The Golden Cobra | The Fifth Mask - The Adventures of Philip Marlowe

[00:00:00] Get this and get it straight. Crime is a sucker's road and those who travel it wind up in the gutter of the prison of the grave. There's no other end, but they never learn. Wrigley's Spearmint Chewing Gum, the refreshing, delicious treat that gives you chewing enjoyment, presents for your listening enjoyment, Raymond Chandler's most famous character in The Adventures of Philip Marlowe.

[00:00:24] To make every day more enjoyable, treat yourself often to refreshing, delicious Wrigley's Spearmint Chewing Gum. Here's a taste treat you can enjoy indoors, outdoors, at work or at play. The cool, long-lasting mint flavor refreshes you. The smooth, steady chewing helps keep you fresh and alert, adds enjoyment to whatever you're doing. Wrigley's Spearmint Chewing Gum, healthful, refreshing, delicious.

[00:01:03] Now with Gerald Moore, starred as Philip Marlowe, the makers of Wrigley's Spearmint Chewing Gum are glad to bring you tonight's exciting story, The Gold Cobra.

[00:01:37] The Gold Cobra. Get it before its history. Hiya, Mr. Marlowe. Hiya, kid. Get up while it's hot. Make for seventh race closing walls. Hey, mister. Could you please help a blind man? Could you let me have a buck for my first square meal in a week? You mean your first shot in an hour, don't you, Jake? Oh, Mr. Marlowe, hi. How are you? Sorry I didn't recognize you. Must be these dark cheaters. Yeah, must be. How's business, Jake?

[00:02:05] Oh, I seen better. You too, huh? Yeah, sure. Well, you're just standing around here in front of your office for the fresh air, maybe. No, I... Oh, no, don't tell me that, ain't it? I got it. Huh? You're making a rendezvous. A secret meeting, huh? No, Jake, I'm just waiting for something. Holy catfish! Look at that jerk out in the middle of traffic. The guy with the suitcase. Getting out of that cab right in the middle of the street. Hey, he's coming this way. And he acts like the guy I'm waiting for, suitcase and all. Here, Jake, here's a starter on that meal. I'll see you. Goodbye.

[00:02:34] I gotcha. So long, Mr. Marlowe. Oh, thanks a million. Sir, tell me quickly. You're Mr. Marlowe, Philip Marlowe? That's right, you're Roth Winkham? Correct. Mr. Marlowe, is your car nearby? Yeah, right over there, sure. Good. Come, Mr. Marlowe. You've got to get out of here. My very life may be in danger. And have you been seen with me, sir? Yours as well. Quickly, Mr. Marlowe. We must be off. Uh, yeah, yeah. Well, this way, Mr. Winkham. My new client was right out of Charles Dickens.

[00:03:04] But I bit my lip and tried to play it straight. We piled into my car and took off. Mr. Winkham, his owl eyes glued to the rear window, watched and worried hard about whether we were being followed. But finally he was convinced that we were safe. He relaxed his grip on the suitcase and fumbled for a cigarette. Roth Winkham was maybe 50 and had a large, bald head on a small, well-dressed body that just couldn't sit still. Also, it was at least three to one that the gentleman had ulcers. He was the type.

[00:03:32] Keep driving, please, Mr. Marlowe, and do watch the rear view mirror. Uh, okay. Now, sir, what exactly did I say to you on the telephone? Well, you wanted me to fly to Chicago tonight with a suitcase that contained an item worth 20,000 bucks, which was earmarked for some museum, right? Oh, yes, the Asheville Museum. Yeah, and you said something about an eccentric here in L.A. who owned the item? That's about all I caught. That and the fact that you were very worried. And I still am. Now, first, Mr. Marlowe, a word about the man who was following it. First, Mr. Winkham, a word or two about the item itself, huh?

[00:04:00] You know, I can't afford to play carrier pigeon without so much as a peak. It's too much like leading with my chin. Now, what is it? A gold cobra. A gold what? A cobra, a snake, sir, made of 250 separate links, each some two inches in diameter and each solid gold. Links, huh? That makes the snake flexible like the real thing, is that it? Precisely. And the cobra's hood, Mr. Marlowe, is spungold. Oh. Originally, the object was a ceremonial piece that comes from India, from a kingdom that no longer exists.

