Philip Marlowe: Heir for G-String (Encore) (EP5020s)

Summary

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The Great Detectives of Old Time Radio

Episode: Philip Marlowe: Heir for G-String (Encore) (EP5020s)
Date: July 19, 2026
Host: Adam Graham

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Episode Overview

This encore presentation of The Adventures of Philip Marlowe features the 1951 radio detective drama episode "Heir for G-String," starring Gerald Moore as Marlowe. In this classic hard-boiled mystery, Marlowe is hired to find a man named Buff Ryan, supposed beneficiary of a modest inheritance. The search leads Marlowe from sweltering Los Angeles hotels to the gritty world of burlesque theaters and skid row flop houses—and into a dangerous web involving a Philadelphia lawyer, a beautiful showgirl named Blossom, and dark secrets that threaten to make Marlowe an unwitting accomplice to murder.

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Key Discussion Points & Episode Breakdown

1. The Case: An Inheritance with a String Attached

[04:35–09:53]

• Marlowe is summoned by Martin Allman, a Philadelphia lawyer (or so he claims), at the Broadview Hotel.
• Allman engages Marlowe to locate Buff Ryan, who has supposedly inherited $5,000 from a deceased aunt, Julie Leader.
• Allman provides the last-known address (in East LA), a description of Buff, and expects Marlowe to report back at the hotel.

"You know, it's an odd thing about prototypes, Mr. Marlow. They'll trick you."
—Martin Allman ([05:57])

• Marlowe notes his suspicion about Allman's credentials and motives, finding Allman either too much or not enough like a "prototype" lawyer.

2. The Trail of Buff Ryan: From Gray Houses to Burlesque

[09:53–16:28]

• Marlowe searches the address, encountering Blossom, a showgirl with connections to Buff, and an air of evasiveness.
• At a burlesque theater, Marlowe seeks out Blossom, leading to a classic exchange filled with innuendo and suspicion.
• The theater's manager, George Ballou, also seems to fit Buff's description, adding an unsettling layer of misdirection.

"You're driving me nowhere but out of my mind."
—Blossom ([11:49])

• Marlowe attempts to question Blossom but instead is stonewalled or directed away by various individuals, all seemingly protecting Buff.

3. Skid Row Shadows: Meeting Buff...the Wrong Kind of Heir

[17:23–22:57]

• Marlowe is knocked out backstage, suggesting the high stakes of his inquiry.
• On Skid Row, Marlowe finally tracks down Buff (now a wino), protected by the philosophical J. Fenton Prentice and fellow outcasts.
• Marlowe delivers the message about the inheritance, but Buff panics and flees.

"Maybe this isn't the place to Say it. But you've inherited money, Buff. That's all I came to tell you."
—Marlowe ([21:51])

4. The Twist: When the Detective is the Mark

[22:57–27:07]

• Marlowe reports back to Allman, but a post-episode encounter with Prentice suggests something unsavory is at play. He hints Buff is “running with reason."
• Consulting with Sergeant Mooney at police headquarters, Marlowe uncovers Buff’s real history:
  • Buff is also known as Buff Ragland, Bob Rutledge, CA Douglas.
  • Most crucially, Buff is connected (as a suspect) to the slaying of Julie Leeder—his supposed benefactor.

"Last question. In connection with the slaying of Julie Lita. Philadelphia movie. Wait a minute. Aunt Julie."
—Sergeant Mooney and Marlowe ([26:52])

• Marlowe realizes Allman has used him to lure Buff out—setting up Buff to take the fall for Julie's murder.

5. The Showdown: Truth, Justice, and a Brooks Brothers Suit

[27:07–30:38]

• Marlowe races with Blossom to the house to prevent Allman from killing Buff.
• Tense stand-off: Buff, fearing for his life, threatens Marlowe and Blossom.
• With quick thinking, Marlowe disarms the situation and confronts Allman.
• The truth comes out: Buff was a witness, not the killer. Allman murdered Julie Leeder and tried to silence Buff.

"I was at first. When I thought the business about you inheriting the 5,000 bucks was legitimate. What's he got against you?...I saw Martin kill Julie Leader."
—Buff Ryan ([29:08])

• With the case resolved, Buff and Blossom find hope for a future, and Buff, ironically, adopts the guise of respectability—“just like a Philadelphia lawyer.”

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Notable Quotes and Memorable Moments

• On stereotypes and reality:
  "That's because I'm only a junior partner in the firm, Mr. Marlowe."
  —Martin Allman ([05:54])
• On burlesque and identity:
  "I read the papers. And occasionally I've been known to contribute to the cultural progress of Los Angeles. You know, save the burlesque houses."
  —Marlowe ([12:03])
• On street wisdom:
  "Temper justice with mercy. That much I say to you."
  —J. Fenton Prentice ([25:02])
• The moment of realization:
  "Holy smoke."
  —Sergeant Mooney ([27:07]), as Marlowe realizes the setup

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Insights & Host Commentary

Adam Graham’s Observations
[34:11–35:24]

• Graham notes that Allman’s story was “screaming phony” and that Marlowe was a bit too trusting:
  "Marlow was kind of suspicious but then gnawed about it because I think he's had similar things happen and he should require more documentation than just a says so."

