Announcer]

And I've been inquiring in the village. And all the shopkeepers remembered you as the woman who always does. Sir. I followed you here this morning. Then I returned to the village. And now I'm back again.

[Dame May Whitty]

Well, you can return right to the village. If you must know. Miss Susan Appleby was here. But she was entirely unsettled by. She can't ever find her at home now.

[Announcer]

Well, all right. If she's gone home, I'll see her there. I'm so sorry for your trouble.

[Dame May Whitty]

Not at all.

[Announcer]

Thank you. Good day.

[Dame May Whitty]

Good day. Susan. Susan. Was that you whistling a moment ago? I thought I told you to be still.

[Maureen O'Sullivan]

I was nervous. It's a habit of mine.

[Dame May Whitty]

A very bad one. Of which of many. Among them, no doubt, is that of driving men mad. That one just now. The love in his eyes for you. I've seen that before in other eyes. I'm so terribly sorry. He's gone away. Perhaps he'll return another time.

[Maureen O'Sullivan]

Stay away from me.

[Dame May Whitty]

Here.

[Announcer]

Now.

[Dame May Whitty]

The shawls around her. Draw it tighter.

[Maureen O'Sullivan]

Down.

[William Powell]

Tighter.

[Maureen O'Sullivan]

Please. Let me go. Let me go.

[Announcer]

You heard her. Let her go. Adams, get him. Yes, sir.

[Dame May Whitty]

Draw it quickly, John.

[Maureen O'Sullivan]

Quickly.

[Dame May Whitty]

Quickly.

[Maureen O'Sullivan]

No.

[Dame May Whitty]

You killed him. John.

[Maureen O'Sullivan]

John. John.

[Announcer]

Susan, darling.

[Maureen O'Sullivan]

Oh, Rob. Rob. You heard me then.

[Announcer]

Of course. This morning I went down to the local constabulary and persuaded Adams here to join me. I was interested, ma', am, because there'd been two disappearances in as many years. And just about this time, this sounded like a third.

[Maureen O'Sullivan]

It almost ended like the others too.

[Announcer]

Almost. But absolutely locked the door. Let's have a hand here. We'll break it down. All right.

[Dame May Whitty]

Watch out. Once we're in.

[Announcer]

She's mad and may try anything.

[Dame May Whitty]

Right, let's go now.

[Announcer]

One, two, three. All right, now. Look at that chandelier. Let's cut her down quickly. It's too late. Her neck's gone. Rob.

[Maureen O'Sullivan]

The Shaw. The black Shaw.

[Announcer]

And so closes the black shawl. Starring Dame May Witty and Maureen o'. Sullivan. Tonight's tale of suspense. Suspense is produced and directed by William Speer. To every woman listening tonight, I want to say a special word about making every dinner or supper you serve taste better. I want to urge you to start serving Roma Wine with your meals. It's simple. The cost is very, very little. And it works magic in making food more enjoyable. You can serve Roma wine with any meal or any time in any kind of glass you wish. Serve it chilled. Try different kinds of Roma wine until you find those you enjoy most of all. Try hearty red Roma California Burgundy or the delicately delicious Roma California Sauterne. The cost is mere pennies a glass, but you'll find even a pickup supper tastes like a banquet. Get Roma wines today. If your dealer is temporarily out of them, please try again soon. Just ask for R O M A Roma Wines, America's largest selling wines made in California for enjoyment throughout the world. Dame Whitty appeared through the courtesy of Metro Goldwyn Mayer and is currently being seen in the White Cliffs of Dover. Next Thursday, same time, Donald Crisp and John Loder will be our stars in another unusual study. Stars in another unusual study in mystery, suspicion and dangerous adventure.

[Dame May Whitty]

At that time, you will hear the.

[Announcer]

Only ghost story ever to have been staged by Suspense. Presented by Roma Wines. R O M A made in California for enjoyment throughout the world. Now the roma wine company of fresno, california, presents. Suspense. Tonight, Roma Wines bring you Ms. Myrna Loy as star of Library Book, a suspense play produced, edited and directed for Roma Wines by William Smith Spear. Suspense Radio's outstanding Theater of Thrills is presented for your enjoyment by Roma Wines. That's R O M A Roma Wines, those excellent California wines that can add so much pleasantness to the way you live, to your happiness. And entertaining guests to Your enjoyment of everyday meals. Yes. Right now, a glassful would be very pleasant as Roma wines. Bring you Ms. Myrna Loy in library book. A remarkable tale of suspense.

[Myrna Loy]

I'll get it, Maggie. Public Public Library, Hillcrest Branch. Ms. Roberts speaking. I bet. No, I'm sorry. We do not carry the racing form. We do not carry even the current racing form, much less Those published in 1925. I know nothing whatever of man of War's activities. Well, you will have to consult another source to win your wager. Goodbye. Yes, miss.

[Maureen O'Sullivan]

Do I gif mine book back here?

[Myrna Loy]

Yes, this is the return desk. Let me see. That's two days overdue. You owe four cents, Mrs. Rudnick.

[Maureen O'Sullivan]

It's a lot of reading.

[Myrna Loy]

My daughter read it to me nights. Here's the four cents, miss. Thank you.

[Maureen O'Sullivan]

Oh, it was a grand book, though. Really grand.

[Myrna Loy]

Gone with the Wind, I suppose. I personally very seldom read best sellers.

[Maureen O'Sullivan]

It surely is romantic.

[Myrna Loy]

I wonder, Miss, do you know what happens on page 931? Page 931? Yes. We don't know to this day whether Scarlet, she goes to Mellon's party for.

[Maureen O'Sullivan]

Ashley, or page 931.

[Myrna Loy]

And 932 are missing. So we were wondering if. Missing? Good heavens. Let me see. We just give anything to know if Scarlet went to the party. One moment, Mrs. Redmond. The pages are missing. One leaf has been torn or cut from this book. This is vandalism.

[Maureen O'Sullivan]

It's what?

[Myrna Loy]

A page has been deliberately ripped out. I'll have to ask you for your reader's card.

[Maureen O'Sullivan]

But we didn't do it.

[Myrna Loy]

One moment, please, Ms. Hughes.

[Maureen O'Sullivan]

Yeah.

[Myrna Loy]

Ms. Hughes, will you please look up the list price of this book? Gone with the Wind. Yeah, sure. Just a second. You see, Mrs. Rudnick, you will have to pay the cost of the book or lose all library privileges until you do.

[Maureen O'Sullivan]

Oh, but please, miss. V didn't do it.

[Myrna Loy]

It's $1.49, Prudence.

[Maureen O'Sullivan]

I don't pay no $49. Cause I didn't do it.

[Myrna Loy]

How'd you find out about the damage, Prudence? Mrs. Rudnick called my attention to it, fortunately. Well, if she tore out the page, she wouldn't have told you. Now, you see, Miss, but the rule is. Oh, relax. Relax, Prudence. Well, very well, Mrs. Rudnick. I'll investigate further. In the meantime, you may continue to use your card. Oh, thank you, miss. Thank you so much.

[Maureen O'Sullivan]

And goodbye.

[Myrna Loy]

Goodbye. Maggie, why must you interfere like that? You know the rules perfectly well. Yeah, sure, but they don't make sense. That's not for us to say. She should have reported before she took the book out. Well, now, that's silly. How could you report the page was torn out before she read the book? Well, maybe you're right. I don't know why you raised such a dust about it anyhow. Because if I don't find out who did tear the book, I'll have to pay. And I don't want to spend a dollar and 49 cents on a bestseller. Hey, take care of that boy. Maggie Oak. Okay. What'll it be? These. Here. You want to take these out?

[Maureen O'Sullivan]

All of them?

[Myrna Loy]

Sure.

[Maureen O'Sullivan]

Here's my card.

[Myrna Loy]

Yeah. Tarzan of the Apes. Tarzan Triumphant. Tarzan and the Leopard Men. Tarzan and the Forbidden City. Tarzan the Invincible.

[Announcer]

Tarzan.

[Myrna Loy]

Morning Becomes Electra.

[Maureen O'Sullivan]

Yeah.

[Myrna Loy]

I'm making a radio.

[Maureen O'Sullivan]

A walkie talkie.

[Myrna Loy]

Oh, look, I haven't read this myself, but.

[Maureen O'Sullivan]

And I don't think it's going to help you.

[Myrna Loy]

No, it says Electra. Yeah, well, anyway, you got one too many books.

[Maureen O'Sullivan]

Okay, I'll take the electric book out.

[Myrna Loy]

When I bring these back.

[Maureen O'Sullivan]

I'll bring them back tomorrow. So save it.

[Myrna Loy]

Five books and he'll bring them back tomorrow.

[Maureen O'Sullivan]

Did you get that, Prudence?

[Myrna Loy]

Five books and the kids. Prudence, what are you doing? It's very strange. It's really very strange. Are you still mooning over that missing page in Gone with the Wind? Yes. You know, whoever ripped that page out also underlined words on the following page. Page 933.

[Maureen O'Sullivan]

Yeah.

[Myrna Loy]

What kind of words? Oh, they don't seem to mean anything. Words like anyone? Merrily? Hardly. They've been underlined by little scratches in the paper. Maybe somebody was cutting out cookies on top of the book. Come on. Huh? It's past closing time. I've got to find out what's on page 931. Well, I can buy a copy of this book on my way home. And I will buy it. I thought you wouldn't spend dough on a best seller. Well, I shouldn't, but this annoys me. It's vandalism. And besides, I have an odd feeling. A feeling that something's wrong. Yes, I have a definite premonition.

[William Powell]

Prudence.

[Myrna Loy]

Prudence, will you put that book away and come to bed? All right, Maggie, I guess you win. Oh, was cookies. No, it was words. I fastened the two pages together and made the marks back through. But these words don't mean anything either. Cure. Wait.

[Dame May Whitty]

Poor.

[Myrna Loy]

I think they were cut out of the book because the marks are above and below each word. Sure, that's kid stuff. You Know Cut out words and paste them to write a letter. Cut them up. Well, of course. Let's see, there's poor. Your 50 instructions.

[Maureen O'Sullivan]

Her.

[Myrna Loy]

Melanie. Melanie. Oh, Melanie. That was Olivia de Havilland in the picture. Really? I wouldn't know. Now, I'll start with the word 50. It's an adjective and must modify something. Oh, natch, natch. 50 health. No. 50 instructions. Could be. But it's awkward. 50 grand. Well, it's slang, but it does mean something. I'll tell the world 50 grand means something. Now, a noun must be followed by a verb. 50 grand to wait or to cure. I'll try that. 50 grand to cure. That's a plenty expensive cure, that. Now, her. 50 grand to cure her.

[Maureen O'Sullivan]

Her.

[Myrna Loy]

Melanie. A girl's name. Melanie. Why, yes. All the other words pair off perfectly. Now, your Melanie. Poor health. Wait, instructions. 50 grand to cure her. That's it, Maggie. The words couldn't possibly go in any other order.

[Dame May Whitty]

Yeah.

[Myrna Loy]

So now you solved the puzzle. Let's get to bed. Well, all right. I suppose I have to wait until the morning to call the police. The police?

[Maureen O'Sullivan]

Just because a book was torn?

[Myrna Loy]

No, because it's a ransom note. Oh, Prudence. But can't you see? That's what it says. Some poor girl named Melanie has been kidnapped and is being held for ransom for 50 grand. It's our duty as citizens to help her.

[Announcer]

For suspense, Roma Wines are bringing you as star Miss Myrna Loy in library book by Cornell Woolrich. Roma Wines presentation tonight in radio's outstanding theatre of thrills Suspense. Between the acts of suspense. This is Truman Bradley for Roma Waynes. Elsa Maxwell, the noted hostess, says, every woman knows men love good home cooking. Simple dishes cooked well, like beef with pan browned potatoes, a rich stew piping hot, a spaghetti with a lively sauce. And here's a secret. To really make simple food more tempting, more enjoyable, serve cool. Roma California Burgundy. So delightful, so delicious, so distinguished. Enjoy Roma Burgundy with your dinner tomorrow night. It adds so much to the pleasure of dining. Roma wines are always unvaryingly good, full of fragrance and finer tasting, the result of carefully selected grapes gathered at peak of flavorfulness from California's choicest vineyards. Quickly but gently pressed, then unhurriedly guided to perfection by Roma's ancient winemaking skill and bottled at Roma's famed wineries. Remember, because of uniformly fine quality at reasonable cost, more Americans enjoy Roma than any other wine. Always ask for Roma R O M A Roma wines. And now, Roma Wines. Bring back to our Hollywood soundstage, Myrna Loy as Prudence Roberts in library book. A play well, calculated to keep you in suspense, Miss Roberts.

[William Powell]

I'm sorry I couldn't get here till this late. I'm Lieutenant Murphy from headquarters.

[Myrna Loy]

Oh, you're a detective.

[Announcer]

Well, that's what my paycheck says, ma'.

[Maureen O'Sullivan]

Am.

[Myrna Loy]

Oh, well, of course, you're not in uniform, but come over here behind my desk. I want to show you something.

[Announcer]

Yes, ma'.

[Maureen O'Sullivan]

Am.

[Myrna Loy]

Has anyone been kidnapped lately?

[William Powell]

Huh?

[Announcer]

What?

[Myrna Loy]

Anyone named Melanie? Do you know why? Well, this book came back to the library damaged, and I deciphered a kidnap message from the damaged page. See? Read it.

[Announcer]

You. You deciphered this? This note?

[Myrna Loy]

You're laughing at me. I want to do my duty and you laugh. Oh, no, ma'.

[Announcer]

Am. No, ma'. Am. We'll check. Well, say, what do you know?

[Myrna Loy]

Yes, what is it?

[Announcer]

Oh, nothing. Nothing, miss. You took your glasses off, that's all. What'd you say your name was again, miss?

[Myrna Loy]

My name is Ms. Prudence Roberts. What has that got to do with this?

[Announcer]

Well, we have to know the source of our information. Yeah, yeah, this does look like a ransom note.

[Myrna Loy]

Now that I look at it, of course it does.

[Announcer]

But we haven't any case on deck right now that this could possibly fit into. I never heard of a ransom note without a kidnap case.

[Myrna Loy]

Oh, you haven't? Very well. I'm sorry I bothered you. We have to close the library now, so. Good evening.

[Announcer]

Just a minute, miss. What are you going to do?

[Myrna Loy]

I'm going to find out who damaged this book. Do you see this card? These are all the people who have taken the book outs. Six altogether.

[Announcer]

Mm.

[Myrna Loy]

Lucille Baumgarten, August Beasley, Walter Evans.

[Announcer]

Well, that's fine, miss. Look, maybe I could drop around and see how you're making out tomorrow.

[Myrna Loy]

No, I wouldn't inconvenience you. You needn't bother.

[Announcer]

Gee, miss, you.

[William Powell]

You talk such good English.

[Myrna Loy]

I try to.

[Announcer]

Well, look, could I see you home? It's pretty late, you know.

