Screen Guild Theater: The Glass Key (EP4920e)

Summary

---

The Great Detectives of Old Time Radio — Screen Guild Theater: The Glass Key (EP4920e)

Host: Adam Graham
Air Date: February 28, 2026
Drama Featured: Screen Guild Theater adaptation of The Glass Key (Originally aired July 22, 1946) Notable Cast: Alan Ladd (Ed Beaumont), Marjorie Reynolds (Janet Henry), Ward Bond (Paul Madvig)

---

Episode Overview

In this Listener Support and Appreciation Special, Adam Graham presents The Glass Key, an old-time radio adaptation from the Screen Guild Theater. The story is a political noir mystery originally penned by Dashiell Hammett, best known for its intrigue, double-crosses, and an ambiguous moral compass. This episode dives deep into political corruption, loyalty, and the personal costs of power.

The Glass Key features compelling performances by Alan Ladd, Marjorie Reynolds, and Ward Bond—bringing to life an intricate plot of murder and betrayal. Graham bookends the episode with context and post-episode commentary, highlighting the notable differences between this version and earlier adaptations.

---

Key Discussion Points and Plot Breakdown

1. Introduction & Listener Appreciation

• [03:23] Adam Graham acknowledges long-time Patreon supporters, announcing the start of the Listener Support and Appreciation Special.
  • “These are listeners who have been supporting the podcast for 10 years … Thank you so much for supporting the podcast!” (Adam Graham, 03:23)
• Graham previews three special episodes for this campaign, noting that this broadcast (“Glass Key”) is a fresh version compared to a previous Campbell Playhouse adaptation.

2. The Storyline: The Glass Key

Setting the Stage

• [06:05] Narration introduces the key players:

  • Paul Madvig: Ambitious and rough-edged political boss
  • Ed Beaumont: His loyal and sharp right-hand man
  • Janet Henry: The sophisticated and calculating daughter of Paul’s political ally

• Paul supports reform candidate Ralph Henry for governor, motivated by both politics and his infatuation with Janet. Ed, skeptical, warns Paul about the move’s dangers and the possible betrayal.

Political Deals and Danger

• [06:38] Paul’s crackdown on gambling sparks conflict with crime boss Nick Vegas.
• [07:21] Ed’s wariness is encapsulated in his warning: “Yeah, a glass key. Look out it don't break off in your hand.” (Ed Beaumont, 07:21)

Personal Entanglements, Suspense, and Murder

• Paul’s sister Opal is involved with Taylor Henry (Janet’s brother), whose gambling debts tie him to Nick Vegas.
• [09:21] Ed discovers Taylor Henry dead in the street, leading to suspicion and stirring political and personal peril for the whole cast.

Betrayals and Accusations

• [11:02] Tensions mount as letters and newspaper headlines begin suggesting Paul is the murderer.

• [12:16] The District Attorney displays anonymous letters casting suspicion, and Nick Vegas threatens to expose incriminating evidence.

  • “Well, if Paul Madvig didn't kill Taylor Henry, how did his best friend happen to find the body?” (Anonymous letter, 12:44)

Brutality and Noir Intrigue

• [17:50] Ed is lured and assaulted by Nick Vegas’s henchmen to make him confess. The sequence serves as an atmospheric high point of the hardboiled noir tone.

  • “Okay, Ed. If you want it this way, you can help.” (Nick Vegas, 17:46)
  • “Hey, what do you know? He passed out from one clip.” (Henchman, 17:58)

• [20:54] Ed, battered but resourceful, escapes captivity by setting a fire as a diversion.

Piecing Together the Truth

• Recovered but relentless, Ed investigates Taylor Henry’s typewriter and deduces that Janet authored the anonymous indicting letters.

• [24:56] “All right, I wrote those letters. I'm sure Paul killed Taylor and I mean to prove it.” (Janet Henry, 25:06)

False Confessions and Final Confrontations

• [25:49] Paul, under strain, “confesses” (for Janet’s sake) to killing Taylor—claiming a fight led to accidental death. Ed, noting the force of Paul’s loyalty and love for Janet, refuses to believe the confession.

  • “I want Janet, Henry. I want her more than I ever wanted anything.” (Paul Madvig, 26:24)

• [27:59] Ed takes DA Farr to confront the Henry family, predicting that the real killer will crack under pressure, and Janet’s father finally confesses.

  • “I killed my son. I was with Paul and Taylor when they were quarreling out in front…” (Mr. Henry, 28:49)

Resolution and Bittersweet Romance

• [29:41] Janet appeals to Ed to take her with him; he initially resists, citing loyalty to Paul.

  • “You owe him plenty.” (Ed Beaumont, 30:15)

• Paul himself, recognizing the truth of Ed and Janet’s connection but feigning gruffness, gives them his implicit blessing.

  • “Go on. What are you waiting for, you goon? ... What do you want me to do, go out and get you a preacher?” (Paul Madvig, 30:26, 30:31)

---

Notable Quotes & Memorable Moments

• “Yeah, a glass key. Look out it don't break off in your hand.”
  — Ed Beaumont warning Paul Madvig about risky alliances (07:21)

• “You want me to get hysterical about it?”
  — Paul Madvig’s stoic reaction to Taylor Henry’s death (10:44)

• “If Paul Madvig didn't kill Taylor Henry, how did his best friend happen to find the body?”
  — Anonymous letter read by DA, crystallizing media suspicion (12:44)

• On loyalty and affection:
  “If I wanted you, it wouldn't make any difference whose friend I was. ... You've got a pretty face, nice manners. But I wouldn't trust you out of this room.”
  — Ed Beaumont to Janet Henry (15:29)

• “If Paul had done it, he'd have told me a long time ago. So I figure he's covering up for somebody. ... Taking the wrap for somebody extra special.”
  — Ed Beaumont’s detective deduction (27:38)

• The final banter where Paul encourages Ed to pursue happiness with Janet—“Go on. What are you waiting for, you goon?” (30:26)—packs noir irony and warmth.