• He admires the character of Prentice, the “philosopher of Skid Row,” wishing the show had used more of such figures for depth.

• Graham updates listeners that this is one of the last Philip Marlowe episodes before the series moves on to Defense Attorney.

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Important Timestamps & Segments

| Timestamp | Segment Description | |-------------|-------------------------------------------------------------| | 04:35–09:53 | Marlowe meets Allman and receives the peculiar assignment | | 09:53–13:05 | Marlowe encounters Blossom and the search begins | | 14:36–17:23 | Marlowe faces Ballou and backstage danger | | 18:24–22:57 | Marlowe is knocked out, finds Buff on Skid Row | | 24:16–25:43 | Prentice warns Marlowe; truth about Buff hinted | | 26:09–27:07 | Police file reveals Buff’s real story; the murder twist | | 27:07–30:38 | Final confrontation; the case is solved | | 34:11–35:24 | Adam Graham’s commentary and series notes |

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Episode Tone and Style

The tone is classic hard-boiled, with Marlowe’s sardonic internal monologues, atmospheric descriptions of LA’s summer heat and city grime, and sharp, sometimes flirtatious repartee—especially with Blossom. The supporting cast—from nervy lawyers to Skid Row philosophers—add authenticity and nostalgia, with crisp 1950s-era dialogue.

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Summary Conclusion

"Heir for G-String" is a prime example of the unpredictable, layered plotting and world-weary wit that made Raymond Chandler’s Philip Marlowe a radio staple. The episode exposes how easily a private detective can become a pawn in someone else’s deception, and the dangers of taking people at face value. With a resolution that ties together themes of redemption, mistaken identity, and the struggle for respectability, this episode remains both suspenseful and reflective—much like Marlowe himself.

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Transcript

[Philip Marlowe]

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[Spinquest Advertiser]

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[Philip Marlowe]

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[Spinquest Advertiser]

social casino void where prohibited. Visit spinquest.com for more details. This weekend, someone is walking their dog. Someone is crossing the street to their car. Someone's kid is riding a bike home and they're counting on you to drive the speed limit. Speeding accounts for nearly 30% of traffic fatalities and most of those crashes don't happen on the interstate. They happen on the streets where people live. Slow down. It's an act of care for the people around you. So remember, speeding catches up with you. Know the road and respect its limits. Presented by NHTSA now back to your podcast.

[Adam Graham]

Get this and get it straight. I am on a summer recording break and we are bringing you encore presentations of The Philip Marlowe 1951 Summer Replacement Series. As usual, any offers or information in this episode may not be valid unless currently reflected on our Great Detectives of Old Time Radio website. But here is today's episode. It happened like this. Welcome to the Great Detectives of Old Time Radio from Boise, Idaho. This is your host, Adam Graham. If you have a comment, send it to me, box13greatdetectives.net Follow us on Twitter radiodetectives and become one of our friends on Facebook, facebook.com radiodetectives before we do get started, I want to let you know the program is brought to you by the financial support of our listeners. You can give a one time donation at support.greatdetactives.net and also we are very specifically promoting our Patreon campaign. If we get up above $600 in monthly pledges, I will do a special summer series and the exact nature of that podcast series will be decided by our Patreon supporters who can pledge as little as $2 or more a month. We're already more than 75% towards the goal and I'm recording this eight days in advance. So you can still support us if you're listening to this on the 30th or 31st towards that goal at patreon.greatdetectives.net now for Philip Marlowe, the original air date on today's program August 25th of 1951 and the title is Air for G String.

[Narrator/Announcer]

Most Saturdays at this time we spend an exciting half hour of adventure and action with America's public hero number one, Hopalong Cassidy. Well, even two fisted cowboys take summer vacations when they can, and Hoppy is no exception. But Hopalong and Topper will be back with us riding the CBS air trails again four weeks from tonight, September 22nd.

[Philip Marlowe]

Get this and get it straight. Crime is a sucker's road and those who travel it wind up in the gut of the prison of the grave. There's no other end, but they never learn.

[Narrator/Announcer]

From the pen of Raymond Chandler, outstanding author of crime fiction, comes his most famous character in the Adventures of Philip Marlowe. Now with Gerald Moore starred as Philip Marlowe, we bring you tonight's transcribed story, Air for G String.

[Philip Marlowe]

There's nothing really wrong with a hot summer. But if some sadist really wanted to bring out the worst in anybody, particularly me, after a steaming day, all he has to do is expose me to air conditioning. Take for instance, the Broadview Hotel, which was on Olive street in downtown la. It ground out alternating currents of cold air from what could laughingly be called the lobby. I'd revolved through the usual doors and stood squinting into the icy darkness. When my eyes leveled off again, I made my way to the elevators, sinking into the deep pile carpeting up to my hot and cold ankles. By the time I reached room 972, I was in the first stages of a chill. Air conditioning is a marvelous invention. It guarantees the summer cold for life.