[Myrna Loy]

I feel quite safe. Thank you. The worst that ever happened to me was one night when a vulgar masher spoke to me. You, he said, hi, toots. Imagine.

[Announcer]

Oh, did you have your glasses on?

[Myrna Loy]

Why? Come to think of it, that was the time I'd left them to be repaired. How very peculiar.

[Announcer]

Yeah, yeah. Say, miss, how would you like to see a picture tonight with me, huh?

[Myrna Loy]

I wouldn't think of going out with someone I've met only once, Lieutenant.

[Announcer]

Oh, yeah, yeah, I guess you wouldn't.

[Myrna Loy]

And besides, because the police of this city are obviously so inefficient I have a great deal of work to do.

[Maureen O'Sullivan]

Do?

[Myrna Loy]

Yes, Lieutenant Murphy. I'm going to be very busy tonight, Miss Baumgarten. I only wanted to make sure. You're sure the page was missing when you read it.

[William Powell]

Oh, it was missing all right.

[Myrna Loy]

I remember because it took me quite a while to figure out what happened.

[Maureen O'Sullivan]

But I finally did, so it didn't worry me.

[William Powell]

Say, I'm not gonna be in any.

[Myrna Loy]

Trouble over this, am I? No, it was damaged by someone before you. But miss, I didn't even read the book. I saw the name on it, see? Gone with the Wind, so I thought it was about airplanes. I'm building a glider. But when I started to read it criminally. I think they oughta name books so you know what you're getting.

[Maureen O'Sullivan]

It'd save a lot of trouble.

[Announcer]

My dear young lady, a man of my age and education is aware of.

[Dame May Whitty]

The value of books and cares for them properly.

[Announcer]

Even novels.

[Dame May Whitty]

Yes, yes, I. I remember.

[Announcer]

That page was missing, obviously ripped out. An act of wanton destruction.

[Dame May Whitty]

Shocking.

[Maureen O'Sullivan]

Shocking. Yes. What do you want?

[Myrna Loy]

Does Ms. Jeanette Craig live here? What's that? Does Miss Jeanette Craig live here? She did. She moved. Ah, when did she move? Oh, about two weeks ago.

[Maureen O'Sullivan]

Monday, I think.

[Myrna Loy]

Yes, on the 17th. But she returned this book on the 18th.

[Dame May Whitty]

That book?

[Myrna Loy]

Oh, no, I was the one that returned that for her. I was cleaning out a room and I found it. Well, I work in the public library and this book was damaged. I wanted to speak to Ms. Craig about it. Oh, well, all I know is that she didn't expect to go when she did. Her room still paid for and she left most of her things. Ah, someone took sick and sent for her, they said. They called for her late one night and off she went in a rush with two men. But if she left her belongings, she'll be coming back for. I guess she will. Or she'll send for them. When did you say her room would be available?

[Maureen O'Sullivan]

Her room?

[Myrna Loy]

Yes. I'm thinking of moving and I like this neighborhood and I thought. Oh, well, come right in and I'll show it to you.

[Maureen O'Sullivan]

Now, it's real nice.

[Myrna Loy]

First floor. Careful, it's dark in these halls. I'm used to it. And I can roam around with my eyes shut and still, still find my way. Now, this was her room.

[Maureen O'Sullivan]

Come in.

[Myrna Loy]

It's real nice in the daytime. Is the closet good and deep?

[Maureen O'Sullivan]

Well, go ahead and look.

[Myrna Loy]

That's her things in there. And some real nice things too. I don't see how they do it being a nightclub dancer. Yes. Lovely things, huh? Funny, this monogram is Ms. And on this bag, too. Those aren't her initials. Oh, you know how it is. These girls lend each other their clothes. Probably belongs to a friend of hers. Did you ever hear her mention Melanie?

[Maureen O'Sullivan]

Hmm? Oh, no.

[Myrna Loy]

We don't allow any eating in the rooms. Well, I'll take it. But I have a roommate. That's all right with me. Fine. I'll get her and we'll move in tonight. Tonight? Well, all right. I'll move Ms. Craig's things into my room then. Oh, no, no, no. Leave them right here. I mean, you don't have to bother. We'll have plenty of space. The closet is so large. Just as you say. And anyway, I want to know when someone comes for her things, because I do want to find out where Ms. Craig is. You see, I'm terribly anxious about the book, I really am. Oh, Prudence, you and your mystery. We move out of a perfectly good apartment into a room next door to a pool hall. But I have to find out where Jeanette Craig is. Even when the lights are out, we have that darn neon sign, Chop suey, Chop suey. But don't you think it's strange, Maggie, all her things initial Ms. Instead of JC M could stand for. Hey. Hey, listen.

[Dame May Whitty]

What's that?

[Maureen O'Sullivan]

Shh.

[Myrna Loy]

Someone's unlocking the door. Holy smoke. Someone's come for her clothes. I know it. Yes? What do you want?

[Announcer]

Why, I thought. Well, I didn't expect to say we.

[Myrna Loy]

Rented this room today. Wait, I'll turn on the light. Now, what do you want?

[Announcer]

Well, you see, I was sent to get something.

[Myrna Loy]

How'd you get a key? I know You've come for Ms. Craig's things, is that it?

[Announcer]

Yeah, yeah, miss. That's right. It's a good thing you rented a room, because I come to pay up and settle everything. This way. It's going to be a lot easier this way.

[Myrna Loy]

You can just take the things. They're right here in the closet. I'll help you.

[Announcer]

Yeah, well, thanks.

[Myrna Loy]

Here. It's quite a load, isn't it?

[Announcer]

Well, thanks. Thanks, miss.

[Myrna Loy]

You'll have to make two trips. There's so many things.

[Announcer]

Well, I'll be right back as soon as I get these in the car.

[Myrna Loy]

Quick, Maggie, I have to dress. Help me. Why didn't you ask him where this car. I can't ask him. Now, look, Maggie, I'm going to slip out now. While he's in here, I'm going downstairs. Why are you Messing in this. And I want you to cover up for me and delay him as long as possible. Oh, jeepers, what are you gonna do? Come here. Look out the window. See his car down there? The long black one? Yeah, yeah, I see it. Well, I'm going to get in that taxi and follow him. Driver, he's awfully far ahead.

[Announcer]

Lady, I know this game backwards. It's been 20 miles and I haven't lost him yet.

[Myrna Loy]

Keep close watch. He may turn off in an effort to evade us.

[Announcer]

I'll see him. Hey, what's the matter?

[Dame May Whitty]

You move out on your head.

[William Powell]

Well, I don't blame you for being sore, but, lady, there's all kinds of angles.

[Myrna Loy]

I beg your pardon?

[Announcer]

For instance, I notice you wear glasses. Now, there's a saying. Men never make passes at girls who wear.

[Myrna Loy]

Please, will you confine yourself to your driving?

[Announcer]

Okay, okay.

[William Powell]

Hey, look, you turn.

[Myrna Loy]

Oh, hurry. Why, we're way out in the country.

[Announcer]

Oh, you said it.

[William Powell]

He's turning off again up ahead.

[Announcer]

Probably a driveway.

[Myrna Loy]

Pull up at the entrance.

[Announcer]

Okay. Well, this must be it. There's a house and there's the car.

[Myrna Loy]

Oh, what a lonely looking place.

[Maureen O'Sullivan]

Yeah.

[Announcer]

Now what?

[Myrna Loy]

Well, you wait here, driver.

[Announcer]

One minute. Lady, the time has come to tell you I got you clocked at seven bucks and 85 cents.

[Myrna Loy]

That much? And I forgot my pocketbook.

[Announcer]

I thought so. The old game.

[Myrna Loy]

But I have money at home.

[Announcer]

Outside. You heard me? Outside. That's right.

[William Powell]

Now, if you was a man, I'd.

[Announcer]

Take it out of your jaw as it is.

[Myrna Loy]

Oh, please, you aren't going to leave me.

[William Powell]

Yeah, you're going to walk.

[Myrna Loy]

But you can't leave me here.

[William Powell]

Lady, I can't. Anyway, they might have a phone in the house.

[Myrna Loy]

I don't even know where I am.

[William Powell]

I'll tell you where you are, baby.

[Announcer]

You're on your own.

[Myrna Loy]

Oh, to think anyone could be so.

[Maureen O'Sullivan]

I'll report you. Hey. Hey, you.

[Myrna Loy]

What?

[Maureen O'Sullivan]

Oh, good heavens. Quick, quick. Come closer, please. All right.

[Myrna Loy]

Oh, please take me away from here.

[Maureen O'Sullivan]

Please help me get away from here. Who are you?

[Myrna Loy]

Melanie Stevenson.

[Maureen O'Sullivan]

They won't let me go. I think they're gonna kill me.

[Myrna Loy]

Melanie. Aha. But where is Ms. Craig?

[Maureen O'Sullivan]

I'm Ms. Craig. Oh, please, I'll tell you later, but get me out of here.

[Myrna Loy]

Well, can you climb through and drop from the sill?

[Maureen O'Sullivan]

No, no, I'm chained to the bed.

[Myrna Loy]

Oh, please hurry. Bring someone back with you. That's the only way I can get out of here. All right, all right. I'll run back and phone Lieutenant Murphy. And the police will.

[Announcer]

Oh, no, they won't. Come in, toots, and stay a while.

[Myrna Loy]

But I. You see, I. Oh, hello.

[Announcer]

So we meet again. So you had a nice long ride following me, huh?

[William Powell]

Get in.

[Myrna Loy]

But you can't.

[William Powell]

No, no, no. Don't be bashful.

[Announcer]

You ain't going nowhere else from here. Not even to phone your friend, Lieutenant Murphy. You've reached the end of the road, babe. Positively the end of the road. Oh, Murphy, close the door. Sit down. This is important. Okay, captain.

[William Powell]

Wow.

[Announcer]

What's up? It's a kidnapping case, Murphy. I only hope we're not too late. That man who just left my office was Martin Stevenson. Yeah? Who's been kidnapped? His daughter. This is the story. She ran away from home a few months ago to work in a nightclub. Took another name. Didn't even let her family know where she was living. That's why they didn't know when she disappeared, so it wasn't reported until now. How'd she disappear? Well, her father doesn't know, but it looks like someone recognized her in the club, knew the Stevensons had dough and grabbed her. Well, first thing the old man knows, he gets a ransom note. You know, the usual kind. Words cut out or something and pasted on paper to look like a telegram. Words pasted up. Captain, what was the daughter's name? Melanie, I think. Melanie. Chief, you. You know, you should.

[Dame May Whitty]

Had to order.

[Announcer]

Read more like me, huh? It's Melanie like. Yeah, like in Gone with the Wind. She's the same note. The same note? What are you raving about? The Note that librarian Ms. Roberts called us about. Remember I told you, remember? What a laugh it handed us?

[Myrna Loy]

Yeah.

[Announcer]

Say, that's right. She must be a pretty smart girl. Maybe we ought to talk to her. Yeah. Yeah, just a minute. I got her phone number.

[William Powell]

I'll call her up.

[Announcer]

Oh, so you got her phone number, huh? I thought you said she wears glasses.

[William Powell]

Well, I. I got it, Cap.

[Announcer]

Just in case I turned up any information. That's funny. She don't answer. Well, she might know one or two people besides you, Murphy.

[William Powell]

Yeah, but she's got a roommate.

[Announcer]

Oh, Well, I guess I can see.

[William Powell]

Her in the morning.

[Announcer]

That's soon enough.

[Maureen O'Sullivan]

Oh, Prudence, they're gonna kill us, I know it.

[Myrna Loy]

They're sure you already went to the police? They're desperate. Maybe tonight they'll do it. I guess they could kill us and still collect the ransom, but I don't think. No, they won't dare. What are you doing? Still trying to get this chain off my Wrist. If I could open the padlock. Oh, only moved away from the window sooner.

[Maureen O'Sullivan]

Hey, what's that?

[Myrna Loy]

Someone on the stairs. They're carrying something up. Listen.

[Maureen O'Sullivan]

Have you got enough? Duke, you want to pour a lot on the stairs. A lot of what?

[Announcer]

Plenty. I got plenty.

[Maureen O'Sullivan]

What's that smell, Prudence?

[Myrna Loy]

It's like gasoline. Oh, they couldn't do that.

[Dame May Whitty]

Come on, dude, get in the car.

[Announcer]

I gotta start.

[Maureen O'Sullivan]

Oh, they're gonna burn us alive. Shh.

[Myrna Loy]

I want to hear.

[Announcer]

Be right with you as soon as they give me a clip in the head.

[Myrna Loy]

Why worry?

[Announcer]

The smoke will get him.

[Maureen O'Sullivan]

Come on.

[Announcer]

No, I'm soft hearted. Won't take a minute. Prudence.

[Maureen O'Sullivan]

Prudence. Shh.

[Myrna Loy]

Get under the bed, quick. That's right. Way back. Now, don't make a sound.

[Maureen O'Sullivan]

Okay, Duke, step on it.

[Announcer]

All right, ladies, where are you? Oh, I don't need a light to find you. You're so attached to that bed.

[William Powell]

Come on, come on, come on.

[Announcer]

Where are you? So you're being cute. Well, that ain't gonna help, Benny, because.

[William Powell]

Trip me up a little bit.

[Myrna Loy]

Bully. You unutterable bully. This is a good straw and I'm going to trying to hit two helpless girls.

[Maureen O'Sullivan]

Prudence of fire. Look.

[Announcer]

Oh.

[Maureen O'Sullivan]

Oh.

[William Powell]

I'm getting out of here.

[Announcer]

Just have it your way, babe. Just have it your way.

[Maureen O'Sullivan]

Help. Help.

[Myrna Loy]

Melanie.

[Maureen O'Sullivan]

Prudence. Melanie.

[Myrna Loy]

Will you stop that awful noise? I don't want to die like this.

[Maureen O'Sullivan]

I don't want to die like this.

[Myrna Loy]

Well, neither do I, but I have my dignity.

[Maureen O'Sullivan]

Help. Hush.

[Myrna Loy]

Please, hush. I want to see what they do.

[Maureen O'Sullivan]

What difference does it make? They're leaving.

[Myrna Loy]

Yes, they're in the car. But her car is pulling up in front. Melanie. Two cars. They've come. They found us.

[Maureen O'Sullivan]

The police.

[Myrna Loy]

Lieutenant Murphy and two Carlos. That's it, Lieutenant. That's the way.

[William Powell]

Jump.

[Myrna Loy]

Jump. They've caught both of them. Eddie and Duke. It's wonderful. Lieutenant Murphy and Maggie's with him. That's how he knew.

[William Powell]

Come on, jump, Miss Robert.

[Myrna Loy]

We can't jump, Lieutenant. We're chained to the bed. He's coming up. Oh, but can he get through?

[Maureen O'Sullivan]

The stairs are full of smoke.

[Myrna Loy]

Can he get through? Lieutenant Murphy, listen. Fire won't stop him. We're in here. Over here in the corner.