[00:04:29] Mordecai Ziff bought it there several years ago. Mordecai Ziff, huh? Yes. He's the eccentric who lives here in L.A.? Well, perhaps intellectual is more the proper term. Oh. He lives near here in the Hollywood Hills. And he is the one who is presenting the cobra to the museum. I see. Well, tell me, what's your connection, Mr. Winkham? I am a friend, Mr. Marlowe. Mordecai and I studied together in Europe many years ago. Really? We have remained fast companions through the years. And now that his health is fading, he is a man of 60. I wish very strongly to repay his kindnesses. But, I need your help to do it.

[00:04:59] Yeah, well that brings us to the party following you. Who's that? A creature named Agbar. Agbar? Agbar. Yes. He's an East Indian and he wants the cobra badly. That's all I know of him except, sir, that he has no claim morally or legally. He's merely a fanatic. Yeah, well, that's not to be sneered at. It's a full-time job. Tell me, what does this Agbar look like? Well, he's thin. He's dark skinned, dark hair, vicious cold eyes. You'll have to be on the other... Mr. Marlowe! Behind us, sir, that taxi cab we're being followed. Drive, drive, sir!

[00:05:31] You see who it is? No, but it could be Agbar. Try to lose him. That's exactly what I'm trying to do. The cobra's in the suitcase here, right? No. This suitcase is empty. Oh. The decoy. The gold cobra is in a similar bag that has been checked at the Peachwood Plaza Hotel. Turn again, Mr. Marlowe! The cab is getting in! Right. Now, sir, this envelope contains the claim check for the bag, as well as your airline ticket to Chicago. Also, there's a hundred dollar bill included. Oh.

[00:05:59] And you'll get another one when we meet tomorrow night in Chicago. I'll look for you at the Dearborn Street Station at eight o'clock. He's still with us, Mr. Marlowe. Yeah, and that's a red light ahead. We can't slip through. Then it's time for me to go. And time for Agbar to follow me. Me and the empty bag. Good luck, Mr. Marlowe! I'm counting on you, sir.

[00:06:22] By the time the light had changed, the spry Roth Winkham had already made it to the sidewalk. They emptied suitcase conspicuously in hand. And when my rear view mirror showed the cab had given up the chase, I figured the quantity known as Agbar had taken the bait and followed Winkham. All of which made my next stop the check room at the Peachwood Plaza Hotel.

[00:06:55] Yes, sir, what'll it... Well, hello. Can I be of some assistance, maybe? I wouldn't be surprised. But at the moment, I just want my suitcase. Here, honey, it's a black bag. A black bag? Yeah. Here we are. Number 4511. Number 4511. Comes out even. Must be yours, or I? Yeah, it must be. Thanks, baby. Here. Small token of my... Oh.

[00:07:27] What's the matter, Hanson? Your wife just waltzed in? No wife. Just trouble. Goodbye, princess. The End My first glance at the man standing in the hotel entrance was almost enough. A lot of people could have jet black, unruly hair on top of a flyweight build, but very few people had that kind of wild, sparkling eyes. They were reserved for fanatics named Agbar. When he spotted me and started coming in a hurry, it was time for me and the suitcase to head for the nearest exit.

[00:07:54] I took a side door just beyond the check room and from there ran the length of the narrow, twisting corridor that led to the rear of the hotel and out to the alley where I'd parked my car. There I ducked behind a pile of trash cans, slipped my hand over the .38 in my shoulder holster and waited. But after a full minute went by, I figured that it was safe to go to my car. And it would have been. If the striking redhead crouched on the seat inside hadn't been holding an also striking pistol. Just made for ladies. Don't bother getting in the car, Mr. Marlowe.

[00:08:24] In fact, don't do anything but hand over that suitcase. Here, on the seat. Uh, your mind's made up, huh? Definitely. And keep your hands at your sides. Now, let me have those keys you're holding. Come on, toss them here. Now, turn around. Thank you. I'm glad you're cooperative. Don't mention it. It's your winning smile. Anything else? Yes. Walk in the direction you're facing. Go on.

[00:08:53] Walk it is, baby. But first tell me, who do I see for my car? Learn safe and south. Yeah, what about the suitcase? It's got all the clothes I have in it. Oh, sure. You look so fetching in gold cobra, don't you? Good night, Mr. Marlowe. The shock of fire red hair gunned my car the length of the alley and then swerved on two wheels into the busy street beyond and was gone.