[Martin Allman]

Oh, you're Mr. Marlow.

[Philip Marlowe]

That's right. That makes you Mr. Allman. Huh?

[Martin Allman]

Oh, come in.

[Philip Marlowe]

Martin Allman.

[Martin Allman]

Come in.

[Philip Marlowe]

Sure. Yeah. You're nothing like I'd pictured you, Mr. Almond.

[Martin Allman]

Sit down, please. Mr. Marlowe. Pictured me? I don't understand.

[Philip Marlowe]

Well, all my life I'd heard about Philadelphia lawyers. Somewhere along the line, I drew up a mental 8 by 10 of a. Yeah, well, it doesn't matter. You just don't look the prototype.

[Martin Allman]

Perhaps that's because I'm only a junior partner in the firm, Mr. Marlow.

[Philip Marlowe]

Yeah, maybe that's it.

[Martin Allman]

You know, it's an odd thing about prototypes, Mr. Marlow. They'll trick you.

[Philip Marlowe]

Oh.

[Martin Allman]

For example, I've always had the idea that men in your. Well, I'll call it a profession.

[Philip Marlowe]

That's nice of you that men in

[Martin Allman]

your profession always wore trench coats.

[Philip Marlowe]

Yeah, well, that's cause Bogart looks so good in them.

[Martin Allman]

Yes. Well, about our business together. I'll be here in Los Angeles a few days Representing the firm in a number of ways. But while I'm here, I hope to locate a man by the name of Buff Ryan.

[Philip Marlowe]

Did you say that first name was Buff?

[Martin Allman]

Yes. Odd name, isn't it? Yeah, but that's beside the point. This Buff Ryan, it seems, has inherited a small amount of money from a maiden aunt who passed away some time ago in Philadelphia. According to our information, my firm is executor of her estate. Mr. Ryan came west about a year ago and until approximately six months ago he could be reached at a Waring street address in care of a C.A. douglas. But our correspondence to him there has been returned marked unknown at this address.

[Philip Marlowe]

That's the last record you have on him?

[Martin Allman]

Yes, that's the last. We've written to this CA Douglas, but received no answer from him. I've called him since I arrived in town. There's been no answer.

[Philip Marlowe]

Well, maybe they've both left town, moved away.

[Martin Allman]

Well, that's possible, of course, but perhaps you'll find that out when you get to checking on Mr. Ryan.

[Philip Marlowe]

I see. Well, I'm to find him if I can and tell him about this inheritance, huh? By the way, how much is it?

[Martin Allman]

$5,000. Just about Ms. Leader's entire estate.

[Philip Marlowe]

Ms. Liter. Sounds like a comment.

[Martin Allman]

Her full name you may want. That was Julie Leader.

[Philip Marlowe]

Julie Leeder.

[Martin Allman]

I'm sorry I can't show you a picture of Mr. Ryan. I'm expecting one to be sent out to me while I'm here. Expected it this morning, as a matter of fact.

[Philip Marlowe]

Yeah, well, maybe a description of him will do. Have you ever seen him?

[Martin Allman]

No, no, but we were able to find out that he's slightly less than 6ft tall, light brown hair, straight blue eyes, weighed about 180 pounds when he left Philadelphia a year ago. No distinguishing marks about him, according to our description. Oh, yes, and he's about 35 years old.

[Philip Marlowe]

Well, that's pretty complete. Oh, you better let me have the last address you have on Ryan.

[Martin Allman]

Oh, of course. Here, I've written it down for you with the phone number I've been calling. I'll be handling most of my business affairs right here at the hotel, Mr. Marlow. I'll appreciate it if you'll check in occasionally. Let me know your progress.

[Philip Marlowe]

Oh, sure.

[Martin Allman]

Be glad to say, around 3:00' clock this afternoon.

[Philip Marlowe]

Okay. Tell you everything I know, but then. Yeah, but then it might not be a thing.

[Martin Allman]

I know your reputation, Mr. Marlowe. You'll find him, I'm sure.

[Philip Marlowe]

Oh, don't get me wrong. If he's to be found. I'll probably find him. But I have missed. You know. Just why I should want to rock the confidence of a Philadelphia lawyer. I don't know. Maybe it was because Martin Allman, for all his conservative Brooks Brothers attire, looked too much or not enough like what he was supposed to be. Maybe it was because the East Los Angeles address he'd handed me for Buff Ryan was a cinch to be 30 degrees hotter. It was, too. Waring street was lined with gray little houses surrounded by small gray lawns dotted with straggling gray trees. The color scheme was the direct result of long years of constant neglect. I knocked a long time on the door of the C.A. douglas residence. The porch was littered with old papers, an assortment of throwaways and leaves. The only response I got was from a scrawny cat, also gray, who leaped up on the porch rail to spit and yowled at me. I yowled back and walked off the porch in the general direction of my car. That's when I noticed a smaller, grayer house behind this one on the same lot. And I thought I saw a curtain at the front window move slightly. The cat dogged my steps back to see.

[Blossom]

Yeah.