[William Powell]

Where's the padlock?

[Myrna Loy]

Right here between us.

[William Powell]

Okay, now look, I'm gonna smash it with this flashlight, I hope. Turn your face. There, that does it. It's open. Are you Melanie Stevenson?

[Maureen O'Sullivan]

Yeah, yeah.

[William Powell]

Now look, you're gonna have to jump. They'll break your fall. They got a net down there.

[Maureen O'Sullivan]

Oh, I can't, I'm afraid.

[Announcer]

Your father's down there.

[Myrna Loy]

Father?

[William Powell]

Yeah, yeah.

[Announcer]

Now, come on.

[William Powell]

Azidale, up on the ledge.

[Announcer]

That's right. Now, don't let the fire confuse you.

[William Powell]

Just push off.

[Announcer]

That's it.

[William Powell]

Okay.

[Myrna Loy]

Did they catch him?

[Announcer]

Yeah, sure. Now, next.

[Myrna Loy]

All right.

[William Powell]

You're not afraid, are you, Ms. Roberts?

[Myrna Loy]

Afraid? No. Really, Lieutenant Murphy, why would I?

[Announcer]

Why could I, Miss Roberts? Prudence. Well, what do you know? After all this, she faints.

[Myrna Loy]

It's awfully nice of you to drive me home, Lieutenant.

[Announcer]

Ah, forget it, forget it. I'm just thankful I had enough sense to try and find you tonight.

[Myrna Loy]

How did you find me?

[Announcer]

Well, first I went to your apartment, and from there I found where you moved to. And Maggie knew which cab you took tonight. And well, after that it was pie.

[Myrna Loy]

It was so melodramatic the way you got there just in time.

[Maureen O'Sullivan]

Yeah.

[Announcer]

Oh, you know, I can't get over the way you talk, Ms. Roberts. Every word so clear, just like a poem. Poem? Yeah, that's what I said, poem.

[William Powell]

I certainly hope I'm gonna see you.

[Announcer]

Something now that the excitement's over. Well, look, look, there's a real highbrow picture showing right near your place.

[William Powell]

I'm sure I could take you to.

[Myrna Loy]

No, I'm sorry.

[Maureen O'Sullivan]

Sorry?

[Announcer]

Well, I. I just thought I'd ask.

[Myrna Loy]

But if you know of a good fast murder picture with a lot of shooting, Ms. Roberts, can that. Ms. Roberts.

[Announcer]

Prudence.

[Maureen O'Sullivan]

Hey.

[Announcer]

Hey, wait. What are you doing?

[Myrna Loy]

I'm throwing my glasses out of the window. From now on, call me Toots.

[Announcer]

Roma Wines have brought you Myrna Loy as star of Library Book. Tonight's study in suspense, Mrs. Truman Bradley for Roma Wines, the sponsor of Suspense. With family and friends dropping in more and more with more frequent entertaining at home, here's a tip from famed hostess Elsa Maxwell. She says, I always welcome friends and guests with Roma California Sherry served cool. There is nothing so friendly, so heartwarming as delicious, glorious golden amber Roma Sherry. Rich in natural fragrance and nutty, mellow taste. The perfect first call for dinner. Most enjoyable later in the evening too. Easier to serve than tea or coffee. Yes, friends, because of Roma's goodness, smart hostesses and thrifty housewives from Malibu to Main street, prefer Roma to any other wine. Enjoy Roma regularly. For better cocktails, use full flavored Roma Vermouth. Made and bottled in California, yet surprisingly low priced. Try Roma Vermouth soon, won't you? Ms. Myrna Loy will soon be seen in the Jack Scarlet. Bruce Manning production A Genius in the family. Next Thursday you will hear Clifton Webb as star of suspense radio's outstanding theater of thrill. Presented by Roma Wines R O M A made in California for enjoyment throughout the world. This is cbs, the Columbia Broadcasting System. In just a moment, Suspense with William Powell.

[Maureen O'Sullivan]

Oh, half. Here comes Harlow Wilcox.

[Announcer]

No, Betty forgets. I already have two sets of autolite resistor spark plugs and tries to high pressure me into buying another one. Well, hello there, friends.

[Maureen O'Sullivan]

Mr. Wilcox.

[Announcer]

Hey, Hap. You look a little worried. Car not running right?

[Dame May Whitty]

Maybe.

[Announcer]

Why? Spark plug trouble? Not at all. Ah, listen pal. What you need is a set of those sensational new ignition engineered auto light resistor spark plugs. But a. Harlow, why the get up and go a spark weary engine gets from auto light resistor spark plugs will turn your gloom to glee. Look, Harlow, I already have. Why, when you replace your old narrow gap spark plugs with wide gap auto light resistor spark plugs by Cornelius, you can actually tell the difference in your car your engine idle smoother. Harlow. Harlow, wait a minute. I'll listen to you and my engine later. But.

[Maureen O'Sullivan]

Yes, but right now let's listen to suspense.

[Announcer]

Suspense. Autolyte and its 60,000 dealers and service stations bring you radio's outstanding theater of thrills. Starring tonight, William Powell in Anton L's production of Give Me Liberty. A tale well calculated. To keep you in suspense.

[William Powell]

I embezzled a quarter of a million dollars. I want you to know that.

[Announcer]

Needed brains, planning, patience.

[William Powell]

I devoted three years of my life to the trick. And I got away with it.

[Announcer]

$250,000.

[William Powell]

Of course, they caught me very easily. But they couldn't find the money. So they handcuffed me. Brought me back to stand trial. The judge was as big a fool as the others.

[Announcer]

Seven years is a long time, Mr. French. The insurance company will agree to a much lighter sentence if you will reveal where you've hidden that money.

[William Powell]

But I only smiled so. My right wrist was handcuffed to the left wrist of a detective. And they put me aboard a train bound for the penitentiary. I could see that the detective had instructions to soften me up. He was much, much too kind.

[Announcer]

You're comfortable, Mr. French. You want a magazine? Anything? Well, I like to be able to lift my hand without raising yours into the air.

[William Powell]

Can't you guard me without being quite so attached to me?

[Announcer]

Sure, I guess we can work that out. I tell you what. You sit next to the window. I'll kind of box you in. And that way you can wear the cuffs all by yourself and nobody loses.

[Dame May Whitty]

Thank you.

[Announcer]

Let me get my keys.

[Dame May Whitty]

There.

[Announcer]

On for me. On to you.

[William Powell]

Wonder if I've made a good change. Feels clumsy.

[Announcer]

Oh, you get the hang of it in no time at all. The biggest trouble is, when you read a paper, 5 inches of chain don't give you much room to turn a page. Helen.

[William Powell]

I better leave the newspaper for a less constricting occasion. I'll have seven years for reading.

[Announcer]

Seven years and a quarter of a million. Say, how smart does a guy have to be to get his hooks on so much lettuce?

[William Powell]

Would you like some of it now?

[Announcer]

You kidding?

[William Powell]

Well, let's make a deal. You drop the key to those things on the floor, then go have yourself a nice lunch.

[Announcer]

Sure. And when do I see Mr. French again?

[William Powell]

When I meet you.

[Announcer]

To pay off. Uh huh. I wouldn't be taking kind of a chance there, would I?

[William Powell]

Stupid conversation. When I was only making words.

[Announcer]

I looked out at the fields and brooks and houses rushing past.

[William Powell]

I wouldn't see these things for seven years, not counting time off for good behavior. But then I'd be free again and I'd have my quarter million. Not a bad salary, huh? I'd use my brains for myself this time. Suddenly, everybody.

[Maureen O'Sullivan]

Hold on. There's another tray on the track.

[Announcer]

You all right? I beat a car.

[William Powell]

Gotta get out of here. A car lay on its side in flames, and those passengers who could move scrambled through the broken windows. Pay no attention to a helpless man in handcuffs. French.

[Maureen O'Sullivan]

French.

[Announcer]

Give me a hand.

[William Powell]

But with the detective, his legs pinned to the wreckage.

[Announcer]

Move, will ya? Do you wanna see me roasted?

[William Powell]

What can I do with my hands like this? What do you carry? The key.

[Announcer]

What do you want with a key? You can pull me out by an arm, can't you? You can grab me by the head.

[William Powell]

Get the kid and.

[Announcer]

Fool.

[William Powell]

We'll both die here. If I can't use my hands, you can use them. Good enough. Where's the key?

[Announcer]

I. I can't find it, French. It ain't in my pockets. Look on the floor.

[William Powell]

You're a liar, French. My shoes are on fire.

[Announcer]

Please.

[William Powell]

The only weapon was a suitcase. Yeah, I kicked in the face. I flashed my suitcase on his head. And he didn't have the key. I emptied his pockets down to the last crumb of tobacco. But the fire crept closer. He hadn't fatigued the handcuffs. And I wanted it. Because this wouldn't be an escape. This would be a disappearance. Oh, what a chance, what a chance. I'd have my liberty And I'd have my money. I threw away his pistol. I wouldn't need a gun. I used my head, squeezed my college ring on his finger. I switched wallets.

[Announcer]

Is there anybody in that car?

[Maureen O'Sullivan]

Pete?

[William Powell]

This way.

[Announcer]

Over here.

[William Powell]

There was a conductor out there. A crowd of passengers. I got to the opposite side of the car. No one, Not a soul. And there wasn't a splinter of glass left in the window. I slid down the side of the car, cleared the wheels and struck the ground running. A few moments, a few hundred steps, and I was safe in the darkness. I was free. They'd think I was dead. And I had a quarter of a million dollars.

[Announcer]

For suspense. Auto Light is bringing you William Powell in radio's outstanding theater of thrills. Suspense. Hap. My friend, have you ever heard a conversation between two cars? Two car? Harlow Wilcox, are you crazy? Crazy like a fox. Listen, a sorrowful looking sedan came up to me on the street the other day and said, pardon me, pal, but have you got a potent pill for a sput? Puttering engine that keeps popping along on poor firing spark plugs. Well, this car had sure come to the right man. Old Alrsp. Wilcox. Alrsp. Alrsp for auto light resistor spark plugs, of course. Oh, well. Before I could answer this fumbling four door up glides a cute coupe with a mellow murmur and says, say, chum, if you want to hum and hustle on the highway, if you want to idle smooth as a satin slipper, if you want better luck with lean gas mixtures, actually save gas, why switch your narrow gap plugs for a set of those wonderful sensational wide gap auto light resistor spark plugs. What's more, continues this chatty convertible auto light resistor spark plugs cut down spark plug interference with radio and television reception. Really the spark plug of the future. Why, I was talking to a delighted television set. Wait a minute. Wait a minute, Harlow. Now you've got a car talking to a television set. Why, Cornelius Hap Television sets, cars and everybody are talking about auto light resistor spark plugs. And no wonder, because new auto light resistor spark plugs have a 10,000 ohm resistor ignition engineered right into the spark plug and a wider spark gap setting that means smoother idling and gas dollars saved. Auto light resistor spark plugs fit any make and size of car. And don't forget, auto light resistor spark plugs are backed by the reputation of Autolight and the over 400 automotive, marine and aviation parts made by the Autolite people. Pipe that okay, okay. But right now, let's pipe suspense. And now, Autolight brings back to our Hollywood soundstage. William Powell as Earl French in Give Me Liberty. A tale well calculated. To keep you in suspense.

[William Powell]

My first job after escaping was to break out of those manacles. I sat on a wheat field, holding my hands overhead so the blood would run from my hands and wrists and leave them slim. It didn't work. I tried that until my shoulders were in agony, and it didn't work. I couldn't snap the chain. I twisted it, I pulled at it, tried to fling my hands apart and it wouldn't break. I rubbed it against stones until my skin was torn and bleeding and it wouldn't break. But this time it was morning and I was pretty desperate. I found a match in my pocket. I went into the woods that bordered the field and built a fire. First the chain grew hot, and then my wrists. I held them over the fire until I couldn't keep back that scream. And not until then would I believe that I needed help. I pushed through the wheat and the corn beyond it, and I stumbled down a slope into a barnyard. Woman was standing near one of the hen houses, pan of chicken, feet in her hand.

[Maureen O'Sullivan]

What do you want?

[William Powell]

There was nothing to say. She'd seen the handcuffs.

[Maureen O'Sullivan]

Come on, speak up.

[Dame May Whitty]

What do you want?

[William Powell]

I'm innocent. I swear to you, I'm innocent.

[Myrna Loy]

Where you from?

[Maureen O'Sullivan]

How'd you get away?

[William Powell]

Well, I. We were going up to the prison and there was an accident.

[Announcer]

Well, what do you want from me?

[William Powell]

Could you lend me a file? And if you could spare some food, I'll be glad to pay you.

[Myrna Loy]

You don't have to pay me for anything.

[Maureen O'Sullivan]

Wait here. Jack. You're watching.

[William Powell]

The fool went into the house and the dog sat down on its belly and placed its nose between its paws. Grumpy, its eyes never left my face for an instant. And then through the stillness, I heard the cranking of an old fashioned wall telephone. And I knew what she was doing. I ran. I ran like a whirlwind. I couldn't get them off. I couldn't get the handcuffs off. I couldn't get anything to eat. I couldn't show myself. Do you know what it means to see food all about you and not be able to buy it? Don't tell me I could have eaten corn and fruit and roots. I can tell you the nature of every dog in that area. And the feel of every barbed wire fence. The spang and roar of every rifle and shotgun. That was it.

[Maureen O'Sullivan]

Hurry.

[Announcer]

That was Enough to rush it around.

[William Powell]

On the other side. I crept into a village one night and forced up the window of a hardware store. I wanted a file, just a file. Do you know what they carry in hardware stores these days? Glassware, kitchen gadgets, garden tools, seeds, ovens, rat poisons, dresses. Then I moved behind a counter. A hardware store has to have a file somewhere. And my foot struck a wire stretch across the floor. How tired have you been? Have you ever been so tired that your eyes felt like stones in your head? So weary that your jaw hung slack and your tongue seemed thick and heavy in your mouth? There were times when I thought I'd die. On the evening of the fourth day of my liberty, I crawled quietly to the garbage cans back of a roadside diner and began to paw about for something I could eat. There was a step behind me, a world about. It was a boy. We looked at each other for a long moment. He was waiting for me to speak. I said, hello, Sonny.

[Maureen O'Sullivan]

Hello.

[Announcer]

You live in this neighborhood?

[Maureen O'Sullivan]

Yeah.

[William Powell]

I don't. I'm traveling.

[Maureen O'Sullivan]

With handcuffs on?

[Announcer]

Oh, these?

[William Powell]

Yeah. A friend put them on me for a joke. Say, that gives me an idea. Sonny, would you do me a big favor?

[Maureen O'Sullivan]

Depends upon how big.

[William Powell]

Well, big to me, anyway. Sonny, it's worth $10 to be able to have these handcuffs off before my friend shows up. Look, can you get me a file or chop them off with an axe or something like that so I can have a laugh on him?

