Philip Marlowe: The House that Jacqueline Built (Encore) (EP4587)

Summary

Episode Summary: "Philip Marlowe: The House that Jacqueline Built (Encore)" (EP4587)

Overview

In this encore episode of "The Great Detectives of Old Time Radio," listeners are transported back to a classic Philip Marlowe adventure titled "The House that Jacqueline Built." Hosted by Adam Graham, the episode features Gerald Moore as the iconic private detective Philip Marlowe. This intricate mystery weaves themes of greed, deception, and hidden treasures, all set against the backdrop of mid-20th-century Los Angeles and the serene San Pablo Bay.

Plot Summary

Introduction to the Mystery (00:03:59 - 00:05:54)

The story commences with Philip Marlowe being approached by Professor Felix Piper and his assistant, Stephanie Fraser. Piper is distressed over the mysterious disappearance of his house—a structure integral to his botanical research in South America. He explains that the house, laden with months of research and tropical herbs, has inexplicably vanished from its Los Angeles location, leaving behind a vacant lot and a troubling void in his work.

Philip Marlowe: "Look, if you just sit down and tell me who you are. I have no object." (00:05:27)

Investigation Begins (00:05:54 - 00:14:09)

Marlowe takes it upon himself to locate the missing house. His investigation leads him to Jacqueline Beatty, a neighbor who witnessed the suspicious removal of the house by the Gilligan Wrecking and Moving Company. Beatty provides crucial information, including the company's address and mentions a significant mishap involving a pomegranate tree during the house's relocation.

Jacqueline Beatty: "I have to tell you, I remember. Craziest thing I ever saw, them men working all day and all night, getting that little house up on rollers." (00:09:24)

Uncovering the Conspiracy (00:14:09 - 00:20:09)

Further probing leads Marlowe to Bat Battenschlag, a former employee of Gilligan Wrecking, who reveals that the house was moved to the Harbor Salvage Company yard in San Pedro. Marlowe deduces that the move was hastened without proper reason, sparking his suspicion of foul play. His inquiries uncover a connection to Martin Corday, an importer with dubious intentions, and the real Felix Piper's demise.

Philip Marlowe: "And somebody tagged him? Yeah, with a knife. A very fancy knife." (00:15:05)

Climax at San Pablo Bay (00:20:09 - 00:30:15)

Marlowe, alongside Stephanie Fraser, travels to Wilson on San Pablo Bay to locate the houseboat owned by Jacqueline Beatty. Upon arrival, they confront Beatty, who orchestrates a tense revelation. It becomes evident that Martin Corday had been masquerading as Felix Piper to seize the hidden rubies—valued at $30,000—concealed within the house's fireplace.

In a dramatic twist, Corday attempts to eliminate Marlowe, but the detective outsmarts him, ensuring Corday's capture and the safety of the rubies. The episode concludes with a philosophical reflection on new beginnings, as Marlowe walks away from the case with hope for the future.

Philip Marlowe: "1950 another chance for Marlow and for the world. I hope we both do better with it this year." (00:30:15)

Key Characters

• Philip Marlowe (Gerald Moore): The quintessential private detective, embodying wit, intelligence, and resilience.
• Professor Felix Piper: A dedicated botanist whose life's work is jeopardized by the disappearance of his research house.
• Stephanie Fraser: Piper's assistant, whose initial distrust of Marlowe evolves into collaboration.
• Jacqueline Beatty (Gerald Moore): A seemingly gentle neighbor with deep connections to the central mystery.
• Martin Corday (Professor Felix Piper): The antagonist, whose deceit and greed drive the plot's conflict.

Notable Quotes

1. Philip Marlowe on Divorce (Ad Insertion):

   "There's a lot on the line in a divorce. Your home, savings, retirement, maybe even kids." (00:00:00)

2. Marlowe Introduces Himself:

   "I was up the coast with two murders behind me..." (00:03:59)

3. Jacqueline Beatty on the Moving Company:

   "Them clumsy oxes in such a rush they backed a big truck over my pomegranate tree." (00:09:24)

4. Marlowe's Philosophical Reflection:

   "1950 another chance for Marlow and for the world. I hope we both do better with it this year." (00:30:15)

5. Host Adam Graham's Commentary:

   "The missing house definitely draws you in and then of course still managed to conclude the story with that little bit of hopeful philosophical note." (00:33:00)

Insights and Themes

• Greed and Deception: The central plot revolves around the lengths individuals will go to obtain wealth, as seen with Corday's fraudulent actions.
• Trust and Betrayal: Stephanie Fraser's initial deceit and eventual trust highlight the complexities of human relationships in high-stakes environments.
• New Beginnings: Marlowe's final reflection underscores the recurring theme of hope and renewal, a staple in noir detective narratives.

Conclusion

"The House that Jacqueline Built" is a quintessential Philip Marlowe tale that captivates listeners with its intricate plot and dynamic characters. The episode masterfully balances suspense with insightful commentary, making it a standout installment in the Great Detectives of Old Time Radio series. Adam Graham's engaging narration and the stellar performances by Gerald Moore and the supporting cast breathe life into this timeless mystery, offering both entertainment and a nostalgic journey into the Golden Age of Radio.