[Philip Marlowe]

Oh, pardon me, but I'm trying to locate C.A. douglas. Does he still live in the house in front of you?

[Blossom]

I don't know. I haven't seen Mr. Douglas in quite a while.

[Philip Marlowe]

Oh, you. You think he moved away?

[Blossom]

Maybe. I don't know. How would I know?

[Philip Marlowe]

I don't know.

[Blossom]

Well, look, I'm in kind of a hurry. I'm getting dressed to go to work.

[Philip Marlowe]

How long have you lived here?

[Blossom]

What difference does it make?

[Philip Marlowe]

Did you ever know a guy named Buff Ryan?

[Blossom]

Of course not.

[Philip Marlowe]

Why of course not? Why not? Just know.

[Blossom]

Listen, I don't know hardly anybody, and I don't know you. And now it's the phone. Go away, will you, please, mister?

[Philip Marlowe]

No, no, I don't think I will, honey. She was tall, very blonde, very good to look at. A fresh blue housecoat wrapped around just the way it should. And even after I entered the spotless little living room, the faint aura of her cologne lingered on. I couldn't tell anything about the phone conversation she was having in the next room, but I could tell a lot about her by the several scantily clad pictures of her that greeted me from various points of the room. Yeah, I could tell a lot about her.

[Blossom]

Hey, what's the idea? You just can't walk in here. Do you want me to call the police?

[Philip Marlowe]

Not especially. I just admiring your pictures. So, yeah, you have exceptional handwriting.

[Blossom]

You're pretty nosy, aren't you?

[Philip Marlowe]

I particularly like this sample where it says, for Buff. Darling, my love. Blossom.

[Blossom]

Listen, mister, I got things to do, so run along.

[Philip Marlowe]

How long have you known Buff?

[Blossom]

Honey, you think I'm kidding about calling the cops? Well, I do it, all right.

[George Ballou]

Only.

[Philip Marlowe]

Only what?

[Blossom]

Only I'm. I'm due downtown at work. I. Oh, honest, mister, I'm not gonna talk to you anymore. You got no right to ask me questions about anything. And nothing says I gotta answer.

[Philip Marlowe]

That's right. That's right, honey, you sure don't. Now, where's Bub?

[Blossom]

I don't know.

[Philip Marlowe]

I'll drive you downtown and you can tell me all about it, huh?

[Blossom]

You're driving me nowhere but out of my mind.

[Philip Marlowe]

Now, look, I got good news for your boy. He'd want to see me.

[Blossom]

Get out.

[Philip Marlowe]

Okay, Blossom. Okay. What time's your first show?

[Blossom]

How did you know?

[Philip Marlowe]

Yeah, I read the papers. And occasionally I've been known to contribute to the cultural progress of Los Angeles. You know, save the burlesque houses. The pictures she'd autographed to Buff have been propped up between my sugar bowl and the Soul Shaker the Sunday morning before in the theatrical section of the Sunday paper. Yeah, I didn't recognize it with a housecoat on. And all the way back downtown, I reflected on the advantages of being well read. Well, I parked in a lot on a side street at the north end of Skid Row and stopped for lunch at a newspaperman's hangout nearby. It was almost time for Blossom's first show when I felt fortified enough to walk along the street past the blank stairs of the winos and the dank air of the muscatel missions. Blossom's flag flew above the marquee. Blossom, the flower of burlesque.

[Blossom]

How many, please?

[Philip Marlowe]

One, huh?

[Blossom]

There you are, sir.

[Philip Marlowe]

Thanks. Say, do you think I can get in to see Blossom?

[Blossom]

I don't see how you can miss, with buying the ticket and all.

[Philip Marlowe]

No, no, no. I mean, I'd like to see her personally. In a dressing room. I'd like to talk to her.

[Blossom]

Well, I'm sure you have my permission. Whether or not you'll get Blossoms is strictly between her and her moral fiber.

[Philip Marlowe]

You know something? You're not much help.

[Blossom]

You know something? I don't try to be.

[Philip Marlowe]

I'll miss you. And here it is, your very last task recorded, Rachel, I'm about to pass among you with these boxes of delicious chocolate candy with the nuts inside. And don't forget, with Each and every prank. I beg your pardon, sir?

[George Ballou]

Yes, sir.

[Philip Marlowe]

Thank you very much. With the purchase of every box of this delicious chocolate candy with the nuts hints at our very special offer. A genuine gold one with each and every p. He wasn't going to make a killing. Exactly. There weren't more than six guys in the place. I wandered down the side aisle toward a door to one side of the stage and push through. Found myself in a dark, narrow catwalk of a hallway. Show's gonna be out front, Mac. You guys can't come back here. Well, this guy did. Where can I find Blossom? Out front. About 10 minutes. I'll wait for her back here. Thanks. Look, I can make myself clear. If I had got. Wish you would. Your lighting system's very bad back here. The lights out front where it counts, Mac.

[George Ballou]

Come on, get out.

[Philip Marlowe]

Take it easy, fella. This is business. I don't like being pushed. That can happen. You won't like it if you don't

[Jay Fenton Prentice]

get out of here.