[Maureen O'Sullivan]

Nope.

[William Powell]

I'll let you keep them. They're fun.

[Maureen O'Sullivan]

Nope.

[William Powell]

Oh, well, I'm. Would you do something else for me?

[Maureen O'Sullivan]

Depends.

[William Powell]

I'm a little embarrassed about going into the lunch wagon like this. Look, would you step in there and buy a few hamburgers for me?

[Maureen O'Sullivan]

How much?

[William Powell]

Same.

[Maureen O'Sullivan]

$10 for a couple of hamburgers?

[William Powell]

Why not? Then maybe you change your mind about the file.

[Maureen O'Sullivan]

Let's see the money.

[William Powell]

I got it right here in my pocket, ready to jump in your hand. Lots of things that a boy can buy with $10. Ah, there we are.

[Myrna Loy]

How do I know it's good?

[William Powell]

Don't you trust me?

[Maureen O'Sullivan]

Drop it on the ground.

[William Powell]

Drop it? Why, you.

[Maureen O'Sullivan]

Drop it and back away.

[Announcer]

Then I'll pick it up.

[William Powell]

Oh, say, that's very smart. How's that? Far enough, I guess. He picked it up and began to walk around the diner. But when he was out of reach, he broke into a run. Well, I got away and I couldn't tear them off. I couldn't. I had $250,000 buried away and it was worthless to me. Do you Know it can be bought with a quarter of a million. Why, a man's soul can be bought for less than a quarter of a million dollars. And I couldn't buy a 10 cent phial. I spent that night in a nest of cast off railway ties attached to a siding. When I opened my eyes in the morning, I had company. There was a hobo sitting on the top of my fortress like bedroom. A very unusual looking hobo. And blue jeans and a navy coat. She was counting my money, smoothing each bill with loving care. She grinned when she saw I was awake.

[Myrna Loy]

Good morning, chum. You sleep like an honest man.

[Maureen O'Sullivan]

What's the matter, chum?

[Myrna Loy]

Never speak till they bring your orange juice?

[William Powell]

Listen, I'm in trouble. I want you to help me to.

[Maureen O'Sullivan]

Get the bracelets off.

[William Powell]

Yeah.

[Myrna Loy]

Aw, chum, wouldn't that be kind of silly? I might lose all this hard earned dough.

[William Powell]

Look, there's. There's more where that came from.

[Announcer]

A lot more.

[William Powell]

I'll make you rich.

[Maureen O'Sullivan]

Yeah, I heard that one before. So long, chum.

[William Powell]

Listen. Listen to me. I got a quarter of a million dollars.

[Maureen O'Sullivan]

I get feelings like that too.

[William Powell]

Come back, will you?

[Announcer]

It's true.

[William Powell]

Don't you read the papers? I'm Earl French.

[Myrna Loy]

I never heard of you.

[Maureen O'Sullivan]

And where would you get that much dough?

[William Powell]

Look, go into town and buy one of the newspapers of six days ago. That'll tell you.

[Myrna Loy]

Tell me what?

[William Powell]

Don't people read anymore? Earl Flash the embezzler. I stole $250,000.

[Myrna Loy]

And you're wearing those things so you won't pick your own pocket.

[William Powell]

Don't try to be clever. I died in the train wreck in Scottsville.

[Maureen O'Sullivan]

You're so sure about that, chum? You croaked only a few days ago.

[William Powell]

No, you fool. They only think I did. Now you get those newspapers, you come back here with a file and some food.

[Myrna Loy]

No, no, no. Don't order me around, chum. If you're a corpse, I won't take it from you. And if you're not a corpse, I'll.

[Maureen O'Sullivan]

Poke you in the eye.

[Myrna Loy]

Just play it easy, huh?

[Maureen O'Sullivan]

Yeah, maybe I'll be back.

[Myrna Loy]

Could happen.

[William Powell]

I waited for her all through that long blistering day. Crouching within those four walls of railway ties. I lay there like a trapped animal. And yet I knew she'd be back. She couldn't resist it. Cheap little thing like that. I knew she'd be back.

[Myrna Loy]

Chum, it seems you were a very important guy in your time.

[William Powell]

Ah, you saw the papers.

[Maureen O'Sullivan]

Yeah, and I got good news for you, Mr. French.

[Myrna Loy]

You're now burnt to a crisp. That's the way they found you in the train.

[William Powell]

Recognize me by the ring on my finger?

[Maureen O'Sullivan]

Yeah, well, you're dead, all right. You and 250 grand.

[William Powell]

Well, we'll come to that later. You get to work with the fire.

[Myrna Loy]

Giving orders again.

[Maureen O'Sullivan]

And I told you I don't like it.

[William Powell]

Give me that file.

[Myrna Loy]

It's right here in my jeans. And that's where it stays until you lead me to my share of that dough.

[William Powell]

Oh, you'll get it. You'll get it.

[Myrna Loy]

John, listen to Mama. I can pick up 500 fish by turning in an escaped prisoner.

[Announcer]

Or.

[Myrna Loy]

Or you can dig up that treasure chest and buy this file for half the plunder.

[William Powell]

It's 400 miles away.

[Myrna Loy]

That's a fair distance.

[William Powell]

But I can't ride a train or a bus with these on my wrists.

[Myrna Loy]

It's okay, chum.

[William Powell]

We'll walk 400 miles.

[Maureen O'Sullivan]

Cinch. I've done it before.

[William Powell]

Will he seem.

[Maureen O'Sullivan]

Not at night.

[William Powell]

How'll I eat? Or will he sleep?

[Maureen O'Sullivan]

You'll sleep in the woods and I'll.

[Myrna Loy]

Bring the grub to you. Me, I'll sleep in town, where I'll be snug and safe. You don't take this file from me, chum. Not till I see my half of that dough.

[William Powell]

And that's how it was. That same evening, we started a walk. At first it wasn't so bad. It gave me time to think. And I knew I'd think a second something.

[Myrna Loy]

You know, there's kind of a sneaky look about you.

[Announcer]

Huh?

[Myrna Loy]

You figure that in 400 miles a lot of things can happen.

[William Powell]

Oh, no, no. After all, I want to do what's fair.

[Announcer]

Let's split.

[Myrna Loy]

If we don't, I'll split your skull.

[Maureen O'Sullivan]

And don't kid yourself that I won't. Little chum.

[Myrna Loy]

Been waiting a long time for a break. Like.

[William Powell]

We walked with the handcuffs digging so deep into my flesh that I began to believe they were a part of me. Yeah, she brought me food, but she wouldn't come close enough to hand it to me. And every time I reached for anything, it was torture. My hands and wrists were a mass of misery as though her pet animal were on a leash. My friend always walked in six paces behind me. She was too smart. And I realized that I had to get away from her. And soon, the morning I decided to do it. She found me a shack to hole up in. I could hardly wait for her to leave and go back into town.

[Myrna Loy]

Yeah, this shack looks good.

[Maureen O'Sullivan]

I'LL meet you back here tonight.

[William Powell]

All right. See you tonight.

[Maureen O'Sullivan]

That's the way I like you, chum.

[Myrna Loy]

Nice and agreeable.

[William Powell]

Why not? Why shouldn't I be? See you tonight, as usual.

[Myrna Loy]

Sure there isn't anything special you'd like me to bring you to eat?

[William Powell]

No, nothing special.

[Myrna Loy]

Say, chum, I think you better turn around.

[William Powell]

Why?

[Maureen O'Sullivan]

Be good. Hey.

[William Powell]

When I awoke with a dull ache filling my head, I found myself neatly trussed up. I could move a little, but not enough to get free talk about female intuition. She had guessed that I was going to try to get away from her, and she beat me to it. But I didn't give up, though. She'd have to make one mistake. The next night we'd stop for a rest.

[Myrna Loy]

Hey, French.

[William Powell]

Yeah?

[Myrna Loy]

How can you be sure that dough is still there?

[William Powell]

It's safe.

[Myrna Loy]

How do you know? What kind of a place do you hide it in?

[William Powell]

You'll see.

[Myrna Loy]

Hey, don't you trust me?

[William Powell]

Of course, as much as you trust me. And it's time we stop playing this little game. Now get out that file.

[Myrna Loy]

When I see the dough, little chum.

[William Powell]

Take him off, will you? How long do you think I must.

[Announcer]

Shut up.

[Maureen O'Sullivan]

Shut up.

[Myrna Loy]

Wake up the neighbors.

[Dame May Whitty]

I move.

[William Powell]

No.

[Myrna Loy]

I said move.

[Announcer]

No.

[William Powell]

That money's mine and you'll never see it unless I want you to. We'll go to it the way I say.

[Maureen O'Sullivan]

Chum, you're making me mad.

[William Powell]

You get out that file and take these off. Go on, get it out. I can give orders, too. What do you think you are, an animal trainer?

[Maureen O'Sullivan]

That's not a bad idea, is it?

[William Powell]

But it happens, and I'm not an animal. And it happens at. What's that for? You can't frighten me with a knife.

[Maureen O'Sullivan]

I wouldn't try.

[William Powell]

You use that on me and we both lose up.

[Maureen O'Sullivan]

Whenever my old man used to beat.

[Myrna Loy]

One of us kids, he always said the same thing. He said, never use a switch thicker in your thumb. Breaks the skin, but no bones. A kid can go on working a switch. Yeah, like this one. Nice and green and limber. That's all the knife is for. I wouldn't use a knife on a buddy.

[William Powell]

You won't use that either.

[Announcer]

Put it down.

[Myrna Loy]

You know, this is something I wanted to do ever since I found you sleeping in those railroad ties. You gonna get up?

[William Powell]

No.

[Maureen O'Sullivan]

This'll hurt.

[William Powell]

I'll kill you someday, I swear I'll kill you.

[Myrna Loy]

I once had a husband like you. Brave enough outside. But once anybody put on the pressure.

[William Powell]

He talk too much. Go on. I'm calling your bluff. I'm sick of hearing you talk.

[Myrna Loy]

All right.

[William Powell]

We walked. God, how I hated her. And she. Well, she was sure she'd beat me down altogether because she didn't even bother now to taunt me anymore. She was very quiet after that and a little careless. I stopped now and then, and she bumped into me in the darkness. But she'd always stop dreaming before I could get my hands on her. Well, all things must end. Our pilgrimage ended one morning when I said.

[Announcer]

Here it is.

[Myrna Loy]

What?

[William Powell]

The money.

[Maureen O'Sullivan]

Where?

[William Powell]

We're standing over it.

[Myrna Loy]

You up to some sneaky trick again? We're standing in the middle of a highway.

[Maureen O'Sullivan]

You didn't do any digging here, chum.

[William Powell]

Look, there's a culvert running onto the road here. A 24 inch pipe. Come into the ditch. I'll show you.

[Maureen O'Sullivan]

You didn't stick that dough into the pipe.

[Myrna Loy]

Must have washed away.

[William Powell]

It's not in the pipe. It's in a deep crevice between the pipe and the concrete. Pull out some of those stones.

[Announcer]

You pull them out.

[William Powell]

What, with these hands? Why, I can't touch anything without screaming.

[Announcer]

Pull them out.

[Myrna Loy]

French, sir, Help me if this is a gag.

[William Powell]

She believed me. She had to. She saw the truth in my eyes. The money was there. My quarter of a million. She bent over to tug at the stones. She turned her back to me for the first time. And that was it. That was the mistake I was waiting for. I sprang forward and I crushed the.

[Announcer]

Fan cap down on her head.

[William Powell]

The back of her neck. Her head. Ah, the pain. The pain of my wrist. Ah, but I didn't care. I didn't care. My hands. My hands covered with blood. Her blood. Mine. She was dead. But I couldn't move my hands. My poor hands that. Waiting for the till. The shock drained out of them. Finally, I. I reached into her pockets for the file. It isn't there. Must be in this one.

[Announcer]

No, no, no. No file.

[William Powell]

She hasn't got a file.

[Announcer]

She never had one.

[William Powell]

Ah, that sheet. That dirty little sheet. Come on. Come on, little children. Come on. Come out, you babies. 250,000 beautiful little babies.

[Maureen O'Sullivan]

Come on.

[William Powell]

I can't get a hold on it. I need a few. I can't. I can't with these handcuffs on. I. I need one arm free. Ah, you handcuff you. I'll break this chain if I have.

[Maureen O'Sullivan]

To rip back hands off.

[William Powell]

I get that money. I must have my money. I want the money.

[Announcer]

It's my money. That's the way I found him, chief, sitting in the ditch beside a dead girl and babbling like an idiot. Thank you, William Powell, for a splendid performance. Mr. Paul returns in just a moment. Well, Hap, my friend. Now, Harlow, I've been trying to tell you. I already have two complete sets of Autolite resistor spark plugs. Congratulations. Everyone should have a complete set of Autolite resistor spark plugs. Those modern miracles of auto light ignition engineers. Those monuments to tireless auto light research. So, friends, why not drive down to your nearest Autolite dealer tomorrow, early tomorrow. And get your car a set of Autolite resistor spark plugs. They're sensational. And not because I said so either, but because they really are. Autolite means spark plugs. Ignition engineered resistor spark plugs. Autolite means batteries stay full battery. Autoite means ignition system. The lifeline of your car. And now, here again is William Powell.

[William Powell]

My thanks to the fine cast of suspense actors. Who helped to make my appearance here so pleasant an experience. I'm a regular listener to radio's outstanding theater thrills. And I'll be tuned in next time to hear John Garfield in Death Sentence. Another gripping study in suspense.

[Announcer]

William Powell appeared by arrangement with Metro Goldwyn Mayer Studios. Producers of the Technicolor production the Three Musketeers. Starring Lana Turner, Gene Kelly, June Allison and Van Heflin. Tonight's suspense play was written by Herb Meadow. With music composed by Lucian Morowek and conducted by Lud Bluskin. Anne Morrison played the part of the hobo. The entire production was under the direction of Anton M. Leader.

[Maureen O'Sullivan]

This is the Autolite Suspense Show. Subscribe to your local community community chest. Everybody benefits, Everybody gives. Good night.