[00:09:21] I followed to the end of the alley and started walking toward the hotel. And I saw something else. It was Agbar running toward a hack stand. He had also seen my car disappear and that obviously meant that he wanted the first cab in line to take him someplace in a hurry. But the driver was waiting for a fare, was forced into the only other cab in line and almost gave me time to get to it. Almost. But not quite.

[00:09:49] That left only an outside chance that Akbar had tossed an address at the driver before he knew that the cab was taken. Yeah, but it was an outside chance that paid off. Yeah, sure he gave me an address, pal. Even though I had the flag down. I got an old doll inside. Yeah, yeah, listen, friend, this counts. What was that address? Come on, the right answer's worth ten to you. A saw? The same. Here, here. All right, what was it? Let me think, pal. Come on, come on. I got it. Outpost Road, number 818, I think. Yeah, 818 Outpost Road. 818. Hollywood Hills, huh? Uh-huh. Someone up there you know, pal?

[00:10:19] Could be. Get moving. 818 Outpost Road. But, Cal, I already told you. I already heard you. There's another ten in it and let's forget the old doll. Come on, bust a roll. The mansion there is 800 outposts, so this next job must be it. Looks like the Taj Mahal joint. Yeah. That plus enough grounds to build a ballpark, grandstand included.

[00:10:49] I'll get out here and take the driveway on foot. Okay, pal. Whatever you say. Hey, you want me to wait? Yeah, you better. No, no. I think I see my own car up there. Here's the ten, thanks. Okay, pal. So long. Hey, give my love to the Roger, huh? Brother, what a backdrop for a harem. 50 beautiful girls. 50. They stand just where you are. This rifle is loaded and the safety not on.

[00:11:17] It was hard to believe. At the top a genuine African pith helmet and under that a pudgy cherubic smiling face with red roses for cheeks and dimples. An inch deep. And the rest fit too. A round little body dressed in a cocky shirt, riding breeches and polished leather boots. Happy of the seven dwarfs in jungle getup. There the individualism ended because like everybody else I'd met tonight, his interest was in the cobra exclusively.

[00:11:46] Now, mister, whoever you are, where is that snake? Have you tried the grass? I understand snakes love it. This is not the time to jest. There's nothing funny about that cobra. Not unless 20,000 bucks happen to tickle your funny bone. For the last time, where is the cobra? The truth. Okay, the truth. Frankly, my friend, I haven't the slightest idea. Honest, I haven't.

[00:12:18] Happy folded up on one punch like it was built on hinges. I headed for the Taj Mahal on a run. But when I was past my car and had gone the slippery length of a tiled porch that led to a pair of half-open etched glass doors, I slowed to a walk at the sight of a single light that came from a beaded lamp in a room inside. Then I came to a full stop. The room was about the size of a basketball court with plush decor that was strictly far east. An elderly man wearing a bright yellow satin robe,

[00:12:46] an also bright yellow satin turban was stretched out. Glassy eyes staring at the ceiling. The front of his robe an ugly blood stain. Beside him was the lady with the red hair. And next to her, the suitcase that wouldn't stay put. It was a good time for me and my 38 to announce ourselves. Well, this certainly outclasses the alley, doesn't it, Red? What? And now it's your turn to keep your hands at your sides. What do you want here, Marlowe?

[00:13:17] Did you kill him? No. Oh, no, I didn't believe me. I didn't... I hated Mordecai Ziff, but I wouldn't do this. No, of course not. How could I even think of it? You only stick up people in alleys, steal cars, walk off with gold lucky pieces worth 20 grand or better, huh? Marlowe, I didn't do this. My gun hasn't even been fired. Here, look. Don't try it, Red. I'll look when I'm ready. First, I want to make sure the gold cobra is still intact. Of course it is. I never let it out of my hands. We'll see. Stay right where you are, baby. Don't move.

[00:13:48] I can unlock this with one hand and cover you with the other. Okay. Now we'll know if the cobra is... Look! Look out! Marlowe, it's real! A cobra! Steady, steady, Red. Don't move! Oh, baby, you shouldn't have killed the lights. That makes the next move for the cobra is... And my gun's worthless.