[George Ballou]

You're causing too much commotion. Now get out front where you belong.

[Philip Marlowe]

Now, look, I don't know who you are.

[George Ballou]

Well, I can clear that up for you quick, friend. I'm the manager of this theater. Now run along like he did.

[Philip Marlowe]

Where can we talk? In your office.

[George Ballou]

Why should I talk to you?

[Philip Marlowe]

Because I'm a booking agent. I want to talk to you about Blossom.

[George Ballou]

She's booked.

[Philip Marlowe]

Okay, we'll talk about something else. Where's your office?

[George Ballou]

Now, look, the show's starting. We can't stay back here. Follow me.

[Philip Marlowe]

You sure have a bunch of art lovers in the audience.

[George Ballou]

Sure, sure. It's a class show. Come on through this door. Now then, you're no booking agent. So what's on your mind, Blossom?

[Philip Marlowe]

And what's your name?

[George Ballou]

Blue Ballou. George Ballou. Why?

[Philip Marlowe]

Would it mean anything to you if I told you that Buff Ryan's Aunt Julie died in Philadelphia and left him 5,000 bucks?

[George Ballou]

Wouldn't mean a thing.

[Philip Marlowe]

Wouldn't, huh? No. That's funny. Cause you're the first one who'd fit the picture.

[George Ballou]

What picture?

[Philip Marlowe]

Slightly under 6ft tall, light brown hair, straight blue eyes. About 35 years old. Way about 180.

[George Ballou]

And what are you trying to prove? That you can see me?

[Philip Marlowe]

Maybe. So my Philadelphia message doesn't interest you?

[George Ballou]

Nothing about you interests me. Except how you got in here in the first place.

[Philip Marlowe]

Bought a ticket.

[George Ballou]

Then go on out and see the show.

[Philip Marlowe]

I think I will. I also think I'll stick around and see Blossom after her performance.

[George Ballou]

I wouldn't do that. If I were you, I'd see the show and get out. I don't want any trouble around here.

[Philip Marlowe]

I don't either. And if you see Buff before the show's over, tell him I'm out front, will you?

[George Ballou]

I said I don't want any trouble.

[Philip Marlowe]

You're in a rut. I walked down the aisle that led backstage. The course I'd already charted. Wassem's costume was less demure than her blue housecoat. It was a school of thought surrounding me that this was more effective. Near the door, I stopped a moment in silent appreciation. Don't look at her like that. I didn't know I was. Don't get any more ideas about going back to her dressing room. I ain't gonna like that. Now, look, look. Go back to your seat. Live it up. Baloo said it was okay. He wouldn't say that. He knows better. All right. Go tell him he knows better. Yeah, I will. You stay here. Is the same voice I met backstage the first time. The same pungent odor of muscatel before he lurched back up the aisle. I'd had a good look at a twisted face and a pair of watery blue eyes. Backstage, I waited for Blossom's act to conclude.

[Jay Fenton Prentice]

It did.

[Blossom]

Ooh.

[Narrator/Announcer]

In just a moment we'll return to the second act of Philip Marlowe. But first love that Monday through Friday night session of Smiles. Beulah is back with Hattie McDaniel again starring as an over generous, over anxious to be wed, overweight damsel holding forth over CBS radio. Starting this Monday night listen for Beulah and the Henderson family in a new season of delightful day to day doings. Beulah joins the fall parade of stars. Back to CBS radio on most of these stations beginning Monday night. Now with our star, Gerald Moore, the second act of Philip Marlowe and tonight's story, air for G string.

[Philip Marlowe]

I couldn't have been out long about eight bars of imagination unless I'd missed a full chorus at some point. I was fuzzily aware of being carried saxophone somewhere, then being dropped not too gently onto a set of the noisiest springs I'd ever heard. This music lulled me for a while and then I heard a door slam. My head rolled off on the floor and broke.

[Blossom]

Come on, Marlow. You're not dead.

[Philip Marlowe]

Is that official?

[Blossom]

How'd you get in here anyway?

[Philip Marlowe]

You wouldn't believe me if I told you. I hardly believe it myself.

[Blossom]

You're not supposed to be back.

[Philip Marlowe]

I know, I know, I know, I know. I've had that pointed out to me several times now. Yeah, and I didn't think I told you my name.

[Blossom]

Your wallet was on the floor. I can read.

[Philip Marlowe]

Oh, yeah? Well, good for you. Who hit me and with what size sandbag?

[Blossom]

I don't know.

[Philip Marlowe]

You never know anything, do you?

[Blossom]

Listen, Mr. Marley, you've been barging in all day where you're not wanted.

[Philip Marlowe]

Why didn't you tell me Buff was a wino? Oh, hey, look. Look. That's what's left of my head, huh?

[Blossom]

I hope it hurt. I hope it hurt awful.

[Philip Marlowe]

How'd you get your hope? It did.

[George Ballou]

Hey, listen, you. I'm pretty fed up with you.

[Philip Marlowe]

Now just how you feel. Balloon.

[George Ballou]

I told you before.