[Announcer]

This is cbs, the Columbia Broadcasting System, Hollywood, California. Monday, June 8th. Deluxe Radio Theater presented from its new home on Hollywood Boulevard, Hollywood, California. Lux presents Hollywood. Such great personalities as William Powell, Myrnaloy, W.S. van Dyke, Leader Barra, James Seymour, Mina Gamble, Porter hall and many others will take part in this presentation sent to you by the makers of Luxe Toilet Soap. The beauty soap of the stars appearing before a distinguished Hollywood audience. Mr. Powell, Ms. Loy and a cast of 18 great players presents the play that has broken box office records from coast to coast. The Thin Man. And as producer, tonight we present the director who did the Thin man on the screen. Together with such triumphs as Naughty Marietta, Trader Horn, Rosemary, I Live My Life. And countless other smash hit pictures. Mr. W.S. van Dyke. Mr. Van Dyke. Hello, everybody. Well, it's a great scene at Deluxe Radio Theater tonight. In our audience we have Betty Davis, Jimmy Lucille Gleason Bob Armstrong, Olsen of olson and Johnson, St. Irwin, Jimmy Starr, Thanos Communist, Evelyn Dennable, Mr. And Mrs. Leon Sling Schlesinger. Maybe it would interest you a little inside information on the show we are doing tonight, the Thin man and about William Powell and Myrna Loy who are going to do it for you. As you know, the Thin man was a best selling novel by Dashiell Hammer, Hans Stromberg. Down at the studio, MGM got a hold of it and brought it to me. Woody said if you'll make this picture, I'll buy the story. Well, I read it and while it was a good enough mystery stories, there was something else about the book that struck me. Here was something new and fresh and very charming. A romance between a man and his wife. It's a story of a couple of kids that understood each other and had a blessed confidence in each other. Beneath all the casualness and all the wise cracking there's a lovely wholesome relationship. Something really deep and sweet and inspiring. Well, they decided to make the picture. Albert Hackett and Francis Goodrich wrote a swell script. William Powell and Myrna Loy played the parts and Howe, they played them beautifully because Powell was just Powell and Loy, it was just Loyola. Both of them wise, cracking all the time and flounding right through the picture. I suppose you know that plenty of motion pictures take from two months to a year to shoot. We did the thin man in 16 days, retakes and all. Of course it wasn't a pretentious picture. We didn't make it as one. I hate epics, but it is evident that people liked it. It has been very interesting to study out how they could tell this story on the radio. Bill and Myrna have had a lot of fun getting it ready for you just as they did making the picture. And from the original story, from the original motion picture cast. We have and are fortunate in having Min Gombo, Porter Hall, William Henry and Thomas Jackson here tonight. So here we go with William Powell and Nick Charles and Myrna Loy as Nora in the Thin Man. Here they come, Bill Powell and Myrna Loyd. We're in a fashionable cafe Montmartre, New York City. It's Christmas Eve and the well appointed dining room is filling rapidly. From the bar comes a good looking young fellow, about 35, tall, casual and worldly wise. He's Nick Charles, the well known private detective played by Willie Powell. And he's waiting for his charming wife Nora, played by Marna Love. As he takes his place at the table, a young girl on the other side of the room recognizes him and hurries over.

[Maureen O'Sullivan]

I beg your pardon. Aren't you Mr. Nick Charles, the detective?

[Announcer]

I am, yes. I'm Nick Charles.

[Maureen O'Sullivan]

I thought I recognized you. My name is Dorothy Wynan.

[Announcer]

Oh, yes. How do you do?

[Maureen O'Sullivan]

Do you mind if I sit down for a moment?

[Announcer]

No, but I'm expecting my wife. A few minutes, if you don't mind explaining your presence to her.

[Maureen O'Sullivan]

Oh, of course. That's my fiance over there at the other table.

[Announcer]

Oh, well, that makes everything all right, doesn't it? Sit down.

[Maureen O'Sullivan]

Thank you.

[Announcer]

Your name is Dorothy Wynant.

[Maureen O'Sullivan]

I'm Clyde Wynant's daughter.

[Announcer]

Clyde Wynant. Oh, of course. Your father was having some trouble about one of his inventions a few years ago. I handled the case for him.

[Maureen O'Sullivan]

I know that. That's why I want to speak to you now.

[Announcer]

Oh, well, I'm not practicing anymore, Ms. W. You see, I retired.

[Maureen O'Sullivan]

Mr. Child, I need you.

[Announcer]

Oh. What seems to be the trouble?

[Maureen O'Sullivan]

It's dead. He went away about three months ago and I haven't heard from him. Not a word. I'm worried sick.

[Announcer]

Oh, I wouldn't if I were you. After all, he's an inventor. He gets an idea he wants to work on. It's only natural that he should hide away somewhere. He's done it before?

[Maureen O'Sullivan]

Yes, but never for three months.

[Announcer]

Did you see him before he left?

[Maureen O'Sullivan]

No, Mr. McAuley was the only one he spent well. Macaulay and Julia Wolf, She's Dad's secretary.

[Announcer]

Julia Wolf. Yes, I believe I met that. McCauley is your father's lawyer, isn't he? Yes, his lawyer and his secretary both speak to him before he leaves. But no one knows where he went.

[Maureen O'Sullivan]

He wouldn't tell them.

[Announcer]

What about your mother? He wouldn't tell her either.

[Maureen O'Sullivan]

No, Mother and Dad aren't. They haven't seen each other for some time.

[Announcer]

Oh, I see. Well, I don't know just what I can do for you. Why don't you speak to McCauley? Maybe he's heard from your father and forgotten to let you know.

[Maureen O'Sullivan]

Oh, well, I'll call him now.

[Announcer]

That's the girl. Let me know how it turns out, will you?

[Maureen O'Sullivan]

Of course. I'll be back in a few minutes.

[Announcer]

I'll be here. Madam, you can't bring that dog in here. Dogs aren't allowed. I'm sorry. I'll be here. Come here, boy.

[Dame May Whitty]

Yeah.

[Announcer]

Down, boy. Madam, it isn't only your dog. We allowed everyone.

[Maureen O'Sullivan]

Oh, here you are.

[Announcer]

Asta. Quiet, Asta, quiet. Hello, Nora. I Hear you brought the dog.

[Maureen O'Sullivan]

I didn't bring him, he brought me. I think the doorman's mad.

[Announcer]

Madam, I'm afraid you have to take the dog outside. All right, Joe. It's my dog and my wife.

[Maureen O'Sullivan]

You might have mentioned me first, but Mr. Charles.

[Announcer]

Sure, that. Of course I'm sure. He's well trained. He'll behave himself and nobody might bite someone. No, no. Only me, Joe. He only bites me.

[Maureen O'Sullivan]

Yes, he's thoughty about what he is.

[Announcer]

Go ahead, Joe. I'll be responsible for it. Very well, sir. If you say so, sir. There you are, my dear. See what an influential husband you've got?

[Maureen O'Sullivan]

You do stand in with doorman, Mr. Charles?

[Announcer]

Oh, yes.

[Maureen O'Sullivan]

Dorothy, may I introduce my fiance, Andy Reid, Mr. Charles.

[Announcer]

How does it. How do you do, sir? Any luck, Melanie?

[Maureen O'Sullivan]

Yes, he's just around the corner.

[Announcer]

Your father?

[Maureen O'Sullivan]

No, no, Mr. McCall.

[Announcer]

We're going to see him now. Oh, fine, fine.

[Maureen O'Sullivan]

Over. Nick.

[Announcer]

Yes, my dear? Oh, I beg your pardon. Ms. Winant, Mr. Reed, my wife.

[Maureen O'Sullivan]

How do you do?

[Myrna Loy]

How do you do?

[Maureen O'Sullivan]

I'm sorry we have to rush, but you'll excuse us, Mr. Charles? Of course.

[Announcer]

We're to Normandy for a couple of weeks. Why don't you drop around?

[Maureen O'Sullivan]

Thanks, we will. Goodbye.

[Announcer]

Bye, sir. Goodbye, Mrs. Jo.

[Maureen O'Sullivan]

Goodbye, pretty girl.

[Announcer]

You like blondes?

[Maureen O'Sullivan]

You got tight.

[Announcer]

Only you, darling. Lanky brunettes with wicked jaws.

[Maureen O'Sullivan]

Who is she?

[Announcer]

Dorothy Winan, daughter of Clyde Wynan. I worked on a case for Father. Some nut wanted to kill him.

[Maureen O'Sullivan]

Charming. What's the matter now?

[Announcer]

Wynne has disappeared. Dar is afraid something happened to him.

[Maureen O'Sullivan]

Has anything happened to him?

[Announcer]

My darling wife? How do I know? Funny, though. That secretary of his ought to know something.

[Maureen O'Sullivan]

Secretaries usually do. Who is she?

[Announcer]

Julia Wolf. Smart girl, Julia. I always suspected she had some kind of hold on Winant and that's why he kept her on.

[Maureen O'Sullivan]

Maybe you ought to give her a ring.

[Dame May Whitty]

Of course.

[Maureen O'Sullivan]

Oh, just to say hello, maybe. What? Nickel?

[Announcer]

No, no, no. I've got one. I'll read it right back. Hello. I want Skyler. 40962. No, Skyler. That's right.

[Dame May Whitty]

Hello?

[Maureen O'Sullivan]

Yes?

[Dame May Whitty]

You're duel speaking. Who?

[Maureen O'Sullivan]

Oh. Oh, hello, Mr. Charles. Yes.

[Announcer]

What was it you wanted to.

[Maureen O'Sullivan]

Oh. Oh, no, I don't. He didn't tell me. Not a word. I'm sorry. That's all right. Goodbye. Morelli Cummings.

[Announcer]

Well, who was that? Nick Charles, the detective.

[Maureen O'Sullivan]

He wanted to know where Wynand was.

[Announcer]

Oh, yeah? Why?

[Maureen O'Sullivan]

He didn't say.

[Announcer]

Did anyone see Wynant come here that night? The night you and him had the scrap?

[Maureen O'Sullivan]

I don't know.

[Announcer]

Oh, no. Morelli gets a scran.

[Maureen O'Sullivan]

Wait a minute, Morelli. Where you going?

[Announcer]

Oh, taking a little stroll, that's all. If Nick Charles is gonna pop up around here, I want to be far away when he does.

[Maureen O'Sullivan]

Ah, don't be a fool, Morelli.

[Announcer]

Hey, listen, sister.

[William Powell]

I gotta wreck a nine.

[Announcer]

Itching to come face to face with no dick.

[Maureen O'Sullivan]

Sit down, Morelli. You need money, don't you?

[Announcer]

Yeah, what about it? You got some?

[Dame May Whitty]

Plenty.

[Maureen O'Sullivan]

I'm Winan's secretary.

[Announcer]

Oh, yeah? What do you mean by that?

[Maureen O'Sullivan]

Wouldn't you like to know? Your friend Pierre serves good dinners. Next.

[Announcer]

All right.

[Maureen O'Sullivan]

You still didn't tell me what Julia Wolf had to say.

[Announcer]

Nothing. She didn't know where he was. That's all finished.

[Maureen O'Sullivan]

Finished.

[Announcer]

We must get out. We'll grab a cab. Your bag will sell ready and willing.

[Maureen O'Sullivan]

Where's my purse? Come on, Esther.

[Announcer]

Go call me cab.

[Maureen O'Sullivan]

Hello. Hello, Esther. Be quiet. Stop it. Hello? Yes? Who is it, miss? Oh, he is? I see. Thank you. Oh, nick.

[Announcer]

Yeah?

[Maureen O'Sullivan]

It's Mr. McCauley. He's on his way up.

[Announcer]

I wonder what he wants.

[Maureen O'Sullivan]

Isn't he W's lawyer?

[Announcer]

Yeah.

[Maureen O'Sullivan]

Maybe he's got some news.

[Announcer]

Well, he ought. Say, you're worrying an awful lot about this business. Forget it.

[Maureen O'Sullivan]

I'll open it. I'm Mrs. Charles. Come in with me. For us.

[Announcer]

Hello, Macaulay. Hello, Charles. Well, how are you? Fine. Sit down.

[Dame May Whitty]

Thanks.

[Announcer]

Dorothy told me you were here. I took the liberty of coming to see you. Of course. Charles, what's Mimi up to? Mimi? Oh, Dorothy's mother. Does she have to be up to something? She usually is. Trying one way or another to get money out of Wynnet. I. I wanted to find out if you were sleuthing for her. I haven't been a detective four years. No. Say, my wife's father died and left her lumber mill, Marigage Railroad and a couple of other things. I'm looking after them. What's all the fuss about? Is Wynnet in hiding? You know as much about it as I do. I haven't seen him in three months. He sends word through Julie Wolf when he wants money. I give it to her and he.

[Maureen O'Sullivan]

Gives it to him mine. Hello? Oh, just a moment, please. It's for you, Mr. McCallum. Your office.

[Announcer]

Oh, thank you. Hello? What? He is? Oh, where is he? Oh, very well. Well, he's back in town.

[Maureen O'Sullivan]

Mr. Winan?

[Announcer]

Yes. Thank heaven. He's waiting for me now. Well, I've got to rush. I'll tell you. It's no joke working for a man like that. Oh, goodbye, Mr. Charles. Goodbye, Charles Long.

[Dame May Whitty]

Merry Christmas.

[Maureen O'Sullivan]

Same to you. 11:30. Almost Christmas.

[Announcer]

Darling, if that's a hint, you can drop it. You get your present at breakfast, not a minute before.

[Maureen O'Sullivan]

Beef. You know, Nick, I've been thinking. It's funny the way Wyant popped up all of a sudden.

[Announcer]

Yes, wasn't it?

[Maureen O'Sullivan]

You think there's anything behind it?

[Announcer]

Why should there be?

[Maureen O'Sullivan]

I don't know. It just strikes me as being funny, that's all. You're nearer than I am, darling. Hello?

[Dame May Whitty]

Speaking.

[Announcer]

Oh, hello, Dorothy. What? What? When? Oh, I see. Well, yes, of course I'll be here.

[Maureen O'Sullivan]

What is it, darling? Darling, what is it?

[Announcer]

Julia Wolf has just been murder. You are listening to William Powell on Myrna Loy and the story of the Thin man from the stage of the Lux Radio Theater in Hollywood Boulevard. Before we go on with the story of Nick and Nora, we want to take you on a quick tour of Hollywood. Lobby of the Hotel Roosevelt, where stars and newcomers gather. A young actress just breaking into pictures is telling her friend of her success.

[Maureen O'Sullivan]

Well, there's one thing. I've got one of the best managers in Hollywood, and that means a lot. Oh, but the rules he's laid down for me. Gee, what do you mean, rules? Well, you'd think I was going into training for the Olympics. I've got to lose five sounds. I've got to take lessons in singing and diction. And, of course, my complexion's got to be perfect. I've got to be more careful than ever not to get little blemishes or enlarged pores and what they call cosmetic skin. Thank goodness I know enough to use luxe toilet soap regularly. The way everybody around here does.

[Announcer]

9 out of 10 beautiful Hollywood screen stars use luxe toilet soap and have for years. Here's what the famous Claudette Colbert has to say. When I tell people how simple my complexion care is, they always seem surprised. I use cosmetics, of course, but I always use luxe toilet soap to guard against cosmetic skin. It's easy to keep skin lovely my way. And now on with the show of the Thin Man. An hour has gone by since Nick heard about the murder of Julia Wolf. In the living room of their suite of the hotel, Nick and Nora are listening to the radio. A news reporter is broadcasting the latest developments of the case. And here's the latest news of the Julia Wolf murder. The police have found out that the beautiful Bond secretary was a gangster's girl. Was spreading the dragnet for one Joe Morelli said to be hiding out somewhere in the city. In Paris today. The Chamber of Deputies.