Listener Feedback Highlights

• Appreciation for Gerald Moore's Performance:

  "Gerald Moore really was everywhere in the 60s, and that's definitely the case with not only Gerald Moore, but with a lot of very professional, talented character actors who did voice work." – Wes

• Acknowledgment of Philip Marlowe's Legacy:

  "In my opinion, Philip Marlowe is the best noir detective of all time. And there's definitely a good argument for that." – Anonymous Listener

• Recognition of Production Quality:

  "You just listen to them work and you don't even realize it. But they played such a key part in creating the atmosphere and the style of so much great entertainment..." – Listener Comment

Final Thoughts

This encore episode not only delivers a compelling mystery but also pays homage to the rich history of radio detective dramas. Whether you're a longtime fan or a newcomer to the series, "The House that Jacqueline Built" offers a captivating experience that highlights the enduring allure of classic noir storytelling.

Transcript

[Rick Julius]

I'm Rick Julius, a partner at Cordell and Cordell. For over three decades, Cordell and Cordell has been on the front lines of family law. Divorce is more than just a legal process. It's a life changing event that can impact your future finances and your relationship with your children. You've worked hard to build a life that you're proud of and you deserve a legal partner who will work just as hard to protect it. Schedule an appointment with one of Cordell and Cordell's Boston Area Attorneys, 10 Cabot Road, Suite 210, Medford, MA 02155. There's a lot on the line in a divorce. Your home savings, retirement, maybe even kids. So when you find yourself facing divorce and the unexpected directions it can take, you really need a partner you can count on. I'm Rick Julius, a partner at Cordell and Cordell. We're committed to helping protect your personal interests and the life you've built. Don't let divorce take more than it has. To talk to us today, schedule an appointment with one of Cordell and Cordell's Boston Area Attorneys, 10 Cabot Road, Suite 210, Medford, MA 0215.

[Adam Graham]

From Boise, Idaho, this is your host, Adam Graham, inviting you to enjoy these New Year's themed encores that come from various points in our podcast history. The episodes are older and as such, many of the offers or information contained therein may not currently be accurate unless it's also reflected on our Great Detectives website. But now enjoy today's encore and have a happy new Year. Welcome to the Great Detectives of Old Time Radio. From Boise, Idaho, this is your host, Adam Graham. If you have a comment, email it to me. Box Thirteenreatetectives.net Follow us on Twitter at radiodetectives and become one of our friends on Facebook, facebook.com radiodetactives before we do get started, I do want to remind you this program is brought to you by the financial support of our listeners and I particularly want to thank Linda so much for her support. She went ahead and mailed in a donation and you can mail in a check or money order to Adam Graham, P.O. box 15913, Boise, ID 83715. That is Adam Graham, P.O. box 15913, Boise, ID 8 3715. You can also support the show at support.greatdetectives.net well, we had two lost episodes between last week's show and this week's, which is the bad news. The good news is that there's only One more lost episode during the rest of the CBS run of Philip Marlowe. At any rate, from December 31st of 1949. Here's the episode. The House that Jacqueline Built.

[Rick Julius]

There's a lot on the line in a divorce. Your home, savings, retirement, maybe even kids. So when you find yourself facing divorce and the unexpected directions it can take, you really need a partner you can count on. I'm Rick Julius, a partner at Cordell and Cordell. We're committed to helping protect your personal interests and the life you've built. Don't let divorce take more than it has. To talk to us today, schedule an appointment with one of Cordell and Cordell's Boston area attorneys. 10 Cabot Road, Suite 210, Medford, Massachusetts. 02155.

[Philip Marlowe]

I was up the coast with two murders behind me telling all to a nice white haired old lady when the clock struck 12.

[Gerald Moore]

From the pen of Raymond Chandler, outstanding author of crime fiction, comes his most famous character in the Adventures of Philip Marlo. Now with Gerald Moore starred as Philip Marlo, we bring you tonight's exciting story, the House that Jacqueline Built.

[Philip Marlowe]

They say the end of an old year and the start of a new is a good time to take stock. Stand back and give yourself the once over. Do a reissue on that tired list of resolutions. But for a private detective, that routine only means tallying up the times you've dirtied your hands on someone else's murder or dirtied your brain with their schemes. So you let the height on your heart grow a little thicker, pull the part of your mind that feels things a little farther back into its shell, and maybe plan on later hunting up a cup of kindness or two someplace. Not even that has a price tag on it these days. So there was work to do and a fee to collect before I could pick up the tab on an evening spun. If you're a detective, that's not a fair question. Won't you sit down?

[Professor Felix Piper]

That's fantastic. I tell you, I'm going crazy with this horrible trick of fate.

[Philip Marlowe]

What's the matter? What's going on?

[Professor Felix Piper]

The house.

[Philip Marlowe]

It's gone.

[Professor Felix Piper]

It's vanished.

[Philip Marlowe]

What house?

[Professor Felix Piper]

All the peoples with it. Years of research, months of grueling work in the jungles. Violence of preciousness. All gone. Whisked away from the very heart of a teeming city. An entire house.

[Philip Marlowe]

Now look, if you just sit down and tell me who you are. I have no object.

[Professor Felix Piper]

I must have action. I must locate.

[Philip Marlowe]

Who are you?

[Professor Felix Piper]

Professor Felix Piper.

[Philip Marlowe]

What's all this talk about jungles and.

[Professor Felix Piper]

Research, botanical research, tropical herbs in South America. Years of it all for nothing, are because the house has disappeared.

[Philip Marlowe]

Look, you said that several times. Now, look, go investigate things.

[Professor Felix Piper]

You've had experience. I want to hire you. Now, I go to where a house should be, a house in which I myself have stood, and what do I find? A vacant lot, a hole in the ground.