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[00:14:53] Now with our star, Gerald Moore, the second act of Philip Marlowe and tonight's exciting story, The Gold Cobra. We got one good look, at a live cobra rearing up out of the suitcase. Its hood distended, flicking its glossy, forked tongue, before the only lamp in the room shattered on the floor in a blue flash,

[00:15:21] and total darkness surged in. For an endless moment there was silence, as soft and thick as black velvet. Then we heard it. The snake was moving. We listened to it crawl slowly out of the suitcase, ease itself across the table and slither to the floor. It's coming towards us. Stand still, baby, freeze. Don't move a muscle. I...

[00:15:51] I can't do it, Marlowe. It's our only chance, do you hear me? No matter what happens, don't move. Marlowe, I'm... I'm getting dizzy. Hold on. I'm afraid I'm going to pass. No, baby, hang on, hang on, I tell you. Now, Red, listen to me, listen to me, talk. Start talking, don't stop. But talk softly. I... I... Who are you, Red? Tell me. Tell me. I... Abby. Abigail Seaburn. All right, who killed Ziff, Abby? I... Who was it? Come on, answer me, answer me. Keep talking. I don't know, Marlowe. I...

[00:16:21] I told you the truth. Why did you come here to Ziff's place? He swindled my Aunt Marcella out of all her money before she died. Yeah, go ahead. Money that was supposed to come to me. Swindled her how? He... He was a mentalist. Yeah. A fake mind reader and fortune teller. He told her lies that made her keep giving him money until there was nothing left. Etta, girl, keep it up, baby, keep it up. Why did you take that suitcase away from me at the hotel? Answer me, Abby, think. I... Come on. I... I spied on Ziff.

[00:16:51] I found out about the gold cobra. Yeah, go ahead. I knew if... If I once cut my hands on it, I could force Ziff to return the money. He tricked my... And out. Keep talking. Oh, Marlowe, I... I can't... I can't stand it that often. Quiet, quiet. Listen. There's someone in here. Yeah. Who's there? Who is it?

[00:17:22] He made it out the door. The cobra struck at him, Marlowe. It sounded like it was clear across the room from us. Now look, Abby, Abby, stay where you are. Don't move. I'm gonna see if I can find a light switch on the wall behind us. Stand real still, Abby. You hear anything? No. Hurry, Marlowe, please. Believe me, baby, I am. There's gotta be a switch here someplace. There's gotta be a switch... Yeah. Yeah, here it is. Thank heaven, light again. Where's that cobra? I don't see it, Marlowe. We'd better spot it. That thing's loaded with sudden death.

[00:17:52] But it's not here, I tell you. Yeah, I guess you're right, for the time being. But in case it comes back, you better keep that gun handy. Where are you going? After the guy who beat it through that door. Right now it pays to be ahead of the game. But not too far ahead, Abby, do you understand? Yes. At this point, mister, I'll do anything you say. All right, then wait here for me. And keep your eyes open wide. This cobra is not the only killer loose in this joint.

[00:18:22] The door opened into a long passageway that offered as much chance to duck for cover as the inside of a loaded cannon barrel. And it was so narrow that if the cobra had found its way out there, it would be within kissing distance when we passed. The hair on my neck remained at rigid attention while I edged along the hall toward a dim light at the end that came from a heavily draped green waiting room.

[00:18:47] In the center, facing halfway from me, was Akbar, the Tauzel head, East Indian. His face was even grayer than before and his hand trembled as he mopped his glistening forehead with a silk handkerchief. When I stepped in, he saw me from the corner of his eye. His face went stony. Only his right hand moved. It dived under his jacket for a weapon, but I brought my gun down hard on the point of his shoulder.

[00:19:14] His arm went limp and a knife as wicked as the back end of a scorpion bounced across the floor. Doc, you'll pay for this interference. Not on the installment plan, Buster. We're gonna settle up right now. How come the live cobra in the suitcase you're so anxious about? A finished trick. Yeah, and in the dark, it almost caught you, didn't it? True, but fortune smiled and the cobra missed. Yeah, but fortune's a fickle lady, Buster. Come on, talk it up. Just what are you trying to promote? The return of this sacred gold cobra to its rightful place. The temple of my ancestors in India.