[Maureen O'Sullivan]

Never mind the Chamber of Deputies. Joe Morelli. That's what I wanted to know about. Well, did you get any more information out of headquarters?

[Announcer]

As much as they had. Julia Wolf was shot and killed about 9 or 9:30. Body discovered on the floor of her living room a little after 11. Who discovered it? That'll surprise you. Mimi Winant.

[Maureen O'Sullivan]

Dorothy's mother.

[Announcer]

Right.

[Maureen O'Sullivan]

What was she doing there?

[Announcer]

I don't know.

[Maureen O'Sullivan]

Where's Clyde Wynon?

[Announcer]

Still missing.

[Maureen O'Sullivan]

Missing? But McCauley was going to see him. They had an appointment.

[Announcer]

I spoke to Macaulay Winer. Never showed up. Nobody knows where he is.

[Maureen O'Sullivan]

Going to be. Pretty tough on Dorothy, isn't it?

[Announcer]

Meaning what?

[Maureen O'Sullivan]

Meaning that it looks as if Clyde Wynant skipped one appointment in order to keep another with Julia Woolf.

[Announcer]

You think he killed her?

[Maureen O'Sullivan]

Oh, it's just a guess. You're the detective around here, darling.

[Announcer]

That's Dorothy. Said she wanted to see me. Well, come in, Dorothy.

[Maureen O'Sullivan]

Thank you. Is anyone here?

[Announcer]

That's Nora. Have a seat.

[Maureen O'Sullivan]

Hello, Dorothy. I'm. I'm sorry for breaking in on you like this. Oh, that's all right. We're used to it.

[Announcer]

Anything wrong?

[Maureen O'Sullivan]

Julia Woolf is dead.

[Announcer]

Yes, we know that.

[Maureen O'Sullivan]

There's the gun she was shot with.

[Announcer]

What are you trying to tell me? That you did it?

[Dame May Whitty]

Yes.

[Maureen O'Sullivan]

I hated her. She kept me from seeing my father. I went down there to ask her where he was. She wouldn't tell me. I shot her.

[Announcer]

Where did you hit her?

[Maureen O'Sullivan]

Why, in the heart.

[Announcer]

Pretty good shot you are. What did she do?

[Maureen O'Sullivan]

She fell down.

[Announcer]

Did she make any sound? Didn't scream?

[Maureen O'Sullivan]

I don't know.

[Announcer]

Which way did she fall?

[Maureen O'Sullivan]

She fell over backwards.

[Announcer]

Oh, yes. People fall toward a shot, you know, not back from it. I knew you were lying. All right, come on now, brace up. Where did you get this gun?

[Maureen O'Sullivan]

I bought it in a pawn shop.

[Announcer]

I thought so. Why did you say you did it? Whom are you trying to shield?

[Maureen O'Sullivan]

Oh, please don't ask me.

[Announcer]

You got to tell me.

[Maureen O'Sullivan]

Nick, let me handle this, will you? Dorothy, look at me. Nick is trying to help you. Why don't you help him? You were trying to shield your mother, weren't you?

[Dame May Whitty]

No.

[Maureen O'Sullivan]

Your father then, Dorothy? Yes, my father. Why do you think he did it? Mother was the first one to find Julia Wolf. She saw something in Julia's hand and she took it. What was it? A watch chain. It belonged to my father. So you think your father did it?

[Dame May Whitty]

I don't know.

[Maureen O'Sullivan]

I don't know. Did your mother turn the chain over to the police? No, she. She kept it. She didn't tell them anything about it. But she showed it to you? Yes.

[Announcer]

Why did your mother go to Julia Wolf's apartment in the first place?

[Maureen O'Sullivan]

She. She went to ask for money.

[Announcer]

Oh, money again, huh? Yes. Oh, Adam, come up, please.

[Maureen O'Sullivan]

Who is it?

[Announcer]

Dorothy. I wonder if you'd mind waiting in the bedroom.

[Maureen O'Sullivan]

Of course.

[Announcer]

It'll be only a minute.

[Maureen O'Sullivan]

Well, Nick, Mimi Wyman alone?

[Announcer]

She's never alone. Dorothy's brother is with her. Screwy college kid and some guy by the name of Chris Jorgensen.

[Maureen O'Sullivan]

Jorgensen?

[Dame May Whitty]

Who's he?

[Announcer]

Macaulay told me about him. A hanger on type. I think he's after Mimi's dough.

[Maureen O'Sullivan]

But she hasn't any.

[Announcer]

Maybe that's why she wanted to get some from Julia. I'll take it. Hello, Nick.

[Maureen O'Sullivan]

How are you?

[Announcer]

Fine. Come in, Mimi.

[Maureen O'Sullivan]

Thank you. Nick, this is my son, Gilbert.

[Announcer]

How are you? Very well, thank you.

[Maureen O'Sullivan]

And Mr. Cliff Jorgensen, he's an old friend of mine.

[Announcer]

How do you do?

[Dame May Whitty]

How do you do?

[Announcer]

Sit down, sit down. My wife, Gilbert Winant, and Mr. Jorgenson.

[Maureen O'Sullivan]

How do you do?

[Announcer]

Well, Mimi.

[Maureen O'Sullivan]

Nick, I have never been in such a state in my life. You know, of course, that I was the one who found Julia Wool. So we've heard. Oh, my dear, it was terrible. I walked in and there she was, lying dead on the floor.

[Announcer]

I meant to ask you much. Was there much blood?

[Maureen O'Sullivan]

Gilbert, don't be so morbid.

[Announcer]

But I'm interested in murders. You know, Mr. Charles, I formed a theory about this one already. So in my opinion, the man who did it.

[Maureen O'Sullivan]

Yeah, but. Be quiet. You don't know anything about it.

[Announcer]

Oh, but I do.

[Maureen O'Sullivan]

Be quiet. You were saying, Mrs. Wynon, about finding Julia Wolf. I was simply petrified. And such a mystery. Clyde, mine is crazy. Absolutely crazy to stay away at a time like this. No wonder the police think he had something to do with it.

[Announcer]

What do you think?

[Maureen O'Sullivan]

Oh, I know he didn't. But I wish I could find him. I have something very important to tell him. Macaulay won't help at all. He thinks I just want money.

[Announcer]

Well, don't you?

[Maureen O'Sullivan]

Oh, Nick, you're always teasing. Mrs. Wyman. Were you alone when you found Julie Wolf? Why, of course I was. Wasn't Mr. Jorgensen with you?

[Announcer]

Aye, certainly not. I don't know anything about it. The first word I had that Julia Wolf was dead was when Mrs. Wyman called me at my club.

[Maureen O'Sullivan]

Oh, she called you?

[Announcer]

Yes.

[Maureen O'Sullivan]

Why?

[Announcer]

I Beg your pardon?

[Maureen O'Sullivan]

Oh, let's not even talk about it. The thing to do is to find Clyde, and that's what I've come to you for. Nick, you will help me find him, won't you?

[Announcer]

I'm afraid I can't, Mimi.

[Maureen O'Sullivan]

Oh, Nick, please.

[Announcer]

Now, Mimi, there are a thousand detectives in New York. Hire one of them.

[Maureen O'Sullivan]

But Clyde knows you. All you have to do is to get in touch with him and tell him that Mimi says everything is all right, but that I've got to see him.

[Announcer]

I tell you again, I don't want any part of it.

[Maureen O'Sullivan]

Is that final?

[Announcer]

Final?

[Maureen O'Sullivan]

Well, if that's the way you feel, you'll turn up.

[Announcer]

You just help all you can. Give the police every possible assistance.

[Maureen O'Sullivan]

What you mean by that?

[Announcer]

Oh, nothing in particular.

[Maureen O'Sullivan]

Oh, well, we'll say good night.

[Announcer]

Good night. I'm sorry I can't help you, Mimi. Hello, Is this the Normandy Hotel? I want to speak to Mr. Charles. Yeah, Nick Charles. Hello, Mr. Charles. Say, I'm sorry I woke you up, but, Mr. Charles, I'd like to lay a proposition before you. It's about the murder of Julia Wolf. What's the difference who I am? Wait a minute. All right, wait a minute.

[Dame May Whitty]

Don't hang up.

[Announcer]

I'll tell you who I am, but you got to keep it under your hat. I am Al Nunheim. Yeah, Nunheim. Now, listen, I know who murdered Julia Wolf, see? Sure I do. And I'll spill it to you for five grand. I'll tell you how I know, because I was outside of her apartment when.

[Maureen O'Sullivan]

She was shot and I saw the.

[Announcer]

One who did it. And I'll spill it to you when I get. Hey, wait a minute. Hey, I can't talk now.

[Maureen O'Sullivan]

I'll call you again.

[Announcer]

Hello? Hello? Hello, Are you still there? Hello?

[Maureen O'Sullivan]

Now what, though?

[Announcer]

I don't know. On crank, I guess. He hung up. And you better get back to bed and get some sleep.

[Maureen O'Sullivan]

Nick? Nick, are you asleep?

[Dame May Whitty]

Yes. Good.

[Maureen O'Sullivan]

I want to talk to you.

[Announcer]

That's jolly.

[Maureen O'Sullivan]

Don't you think you'd like to go back to detecting once in a while just for the fun of it?

[Announcer]

Can't you get to sleep?

[Dame May Whitty]

No.

[Maureen O'Sullivan]

Everybody says you were a grandparents.

[Announcer]

They were kidding you.

[Maureen O'Sullivan]

I'd like to see you work Tomorrow.

[Announcer]

I'll buy you a whole lot of detective stories.

[Maureen O'Sullivan]

Oh, that poor girl's in an awful spot.

[Announcer]

There's nothing I can do to help her.

[Maureen O'Sullivan]

She thinks you can. It wouldn't hurt you to find out if you could, would it?

[Announcer]

Darling? My guess is that Wynant Killed Julia. And Dorothy knows it. And the police will catch him without my help. Now, please put out light. I'm tired.

[Maureen O'Sullivan]

Oh, all right. I'm mad at you.

[Announcer]

Mm.

[Dame May Whitty]

Nick.

[Maureen O'Sullivan]

Did you hear a knock?

[Announcer]

Mm.

[Maureen O'Sullivan]

Shut up, Astor. You want to answer it? Nick?

[Announcer]

Oh, good Lord.

[Maureen O'Sullivan]

All right. Stay in bed. I'll do it myself.

[Announcer]

Well, is that Charles here?

[Dame May Whitty]

Yes.

[Announcer]

I gotta talk to him right away.

[Myrna Loy]

What about?

[Announcer]

What's going on? What's going on?

[Maureen O'Sullivan]

For someone to see you, Nick.

[Announcer]

That's great. I was afraid I'd have to go to sleep. Come in. Yeah.

[Maureen O'Sullivan]

How about a chair?

[Announcer]

Stay where you are, both of you. I got you covered, so don't move a stick up. No, it ain't a stick up. I gotta talk to you, Mr. Charles. I want you to tell me something, and I want you to give it to me straight. You get me? Do you mind putting that gun down? My wife doesn't care, but I'm a very nervous person. Thank you. All right, shoot. I mean, what's on your mind? You don't need to tell me you're tough. I heard about you. I'm Joe Morelli. I've never heard about you. I didn't bump off Julia. All right, you didn't. I haven't seen her in three months. We were all washed up. Why tell me? I wouldn't have any reason to hurt her. She was always on the up and up with me. But that dirty little rat Nunheim, well, he got sore because she liked me and hated him. So he put the finger on me. That's all very swell, brother, only you're peddling your fish in the wrong market. I've had nothing to do with it. Now, listen. The boys used to say that you were, okay, a square guy. Now, that's why I'm here. What's the law doing to me? Do they think I did it, or is it just something else to pin on me? I tell you, fine, you, but I'm here. I'm not in on this. Ask the police. Now, that'd be very smart. The boys would love to have me come in and ask questions. They'd like it right down to the end of their blackjacks. Now, I came to you on the level. The boys say you're on the level. Be on the level. I'm on the level. If I knew anything, I'd be. Who's that? I don't know. This is your party. Open up. Open up. The police. Dirty 2 time in the north. Oh, give me that gun, you rabbit. I'll show you Drop that gun.

[Dame May Whitty]

Drop it.

[Announcer]

You'll never cross me, will you? Come on, drop it. Give it a minute. Give me the gun.

[William Powell]

Grab it.

[Maureen O'Sullivan]

Grab it. Let me go. Let me go, I said.

[Announcer]

I'll take that gun. Thanks, Officer. You almost had me. Get some water, Joe. Nora, are you all right? Nora? I'm Inspector Gilbert of the Homicide squad. You're in a good place, Inspector. Who's that woman on the floor? My wife. This guy Shooter? No. He tried to shoot me. I socked her on the jaw to get her out of the line of fire. I guess I hit her too hard. Nora. Oh, look at me. Nora. Are you all right, darling?

[Maureen O'Sullivan]

Oh, you darn fool. You didn't have to knock me out. I knew you'd take him, but I wanted to see you do it.

[Announcer]

She's all right. Okay. Slattery, take Morelli downstairs. Don't push. How'd you people have to pop in, Inspector? Well, this is getting to be a sort of a meeting place for the Winant family. So we figured we'd stick around in case the old man himself shows up. Then we seen Morelli sneak in and we decided to come up. I was pretty lucky for you too.

[Maureen O'Sullivan]

Yeah.

[Announcer]

Morelli a friend of yours? I never saw him before. What's he want of you? Wanted to tell me he didn't kill Julia Wolf. What's that to you? Nothing. What did he think it was to you? Ask him. I don't know. I'm asking you. Keep on asking. Oh, so you're gonna keep mum, huh? All right, Mr. Charles. I won't bother you tonight. But I'll be in tomorrow morning, and I'll plenty of things to ask. Good night.

[Maureen O'Sullivan]

Thank you, Inspector Guild. Next time you come, try to stay longer. Nick, wake up. It's Christmas.

[Announcer]

Oh, yeah.

[Maureen O'Sullivan]

Look, here's a telegram for you. It just came.

[Announcer]

Open it, will you? Probably a touch from somebody. Well, Nick, what is it?

[Maureen O'Sullivan]

It's from Clyde Wyman. Listen, will you take charge of investigation on Julia Wolf murder? Communicate with Herbert McCauley. Clyde Wynon.

[Announcer]

Where's it from?

[Maureen O'Sullivan]

Philadelphia. Then he didn't do it, did he, Nick?

[Announcer]

I don't know. Communicate with McCauley, huh? All right, we'll ask him up here this morning. There you are, McAuley. What do you think? He wants you to handle the case. Yes. Well, what are the chance of you doing it? Slim.

[Maureen O'Sullivan]

Oh, please, Nick.

[Announcer]

Quiet, dear. I Wish you would, Mr. Charles. Would it help any if I could persuade him to meet you? It might. I had word from Wyant myself. Last night he gave me a code message to insert in the newspapers in case I wanted to get in touch with him. Wouldn't do any harm to put it in. I'm sure you could clear this up. Oh, why not? When only comes back, it doesn't look well. He's staying away at a time like this?