[Philip Marlowe]

In all, I would. Professors, take it easy. Here, come on over the couch and lie down. Take it easy, wouldn't it?

[Stephanie Fraser]

I will.

[Philip Marlowe]

Thank you.

[Stephanie Fraser]

Thank you.

[Professor Felix Piper]

Oh, I'll be all right.

[Philip Marlowe]

I'll be honored.

[Professor Felix Piper]

It's all been such a shock. Oh, stabbing, sudden death. That long trip to get our papers and then to find the house.

[Philip Marlowe]

Yeah, I know. Now, look, if you just lie there a few minutes until you feel better, we'll start over a little closer to the beginning.

[Stephanie Fraser]

Well, professor, what's the matter? What's happened here?

[Philip Marlowe]

Well, the data house has disappeared and the professors collapsed trying to tell me about it, and I. You. Oh, who are you?

[Stephanie Fraser]

I'm Professor Piper's assistant.

[Philip Marlowe]

Well, you assist him with Stephanie.

[Professor Felix Piper]

Oh, I'm glad you got here. Yes, don't worry, don't reach nothing.

[Philip Marlowe]

I'll be all right.

[Professor Felix Piper]

But let's not waste any more time. You've got to find out what happened to that house.

[Stephanie Fraser]

Please, Professor Piper, don't excite yourself. Let me explain to the detective.

[Philip Marlowe]

Marlow. Philip Marlow.

[Stephanie Fraser]

I'm Stephanie Fraser.

[Philip Marlowe]

Hello.

[Professor Felix Piper]

Please, the house. Dive into the paper.

[Stephanie Fraser]

All right, professor, all right. Mr. Marlow, I presume. He got as far as telling you that for over a year we've been in South America, in the interior of Brazil, studying tropical earth.

[Philip Marlowe]

Yeah, part of that got in there somewhere, I think.

[Professor Felix Piper]

Yeah, but of course, you did tell him about the house, Stephanie.

[Stephanie Fraser]

Step at a time. Feeling.

[Philip Marlowe]

Now, look, Professor, I've got something here that'll do you the world of good. Me too, I think. Now, try this. Take your time about it.

[Professor Felix Piper]

Yes, I will.

[Stephanie Fraser]

Mr. Marlow, could I speak to you in the other room for a moment?

[Philip Marlowe]

Of course.

[Stephanie Fraser]

I'll be right back, Mr. Piper.

[Professor Felix Piper]

Yes, yes, it will. But hurry, hurry.

[Philip Marlowe]

Volatile, isn't he?

[Stephanie Fraser]

Yes, that's a brilliant partner. As I was saying, Mr. Marlow, we've been almost completely out of touch with civilization for over a year.

[Philip Marlowe]

Really? You never know it.

[Stephanie Fraser]

Beauty Pollock before miracles. Please, Mr. Marlowe, let me tell you what happened.

[Philip Marlowe]

Okay.

[Stephanie Fraser]

Professor Piper's collaborator and partner, Maxwell Stuyvesant, caught Deaver and died three weeks ago.

[Philip Marlowe]

Where was this?

[Stephanie Fraser]

Brazil.

[Philip Marlowe]

Where the nuts come from. Nothing, huh?

[Stephanie Fraser]

Look, Mr. Marlow. They had worked together for years, and all their notes and papers were kept stored at Stuyvesant's place here in Los Angeles. We came here to get that material.

[Philip Marlowe]

The house was gone.

[Stephanie Fraser]

Fantastic, isn't it?

[Philip Marlowe]

Certainly is.

[Stephanie Fraser]

We all thought Maxwell Stuyvesant's wife, Catherine, was living in it.

[Philip Marlowe]

She owned it in her name.

[Stephanie Fraser]

Yes. Maxwell actually owned nothing. He didn't want to. He was gone all the time.

[Philip Marlowe]

That didn't sit too well with Catherine, huh?

[Stephanie Fraser]

Right. She wanted Stuyvesant to stay home, and he always promised her that someday he would, and they'd live a happy life together. But, well, she was a young woman. Impatient, I guess.

[Philip Marlowe]

Yeah. Where is she now?

[Stephanie Fraser]

Well, one of the neighbors, an old woman, said she thought she remembered hearing that Katherine went to Nebraska.

[Philip Marlowe]

Nebraska?

[Stephanie Fraser]

And that's all we know. Professor Piper and I are stumped. We came to you because we want action and want it fast. Will you help us?

[Philip Marlowe]

Well, the whole year's been screwy. There's no reason why this should bother me. Tracking a runaway resident through the metropolitan wilds of Los Angeles didn't sound so tough. So after Stephanie gave me the address, 8840 on Irons 1 Drive, and told me that she and the professor could be reached at Villa 3 in the Worcestershire Garden, I got in my car and drove out Orange Drive to where a house number 8840 should have been. I found that said house had been moved out six months ago. In the middle of the night, too. But where, why or who had done the job, nobody knew until I got around to a Mrs. Elmer Lathrop, whose house back to Stuyvesant Place. From across the alley, she blocked her front door with a waistline that said she never heard of rye crisp. Gave me an eye as warm and as sympathetic as an ice cube.

[Jacqueline Beatty]

Remember that, huh?

[Philip Marlowe]

I said.

[Jacqueline Beatty]

I have to tell you, I remember. Craziest thing I ever saw, them men working all day and all night, getting that little house up on rollers. Now to there. I'd like to know what all the rush was about.

[Philip Marlowe]

So would I. You wouldn't happen to know where they took it, huh?