[00:19:43] The blasphemy perpetrated by Mordecai's Eve will end only in the restoration of the gold cobra. And I am prepared to do whatever I must do to accomplish this. Even to paying money for it. Or killing? Or killing. Death is transitory and therefore inconsequential. Well, the homicide bureau has other ideas, elephant boy. So maybe we better just... I hate to leave you alone, Akbar, but you're better off in the long run.

[00:20:16] I watched just long enough to see Akbar melt toward the floor. Then I ran back along the narrow corridor to where I'd left Abby. When I stepped in the door, I stopped cold. She was facing me from across the room, her eyes wide with fear, her mouth still twisted from a scream. Directly behind her was an opening in what should have been a blank wall and inside it, staring out with fixed hypnotic eyes, was a coiled cobra. Only this one was solid gleaming gold. I started toward Abby, but I stopped again because...

[00:20:44] there was a gun in my back. That's quite far enough, Marlowe. Roth Winkum? What is this? You aren't going to like it, Marlowe. Not one bit. Give me your gun. Give it to me. Get it yourself. I wanted to warn you, Marlowe, but he said he'd shoot me. He took my gun too. Come on, Winkum. Why the switch? Believe me, Marlowe, when I hired you tonight, I expected a much less bizarre ending to all this. I intended you to be peacefully on your way to Chicago by now, with a girl Cobra safely in tow. Still just a favor for a friend, huh? Not exactly.

[00:21:13] That part was a small lie. Mordecai Ziff was my partner. Your partner? Yes, my dear. When we felt it was time to move east again, I decided to break away from Mordecai and keep the girl Cobra for myself. Alone. But I needed help. Because a fanatic named Eckbar turned up who had his eye on the Cobra too? Get over into that empty corner, both of you. Go on, get over there. Move! Take it easy! No tricks with the partner, Marlowe. You shoved him into it. Never mind. Leave that vase alone. Get back in the corner.

[00:21:42] So it was you who killed Zip, huh? I hated him. For every one of a million indignities I've suffered at his hands. As soon as I was sure you'd picked up the gold Cobra, I came back here. And I killed him. I just finished it when... When I got here. Yes, young lady. I didn't know about you. But I managed to get out of here before you blundered in with that empty suitcase. Empty suitcase? That's what you think. That's what I mean. They're on the table, empty. As it has been from the outset.

[00:22:12] Just as empty as the decoy I used. Obviously, Mordecai suspected my intentions to steal the gold Cobra after all. It was a bit more than that, Winkum. Honest. Oh, what a cozy pair of chums you and Zip must have been. You really don't know what he put in that bag, do you? What are you talking about? Zip had a surprise all set for you, Winkum. It was that... Marlowe, look! The snake, it's coming out of that vase. Holy smoke, Winkum, there's a live Cobra behind you. Oh, I don't blame you. Listen to me, will you? Listen to me, will you? Oh, that's such an old stunt.

[00:22:42] Stay back! Marlowe, it's... Winkum, kill it! I tell you, it's right behind you. Stop it! You're only wasting time! No! No! No! No! No! No! Oh, no. He's out and it's no help, baby. That thing's still between us and his gun. Get behind me. Get behind me. Back in the corner. Marlowe, we're trapped. We can't get past it.

[00:23:12] Get back, will you? Maybe I can throw my coat over it long enough. Oh, it's the jerk on the pith helmet. Hey, you! Over here! Get over here with that rifle, will you? Hurry! What's the meaning of all the... Bertie! Good heavens, my coat... Kill it, will you? Shoot! Quiet! You're in a spot, folks. No fooling. She's got you within striking distance, so don't move. Just stand still. Very still.

[00:23:42] Come on, Bertie. Bertie, now, now. Come on. Take a look at the end of the rifle, Bertie. See the hole? That's it in the end. Fascinates you, doesn't it? Stitty folks, don't move. Keep looking at the little hole in the rifle, Bertie. That's right. Now, back up. Back up.

[00:24:11] That's the way. Into the sack, Bertie. Little more. Now, pull your head in like a good girl. Ah! That does it! Now, we've got you safe and sound in the sack. Oh. Yeah. Whoever you are, brother, you're a genius. Crumpler's the name. Otis Crumpler. Snakes are my business. The most amazing thing I've ever seen. Yes. The most amazing thing.