---

Timestamps for Key Segments

• Patron Thanks and Episode Context: 03:23–04:51
• Screen Guild Theater Presentation Begins: 04:51
• Opening Character Exchange & Plot Setup: 06:05–07:58
• Murder of Taylor Henry Discovered: 09:21–10:40
• DA’s Anonymous Letters & Mounting Tensions: 12:16–14:09
• Ed Assaulted by Vegas’s Men: 17:45–18:22
• Ed’s Escape and Recovery: 20:54–24:18
• Ed Confronts Janet as Letter Writer: 24:54–25:26
• Paul’s (False) Confession & Fallout: 25:49–26:50
• Ed’s Detective Breakthrough & Real Culprit’s Confession: 27:57–28:49
• Closing Love Triangle Resolution: 29:41–31:04
• Post-Drama Host Commentary: 34:19

---

Host Commentary & Context

• [34:19] Adam Graham discusses the distinct mood of the Screen Guild adaptation vs. Campbell's Playhouse's more literary approach. He praises Alan Ladd’s performance as evocative of his pre-WWII style and clarifies Ward Bond’s unique Hollywood pedigree ("Bert the Cop" in It’s a Wonderful Life, 34:19).

  • “A very different feel than the Campbell’s Playhouse version ... Alan Ladd’s performance as Ed Beaumont in this does still reflect his early career success.” (Adam Graham, 34:19)

• Upcoming programming is teased: The Saint is returning soon, and “Danger with Granger” is up next.

---

Final Thoughts

This episode exemplifies the spirit of old-time radio mysteries: tight dialogue, moody music, and a complex, twist-filled plot. Adam Graham’s contextual commentary and listener appreciation make it especially inviting for fans both new and old.

Recommended for:

• Noir mystery fans
• Golden Age radio enthusiasts
• Listeners interested in the evolution of detective fiction on radio

---

Transcript

[Haley]

This is the story of the one as an H Vac technician, he and his digital multimeter are in high demand. So when a noisy office H Vac turns out to be a failing blower motor, he doesn't break a sweat. With Grainger's easy to use website and product information, he selects the product he needs to keep everything humming right along. Call 1-800-GRAINGER clickranger.com or just stop by Grainger for the ones who get it done. Weight Watchers now offers access to affordable GLP1s. It works for members like I'm Haley and I've lost 100 pounds. Weight Watchers has everything I need from

[Ed Beaumont]

weight loss medications to nutrition support and

[Haley]

help with my side effects.

[Ed Beaumont]

It's all in one place.

[Haley]

Weight Watchers handles the insurance for you and offers affordable cash pay options. With our program, our members are losing more weight with expert nutrition and side effects support.

[Ed Beaumont]

I'm Mike and I've lost 135 pound

[Paul Madvig]

Weight Watchers prescribing GLP1 medications. It's been life changing.

[Ed Beaumont]

I'm Sharia and I lost 80 pounds on Weight Watchers.

[Haley]

I realized that it would take more

[Ed Beaumont]

than a prescription to lose weight and

[Adam Graham]

feel good on a GLP1.

[Haley]

Better results, expert support, Lose more weight, make it Last.

[Ed Beaumont]

I can't imagine doing a GLP1 without Weight Watchers.

[Haley]

Get started for as low as $[e-mail] GLP1 for over 60 years we've helped millions of members find what works for them. Now it's your turn. Weight Watchers. Watch it work.

[Adam Graham]

Welcome to the Great Detectives of Old Time Radio and our first listener Support and appreciation special. From Boise, Idaho, this is your host Adam Graham. In a moment we are going to bring you today's program. But first I do want to encourage you. If you're enjoying the podcast, please follow us using your favorite podcast software.

[Paul Madvig]

Now.

[Adam Graham]

Since this is our first podcast in the month of March, I do want to take a moment to thank all of our latest Platinum Patreon supporters. These are listeners who have been supporting the podcast for 10 years this month and we have quite a few. And I want to thank Dan and Nancy currently supporting the podcast at the Detective Sergeant level of $7.14 or more per month. And I want to go ahead and thank James, Lisa, Judith and Michael and Jim and Rachel and Jennifer supporting the podcast at the psalmist level of $4 or more per month. And I want to thank Jesse and Paul, currently supporting the podcast at the rookie level of $2 or more.

[Ed Beaumont]

Per month.

[Adam Graham]

Again, thank you so much for supporting the podcast. These last. Really appreciate it. Well, our listener support and appreciation campaign begins tomorrow and we'll talk more about that after tomorrow's show. But as part of that, we will bring you three special episodes and we're going to start with another adaptation of a story we brought you previously. And I actually thought this one was more recent that we did the first adaptation of it, but when I was looking back, I see that this was actually, we did our 3,800th episode special, which was the Campbell's Playhouse adaptation of the Glass Key. Today we are going to bring you the Screen Guild Theater adaptation of the Glass Key. This, of course, is Based on the 1942 film starring Alan Ladd, Veronica Lake and Brian Donlevy. Now let's go back to the Screen Guild Theater, the Lady Esther Screen Guild Theater, this time from July 22, 1946. Please enjoy the Glass Key.