[Gerald Moore]

No, I wouldn't.

[Jacqueline Beatty]

That Katherine Stuyvesant wasn't a very sociable type person. But if that's the way she wants to be, it's all right with me.

[Philip Marlowe]

That's good. Now, look, I don't suppose you'd know who she sold it to?

[Jacqueline Beatty]

Nope.

[Philip Marlowe]

What company did the moving.

[Jacqueline Beatty]

Oh, wouldn't I, though. It's the Gilligan Wrecking and Moving Company. And believe you me, the name fits. Them clumsy oxes in such a rush they backed a big truck over my pomegranate tree. A beautiful full grown tree in the pink of health. Did I make them pay?

[Philip Marlowe]

I'll bet.

[Jacqueline Beatty]

Now you listen.

[Philip Marlowe]

Have I a choice?

[Jacqueline Beatty]

I tracked that outfit down and made them shell up through the nose for that was I burned.

[Philip Marlowe]

Well, bully for you. Now look, where is the Gilligan Outfits office, Mrs. Lath?

[Jacqueline Beatty]

At Adams and Rampart Street. 410 Rampart.

[Philip Marlowe]

410.

[Jacqueline Beatty]

But say, what's going on anyway? Why you asking me all these questions?

[Philip Marlowe]

Well, frankly I'm a palm granite fier myself. Mrs. Lath. Happy New Year.

[Stephanie Fraser]

Yeah. You want something?

[Philip Marlowe]

Yeah. This is 410 Rampart, isn't it?

[Stephanie Fraser]

That's correct.

[Philip Marlowe]

Well, your sign outside says Bloopman's Novellies.

[Stephanie Fraser]

Are you one of them ashtrays, paperweights, diamond, silver, baby shirts.

[Philip Marlowe]

Okay honey, okay. Look, I'm looking for the Gilligan Wrecking and Moving Company. I was told they had this place six months ago.

[Stephanie Fraser]

That's right, but they're out of business now. They went broke last September. Boss left town in a hurry.

[Philip Marlowe]

How do you like that?

[Stephanie Fraser]

Not much, Mr. Gill. Gilligan owed everybody wages and including my boyfriend. He used to work for Mr. Gilligan. That's how I met Bat.

[Philip Marlowe]

Bat?

[Stephanie Fraser]

They were moving out as we moved in. Small world, huh?

[Philip Marlowe]

Getting smaller all the time. Now look, I'd like to talk to your boyfriend, Miss.

[Stephanie Fraser]

Bessie.

[Philip Marlowe]

Bessie.

[Stephanie Fraser]

Well, Bat lives real close to here. The Beekman Room.

[Philip Marlowe]

Oh, thanks Bessie. What's Bat's last name?

[Stephanie Fraser]

Battenschlag.

[Philip Marlowe]

Who?

[Stephanie Fraser]

Battenschlag.

[Philip Marlowe]

Yeah, anybody'd know that.

[Stephanie Fraser]

Well, you better just call him Bat, all right. And tell him to drop around, will you?

[Philip Marlowe]

I wish I was a tender rapple.

[Gerald Moore]

The latter man or Spanish eye.

[Philip Marlowe]

I wonder who wrote those lyrics. I wish it was.

[Gerald Moore]

Who is it?

[Philip Marlowe]

Name's Marlow. I want some dope on a job the Gilligan Company did Bat all right.

[Gerald Moore]

Just a minute.

[Philip Marlowe]

How did you get to me? Bessie. By the way, she said for you to drop her on. Oh yeah. Dumb dame, don't I? Every night. Come on in, buddy. Excuse the robe I was in. Oh sure. Now look, Fat, were you working for Gilligan six months ago? Yeah, yeah, why? You remember moving a house from 8840 Orange Drive? 8840 Orange Drive. I see now. Oh yeah, that one too. That was the screwiest deal I ever saw. Where'd you move it to? Do you remember all the way to San Pedro, Big hurry up job. The boss kept saying we were racing the weather. Nobody could figure it. Racing the weather? Why, that beats me. We set the house off down at the end of Front street in the Harbor Salvage Company yard. Harbor Salvage? The San Pedro. Tell me, Bat, was the house empty? Well, certainly you don't think. No, no, no, Bat. I mean the furniture. Oh. Oh. Why, what's all the fuss? Well, some people are interested in locating that house. Oh, yeah? Oh, that's too bad. How come? I got a big hunch it didn't sit very long where we left it. Buddy. The Pacific Ocean was only 6 inches from the back.

[Gerald Moore]

I'm beaten eyes, mate. What's on your mind?

[Philip Marlowe]

Well, if you're the head man of Harbor Salvage Company, a house is on my mind.

[Gerald Moore]

That's me. But I don't want any more house jobs. I did one this year and that's plenty.

[Philip Marlowe]

Six months ago, house delivered by Gilligan.

[Gerald Moore]

That's it, mate. And I did a masterpiece, if I do say so myself. Sure wouldn't chance it again though. Too shifty.

[Philip Marlowe]

Never mind your career. What happened to that house? What happened?

[Gerald Moore]

Violated it on that old woman's.

[Philip Marlowe]

What old woman?

[Gerald Moore]

As I was saying, I loaded it on that old woman's barge, battened it down ship shape in the last two days, good sailing weather, and sent her out to sea.

[Philip Marlowe]

You mean that house left here on a barge?