[Philip Marlowe]

I know what you told me. You don't want any trouble. Okay, okay. I'm going. A blossom. What about Buff?

[Blossom]

I don't know.

[Philip Marlowe]

Never mind.

[Blossom]

Now, don't tell me you want another ticket.

[Philip Marlowe]

Not me, kid. I've taken the cure.

[Jay Fenton Prentice]

How?

[Blossom]

Is there moral fiber?

[Philip Marlowe]

Like Gibraltar? You know a guy named Buff Ryan for free?

[Blossom]

I don't know my own mother.

[Philip Marlowe]

You don't, huh? See your point. Here. Here's mine. Memory getting any better?

[Blossom]

It's clearing up a little.

[Philip Marlowe]

Thought it would.

[Blossom]

Well, when he ain't here, which he ain't right now, he's usually at Mother Morris's. That's for one, Mother Morris's flop house, three doors down. Or for two, try Tilly's, four doors down. A saloon.

[Philip Marlowe]

Thank you. Mother Morris couldn't help me. Lovable old lush that she was. And a penetrating search of the 25 cent bed she sold revealed a lot of things, but no Buff Ryan. Tilly's downstairs next door. Didn't look very promising at first. But that was before I saw the twisted face with the watery blue eyes at the far end of the bar. Beside him, the unofficial dean and philosopher of skid row, J. Fenton Predis. I started toward them, but a cordon of white surrounded me before I could reach him. That's him, Prentice.

[Jay Fenton Prentice]

That's the one.

[Philip Marlowe]

Yeah, Prentice.

[Narrator/Announcer]

I'm the one.

[Philip Marlowe]

Will you call the brothers here off? Make them breathe in another direction and let me talk to Buff.

[Jay Fenton Prentice]

We're a close association here, Mr. Marlow. Outsiders are not welcome.

[Philip Marlowe]

Oh, come on, Punish. You know me well enough.

[Jay Fenton Prentice]

Perhaps, Mr. Mallow. But we know each other better, my associates and I. My young friend Buff here quite obviously does not wish to talk with you. We are merely respecting his wishes in our own way.

[Philip Marlowe]

Oh, come on. Look, this is cockeyed. Maybe this isn't the place to Say it. But you've inherited money, Buff. That's all I came to tell you.

[George Ballou]

Really?

[Jay Fenton Prentice]

Yeah.

[Philip Marlowe]

Who died? Your Aunt Julie. Don't let him say any more, Prentice. Don't let him get to me. I gotta get out of here.

[Jay Fenton Prentice]

If you gentlemen will restrain Mr. Marlowe.

[Philip Marlowe]

Buffy, a crazy fool. Listen to me. There's a lawyer here from Philadelphia to see it. He's at the Broadview. Will you, by heaven's sake, get in touch with him? Listen to me.

[Jay Fenton Prentice]

They will listen. They will.

[Philip Marlowe]

The lawyer's name is Martin Orman.

[George Ballou]

You idiot.

[Philip Marlowe]

Go see him. Let go, you stupid Dolce.

[George Ballou]

Yeah.

[Martin Allman]

Thanks.

[Philip Marlowe]

Prentice? Nothing. Buff was nowhere to be seen when I hit the street. Didn't matter. It was 3 o'. Clock. I delivered my message from Martin Allman. Buff could take it from there. Now, I may be wrong, but most guys like to inherit dough. Still, you can never tell with a wino. Buff was, as they say, bona fide. Martin Allman was glad to see me. That was a nice change of pace. I told him all I knew. Didn't take long.

[Martin Allman]

I'm afraid you've had quite a bad experience, Mr. Marlow. I'm sorry.

[Philip Marlowe]

I'm sorry, too.

[Martin Allman]

Oh, by the way, this picture arrived special delivery from Philadelphia about an hour ago. Is this the reluctant chap you tracked down?

[Philip Marlowe]

Let me see that. Oh, yeah, yeah. That's Buff before Muscatel.

[Martin Allman]

Well, you've done a fine job, Mr. Marlowe. I made your checkout for you.

[Philip Marlowe]

Thanks. So you gonna try to get in touch with Buff yourself?

[Martin Allman]

Perhaps not personally, of course. You're certain that Waring street address, the little house and back should reach him?

[Philip Marlowe]

Yeah. Yeah. Or I suppose you could get in touch with him through Blossom at the Burlesque Theatre.

[Martin Allman]

Well, we've done all we can for now. Unfortunately, I've been called back to Philadelphia. I'm taking your plane out in an hour.

[Philip Marlowe]

What about Buff and the inheritance?

[Martin Allman]

Well, now that I know he can be reached, we'll mail it to him. After all, we can't force it on him now, can we, Mr. Marlowe?

[Philip Marlowe]

No. Doesn't look like we can. Yeah. Well, he's all yours, Mr. Allman. Martin Allman seems satisfied that we'd done our job. So I left, wishing someone would come up to me and tell me Aunt what's her name had left me 5,000 clams. When I got back to my car, I had it all figured. How I'd go home and forget what Martin had called quite a bad experience. One look inside my car told me it wasn't going to work out that way at all.