[Narrator]

Lady esther presents the screen guild players. The lady esther screen guild play tonight, the glass key. The starring players.

[Ed Beaumont]

This is alan lang, this is marjorie

[Paul Madvig]

reynolds, and this is ward bond.

[Narrator]

Tonight, lady esther presents the screen guild players in paramount pictures exciting mystery drama the glass key. It stars marjorie reynolds as janet, alan ladd as ed, and ward bond as paul. The lady esther screen guild players in the glass key.

[Ed Beaumont]

Paul used to say we made a great combination. He had the fists and I had the brains. Not that you could call him dumb. You don't get to be political boss of a state without having something under your hat. The trouble was, when he wanted something, he just grabbed it off and didn't count the cost. And that's what worried me that night.

[Paul Madvig]

Say, Ed, the new posters just came in. How do you like them?

[Ed Beaumont]

Elect Ralph Henry governor.

[Paul Madvig]

Three color job. Not bad, huh?

[Ed Beaumont]

Paul, are you really going through with that crazy idea?

[Paul Madvig]

What crazy idea?

[Ed Beaumont]

Throwing in with old man Henry, the whole reform ticket.

[Paul Madvig]

Why, sure. We're making the deal. Tonight at dinner at his house. Hey, what's the matter? Don't you like it?

[Ed Beaumont]

No more than I like those socks you're wearing.

[Paul Madvig]

Huh? What's wrong with them?

[Ed Beaumont]

The clocks, they. They tick too loud.

[Paul Madvig]

Yeah, I thought they was pretty.

[Ed Beaumont]

Nick, Vegas isn't going to like it either.

[Paul Madvig]

Now, ain't that just too bad?

[Ed Beaumont]

You know they raided his gambling joint last night.

[Paul Madvig]

Yeah, I know. I passed the word myself.

[Ed Beaumont]

Nick bought protection. He's going to want it.

[Paul Madvig]

Yeah, but it just happens that we're cleaning up this town.

[Ed Beaumont]

Paul, he's too big to take the boot from you now.

[Paul Madvig]

Maybe he's too big to take it laying down, but he'll take it. This is the kiss off.

[Ed Beaumont]

And after election. You think Henry will play ball?

[Paul Madvig]

I know he will edit. Why, he's practically given me the key to his house.

[Ed Beaumont]

Yeah? Yeah, a glass key. Look out it don't break off in your hand. I knew what the score was, of course. Old man Henry had a daughter, Janet Henry. Paul had met her and gone off his nut about her. I'd never seen the dame myself. So that night when Paul was at her place for dinner, I. I dropped in, too. Just happened I had to deliver some papers. I sat there and I watched Paul shooting off his mouth. And I watched her laughing to herself, laughing at Paul. Then I couldn't take it anymore, so I got up to go.

[Janet Henry]

You're going so early?

[Ed Beaumont]

Yeah, I had some things to do.

[Janet Henry]

I'll go to the door with you.

[Ed Beaumont]

Evening, Mr. Henry. Good night, Paul.

[Paul Madvig]

Good night, Ed. See you in the morning.

[Janet Henry]

I'm sorry you're leaving, Mr. Beaumont. I'm sure you must have some interesting stories, too.

[Ed Beaumont]

Lay off, sister. I don't like your technique.

[Janet Henry]

Technique?

[Ed Beaumont]

Yeah. You've had enough laughs from the wrong side of the tracks for one night.

[Janet Henry]

Oh, I've had enough forever, Mr. Beaumont. I'm sorry for you.

[Ed Beaumont]

Yeah? Why?

[Janet Henry]

Well, you work for him. You have to be with him every day. How can you stand it?

[Ed Beaumont]

I ought to sock you right in the eye. She wasn't the only one in that family who was bothering me right then. She had a brother, name was Taylor Henry. No good kid who'd been hitting all the gambling joints for months. I'd seen him lots of times at Nick Vegas's place. And I knew that Nick had his hooks in him as it wasn't enough by itself. The young punk was running around with Paul's sister and. Well, that's one thing you've got to understand. Paul loved that kid sister of his. Wasn't anything he wouldn't do for. And I'd been wondering what was going to happen when he found out she'd been going to Taylor Henry's apartment. I have long to wait. Just a few nights later. Hello? Hello, Ed? This is Opal. Oh, now, slow down, kid. What's the matter? Paul found out about Taylor Henry and me.

[Sharia]

Eddie's going up to his house.

[Ed Beaumont]

He's gonna kill him. Oh, take it easy, Snip. Paul wouldn't be that crazy.

[Sharia]

Oh, I tell you he will.

[Ed Beaumont]

He's gonna kill him. Oh, Ant, you've got to stop him, please. Okay, Snip. Okay, relax. I'll go right over and head him off. I kept my promise. I went up to the house, a big house. There wasn't a light. The place was dark. I. I figured everything was under control, so I stepped off the curb to hail a cab. And I saw something laying there in the street. Yeah? Something. Taylor Henry. And he was dead.

[Paul Madvig]

Okay. Okay. Just a minute. Oh, hello, Ed. Pretty late to be sociable. I was just getting ready to brush my teeth. Come on in.

[Ed Beaumont]

Oh, Paul, did you find Taylor Henry tonight?

[Paul Madvig]

Oh, so Opal called you, huh?

[Ed Beaumont]

Yeah. Yeah. Did you find him?

[Paul Madvig]

I found his old man. Had a long talk with him.

[Ed Beaumont]

Wasn't Taylor there?