[Gerald Moore]

Ah, that it did, mate. Bound for the Golden Gate in the upper arm of San Francisco Bay. Oh, fine little shrimp fishing town in the backwater there called Wilson. If I remember right, it's on San Pablo Bay about 15 mile north of Berkeley.

[Philip Marlowe]

Now, do you mind telling me who the old woman was who owned that barge? Nias.

[Gerald Moore]

Not a bit kindly old soul. She was named Jacqueline Beatty. Went aboard with the house and waved goodbye from the front door. She pulled out all smiles too matter, son. You look like a deckhand who's lost his sea legs.

[Philip Marlowe]

What? It started three short hours ago as a checkup on an LA resident that evolved itself into a chase up the coast after a houseboat, which was a project I distinctly did not want to jump into without first a nod from my client. In fact, I was ready to scuttle a whole business. I found a phone and called Villa 3 at the Wilshire Gardens. Yeah?

[Gerald Moore]

Hello?

[Philip Marlowe]

Hello, Is that you, Matthews? Yes, this is Marlow. Oh, hiya, Phil. What can I do for you? But make it snappy, will you? I'm up to my ears. Wait a minute, Bill.

[Gerald Moore]

Look, you called up.

[Philip Marlowe]

You're expecting someone else to answer, didn't you?

[Adam Graham]

Who?

[Philip Marlowe]

A guy named Felix Piper, maybe. Nice fit. What's the connection? Client. What fit? Ex client. Marlow. He's it. Somebody tagged him? Yeah, with a knife. A very fancy knife. Like some Indians in Brazil. Use the boy. Tell me. Oh, you better drop in here. Where are you now? San Pedro. What are you doing down there? Yeah, well, you wouldn't believe it, Matthews. Really, you wouldn't. Hello? See if we can get a hold of that Bell house now. Okay. Oh, hello, Marlowe. Hiya, Matthews. Any progress? Too soon. Anyway. I'm counting on you for that. Come on inside, have a look. Okay. When did happen? Couple hours ago. What was his Dodge anyway?

[Gerald Moore]

We found a club membership card.

[Philip Marlowe]

Lists him as a botanist.

[Gerald Moore]

True?

[Philip Marlowe]

Yeah, as far as I know. Spent a lot of time in research in Brazil. Where the nuts come from. Nothing. Oh, well, there's your client, Phil.

[Gerald Moore]

Professor Felix Pfeiffer.

[Philip Marlowe]

And somebody nailed him right between the shoulders. Hey, Matthews, something's awful haywire. What do you mean? That's not the man who hired me.

[Gerald Moore]

In just a moment, the second act of Philip Marlow. But first, one fellow who made a New Year's resolution years ago not to get married certainly saw it blow up with a bang a couple of weeks ago. Fella by the name of Andy, of Amos and Andy opened his mouth at the wrong moment and there he was, married to the wrong woman. Listen for Amos and Andy and Andy's bride on most of these same CBS stations tomorrow night. Now with our star, Gerald Moore, we return to the second act of Philip Marlow and tonight's story, the House that Jack Willin Built.

[Philip Marlowe]

When I told Detective Lieutenant Matthews that the crumpled form at our feet identified as Felix Piper and the Felix Piper who had hired me were not one in the same, he arched a single eyebrow slowly and I told him the rest of the story. Both eyebrows practically leaped from his forehead. So all in all, it was 30 minutes of steady gab. My solemn word that what I had said was nothing but the truth. A blunt reminder that a private detective license is revocable. Before I was free to go back to my apartment on Franklin while the police went to work. That made it exactly 4pm when, key in hand, I reached my front door, locked just as it swung in and away from me.

[Stephanie Fraser]

Come in, Mr. Marlowe.

[Philip Marlowe]

Well, the globe trotting Stephanie. How'd my place ever get on your map?

[Stephanie Fraser]

Baby, please don't joke. Come in.

[Philip Marlowe]

Thank you. Lovely apartment you've got here.

[Stephanie Fraser]

Mr. Marlow, please. This is no time to be funny.

[Philip Marlowe]

Why not? Everything else plays funny. Your lost LA house turns up floating on the outskirts of San Francisco. A screwball botanist from South America who's maybe also a killer, wants a bunch of hocus pocus. Paper.

[Stephanie Fraser]

Killer? What do you mean, Mr. Marlowe? Felix Piper didn't kill Corday.

[Philip Marlowe]

Corday? That's his name, huh? You get around, don't you?

[Stephanie Fraser]

Yes. Martin Corday. He was on the floor of my villa when I got back. That's why I came here. The janitor.

[Philip Marlowe]

Let me tell you. Yeah, yeah, let's not Change the subject, Ms. Corday. Who is he?

[Stephanie Fraser]

Or was he scheming, ruthless man when you were in South America? An importer.

[Philip Marlowe]

Wait a minute. An importer wants a botanist. Paper. Come on, baby, tell me the truth.

[Stephanie Fraser]

Mr. Marlowe, there are no papers.

[Philip Marlowe]

Oh, that's great. You mean that all this about the house is phony? Make believe.

[Stephanie Fraser]

No, no, no, it's true, but. But no papers. Only jewels.

[Philip Marlowe]

Only jewels? Oh, no.

[Stephanie Fraser]

Rubies, Mr. Marlowe. In a little pouch, $30,000 worth, hidden in the house.

[Philip Marlowe]

Where in the house?

[Stephanie Fraser]

The fireplace behind a brick somewhere on the right hand side. You see, those rubies belong to Felix and that Maxwell Stuyvesant I mentioned. Now they belong to Felix alone. It was for their old age, eh? Expressions nested so they could carry on their work. You don't believe me?