[Jay Fenton Prentice]

You weren't as long as I thought you'd be, Mr. Marlow.

[Philip Marlowe]

How'd you get here from Skid Row, Prentice?

[Jay Fenton Prentice]

Fly, I always text.

[Philip Marlowe]

How nice for you.

[Jay Fenton Prentice]

After you left Tilly's, I fell to thinking, Mr. Marlow.

[Philip Marlowe]

Quite a fall.

[Jay Fenton Prentice]

It occurred to me that perhaps you were telling Buff the truth all the time.

[Philip Marlowe]

I was. That's not important now, is it?

[Jay Fenton Prentice]

Oh, yes, I should say it's quite important.

[Philip Marlowe]

Really.

[Jay Fenton Prentice]

You mustn't be too hard on Buff, Mr. Marlowe. He's like most men on the Row. He probably has his reasons for running. Running from life, perhaps. Running from himself or others.

[Philip Marlowe]

Are you trying to tell me something, Prentice?

[Jay Fenton Prentice]

Now that would be Presumptuous of me, Mr. Marlow. Temper. Justice with mercy. That much I say to you. I tell you, Buff Ryan is running, and with reason. If his reason interests you, then I suggest you set about finding out what it is.

[Philip Marlowe]

Well, is there any reason why I should?

[Jay Fenton Prentice]

No. No, there isn't. But this much I do know. He has left the Row and he is running.

[Philip Marlowe]

I saved Jay Fence Prentice's taxi fare back to what he affectionately referred to as the Roll. He wouldn't have followed me if he hadn't wanted me to know something peculiar about Buff. And yet his odd code kept him from telling me himself. I knew that code well enough to know that it had something to do with the police. Yeah, well, like I say, I'm a curious fellow. Well, now, Phil, is this a big

[Jay Fenton Prentice]

time or small time crook?

[Philip Marlowe]

This Ryan, he's pretty small, Sergeant Mooney, if he is one. Aliases? No, not that I know of. Well, we'll try Ryan just for size, huh? Buff's a crazy name. He's a crazy guy.

[Martin Allman]

We'll have to look for it in

[Philip Marlowe]

moniker file if we don't have it.

[Blossom]

Here.

[Jay Fenton Prentice]

Hold it here.

[Philip Marlowe]

This your guy? Where? Oh, yeah, yeah, yeah, yeah, that's it. Let's see that, wouldn't it? Take it out of there. Yeah, I see. Not much of a reckon. Suspect armed robbery, charges dropped. Suspect extortion, charges dropped. I wonder why they bothered to take his picture. I don't know. Aliases. Aliases. Buff Ragland, Bob Rutledge. CA D. CA Douglas.

[Martin Allman]

Hello.

[Philip Marlowe]

Takes care of one question mark, does it? Yeah, take my word for it, kid, it does. Let's see. Last question. In connection with the slaying of Julie Lita. Philadelphia movie. Wait a minute. Aunt Julie.

[Narrator/Announcer]

Holy smoke.

[Philip Marlowe]

I knew I didn't like this Martin Allman. I didn't bother to check his record. I got the picture. No wonder Buff ran for me like the plague. Martin had suckered me into setting Buff

[Martin Allman]

up for the kill.

[Philip Marlowe]

Marlow, the finger man. That's great. Now I got back to. And practically nothing. Flat. Yanked Blossom practically off stage, shoved her into my car, and drove like mad to the little gray house behind the little gray house. Prentice said Buff had left Skid Row. If he wasn't on Waring street, he might be anywhere. Including dead. Martin was paying off a cab driver in front of the house. Blossom cued me to the alley entrance and back.

[Blossom]

Please, God. Please don't let anything happen to him.

[Philip Marlowe]

Oh, crack. Now, honey, we'll make it in time if you just let us in.

[Blossom]

He's got to, Mr. Marlowe. He's my husband.

[Philip Marlowe]

Okay, okay, okay. Take it easy, baby. Stand away from him, Blossom, or I'll kill you, too. No, Buff.

[Blossom]

No.

[Philip Marlowe]

Listen, Buff. Martin's coming in the front. You can't waste time with us. I don't believe you, Marlow. You're part of the deal. Hey, what is this? You should have listened to me, Buff. I'm sorry, Blossom. I had to. He's all right. He's just out. Allison, you got to answer that front door.

[George Ballou]

No.

[Philip Marlowe]

Answer it. I'll be right behind the door. He won't do anything to you. Just let him come in.

[Blossom]

But. But I'm afraid.

[Philip Marlowe]

So am I. Come on.

[Martin Allman]

Oh, how do you do? I was looking for a gentleman by the name of Buff Ryan. I'm an old friend of his. I understood he lived here.

[Blossom]

Yes. Yes, he does.

[Martin Allman]

Is he at home now?

[Blossom]

Yes. Won't you come in?

[Martin Allman]

Thank you,

[Jay Fenton Prentice]

Marlo.

[Blossom]

Thank heaven.

[Philip Marlowe]

Thank me. I got his gun.

[Blossom]

Are you all right?