[Paul Madvig]

No. Why?

[Ed Beaumont]

Well, he's laying in the gutter outside his house. He's. He's dead.

[Paul Madvig]

Is that so?

[Ed Beaumont]

Did you hear what I said?

[Mr. Farr]

Sure.

[Ed Beaumont]

Well?

[Paul Madvig]

Well, what?

[Ed Beaumont]

He was killed.

[Paul Madvig]

You want me to get hysterical about it?

[Ed Beaumont]

What do you want me to do? Should I call the police?

[Paul Madvig]

Don't they know about it?

[Ed Beaumont]

Wasn't anybody around when I found him. Is it all right for me to say I found him?

[Paul Madvig]

Why not?

[Ed Beaumont]

Go ahead.

[Paul Madvig]

Use the phone.

[Ed Beaumont]

Okay.

[Paul Madvig]

You're a big fool, Ed.

[Ed Beaumont]

Well, one of us is. Come on, Snip, don't take it so hard. Everybody's got to go to a funeral sometime. I love him, Adam.

[Janet Henry]

And he loved me.

[Ed Beaumont]

I know he did. Sure, maybe he did. But when you get a bad break.

[Janet Henry]

Excuse me, Ms. Madbig? I'm Janet Henry. May I speak to you for a minute? If you want. It's just that I think you ought to know something I just heard. About what? About Taylor's murder.

[Ed Beaumont]

Come on, let's go, Stip.

[Janet Henry]

I beg your pardon. I was talking to Ms. Madvig.

[Ed Beaumont]

Funeral's no place to talk about murder.

[Janet Henry]

It is if you just heard Nick Vegas talking to my father.

[Ed Beaumont]

Vegas, huh? What'd he say?

[Janet Henry]

He said he's got evidence that would convict someone for Taylor's murder. Who? Who did he say it was? Your brother.

[Ed Beaumont]

Listen, you. Why don't you pedal your scandal to someone who wants to hear it? But, Ed. Come on, let's go sniff. I don't like the.

[Mr. Farr]

Sit down, Ed. Glad to see you.

[Ed Beaumont]

Are you sure?

[Mr. Farr]

But what brings you to the DA's

[Ed Beaumont]

office as if you didn't know? What about Taylor Henry?

[Mr. Farr]

Well, of course, some people think we're kind of slow in cleaning up that murder, but.

[Ed Beaumont]

Yeah, who thinks so?

[Mr. Farr]

Oh, no one special. It's just.

[Ed Beaumont]

Well, here,

[Mr. Farr]

take a look at this.

[Ed Beaumont]

A letter, huh?

[Mr. Farr]

You know how it is. A lot of Cranks around, they always write anonymous letters and.

[Ed Beaumont]

Go on, read it.

[Mr. Farr]

Well, if Paul Madvick didn't kill Taylor Henry, how did his best friend happen to find the body?

[Ed Beaumont]

Said anything about that to Paul? No, don't.

[Mr. Farr]

Now, Ed, I'm not taking this letter seriously. It's just that, well, there's a lot of pressure on this case. The papers, the observer especially.

[Ed Beaumont]

No, Nick Vegas owns the Observer. Matthews owes him a hundred grand. Dice. Well, let's have it far. What has Nick got?

[Mr. Farr]

He's coming in tomorrow to. I mean. Well, Ed, I just can't sit around.

[Ed Beaumont]

Paul tells you till you'll sit stand to ride a bicycle.

[Mr. Farr]

Listen, I'm District Attorney of this city and county.

[Paul Madvig]

I.

[Ed Beaumont]

Of course, if you.

[Mr. Farr]

If Paul. I mean, if there's any reason why I shouldn't.

[Ed Beaumont]

There isn't any reason. And I wouldn't like you to think you're going around thinking there was. I'm going up to see Paul. And if I were you, I'd buy that bicycle.

[Paul Madvig]

Now, look. Ya just forget about it. I've had the newspapers after me before and I'm still sitting pretty.

[Ed Beaumont]

Ever tried sitting pretty in an electric chair?

[Paul Madvig]

Don't scare me.

[Ed Beaumont]

I'm serious, Paul. The Observer's hinting about a secret witness.

[Paul Madvig]

Hot air.

[Ed Beaumont]

You're wrong, Nick. Vegas has promised to give them something. I'll patch up your trouble with him. Paul. He's the one who's spreading all the dirt.

[Paul Madvig]

I'll patch up nothing with that monkey. He's got to learn that when I say things are closed down, they're closed down.

[Ed Beaumont]

All right, have it your own way, but don't count me in.

[Paul Madvig]

What?

[Ed Beaumont]

I'm pulling up for New York tonight. Yeah, Come in.

[Janet Henry]

Hello. Do you mind?

[Ed Beaumont]

Oh, you, huh? What is this, slumming again?

[Janet Henry]

You don't like me, do you, Mr. Beaumont?

[Ed Beaumont]

I don't know. I think I do.

[Janet Henry]

Hmm. I'm pleased.

[Ed Beaumont]

Why?

[Janet Henry]

My, you're very direct, aren't you?

[Ed Beaumont]

Yeah. Why are you so pleased?

[Janet Henry]

Well, for some obscure reason, I. I think you're nice.

[Ed Beaumont]

Okay, now let's have a not so obscure reason.

[Janet Henry]

Well, I. I was hoping you'd help me. Tell me something I want to know.

[Ed Beaumont]

Yeah, what?

[Janet Henry]

Did Paul Madvig kill my brother?

[Ed Beaumont]

No.