[Philip Marlowe]

No, not quite, no. No, for two very valid reasons. One, why'd you lie in the first place and say it was papers?

[Stephanie Fraser]

Because we didn't know if we could trust you.

[Philip Marlowe]

And now with a man dead, you have to, is that it?

[Jacqueline Beatty]

No, I don't have to.

[Stephanie Fraser]

But I do trust you, Mr. Marlowe.

[Philip Marlowe]

It may not be mutual, Stephanie.

[Stephanie Fraser]

What do you mean?

[Philip Marlowe]

Well, if I buy all this, the jewels, Piper and Stuyvesant's unique retirement plans, Corday posing as Piper to some way cut in as a new hooker.

[Stephanie Fraser]

Which is what?

[Philip Marlowe]

Corday's murderer. It should now be you or Felix Piper.

[Stephanie Fraser]

No.

[Philip Marlowe]

Then who?

[Stephanie Fraser]

Corday's partner. A swarthy looking little man. I don't know his name. I last saw him with Corday in South America. You see, the original plan was that I come up here ahead of Felix. But he was too anxious. He couldn't wait. He followed almost at once.

[Philip Marlowe]

Oh.

[Stephanie Fraser]

So somehow or other, Corday and this swarthy man found out about our plans, decided that Corday should pose as Felix and expedition.

[Philip Marlowe]

And what?

[Stephanie Fraser]

Well, it must have been a double cross. Corday probably trying to do Away with the swarthy man, but getting done away with himself instead.

[Philip Marlowe]

Where's Felix Piper now?

[Stephanie Fraser]

In a second rate hotel on Santa Monica.

[Philip Marlowe]

Phone number there, do you know it?

[Stephanie Fraser]

Yes, I. I have it right here. Crest. You ate something. 841-444-1444.

[Philip Marlowe]

Okay. Here, you talk to him, Stephanie. My nerves won't take the chatting.

[Stephanie Fraser]

What should I tell him? Mr. Felix Piper, please.

[Philip Marlowe]

Tell him for the time being we're gonna skip the police. But you and I are going up to San Francisco on the next plane and then out to a place called Wilson to look for a houseboat, no less. Rubies. Yeah. Also tell him to meet us up there at the Crystal Autocorch. Got that? It's a place I've stayed at a little beyond Berkeley on the road to San Pablo Bay.

[Stephanie Fraser]

All right, Stephanie. Felix. One moment.

[Philip Marlowe]

Yeah, yeah. Tell them to take care of swarthy men tonight. Especially small ones. They're dangerous. It was two hours and 30 minutes later when Stephanie and I drove into the quiet fishing village of Wilson on San Pablo Bay that hugged a bend in the sloping shoreline like it was afraid of calling in. My best bet for information will be the local gas emporium. So I drove my rented car in at a round shouldered one pump station. Something freckled and gangling with a shock of flames a hair, pulled himself out of a fence, arms and legs working independently, wobbled over, braced himself against the car.

[Gerald Moore]

Gas or just information? Folks, don't be ashamed. Everybody from out of town gets lost in Wilson.

[Philip Marlowe]

It's so big, made it funny. Look, if that's the case, we'll own up right away. Red, we're looking for a houseboat.

[Stephanie Fraser]

Yes.

[Gerald Moore]

Well, then you better dry the water.

[Philip Marlowe]

This boy kills himself, doesn't he? Look, Red, we're in a hurry. This houseboat belonged to a lady named Jacqueline Beatty. No more jokes, huh? Yeah, don't worry.

[Gerald Moore]

There's nothing funny about that screwy old widow. Believe me, she's sad.

[Stephanie Fraser]

Sad? Why?

[Gerald Moore]

Well, about six months ago she took ever since she had went down to la, bought a house and bought a barge and put them both together.

[Stephanie Fraser]

Together.

[Gerald Moore]

And come back here to do what? To sit, to do nothing all day and all night long. She never leaves.

[Philip Marlowe]

You know why?

[Gerald Moore]

Nope. Neither is nobody else. Except that her husband was an artist, painted sea pictures. So she liked it around the water. But she's nuts, I tell you. Act like the place is well, acts like it's made of gold.

[Philip Marlowe]

Now look, Red, tell me, how do I get there? We report us in l A doing a story on her place. Oh, newspaper people. Yeah, reporters usually are born.

[Gerald Moore]

Well, that's different.

[Philip Marlowe]

Smart Ellie.

[Gerald Moore]

It's one block straight ahead, then right and down to the bay.

[Philip Marlowe]

Thanks, Red. Happy New Year.

[Gerald Moore]

Yeah, go ahead.

[Philip Marlowe]

And we gone one ahead and three right and we're down to where the town and the bay trickled up to meet one another. We saw it. A white three room cottage of floats surrounded by fishing boats and assorted barges. The front door opened at our knock. Not tugboat any nor the scraggly pioneer woman rifle cradled in bony arms. Just anybody's grandmother. And under a white lace shawl at that.

[Jacqueline Beatty]

Yes sir, can I help you?

[Philip Marlowe]

Well, yeah, I believe so. You're Mrs. Beatty, huh?

[Jacqueline Beatty]

That's right. Mrs. Jacqueline Beatty.

[Philip Marlowe]

Oh, and I'm Philip Marlowe, Mrs. Beatty. This is Ms. Stephanie Fraser.

[Stephanie Fraser]

How do you do?