[Dame May Whitty]

Yes?

[Maureen O'Sullivan]

Oh. Oh, just a minute. For you, Mr. McCauley. Police department.

[Announcer]

Police department. Hello. Well? In Allentown? Yes. When's the next train? Right. I'll get that. Well, Wyman's tried to commit suicide. They wanted me to go down and identify him. Well, I guess this changes the whole story, doesn't it? That looks like an admission of guilt. I had such hopes. I thought if you got on this case. Oh, well. Well, it's no use thinking about it now. Well, I'm sorry to have wasted so much of your time. You'll excuse me, won't you? Of course. Goodbye. Bye.

[Maureen O'Sullivan]

Well, that's that. A finish.

[Announcer]

What's the matter with you?

[Maureen O'Sullivan]

All the mystery's all gone and I wanted you to find out who did it.

[Announcer]

Maybe I will.

[Maureen O'Sullivan]

But why not?

[Announcer]

I don't believe he did it.

[Maureen O'Sullivan]

Why don't you?

[Announcer]

No reason, just hunch. But I'm going to find out. Come on, Dr. Watson, we're going places. I want to speak to Inspector Gills.

[Maureen O'Sullivan]

Man to man.

[Announcer]

Mr. Charles, are you working on this case? Man to man? Inspector Guild?

[Maureen O'Sullivan]

I'm not, but he's interested.

[Announcer]

I don't mind telling you I'd rather have you in. On the right side. You mean, not on the Winant side? I'd rather have you working with us than against us. So would I. It's a bargain then. Do you know about the case? I read the papers. What about the suicide? Oh, that's a phony. The men didn't even have to go down. Yeah, I thought it might be. From now on, they're going to think that every thin man over six feet with white hair is Winan.

[Maureen O'Sullivan]

Do you think that Winant did it?

[Announcer]

Looks like he planned something. He shut up his apartment and his shop, but there's nothing yet to clinch it. 50 will get you 100 that Winan didn't do it. Who's your candidate? I haven't got that far yet. I don't think that. Everything points to Wynant. What about the alibis? They're all okay. Mrs. Wynant, the boy, Dorothy McCauley, even Morelli. What about Jorgensen? Huh? Oh. Oh, I'll check on that. Well, I'm afraid this is kind of dull for you, Mrs. Charles?

[Dame May Whitty]

Dull?

[Maureen O'Sullivan]

I'm sitting on the edge of my chair.

[Announcer]

Frankly, I'm stunned. I don't know what to do next. What about you, Charles? Me? No. But I've got a hunch. What is it? I got a call last night. I thought it was from a crank, but I changed my mind. Whoever it was knew something and I've got a feeling I'll hear from him again. What time is it?

[Maureen O'Sullivan]

Almost 10. Still waiting to hear from the crank, and how.

[William Powell]

Here, give me that, quick.

[Announcer]

Hello? Yes. Yes, this is Nick Charles. Who? Can't hear you. I said I can't hear you. Have to speak louder. I can't speak any louder. Hey, this is Al Nunheim again.

[Maureen O'Sullivan]

You know, I called you last night.

[Announcer]

Hey, listen, are you still interested in that proposition? Uh huh. All right then. Now here's the dope and get this straight. The man who killed Julia woke it up. What's this girl you think Wynant killed Julia Wolf? Ann Manheim. Right. Why? Two reasons. First off, Mimi Wynant came across with a watch chain she plucked off Julia's body. Oh, she did, huh? It belonged to Clyde Wynant. Yeah. What's the second reason? A pip. The bullet that killed Nunheim came from the same gun. That's all right, Inspector, all right. It's perfect. Clyde Wynant is guilty of both of the smartest. Maybe what, 50 will still get your hundred. I say Wyet's innocent. You can say what you want, but I'm spreading a dragnet for that guy over every town in these United States. And I'll get him too. Calling all cars. Calling all cars.

[Maureen O'Sullivan]

Cover all roads.

[Dame May Whitty]

Leaving city pick up.

[Announcer]

Clad white and tall, thin man, Lassie wearing dark.

[Maureen O'Sullivan]

You think they'll find him, Nick? He must be in New York.

[Announcer]

Probably is.

[Maureen O'Sullivan]

Oh, it's getting me down. I saw Dorothy today.

[Announcer]

Yeah, what?

[Maureen O'Sullivan]

She's broken off her engagement.

[Announcer]

What for?

[Maureen O'Sullivan]

Don't ask me. She was a little hysterical. Something about not wanting to ruin her fiance's life. Daughter of a murderer and all that.

[Announcer]

Poor kid. Well, see you later, darling.

[Maureen O'Sullivan]

Where do you think you're going?

[Announcer]

I'm going to take Oscar for a walk.

[Maureen O'Sullivan]

He's just been for a walk.

[Announcer]

We're going sightseeing, aren't we, Asta?

[Maureen O'Sullivan]

Nick, what are you up to?

[Announcer]

I've got a hunch. I'm going down to look at Winan's shop. I want to find out why it's closed.

[Maureen O'Sullivan]

Why shouldn't he close it? He went away.

[Announcer]

He went away lots of Times when I knew him, but he never closed his shop. I've got a hunt. Something's up.

[Maureen O'Sullivan]

You mean he might be hiding there?

[Announcer]

I don't know, but this thing's got my goat. I've got to find out.

[Maureen O'Sullivan]

Nick. Nick, I won't have you going down there at this hour of the night. He's a crazy man. He might kill you.

[Announcer]

It'll be all right. I've been asked her to protect me.

[Maureen O'Sullivan]

All right, go on, go on. See if I care. But it's a dirty trick bringing me all the way to New York just to make me a widow.

[Announcer]

You wouldn't be a widow long.

[Maureen O'Sullivan]

You bet I wouldn't.

[Announcer]

Not with all your money, you dog. Goodbye, darling.

[Maureen O'Sullivan]

Nicky. Take care of yourself, won't you?

[Announcer]

Sure I will.

[Maureen O'Sullivan]

Don't say it that way. Say it as if you meant it.

[Dame May Whitty]

Why?

[Announcer]

I believe the little woman cares.

[Maureen O'Sullivan]

I don't care. I'm just used to you, that's all.

[Announcer]

Sure. So long, darling. Come on, Esther. Come on.

[Maureen O'Sullivan]

Call her. Goodbye. Call me darling, please. I'll be waiting to hear from you. After. After. If you let anything happen to him, you'll never wag that tail again.

[Announcer]

You are listening to the Lux Radio Theatre's production of the Thin man, starring William Powell and Myrna Loy, with the music under the direction of Louis silvers. This is W.S. van Dyke speaking. We have here tonight the man who wrote the great picture, Lawyer man, or Bill Powell. Here. He's a producer, too, but just on the writing end. He's done many great pictures. 42nd street, the gold Diggers, King of Burlesque and lots of others, including an original musical, Ladies in London, which you'll be seeing soon. And here he is, the man whose name you'll see on the screen before the picture starts, one of Hollywood's greatest picture writers, James Seymour. Come here, Jim. Thanks, Woody. I've been a movie writer for 10 years. That's the first kind word anybody has said to me. Listen, Jim. The average person thinks a movie writer is a fellow that sits by himself at a typewriter, hammers out a lot of dialogue and hands it in. Would you like to correct that impression? I certainly would. Nobody works alone and by himself. To make a picture, it's a matter of constant cooperation between producer, director, technician, actors and the writers. Some of the best story ideas come out of the conferences. Jim, how many writers would you say there are on an average picture? Plenty. Believe it or not, I've seen pictures where there were more writers than actors. If all the people who contributed to the story, got screen credit. Would look like a page from the telephone directory. You're written on both the stage and screen. Jim, tell the folks how they're different. Well, pictures have less talk, but they tell more in less time. Like concentrated foods. All the good and none of the waste. In the theater, everything must be brought to the audience. On the screen, you take your audience wherever the camera can go. And here's another important point that comes right back to your Lux radio theater. On the stage, the star just enters. But on the screen she's introduced with a big close up. A picture of the star's face many times larger than life size. Every time a movie star's complexion is mentioned in this Lux radio theater, I think of those close ups. Those stars just have to be beautiful. And they found that luxe toilet soap helps them look. Their best producers know it too. And that's why it's the official soap in all the great studios in Hollywood. Right, Woody? Right on the nose. Jim. Thanks for coming over. Thanks for asking me. Good night. Good night. We paused for station identification. This is the Columbia Broadcasting System. The Thin Man, Nick is on his way to Clyde W's deserted laboratory in a dark and desolate section of the city. His cab veers sharply around the corner and pulls up in front of a gloomy old rickety building. Hey, mister, are you sure this is the place you wanted? Looks like it. Come on, Esther, jump. How much? Owe you $1.20. Or do you want me to wait? No, never mind. Oh, that's good. You know, this ain't no neighborhood to be in at 2 o' clock in the morning. I want to get out of here. There you are.

[Dame May Whitty]

Thanks.

[Maureen O'Sullivan]

Hello.

[Announcer]

Come on, Esther.

[Maureen O'Sullivan]

Come on.

[Dame May Whitty]

What's up?

[Maureen O'Sullivan]

For you.

[Announcer]

Hello, Nora. What are you doing here?

[Maureen O'Sullivan]

I beat you down. I want to go with you, Nick.

[Announcer]

Now listen.

[Dame May Whitty]

No.

[Maureen O'Sullivan]

You're not going in that place alone. And that settles it. Now get out that skeleton key of yours and open that door. I'm here to stay.

[Announcer]

All right. Come on past.

[Maureen O'Sullivan]

Nice neighborhood, wine and picked out his laboratory. I can almost hear the chains rattling. You believe in ghost, Nikki?

[Announcer]

There we are. Come in. Be quiet.

[William Powell]

I've got a flashlight.

[Announcer]

We'd like to close the door, master. Shut up. Go on.

[Maureen O'Sullivan]

North. Which way?

[Announcer]

Straight ahead. Can we get the layout, please?

[Maureen O'Sullivan]

Looks awfully big to me. You can't even stay into the corner.

[Announcer]

I don't want the shadows for like you.

[Maureen O'Sullivan]

Who's fried?

[Announcer]

Come. Hold it.

[Maureen O'Sullivan]

What the matter?

[Announcer]

This looks like W's work table.

[Maureen O'Sullivan]

Like a slab in a morgue. Look, Nick, there's a cement floor all around.

[Announcer]

Yeah, probably a lot of weight goes on that table. Come on.

[Maureen O'Sullivan]

Where to now?

[Announcer]

There's an old desk over there on the wall. I want to take a look at it.

[Maureen O'Sullivan]

What do you expect to find?

[Announcer]

Darling, if I knew what I'd find, I wouldn't be.

[Maureen O'Sullivan]

Nick, I. What's it mean?

[Announcer]

Just a loose board, I guess.

[Maureen O'Sullivan]

It sounded like. Like somebody was walking over that way.

[William Powell]

Just your imagination.

[Announcer]

There's no one in here with us. No. What about Winem?

[Maureen O'Sullivan]

This is his workshop. Why couldn't he be hiding up? What's that?

[Announcer]

Asta. Asta, come here. Scratching on the cement around the work table. Asta, stop it. Stop it. Did you hear what I said?

[Maureen O'Sullivan]

Asta, take look at him. He's after something. I've seen him scratch the ground like that when he was looking for.

[Announcer]

Asta. Nora, look. Look at this new cement. Listen, Nick, it's hollow. I wonder if I could find something to dig it up.

[Maureen O'Sullivan]

There's an iron bar on the table. I just.

[Dame May Whitty]

North.

[Announcer]

Ah, good. Now I can sn a hole in that cement. We'll find out what's under there.

[Maureen O'Sullivan]

Oh, Nick, I'm scared.

[Announcer]

As to. Quiet. Keep away. Nora.

[Maureen O'Sullivan]

As to Come here once more.

[Announcer]

There she goes. I'm through the cement. Aa. Get away from there. Get away.

[Maureen O'Sullivan]

Nick, what is it? What's he after?

[Announcer]

We was getting Spectre Gill here.

[Maureen O'Sullivan]

What's under there?

[Announcer]

The body must have been there for weeks.

[Maureen O'Sullivan]

Old Nick.

[Announcer]

Wait a minute. Wait now. You reporters, you'll get your story as soon as I can give it to you. Until then, you gotta leave us alone. Come on now, get out. Those reporters are enough to drive a guy nuts. Well, you were right, Nick. It was a body. A skeleton. Rather buried in lime. I wonder what Wynne had against this one. Did you find any clothes? Yeah, but no identification on them. Just a silver belt buckle with the initials dwr. Dwr? Who is that? I got a good idea. That case you worked on, the guy who threatened to kill Wynant, what was his name? Oh, Rosewater. Yeah, Rosewater. He said Wynant tried to steal an invention, didn't he? Yes, but we figured it was just blackmail. Just the same, Waynet wouldn't mind having him out of the way. Woody. And according to the doc, the body's been there at least a couple of months. That's just about the time Wynick closed the shop. Right. Did you put the skeleton under the fluoroscope yet? Half an hour ago. We found the bullet he was killed with. And something in the leg bone. An old piece of shrapnel. Shrapnel? Yeah. Why? Shrapnel in the leg bone. He probably limped. What do you mean? Oh, nothing. Well, so long, Inspector. I'm going to pick up my wife, take her home. It's been a long night.

[Maureen O'Sullivan]

So long.

[Announcer]

Give her my best, will you? Right.

[Maureen O'Sullivan]

Where are we going, Nick?

[Announcer]

Back to the hotel, my sweet. Pack our bags and take a nice trip somewhere.

[Maureen O'Sullivan]

A trip? Oh, no, my soul, woman.

[Announcer]

I give you three murders and you aren't satisfied.

[Maureen O'Sullivan]

I want you to stay and find one.

[Announcer]

I did find him.

[Maureen O'Sullivan]

What do you mean?

[Announcer]

He was down in the shop, Nath. It was his body that was buried there.

[Maureen O'Sullivan]

Wynan's body?

[Announcer]

Yeah.

[Maureen O'Sullivan]

But they all said it was rose water.

[Announcer]

Oh, that's what they think.

[Maureen O'Sullivan]

What makes you so sure it's Winan's body?

[Announcer]

Several things. Clothes, for instance. They were carefully preserved. The body was just as carefully destroyed. Person who killed him counted on one thing. That all skeletons look alike.

[Maureen O'Sullivan]

Well, don't they?

[Announcer]

Sure. But I remember that Wynant had some shrapnel in his shin. They found it under the fluoroscope.

[Maureen O'Sullivan]

How long has he been dead?

[Announcer]

A couple of months. Anyway.

[Maureen O'Sullivan]

Then he couldn't have committed those other murders.

[Announcer]

Smart gal, Wynot.

[Maureen O'Sullivan]

Gil, did Dorothy know?