[Janet Henry]

You're sure? After all, you're Paul's best friend and you found Taylor's body.

[Ed Beaumont]

How did you know it? All right, hand it over.

[Janet Henry]

What?

[Ed Beaumont]

The letter. Come on, give. Now you're being smart. I knew you had it, but I mean, I don't sure exactly like the one farr got some half witted crackpot.

[Janet Henry]

But what if it isn't? I've got to be sure. Please help me. You want to, I. I can tell. You do.

[Ed Beaumont]

No.

[Janet Henry]

I know why. It's because you're Paul's friend.

[Ed Beaumont]

Now listen, don't get any corny ideas. If I wanted you, it wouldn't make any difference whose friend I was.

[Janet Henry]

But you do like me. You just said you did.

[Ed Beaumont]

Sure, sure. You've got a pretty face, nice manners. But I wouldn't trust you out of this room. You're slumming and I don't go for it. You think you're too good for me. But sister, it happens. I think I'm too good for you. Now, if you don't mind, I'll answer my phone. Hello? Yeah, speaking. You do? What for? Well, I'm not promising anything. Don't be surprised, I'm there. Yeah, that's right. About 15 minutes. Well, Ms. Henry, I guess you'd better run along.

[Janet Henry]

But aren't you going?

[Ed Beaumont]

You heard me.

[Mr. Farr]

Beat it.

[Ed Beaumont]

I just made a date.

[Paul Madvig]

I'm glad you're acting sensible, Ed. I'm glad you came over.

[Ed Beaumont]

I'm glad you're glad, Nick. That makes everybody happy.

[Paul Madvig]

You're quite a guy, Ed. That's why I've been thinking about you. I figured you and I could slice some turkey together if you'd break down and do me a little favor.

[Ed Beaumont]

Yeah, what?

[Paul Madvig]

You ought to know plenty about Medley.

[Ed Beaumont]

What's your proposition?

[Paul Madvig]

Why did Paul bump off young Taylor?

[Ed Beaumont]

Hey, that's a nice desk. Cost very much?

[Paul Madvig]

Plenty. But you haven't answered my question.

[Ed Beaumont]

You haven't made your proposition.

[Paul Madvig]

I'll stake you to the finest gambling place in town. I'll let you run it to suit yourself. Give you plenty of protection.

[Ed Beaumont]

Where would you be getting protection?

[Paul Madvig]

You're not so hot for putting in with me, are you?

[Ed Beaumont]

It wasn't my idea, so I guess

[Paul Madvig]

I might sit down.

[Ed Beaumont]

Yeah, sure, sure.

[Paul Madvig]

I'll give you ten grand in cash right now. Ten more on election night if we beat Paul. And the gambling house office still goes.

[Ed Beaumont]

What do I have to do?

[Paul Madvig]

Give your story to the Observer. How Paul's sister phoned you. How you went up to Taylor's house.

[Ed Beaumont]

Say, how about that?

[Paul Madvig]

Sure, sure. I know everything about that kid. I had to. He owed me so much dough.

[Ed Beaumont]

Say, you didn't knock him off, did you?

[Paul Madvig]

Don't be funny. Now, look, if you'll talk, tell me why Paul bumped the kid off.

[Ed Beaumont]

We can go to the DA and forget it, Nick. Nobody's gonna see the da. Nobody's gonna talk either.

[Paul Madvig]

That's what you think. Hey, Rusty. Jeff.

[Ed Beaumont]

What's up, Nick?

[Paul Madvig]

You want us close? Okay, Ed. If you want it this way, you can help.

[Ed Beaumont]

Thanks. I guess I'll just sit. Hey, what do you know? He passed out from one clip.

[Paul Madvig]

Yeah, so he did. All right, now bring him to and then clip him again. And keep on clipping him until he talks.

[Narrator]

The second act of the Lady Esther Springill play will follow in a moment. Now a word from Lady Esther.

[Lady Esther Announcer]

So many of you have asked me in your letters why your face shows signs of age sooner than other parts of your body. The answer is simply this. The skin of your face is much finer textured. It's more delicate, more easily damaged by wind and sun, by dirt, by rough or careless treatment. That's why I think it's such a mistake to use beauty creams that must be rubbed in to do their job. You see, rubbing your skin, rubbing and stretching those fine, delicate skin structures may easily do more harm than good. That may surprise you, but it's an important thing to know. Rubbing may stretch the skin, may break down its firm texture. Yes, it can make you look years older than you are. However, millions of women who use Lady Esther 4 Purpose Face Cream have no such problems. For this famous cream isn't rubbed in as most other creams are, being so velvety soft, it doesn't need to be rubbed in. Lady Esther 4 Purpose Face Cream is just smoothed on gently, then wiped off. That's all there is to it. The cream itself does the work, not your fingers. Lady Esther 4 Purpose Face Cream thoroughly cleans your skin without rubbing, softens your skin, helps nature refine the pores, and leaves a lovely smooth base for powder, all without rubbing, which may break down and damage the delicate skin structures. And if you have an especially dry or sensitive skin, Lady Esther Face Cream contains one of the most beautifying ingredients known to modern science. A single application often makes your skin look softer, more pliable and younger looking. Tomorrow, make this simple experiment. Get a jar of Lady Esther 4 Purpose Face Cream and prove to yourself that here, at last, is a face cream you don't have to rub in to bring out the beautiful qualities of your skin.

[Narrator]

And now, Lady Esther presents the second act of the Glass Key, starring Ward Bond, Marjorie Reynolds and Alan Ladd.