[Philip Marlowe]

Never felt better. Go throw some water on your boy and get him in here. Maybe he'll talk now.

[Jay Fenton Prentice]

Yeah.

[Philip Marlowe]

Yeah, maybe I will.

[Blossom]

Now, Puff, darling. You're not hurt?

[Philip Marlowe]

Not anymore, honey. I don't figure you, I guess.

[Martin Allman]

Marlo.

[Philip Marlowe]

I thought you were on Martin's team. I was at first. When I thought the business about you inheriting the 5,000 bucks was legitimate. What's he got against you? I saw it too much. Once, about a year ago, I saw Martin kill Julie Leader.

[Martin Allman]

I was the only one who saw it.

[Philip Marlowe]

I knew he'd give me the same thing if he ever got the chance.

[Blossom]

He.

[Philip Marlowe]

He can't do that now, can he? Not if you'll talk when we get the law here.

[Blossom]

Buff, why didn't you tell me?

[Philip Marlowe]

Silly question, honey.

[Martin Allman]

Sure. Marlow.

[Philip Marlowe]

Call the law. It'll be almost a pleasure to talk. So much for that. Buff and Blossom are doing fine. Every once in a while we sit in the third row and yell down in front. Yeah, he's got a good job now. And soon they'll have enough for the traditional vine covered response. Respectability. Oh, by the way, he's taken to wearing Brooks Brothers type suits. You know what? He looks just like a Philadelphia lawyer. How do you like that?

[Narrator/Announcer]

The adventures of Philip Marlowe bringing you Raymond Chandler's most famous character starring Gerald Moore are produced and Transcribed by Norman McDonnell and written for radio by Kathleen Hite. Featured in the cast were Jack Moyles as Buff Ryan, Michael Ann Barrett as Blossom and John Stevenson as Martin Allman. With Sidney Miller as Mr. Ballou, Norman Field as Jay Fenton Prentice, Grace Leonard as Gloria B. Sergeant Mooney is played by Jack Crucian. Gerald Moore may currently be seen in the Santana production Sirocco. The special music for Philip Marlowe is composed by Pierre Garaganc and conducted by Wilbur Hatch. Be sure to listen next week at the same time when Philip Marlowe says

[Philip Marlowe]

this time she was lovely and I was engaged. Engaged to help a beautiful shepherd who had a flock of trouble. We found a lost sheep and something else she didn't know she lost.

[Narrator/Announcer]

This coming Monday night, keep the evening free because the great fall parade of stars and shows back to CBS radio will begin in earnest. Enjoy suspense Moving into Monday evening, raising the curtain with William Holden in the leading role of a brand new spine tingler. Enjoy Lux radio theaters the Mudlark starring Irene Dunn and Sir Cedric Hardwick. Enjoy the Bob Hawk show back in business with $3,000 to start the season's quiz Bang Fun. Yes, they're all coming back to CBS radio this Monday night. Yours on most of these same CBS stations today. With a country rising to meet the challenge of aggression. The Red Cross has been asked by the government to undertake tremendous tasks. By giving generously to the Red Cross you'll help mobilize for the defense of your families, your community and the nation. Give as much as you can today. Clarence Cassell speaking. This is the CBS Radio network.

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[Philip Marlowe]

Hi, this is andrew from otrwesterns.com I wanted to invite you to come take a look at our site. We stream live OTR Westerns 24 hours a day, 7 days a week along with putting out podcasts of old Time Radio westerns. Check us [e-mail] you're listening to the great detectives of Old Time Radio with Adam Graham. Now let's get back into the show.

[Adam Graham]

Welcome back. I have to say that the whole Philadelphia lawyer setup scream phony from the start and Marlo was kind of suspicious but then gnawed about it because I think he's had similar things happen and he should require more documentation than just us says so. But at any rate I will say that I also did like the philosopher of Skid row was a pretty interesting character. Wish they would had used more of them. Alright, well I should let you know that we are actually running out of Philip Marlow and then we'll have one more Philip Marlow special before we begin moving towards defense attorney. So a lot to look forward to in the weeks ahead. In the meantime, if you do have a comment, send it to me box Thirteenreatetectives.net follow us on Twitter radiodetectives and become one of our friends on Facebook, facebook.com radiodetectives but from Boise, Idaho, this is your host Adam Graham signing off.

[Blossom]

Hey everybody.

[Philip Marlowe]

Lady Luck here and we're celebrating America's 250th birthday.

[Blossom]

Now all summer long I'm going to

[Philip Marlowe]

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[Spinquest Advertiser]

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[Philip Marlowe]

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[Spinquest Advertiser]

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[Philip Marlowe]

When you're a procurement manager for an office park, you're not managing one building. You're managing all of them. And to stay ahead, you need to see through walls and around corners. Lights about to fail, Filters ready to clog H Vac on its last leg. If you wait until something breaks, you're already behind. Count on Grainger for quality products, easy reordering and 24.

[Spinquest Advertiser]

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[Philip Marlowe]

Call 1-800-GRAINGER click grainger.com or just stop by Grainger for the ones who get it done.