[Philip Marlowe]

We're reported from L. A. Reporting. We were going through Wilson here when we heard about your houseboat and how you brought it all the way up from Los Angeles.

[Stephanie Fraser]

You had a particular reason for wanting this house, Mrs. Beatty?

[Jacqueline Beatty]

Oh my, yes.

[Philip Marlowe]

What was that?

[Jacqueline Beatty]

Well, that's a long, long story, my boy.

[Philip Marlowe]

I see. Well, tell me, Ms. Beatty, the house is exactly as it was in Los Angeles, huh?

[Jacqueline Beatty]

To a tea, Mr. Marlow. Would you like to see?

[Stephanie Fraser]

Oh yes, we'd love to.

[Jacqueline Beatty]

Fine. Then shall we say lunch tomorrow?

[Philip Marlowe]

Well, Mrs. Beatty, we're on our way back to Los Angeles now. Tonight?

[Jacqueline Beatty]

Oh, that's too bad. But you see, I simply have to tidy up some before company. Perhaps another time.

[Philip Marlowe]

Well, I think lunch tomorrow will be splendid, Mrs. Beatty.

[Stephanie Fraser]

Of course.

[Jacqueline Beatty]

Good, good. Then until midday tomorrow we'll have a buffet for the three of us in front of the fireplace. Good night, Ms. Brazier.

[Stephanie Fraser]

Good night, Mr. Marlo.

[Philip Marlowe]

Good night, Mrs. Be.

[Stephanie Fraser]

Well. Is it just a sweet old lady?

[Philip Marlowe]

I don't know.

[Stephanie Fraser]

But when will we?

[Philip Marlowe]

Only about midday tomorrow. Come on, let's get back to the Crystal autocart and your boss, the Elix Piper out Malone is a combination that worried me plenty. No, Mr. Marlow, Mr. Piper hasn't shown yet. But he should any minute now. He called a half hour ago from someplace in Berkeley and said he was coming out here in a taxi. Well now let's see. A single cabin for Ms. Fraser here, number six and a double number 11 for you and Mr. Piper. Right, Mr. Marlowe? Yes, that's right, Mrs. Crystal. Okay. Now Ms. Fraser, if you'll come along with me, I'll show you the way. Be back in a minute, Mr. Marlowe.

[Stephanie Fraser]

I'll just Tidy up, Phil. Then I'll come back here and wait with you for Felix. I'm so worried.

[Philip Marlowe]

Yeah, I know. Well, he'll be all right once he's with us.

[Stephanie Fraser]

I hope so, Phil.

[Philip Marlowe]

Oh, Mr. Crystal, can I call L. A on this phone here? Sure, Mr. Marlowe. Long distance is 11 0. Operator, I want to call a Los Angeles person to person party. I want is Detective Lieutenant. What delay? Oh, yeah, New Year's Eve. Well, look, honey, I'd like to put the call through anyway. Near the big three.

[Jacqueline Beatty]

He got away, Mr. Marlow. Did he kill her?

[Philip Marlowe]

It was a man. Get hold of myself. Crystal. What he look like? Take it easy, fella. Hold on tight. Did you see him? Was he small, swarthy? I'm not sure, Mr. Marlowe. Think what he looked like. Well, he was kind of short, maybe swarthy.

[Professor Felix Piper]

He was all so fast, I couldn't tell.

[Philip Marlowe]

All right, all right. Come on. Come on away from me. We'll go back to your office. Now, listen to me carefully. You phone the police. I'm going to a houseboat on the San Pablo Bay where I think we'll find a small, swarthy man push a nice old lady around without batting an eye. But why? About 30,000 bucks worth of rubies. After I'd met Felix Piper and told him what had happened to Stephanie and brought him up to date on everything else, I slammed my right foot down hard on the accelerator and kept it that way until we were back at San Pablo Bay, out of the car and running toward Jacqueline Beatty's houseboat. But I figured the swarthy man who seemed to know every move might show there. I was wrong. Because Jacqueline was all alone, safe and sound and surprised. Why?

[Jacqueline Beatty]

Why, Ms. Zimbardo, you ain't expected till midday tomorrow, and that girl isn't.

[Stephanie Fraser]

But she won't be with us, I'm.

[Philip Marlowe]

Afraid, Mrs. By the way, we're not reporters, Mr. Beatty. The lady in question is, and so is another man. All because of 30,000 bucks worth of rubies in a pouch. That's behind one of the bricks in that fireplace.

[Professor Felix Piper]

Yes, yes, and I'm going to find them right away. They've got to be here. This poker should sound them out in a hurry. Oh, it's got you.

[Philip Marlowe]

It's got you. Mrs. Beatty, we've been too long. The news of these rubies doesn't seem to surprise you. I.

[Jacqueline Beatty]

Hey, what do you think, Mr. Milo?

[Philip Marlowe]

A hunch? Mrs. Beatty, get out of the way.

[Stephanie Fraser]

A gun?

[Philip Marlowe]

Yeah, for a man named Corday. Yes, what is it, Marlo?

[Professor Felix Piper]

What did you say?

[Philip Marlowe]

Corday. As in Martin Corday. And it looks like I was right.

[Professor Felix Piper]

Yes, yes, but it may not do you any good.

[Stephanie Fraser]

That's right.

[Professor Felix Piper]

I showed it.

[Jacqueline Beatty]

Mr. Barlow, Mr. Barnard. Is he going to die?

[Philip Marlowe]

Not until the state gets its hands on him. You see, Mrs. Beatty, he's killed twice tonight. Right, Cord? A. Come on. If you want an ambulance, talk. Yeah, they.