[Ed Beaumont]

That Jeff weighed over 200 pounds. He had fists like hams. He knew how to use them. I don't know how many times he clipped me, how many times I got to my feet or how many times he clipped me again. The next thing they had me in a little room somewhere. When I came to, I was stretched out on a cot and Jeff and Rusty were sitting at the table. They were playing two handed poker. What do you got, Rusty? Two pairs. That makes four bucks I owe you. Lucky's coming through again. Ain't that nice? We can have some more fun. You beat it. He's still trying to get up. Feel him, Rusty, sweetheart, you shouldn't want to try to get out. Remember, we warned you. Take it easy, Jeff. Be right there, Rusty. Deal him out. Listen, sweetie pie, you oughta lay down. You don't feel so good. Watch out, you'll croak him. You can't croak him. He's tough. He likes this. Don't you, baby? Now ain't that too bad? He's throwed another joke. Let him lay, Jeff. Cards is dealt with right. I'll take two. Two off the top. Say, how long you gonna keep working on him? You know what Nick said. Until he spills the dope on Maverick. Well, he don't show no signs of talking yet. Ain't it a shame? I'll have to keep on trying. After a while. A long while. I guess the bell stopped ringing in my head. I. I managed to get one eye open. And finally I realized I was alone. Rusty and Jeff were out in the kitchen. I could hear them eating even from there. Of course, they'd locked my door. There wasn't any window in the room, just the cotton. A lot of news. Newspapers. That's what gave me the big idea. I crumpled them up and piled them by the door. And for once my cigarette lighter worked on the first try. Pretty soon I had a nice fire going. And pretty soon they smelled the smoke. I told you we shouldn't have left him Rusty to heal. He's got the place on fire. Grab him, Jeff. I'll handle the fire.

[Mr. Farr]

Grab him.

[Ed Beaumont]

Where is he? I can't see a thing with this smoke. He's gotta be in here somewhere. He couldn't get out.

[Paul Madvig]

He couldn't step through the window.

[Ed Beaumont]

Yeah, it was as simple as that. A nice clean drop and I was on my way to the hospital. He's been calling for you, Mr. Madvik, ever since they brought him in. Well, there he goes again. Listen, you have Madvik. Gotta see Madvik.

[Paul Madvig]

I'm here.

[Lady Esther Announcer]

Ed.

[Paul Madvig]

Ed, it's me. It's Paul.

[Ed Beaumont]

Paul. Nick Vegas. Yeah. Gotta stop him, Paul. He's. He's. Oh, he's fainted. Again? Need another transfusion.

[Paul Madvig]

Well, don't stand here talking. Get going, will you?

[Ed Beaumont]

Oh, of course.

[Paul Madvig]

Listen, Doc, if this guy dies, I'll turn this joint into a warehouse.

[Ed Beaumont]

I felt fine by the time they let me out of the hospital. Yeah, I felt fine until I saw the Observer. Big screaming headlines right across the front page. Practically accusing Paul of murder. I knew I had to move fast, so I followed a hunch. That night I went to Taylor Henry's apartment. I found what I was looking for, a portable typewriter on the desk. And that wasn't all. While I was standing there, the front door opened. So I ducked behind the drapes and waited. Well, I thought so.

[Janet Henry]

You. What are you doing here?

[Ed Beaumont]

I could ask you the same question, only it happens I know the answer. Yeah, the same as all those other little poison letters. Paul Madvick didn't kill Taylor Henry. How did his best friend?

[Janet Henry]

All right, I wrote those letters. I'm sure Paul killed Taylor and I mean to prove it.

[Ed Beaumont]

Yeah. What do you think Paul's going to do when I tell him?

[Janet Henry]

You're not going to tell him. What good would it do? Besides, you're too fond of him to hurt him.

[Ed Beaumont]

He'll get over it.

[Janet Henry]

And there's another reason I'm asking you

[Ed Beaumont]

not to cut it out. Stay on your own side.

[Janet Henry]

Oh, what's the matter? Can't you forget Paul for once?

[Ed Beaumont]

Thought we'd settled all that. I told you Paul wouldn't make any difference if I wanted you. But I don't. Now that you know how I feel. Let's get out of here.

[Paul Madvig]

Hi, Ed.

[Ed Beaumont]

Hello, Paul.

[Paul Madvig]

Well, looks like you were right about that rat Far.

[Ed Beaumont]

Yeah. Get the indictment.

[Paul Madvig]

Yeah, but don't worry. There ain't a judge in town that'll hold me.

[Ed Beaumont]

Oh, Paul, listen. Any judge will hold you if the evidence demands it. Look, you've got a level with me.

[Paul Madvig]

Haven't I always?

[Ed Beaumont]

Yeah, but what about Taylor Henry?

[Paul Madvig]

What about him?

[Ed Beaumont]

I ask you first. Oh, what's the matter? You're covering up for somebody or something. Come on, let's have it, Paul.

[Paul Madvig]

All right, I killed Taylor Henry.

[Ed Beaumont]

Oh, but what happened?

[Paul Madvig]

I was laying into him about my sister. He got excited and took a poke at me and I hit him. He fell back and smashed his head on the curb.

[Ed Beaumont]

Why didn't you say so before? You've got a perfect self defense plea.

[Paul Madvig]

Well, it's on account of Janet. I want Janet, Henry. I want her more than I ever wanted anything. What chance would I have with her? Even if it was an accident?

[Ed Beaumont]

What chance do you think you've got with her now? She doesn't even like you.

[Paul Madvig]

Now, Ed, look, there's something.