[00:24:42] Abby! Abby! Oh, boy, she's fainted. Well, what's wrong? Was she bitten? No. No. But I know what she means. Look, if you don't mind, Crumpler, I think I'll... I'll sit down myself. Right here. Now, when the police finally moved in, they gave the degenerate Taj Mahal a long once-over

[00:25:10] and then we adjourned for more questions and answers to the hospital where Abby Seberg was getting her nerve back and Ackbar was nursing the split scalp I'd given him. And while Otis Crumpler and I waited for the word downstairs in the coffee shop, Roth Winkham, my client, was busy dying of cobra venom in spite of Crumpler's best efforts. Well, that's the way it is with cobras, Mr. Marlowe. Sometimes there's just nothing you can do. Sugar? No thanks.

[00:25:41] He had it coming, Otis. Oh, both of them did. Mordecai's if was a slimy sort, too. He'd been snooping around my snake farm for several days. Oh. And then tonight, when Birdie turned up missing from her cage, I just knew that he was behind it some way. But I couldn't figure why anybody would want to steal a cobra. You know what I mean? Uh, yeah, yeah, vaguely. Phil! Phil, guess what? What? Oh, Abigail Seberg is well enough for coffee. Sit down. Oh, it's better than that.

[00:26:11] The police think there's a good chance that that bar will be able to buy the gold cobra and I will get the money. How do you like that? I like it fine. Where are we going to spend it? Oh, well, I know a certain kind of snake bite remedy I'd like to try right now. I think we deserve it, mister. It comes in bottles and they call it scotch. Oh, no, not whiskey. Oh. Oh, not for snake bite. Oh, no. No. That's the very worst thing you could do. You see, it stimulates the heart and makes the blood go faster. And that...

[00:26:40] And that, Mr. Crumpler, is exactly the idea. Come on, Phil. There are many things that can lead to romance. Usually, it's moonlight. Sometimes, it's a bit of a song. But who ever heard of a snake playing Cupid?

[00:27:08] Yeah, well, there was a snake in the Garden of Eden. Yeah, but come to think of it, he kicked up quite a fuss. Phil? Hmm? What are you thinking? Uh, snakes. What are you thinking? Apples.

[00:27:43] Remember, friends, to make every day more enjoyable, treat yourself often to refreshing, delicious Wrigley's Spearmint Chewing Gum. There's lots of cooling, real mint flavor in every stick. And chewing Wrigley's Spearmint helps you keep feeling fresh and alert. You feel better, work better, get more fun out of doing things. So indoors, outdoors, wherever you go, keep some healthful, refreshing Wrigley's Spearmint Chewing Gum handy. To make every day more enjoyable,

[00:28:11] treat yourself often to delicious Wrigley's Spearmint Chewing Gum. The Adventures of Philip Marlowe, presented by Wrigley's Spearmint Gum, bring you Raymond Chandler's most famous character and star, Gerald Moore. Philip Marlowe is produced and directed by Norman MacDonald

[00:28:39] and written for radio by Robert Mitchell and Gene Levitt. Featured in the cast were Howard McNair, Lynn Allen, Wilms Herbert, Lou Krugman, Bill Lally, and Michael Ann Barrett. The special music is composed and conducted by Richard Arant. The makers of Wrigley's Spearmint Chewing Gum hope you enjoyed tonight's adventure of Philip Marlowe and that you're enjoying Wrigley's Spearmint Gum every day.

[00:29:07] We invite you to be with us next week when Philip Marlowe says... This time I caught a killer on a lonely pelican's roost. It took a fistfight on the sidewalk, a flyway drummer with an ice pick on his back, and a vicious meeting on a yacht to do it. That plus the color of a girl's hair.

[00:29:38] This is Bob Stevenson speaking, and this is CBS, the Columbia Broadcasting System. Get this and get it straight. Crime is a sucker's road, and those who travel it wind up in the gutter of the prism of the grave. There's no other end. But they never learn.

[00:30:08] 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 exciting story, The Fifth Mask.

[00:30:54] Brother, am I glad to see you. You are Philip Marlowe. Yeah, yeah, I'm Marlowe. Well, come on in. You're not exactly what I expected, Phil. No? Mm-mm. I didn't realize private detectives came in the deluxe edition. You'd like a drink, wouldn't you? Now look, when you called me a few minutes ago, it was strictly panic because your life was in danger, Miss Barr. Now you... Vivian will do, Phil. Yeah, well, okay, Vivian. What's happened in the meantime? Happened? Nothing, why?