[Announcer]

No. Nobody but you. I didn't even tell Gil.

[Maureen O'Sullivan]

Why not?

[Announcer]

I want to lie low till I get the whole dope. I don't want to go off half cock.

[Maureen O'Sullivan]

What are you going to do?

[Announcer]

I'm going to get the real murderer. I've got an idea. Want to see me take him?

[Maureen O'Sullivan]

Yes.

[Announcer]

You got a nice evening dress?

[Maureen O'Sullivan]

Oh, I've got a lulu.

[Myrna Loy]

Huh?

[Announcer]

I'm going to have a party, A dinner party. Everything from Russian caviar to Camembert cheese. An orchestra, behind the palms, subdued lighting.

[Maureen O'Sullivan]

What is this?

[Announcer]

And I'm going to invite all of the suspects.

[Maureen O'Sullivan]

The suspects? They won't come.

[Announcer]

Oh, they'll come. I'll have Gil issue the invitation.

[Maureen O'Sullivan]

Nick, who's going to be there?

[Announcer]

Everybody. You, me, Dorothy, our ex fiance.

[Maureen O'Sullivan]

His Name's Andy, right.

[Announcer]

McAuley, Mimi, Gilbert, Jorgeson and Morelli.

[Maureen O'Sullivan]

Oh, darling, what a lovely party.

[Announcer]

All right. Good evening, everybody.

[Maureen O'Sullivan]

Mr. Do, what is the meaning of this?

[Announcer]

The meaning of what, Mimi?

[Maureen O'Sullivan]

Why were we all rounded up like common criminals and brought to the sitters to eat Mimi.

[Announcer]

And talk? Will everyone please be seated? Dorothy, here.

[Maureen O'Sullivan]

Thank you.

[Announcer]

Andy, next to her, please. Oh, but Mr. Charles, please. Very well. Mimi, on the other side of Andy. Mr. Jorgson, over there, please. Very kind, Mr. Charles. Not at all, Mr. McCauley.

[Maureen O'Sullivan]

Next, of course.

[Announcer]

Morelli. What? Right where you are now.

[Dame May Whitty]

Say, listen.

[Announcer]

Sit down. And, Gilbert, you can sit just opposite Mama. Mr. Charles, I have a theory. We'll listen to it later. Inspector Guild, you and your men will stand by the door, please.

[Dame May Whitty]

Sure.

[Announcer]

Fine. Now, Nora, if you'll sit here by me.

[Maureen O'Sullivan]

Delighted, Mr. Charles.

[Announcer]

Pleasure, Mrs. Charles. Now, we're all ready to begin.

[Maureen O'Sullivan]

Will you please pass the celery, Mrs. Wyer? No, I will not. I demand to know why we are here before dinner.

[Announcer]

All right. I've got some important news. I've seen Wynan. Certainly. I mean it.

[Maureen O'Sullivan]

That's nothing. I saw him myself.

[Announcer]

Yes, Mimi? When?

[Maureen O'Sullivan]

Last night. He came to see me in my apartment.

[Announcer]

Oh, did he? What did he say?

[Maureen O'Sullivan]

Did I say very much. He want to know how I was and how the children were.

[Announcer]

I'm afraid you're lying, Mimi. You see, I really did see Wyman last night. Are you kidding? No. Why didn't you tell me? Why didn't you hold him? Because I found out for certain that he didn't commit the murders. Let him have it that. Thank you. Morelli, you knew Julia. Was she gipping Wynant, taking dough on the sly? Well, she don't say she is, but I figure she is. Yeah. Thank you. Now I'll tell you why I know Wynnett didn't commit those murders. Three months ago, Wynant found out that Julia was cheating him and was flitting with some man. He went to find the man and he did. That man was desperate. He knew that he was caught dead to rights and at prison staring him in the face. He took the only way out. He killed Wynant. Oh, it's terrible to tell you this way, Dorothy, but your father's dead.

[Dame May Whitty]

Dead?

[Announcer]

He's been dead for three months.

[Maureen O'Sullivan]

Dead. Oh.

[Announcer]

Oh, darling, don't cry. I know it's terrible, but isn't it really better this way?

[Maureen O'Sullivan]

Oh, Andy. Andy. You'd better take her home, Andy.

[Announcer]

Yes, of course. Come on, darling.

[Maureen O'Sullivan]

Let them out. Inspector, open up.

[Announcer]

Don't cry, darling, please.

[Dame May Whitty]

It'll be all right.

[Announcer]

Now.

[Maureen O'Sullivan]

This is absurd. How can Clyde be dead? You said yourself you saw him last night.

[Announcer]

So I did. I saw him lying buried in his shop. You mean that body was Wyman?

[Maureen O'Sullivan]

Perfectly absurd.

[Announcer]

And the murderer is right here in this room tonight. He's sitting at this table. Huh? Who is it? I don't know, but I thought if we all Had a little get together. We might be able to find out. I'll tell you as much as I know. This murderer is a very clever man. He planned the whole thing beautifully. After he killed Wyman, he wired McCauley using Wyman's name and told him to shut up the shop. Then he took Winant's body and buried it in the shop with another man's clothes. That throws off the track. Even put a belt buckle with an R on it, hoping that we'd think it was Rosewater. An old enemy of Winans who dropped out of sight years ago. Amorelli. Yeah? Would you mind holding your knife the other way? You're worrying Gilbert.

[Maureen O'Sullivan]

Oh, Nick, if that knife is missing, I'll look for it in your back.

[William Powell]

I'll help you look.

[Announcer]

Well, after our hero had killed Wynant, he got a brilliant idea. He realized that he and Julia could stand still, collect money. Wynant was supposed to be on a trip. No one knew where. So our dinner guest wrote letters to McCauley signing Wynant's name so that Macaulay would continue to send the money to Julia. Even telephone McCauley. Do you remember, Macaulay, the first day that you came to see me? He telephoned that he was in town. It must have been Wynnet. I should have known if it weren't his voice. Oh, he was clever about that. He called when you were out that same afternoon. Julia telephoned him. She said that you were coming, Mimi, to ask about Wynut. He got terrified. He was afraid that Julia would break down and tell. So he went to Julia and killed her. And left Wyman's watch chain in her hand. I don't know. Quiet, please. His plan was still working beautifully. The only hitch was a man named Nunheim who had found out something. Oh, our hero bumped him off, too. But our hero overlooked just one item. The telegrams, wires and telephones were all very well. But no one had seen Wynnett. So the murderer picked on poor Mimi here to strengthen his case. Mimi is the only one at this table who can tell us who the real murderer is. Mimi, who was it told you to say you'd seen Winant?

[Maureen O'Sullivan]

Nobody told me. I did see him.

[Announcer]

What did he pay you, Mimi, to stick to that story?

[Maureen O'Sullivan]

Isn't a story. It's true. I did see Winan. He's not dead.

[Announcer]

You're lying, Mimi. But then you do anything for money. You're getting a good price for saying you saw Minot.

[Maureen O'Sullivan]

I'm not going to stay here and be insulted.

[Announcer]

Sit down. You're getting a good price, Mimi, but don't forget this. Two other people were in with him on this deal, Julia and Mannheim. When he thought they might spare something, he bumped them off. You ought to know darn well that he's not going to take any chances on you. What do you want to do, be next on his list?

[Myrna Loy]

No.

[Maureen O'Sullivan]

No.

[Announcer]

And who is he? Who paid you that money?

[Maureen O'Sullivan]

Macaulay?

[Announcer]

You dirty little. I think that'll hold him. Oh, boy. Oh, boy, what a wallet. Hey, nice work, Mr. Charles. There's your man. Inspector. Mr. McCauley. I can't believe it. What do you want me to do? Wrap him up in cellophane? Take a look and get him out of here. Come on, boys. Grab him. Let me get a handle.

[Maureen O'Sullivan]

If you took him, I knew you would.

[Announcer]

Yeah, Another case like this now developing a prize fighter.

[Maureen O'Sullivan]

Oh, Nikki, you're grand. You're glorious.

[Announcer]

I bet you say that to all the boys. Well, that's that. The Story of the Thin man with William Powell and Myrna Loy. I'm going to get them back out here in a minute to talk to you. As you know, these broadcasts from the Lux Radio Theater are quite an event in Hollywood. And among our many friends here tonight, as well as the greatest stars of the silent pictures. I admired her from afar when she was doing such magnificent spectacles as Cleopatra and I was just an extra. Today, she is the wife of one of our leading film directors. I've known her for many years as a most charming and gracious lady. And I want you to meet her now. Ms. Theda Barra.

[Maureen O'Sullivan]

Thank you, Woody. Hollywood entertainment has certainly developed amazingly since I was making pictures. Yes, everything's different now, as you and I know. Before pictures grew up and started to talk, we had to translate all emotion into pantomime. Oh, you may think you have trouble today, but do you remember the difficulties we had working with a split screen? We had to express jealousy, hate, love or devotion. Or in pantomime. And at the same time, keep pace as the director guided us with a 1, 2, 3, 4. Just as a metronome guides a pianist.

[Announcer]

Pantomime has always been one of the greatest arts. And may I say, Ms. Bar, I have always thought that you were one of the greatest masters of that art.

[Maureen O'Sullivan]

Oh, you're very kind, Woody. We worked awfully hard making those pictures. For instance, in making Cleopatra, we had no research department at the studio. I worked myself a month with the curator of Egyptology at Metropolitan Museum in New York. It was great fun.

[Announcer]

Though I understand this very you're going to make some radio appearances?

[Maureen O'Sullivan]

Yes, I am. And I'm also going to do some motion picture work.

[Announcer]

That's good news.

[Maureen O'Sullivan]

I'm considering an offer now running through scripts and ideas. Oh, I just hope everyone will be as happy about another cedar barrel picture as I am. The public has been very good to me in the past and I know.

[Announcer]

They'Ll be awfully glad to see you again. I'm sure it'll be a great thrill not only seeing you, but hearing your voice. Thanks, Ms. Bar, for joining us tonight.

[Maureen O'Sullivan]

I'm glad I could. Good night.

[Announcer]

Hearing Theta Barrett talk of her plans brings to my mind some other plans I've heard discussed in Hollywood this week. Picture people are talking about Charlie Chapman's recent statement that he will start work on a new picture very shortly. Ms. Paulette Goddard will be starred. Chaplin, William Right. And direct but will not act in it. A disappointment to many of us. Barbara Stanwick and Robert Taylor are starting a new picture today and I'm tickled to death that I got the job directing. It's called His Brother's Wife. Speaking of Bob Taylor, there's a lad who is going places. He's got a great future. And sometime in that future, he's going to do Armand to Greta Garbo. Scamil. Bill Powell and Myrna Loy here interested in the making of MGM's picture the Good Earth. Louise Rayner, who was with them in the great Ziegfeld and Paul Mo Muni of the Stars. And now Bill Powell and Myrna Loy are coming out on the stage. Arise, Bill. Myrna. Yes. You did a great show. You're really marvelous. What, no retakes?

[Maureen O'Sullivan]

No, no. Property Man.

[Announcer]

Yeah, Bill, I'll bet you're glad my Property man isn't here. Remember how I used to swat you with a broomstick when you weren't hurrying on the set fast enough? Yes. That Harry Alvis is a great fellow. And he's the most independent cuss in the whole picture business. Listen, Bill, that fellow was with me in the Arctic when we made Eskimo. He was with me in African jungle when we made Trader Horn. And after a man has handled crocodiles, sharks, pythons and polar bears, you can't expect him to be afraid of a mere actor. There's only one thing I can ever understand about that picture. Eskimo. Woody, how did they tell you from the polar bears? He wore rubbers, I wore a hat.

[Maureen O'Sullivan]

It must be pretty tough, Woody, when you have to plow through swamps, jungles, tropics in the Arctic, I suppose. When you call up and say you're going on location, your wife says, oh, yes, location. Do you want the snowshoes or the snake bite medicine?

[Announcer]

Unfortunately, she doesn't say that. When I say I'm going on location, she just says, you are not. Incidentally, I thought all about that traveling. I thought all about it when the Lux soap people asked me to do this broadcast. Isn't it funny? In the Arctic, soap is something they like to eat. In the tropics, they use soap for money. And here in Hollywood, soap is something that keeps the stars beautiful. I can see that it keeps Myrna beautiful, Woody. But when are you going to start using that? Nice talk, nice talk. What I do use is that. That's no kidding. Anyway, thanks for coming up, kids. You're. Bye, Woody.

[Maureen O'Sullivan]

Goodbye.

[Announcer]

Before I tell you about next week's show, I'm going to ask our announcer, Mr. Rick to tell you about more about the cast and about Hollywood studios who are cooperating with us. Our cast of characters tonight, Nick, William Powell, Nora Myrnaloy, Mimi Minambo, Naui Porter Hall, Dorothy Barbara Ludy, Gilbert William Henry, Chris Jorgensen, Brett Morrison, Julia Wolf, Margaret Brayton, Inspector Guild, Thomas Jackson Morelli, Wally Mayer Nunheim, Ernie Adams. Our director, W.S. van Dyke and our stars William Powell and Myrna Loy appeared through courtesy of Metro golden mayor, as did Mr. William Henry and Porter Hall. Through the courtesy of Paramount. The musical director of this program, Mr. Lewis Silvers, appears through the kindness of 20th Century Fox. And now here is your producer, Mr. W.S. van Dyke. Thanks to all of you in the cast. You did a swell job. Next week, ladies and gentlemen, the Lux Radio Theater is going to have a great show for you. And believe me, Al Jolson, Ruby Keeler are going to be here to appear in burlesque. It was a smash hit on Broadway and then a great moving picture. And now it's going to make a marvelous radio vehicle for Al Jolson, Ruby Keeler. I think you'll like it. Mr. Cecil B. DeMille will return to the Lux Radio Theater in time to to produce Burlesque. And you know he'll give you a great show. I've enjoyed being with you all and good night.

[Maureen O'Sullivan]

It.

[Announcer]

This is the Columbia Broadcasting System.

[Host]

We just heard the star of the Thin Man, William Powell, Myrna Loy and Maureen o' Sullivan that will do it for this week's show. Thanks so much for joining me. I hope you'll be back next week as we wrap up our month of Hollywood romance. With the stars of From Here to Eternity. In the meantime, you can check out down these Mean Streets, my old Time Radio Detective podcast. New episodes of that show are out on Sunday. If you like what you're hearing, don't be a stranger. You can rate and review the show in Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com meanstsotr I'll be back next week with the stars of From Here to Eternity, each of them appearing in tales well calculated to keep you in.

[Maureen O'Sullivan]

Suspension. Foreign.

[Announcer]

Ladies and gentlemen, the chief hope of our enemies is to divide the United States along racial and religious lines and thereby conquer us. Let's not spread prejudice. A divided America is a weak America. Through our behavior, we encourage the respect of our children and make them better neighbors to all races and religions. Remind them that being good neighbors has helped make our country great and kept her free. Thank you.