[Ed Beaumont]

I'm telling you, Paul. She's been trying to shove you right into an electric chair. She's been writing all those letters.

[Paul Madvig]

Will you shut up? Shut up and get out of here.

[Ed Beaumont]

I'll get out when I finish talking.

[Paul Madvig]

You'll get out when you're told to. You haven't said anything. I believe you never will. Now get out of here, you heel. This is the kiss off.

[Ed Beaumont]

Okay, Paul, have it your way.

[Mr. Farr]

Hello, Ed. Glad to see you. Sit down.

[Ed Beaumont]

Thanks.

[Mr. Farr]

Sort of a surprise, you dropping in.

[Ed Beaumont]

That's what you always say.

[Mr. Farr]

I didn't think you were gonna hang around town. I heard you and Paul had split up.

[Ed Beaumont]

Did you?

[Mr. Farr]

No foolin', Ed. What's on your mind?

[Ed Beaumont]

You. Oh, listen, Father, they tell me your wife's folks live in Omaha.

[Mr. Farr]

Yeah.

[Ed Beaumont]

You better wire them and say you and the missus are on the way.

[Mr. Farr]

Is this a rib?

[Ed Beaumont]

That's a hunk of pretty good advice. Tomorrow Paul's going to beat that indictment you hung on him. And the first guy he reaches out for will be you.

[Mr. Farr]

What do you mean, he'll beat the ticket?

[Narrator]

How?

[Ed Beaumont]

Well, first of all, and hang on to this one. It wasn't Paul that killed Taylor Henry.

[Mr. Farr]

How do you know?

[Ed Beaumont]

Because he told me he did.

[Mr. Farr]

Now, listen, Ed, that don't add up.

[Ed Beaumont]

Sure it does. It adds up swell. If Paul had done it, he'd have told me a long time ago. So I figure he's covering up for somebody. Taking the wrap. Taking it for somebody extra special. And if you do like I say, we'll make the pinch. And you can postpone that trip to Omaha.

[Mr. Farr]

Who is it, Ed? Who do we have to bring in?

[Ed Beaumont]

You better come along, Farr. See for yourself. But, Mr. Farr. Beaumont, this is absurd. It's the middle of the night. Janet is sleeping. I wouldn't think of disturbing her, Mr. Henry. Better get her down here. I'll go up and pull her out of bed. This is outrageous.

[Paul Madvig]

I'll call the police.

[Ed Beaumont]

Don't bother.

[Mr. Farr]

They're here.

[Ed Beaumont]

See those two cops through the window? Now, will you bring it down, or do I have to add.

[Janet Henry]

What is it?

[Ed Beaumont]

Okay, Farr, there's your party.

[Janet Henry]

Ed, what on earth does all this mean?

[Ed Beaumont]

It means that Farr's got a warrant for your arrest.

[Janet Henry]

Arrest?

[Lady Esther Announcer]

What for?

[Ed Beaumont]

For the murder of your brother, Taylor Henry, Ed. Okay, Farr. Better bring her along.

[Mr. Farr]

I'm sorry, young lady. I'm Afraid I died.

[Ed Beaumont]

Just a moment, Mr. Farr. I think you'd better prepare another warrant. I am the one you want, Dad.

[Mr. Farr]

I don't understand this, Mr. Henry.

[Ed Beaumont]

I killed my son. I was with Paul and Taylor when they were quarreling out in front, I sided with Paul. I told Taylor he was ruining my political career. He struck me. We scuffled. He slipped and hit his head on the curb. When Paul and I lifted him up, he was dead. I made Paul promise not to tell. Oh, dad.

[Janet Henry]

Dad.

[Ed Beaumont]

You know, Farr, I was getting worried. Afraid we'd have to hang the girl to make the old man crack. Right in here, cabby. I've got my bags all packed. You can take them down and.

[Janet Henry]

Oh, hello.

[Ed Beaumont]

Oh, Gabby, you can start with those two over there.

[Paul Madvig]

Yes, sir.

[Ed Beaumont]

I got them, sir. Now, what are you doing here?

[Janet Henry]

I had to come.

[Ed Beaumont]

Why?

[Janet Henry]

Paul said you were leaving. I. I want you to take me with you.

[Ed Beaumont]

No.

[Janet Henry]

Oh, look at me, Ed. It's no use pretending. You love me and you know it. And whatever else you say, there's something inside that'll always tell me you're lying. Oh, it's true, isn't it? Isn't it?

[Ed Beaumont]

Yeah. Yeah. Yeah, I guess.

[Janet Henry]

Well, then take me with you.

[Ed Beaumont]

No. No.

[Janet Henry]

Why not? Paul.

[Lady Esther Announcer]

No.

[Janet Henry]

Paul isn't in this at all.

[Ed Beaumont]

You owe him plenty.

[Janet Henry]

Yes, Paul's been fine, and I'm very grateful. But, Ed, that's all I could ever give him, is gratitude.

[Paul Madvig]

I'm sorry, sister. That ain't enough.

[Lady Esther Announcer]

Paul.

[Ed Beaumont]

Now, look, Paul, I.

[Paul Madvig]

Go on. What are you waiting for, you goon?

[Ed Beaumont]

Are you kidding?

[Paul Madvig]

What do you want me to do, go out and get you a preacher?

[Mr. Farr]

Go on.

[Paul Madvig]

Hurry up, before I change my.

[Narrator]

Thank you. Alan Ladd, Ward Bond and Marjorie Reynolds. For a thrilling half hour.