[Professor Felix Piper]

They had it coming on. Stuyvesant was double crossed by Piper on his deathbed. Stuyvesant wanted the rubies to go to his wife, Catherine.

[Philip Marlowe]

Hold it, Mrs. Beatty. Go on. Corday. The real Piper was a crook, huh? Decided to get the jewels himself, is that it?

[Professor Felix Piper]

Yes, but he was all so dumb. Stephanie the secretary crossed him for a pretty deal with me. He was all her idea, going to you for help with me posing as pilot.

[Philip Marlowe]

Oh, go on.

[Jacqueline Beatty]

Oh, Mr. Marlowe.

[Philip Marlowe]

Go on, Corday.

[Professor Felix Piper]

Yes, and Stephanie decided to double cross.

[Philip Marlowe]

Me after you stabbed the real Piper because he got up to LA in your villa sooner than expected, huh?

[Professor Felix Piper]

Yes, yes, but she couldn't cross me. I was. I was following her all the time.

[Philip Marlowe]

She didn't phone you from my place? No, no, no, no, no, no.

[Professor Felix Piper]

I was outside your door then and she was talking to a number she made up. You're lucky you handed her the phone when you did. If you hadn't, she would have shot you. It was all lies. Was Swarthy man included. There isn't one, Mr. Marlow.

[Stephanie Fraser]

He's.

[Philip Marlowe]

He's unconscious, Mrs. Beatty. I'll get an ambulance.

[Jacqueline Beatty]

Yes, yes, hurry. I'll show you where the phone is.

[Philip Marlowe]

Yeah, after you tell me about the jewels, huh? The rubies, Mrs. Beatty. Your lack of surprise about them being hidden in the fireplace. I mean, how come?

[Jacqueline Beatty]

Well, I found those six months ago when I bought this house from Catherine Stuyvesant in Los Angeles. Quite the wee Mr. Milo. How did you know that man was Corday?

[Philip Marlowe]

Fireplace, honey. He went to the wrong side. It was worth a shot. My dog.

[Jacqueline Beatty]

Well, phone's over there. You know, I noticed the loose bit on the right hand side of the fireplace the moment I walked in. You see, I built this house with my own hand.

[Philip Marlowe]

Really? Why'd you move it up here, honey?

[Jacqueline Beatty]

Because my husband and I spent our honeymoon in this house and we found our happiness here at San Pablo.

[Philip Marlowe]

Now, you also found the rubies and sent them back to Catherine Stuyvesant?

[Stephanie Fraser]

Yes.

[Jacqueline Beatty]

Happy New Year, Mr. Martin.

[Philip Marlowe]

Happy New Year, Jacqueline. Well, by the time I'd said goodbye to Jacqueline and walked outside the first sun of 1950 was glinting across the waters of the bay. 1950 another chance for Marlow and for the world. I hope we both do better with it this year.

[Gerald Moore]

The Adventures of Philip Marlowe bringing you Raymond Chandler's most famous character. Star Gerald Moore are produced and directed by Norman McDonald and are written for radio by Robert Mitchell and Gene Levitt. Featured in the cast were Lois Corbett, Howard McNear, Georgia Ellis, John Dana and Parley Bear. Detective Lieutenant Matthews is played by Larry Dobkin. This special music is composed and conducted by Richard Orant. Be sure and be with us again next week when Philip Marlow says this.

[Philip Marlowe]

Time each carried a torch and each was burned by it. The heel, the hero worshiper and the hard bitten blonde. And all because of a woman already two days dead.

[Narrator]

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[Adam Graham]

Welcome back. I absolutely love the setup for this story. The missing house definitely draws you in and then of course still managed to conclude the story with that little bit of hopeful philosophical note. And in the mix of this whole story of greed and lies, we get the lovely little nugget about Jacqueline and her husband. The one thing I will say about this story is that Marlo was playing it a little too cute with the police. Whether he would do that or not, I guess is a matter of debate, but it's certainly not a very wise decision. Also, I will say that I did notice a Parley Bear before the credits. Usually I for some reason overlook his voice, but this one I recognized because his voice sounded just like it does in the Harold Perry show, which I listened to all the way through. And you do see just the talent that Norm MacDonald continued to bring to this show with just incredible guest performances. Alright, well now we turn to some listener comments and feedback Lori said regarding episode 1565, a kid on the Corner. This was kind of a sad one, wasn't it? Too bad for the kid. And another comment says, in my opinion, Philip Marlowe is the best noir detective of all time. And there's definitely a good argument for that. And then we have a comment from Wes, who says a local TV station here in Dallas is playing the old black and white episodes of the Lone Ranger every morning. It still surprises me to turn it on and hear the show narrated by Philip Marlow. Gerald Moore really was everywhere in the 60s, and that's definitely the case with not only Gerald Moore, but with a lot of very professional, talented character actors who did voice work. People like Paul Faris, Mel Blanc, so many others. You just listen to them work and you don't even realize it. But they played such a key part in creating the atmosphere and the style of so much great entertainment, even if they weren't center stage. Well, that will do it for today. We'll be back tomorrow with Nick Carter, and then join us again next Wednesday for another episode of the Adventures of Philip Marlow. In the meantime, send your comments to box Thirteenreatetectives.net Follow us on Twitter at radiodetectives and become one of our friends on Facebook, facebook.com radiodetectives but from Boise, Idaho, this is your host, Adam Graham, signing off.