[00:31:22] You seem pretty well balanced for somebody on the edge of being a homicide statistic. I'm doing my best to hang on to myself, that's all. Oh. But now that you're here, I can breathe again. You just sit down, won't you, over there? I'll fix the drinks. Uh-huh. We're gonna get along fine, Phil, I can tell. Yeah, well, could be. There. Now we can be more comfortable. Your health, Phil. Your health is supposed to be the point, baby. You said a man threatened your life. Yes, a man named Fred Sears. A character I used to know.

[00:31:51] He was hurt in a hotel fire six months ago. Must have been his head. He thinks he wants to kill me, and he's come to town to do it. But now that you're here... I, uh, I suppose he's got reasons, huh? Do they matter? Yeah, yeah. To me, at least. I'd like to know which end of the stick is short before I grab. Well, not even sure myself. I only knew Sears briefly. Here. Here's his picture, Marlon. Oh, the whole affair was stupid. So you brought it to me instead of the police, huh?

[00:32:20] I brought it to you because I need private help and I'm willing to pay for it. Pay very well, I might add. Oh. Oh, look, Phil, you don't have to bother about the reasons why. Just see that Fred Sears leaves me alone tonight. It shouldn't be hard. Is your drink all right? Delicious. Too bad I can't stay and finish it. What? Oh, Marlowe, wait! You mean you won't help me? Not on guesswork, baby. But don't you realize my life's in danger? I'm scared. Oh, sure, sure. Speechless. You can get yourself another boy, Vivian.

[00:32:50] Woods are full of guys with no curiosity at all. Oh, Marlowe, please be reasonable. Good night, baby. Good night. I had no doubt that a guy named Fred Sears wanted to kill Vivian Barr. And that she was genuinely afraid of him, but... I also had no doubt that working for her without all the facts was like playing blind man's buff with the front end of a jet plane. Sooner or later you were a cinch to get sucked in.

[00:33:18] So I drove off the hill toward the Sunset Strip again and prepared to forget it and go home. Until my rear view mirror told me that I'd picked up a tail. I wagged it back and forth across Hollywood for 20 minutes without losing it. Then I stopped at a quiet corner bar in my neighborhood, went in the front door and straight on through to the alley and then around to the front again. I got back in time to see the man who'd been following me get out of his con, head for the door. It was one Mutt Pomeroy, a sleazy ex-comrade in arms

[00:33:45] who had his private license revoked for sordid malpractices a year ago. I waited till he was almost up to the entrance before I stepped out where he could see me. I... Oh, well, Phil Marlowe. What do you say, kid? How's business? I keep smiling. Sure, sure you would. Buy a drink, I don't suppose. What's on your crummy little mind, Mutt? Take it easy! Take the hands off me. I forgot the idea. You've been tailing me just to keep in practice. What do you want?

[00:34:15] Okay, okay, hotshot. I figured maybe you'd appreciate a little cooperation. For instance, you tell me why Vivian Barr wants a private peeper and I'll tell you something more than worth your while. Well? I thought your license was dead, Pomeroy. Yeah, it is, but I'm not. I still got eyes and ears and a mouth that I like to keep well fed. Now look, I can help you plenty in this case, Marlowe. What do you say, kid? Get together? I didn't take the case. You what? That's right.

[00:34:43] If I catch you tailing me once more, Mutt, I'll tie a can to you. Now beat it. Yeah, well let me know when you need a hand, Marlowe. Right across your kisser. Ah, be it ever so humble. Hello, Marlowe speaking. Oh, Phil, I've been calling ever since you left. This is Vivian Barr. Now look, baby, I told you... Oh, Marlowe, listen to me. I've got to have your help. I'll tell you the truth, all of it. Anything you want to know, only come back, please. Oh, will you listen? I'm trying to tell you...

[00:35:13] I've seen someone outside here, Marlowe. I'm almost sure it's Fred Sears. Hurry, will you? I'll tell you everything. Hurry! Three things I could never resist. Beer with a head on it, moonlight, and a beautiful day. So I headed again to the parking terrace at Vivian's apartment house and made it in about 15 minutes. I was out of my car and halfway across the terrace before I noticed the changes. First, her apartment was dark.