[Janet Henry]

Mr. Myers, the motion Picture Relief Fund and its country house, both supported largely by this program, are doing such magnificent work that. Well, we consider it a privilege to appear here with the Lady Esther Screen Guild Players. And now, before we tell you about next week's program, here's a word from one of America's best known beauty authorities. Lady esther.

[Lady Esther Announcer]

Thank you, Ms. Reynolds. Ladies, I'm sure you would never think of rubbing cream into the delicate skin of your eyelid or beneath the eye, because if you did, the skin might be stretched and injured. It might become inflamed. Now, to some degree, the same thing that happens to your eyelid happens to your face because the facial skin tissue is finer, more delicate than the rest of your body. And there's the rub. Using Thick, sticky cream that has to be rubbed in is not good treatment. Rubbing those fine, delicate skin structures is likely to make your skin look older than you are. And so it is clearly wiser to use a cream that requires no rubbing. Lady Esther 4 purpose face cream. It's so soft you need only smooth it on gently, then wipe it off. That's all. The cream does the work, not your fingers. Yes. Lady Esther 4 Purpose Face Cream thoroughly cleans your skin without harmful rubbing, softens your skin, helps nature refine the pores and leaves a lovely smooth base for powder. It's the only cream you need, the modern scientific cream which without rubbing, does all four things your skin needs most for beauty. Try it. You will feel, you will see how quickly your skin responds to the gentle beautifying touch of Lady Esther 4 purpose face cream.

[Narrator]

Next week the Lady Esther Screen Guild Players will present Naughty Marietta. It will star Irene Manning and Alan Jones. Be sure to listen. The Glass Key was produced and directed by Bill Lawrence and was presented through the courtesy of the author Dashiell Hammett and Paramount Pictures producers of To Each His Own, starring Olivia de Havilland and John Lund. It was adapted for radio by Harry Cronman. Alan Ladd is currently being seen in the Paramount Picture. Oss Marjorie Reynolds will soon be seen in the Paramount picture Monsieur Beaucaire. Ward Bond is soon to be seen in the Frank Capra production It's a Wonderful Life. Music on tonight's program was arranged by Wilbur Hatch and conducted by Lud Glenn Ruskin. This is Ted Myers speaking for Lady Esther. Thank you and good night. This is cbs, the Columbia Broadcasting System.

[Adam Graham]

Welcome back. Well, a very different feel than the Campbell's Playhouse version, but that really leaned much more into the novels which tended to be where Orson Welles went when he did those sort of adaptations. Alan Ladd's performance as Ed Beaumont in this does still reflect his early career success. This was released just six months after this Gun for Hire. So it's very different from Ladd's post war work, a lot of which really worked to establish him as a strong, heroic actor. Now, Ward Bond, I was kind of curious when they mentioned at the end that he was in It's a Wonderful Life. And if you wondered that as well, Ward Bond was Bert the Cop. That's all for today. We will be back next Sunday with our second Listener Support and Appreciation Campaign Special. But in a week from Monday, we will begin our second run through the Saint. But join us back here tomorrow for the final episode of Danger with Granger,

[Ed Beaumont]

where why aren't you in your office?

[Mr. Granger]

Because, little lady, I wanted to come here, so I did. Any further questions?

[Sharia]

Larry told me you'd be upstairs. I saw you come out and come in here. Larry didn't tell me you were going to do that.

[Mr. Granger]

Larry is not my master.

[Ed Beaumont]

I go where I please.

[Sharia]

I don't understand all this. Larry was very explicit.

[Mr. Granger]

Larry should crawl into a hole, let someone fill it with water.

[Sharia]

Well, I didn't think you felt that way. Oh, we might as well get on with our business. Here's the money.

[Mr. Granger]

That green stuff makes it seem like St. Patrick's Day. But you're a few months late.

[Sharia]

Did Larry give you the paper?

[Mr. Granger]

Baby, take this money and put it back in your handbag. Makes me nervous.

[Sharia]

What are you talking about? Larry told me you'd have a paper for me.

[Mr. Granger]

I've got nothing.

[Sharia]

But he promised to sign a release. You were going to hand it to me.

[Mr. Granger]

You're on the right track, but you got the wrong train. Your pal Larry came to me with such a proposition, but I threw both him and proposition out the door. Ergo, no paper.

[Sharia]

You threw Larry out of your office?

[Ed Beaumont]

But.

[Sharia]

But he said everything would be all right. He even promised you put all of

[Mr. Granger]

Larry Simon's promises end to end. It would end all promises.

[Sharia]

I think you're lying.

[Mr. Granger]

I'm not lying. Also, I'm not in bed business with any cheap little blackmailer to let you greasy little friend.

[Sharia]

Friend?

[Mr. Granger]

Yeah. Let me tell you something else. A young woman as attractive as you could have hundreds of boyfriends, none of them even remotely resembling Larry Simons. When I make myself clear.

[Sharia]

You think Larry is my boyfriend?

[Ed Beaumont]

Sure.

[Sharia]

He's not your cousin, Mr. Granger? I hate Larry Simons.

[Mr. Granger]

That adds another name to a growing list.

[Sharia]

So do I. I'm glad to hear that, Mr. Granger. Sorry I bothered you. Goodbye.

[Paul Madvig]

Wait.

[Mr. Granger]

Watch your hurry. And who are you?

[Sharia]

I am the person who's going to give Larry Simon a bad.

[Adam Graham]

I hope you'll be with us then. In the meantime, send your comments to Box13greatdetives.net follow us on Twitter Radio Detectives. Check us out on Instagram. Instagram.com Great detectives from Boise, Idaho, this is your host, Adam Graham, signing off.