[00:35:40] Second, a man who had just pulled a key from her front door lock froze when he saw me and then turned and bolted through a clump of hibiscus and cornered himself in an enclosed patio. He tried to make it over the wall, but the second time he fell back, I nailed it! No! No, please, let me go. I gotta get away from here. You're trying it the hard way, Buster, believe me. It'll be easier by way of Vivian's apartment first. Come on, on your feet! Now, who are you? I'm Douglas Peck. Douglas what? Just Douglas. Okay, just Douglas.

[00:36:10] We'll also straighten that one out inside. Go on, open the door. No, I... It's locked. Sure, sure it's locked. Take the keys out of your pocket and unlock it. Hurry up! Who are you? Name's Marlow. Go on inside. No, no, please, Marlow. Listen, I... I can't go in there again. What's the matter? Afraid of the dark? Go on! Turn on the light! All right, then, all right. There. Vivian Barr's eyes were still open. With all the life had gone out of them, she'd slid half off the blue velvet divan onto the floor,

[00:36:40] and a gleaming gold satin she wore was stained red by a dark, stiffening smear on her chest. Her purse was open on the coffee table and spilled out of it was her note, addressed, Dear Vivian, and signed, Fred Sears. What is it, Marlow? What are you looking at? One good reason why Vivian Barr ended up like that. Here, read it. Dear Vivian, the broken back you handed me six months ago wasn't as hard to take as the broken promises. Count on seeing me real soon, Fred Sears. Yeah.

[00:37:10] Now, Douglas, to digress, assuming you didn't kill her, and it was this Sears, what was your connection? Well, I... I was just a friend of hers. Business associate. Well-heeled business associate, judging by your wardrobe. She mentioned your type, but not your name. Let's get on with that, shall we? Marlow, listen. I had no idea that Vivian was mixed up in it. Marlow, look. Huh? There at the window at Sears. Kill the light. Keep down, Douglas. I'll be right back. Sears ducked as I ran for the door, and when I got outside, he was rounding the corner and heading for the enclosed patio. He was up on the wall

[00:37:39] by the time I got close enough to grab for him. No, you don't! Why? His foot caught me in the side of the head. I wound up on my back with nothing but the torn-off pocket from his jacket and my hand in a crumpled pack of cigarettes and a slip of paper on the ground with a phone number. I picked it up and started back to Vivian's apartment in time to hear a car door slam and see Just Douglas, scared stiff, crouched behind the steering wheel of a step-down Hudson. Second later, car and all were gone

[00:38:09] in a funnel of dust. Well, I couldn't lose much more, so I went back into the house to use the phone. Society editor, please. One moment. Okay. Society desk, Miss Ludlow speaking. Hiya, Corey. Phil Marlowe. A long time, mister. I haven't seen you since. Yeah, yeah. Now look, honey, I need some fast help. Crashing somebody's party, Marlowe? Could be, but it's strictly business.

[00:38:38] Now can you give me a rundown on a phone number? Crestview, 54124. 54124? Yeah. Just a minute, lover. Okay, sweetie. Oh, yeah, Phil. That's the old J.G. McKay mansion. 910 Mission Drive. His niece, Celia McKay, has the place now. She married up with a guy named Paxton. Last fall, I think. She has oodles of money. Any help? I'll let you know. Thanks a lot, baby.

[00:39:09] Before I left, I called Lieutenant Matthews at homicide and told him what happened. He said he'd put out a call for Fred Sears and suggested I keep in touch. After that, I drove to Beverly Hills. The McKay mansion at 910 Mission Drive dominated the rows of bowing trees that lined the long, curving driveway like a dowager queen presiding at court. When I rang the bell beside a carved mahogany front door big enough for an airplane hangar, it was the butler who finally opened it for me. It was all he could manage. Yes, sir.

[00:39:38] My name's Marlow. I'm a private detective. I'd like to see the head of the house, please. Have you an appointment, sir? No. This is a courtesy call so far. There's been a murder buster. Now, please get Mr. Paxton, Celia McKay, Paxton, or any reasonable facsimile thereof, huh? Never mind, Carl. I'll take care of this, whatever it is. She was, uh, friendly. Red-headed and hefty, but wore a dress so well draped it would have made a Notre Dame tackle look good. It was all held together at the neckline by a big dazzling brooch

[00:40:08] made up of items on a Mardi Gras motif and each covered with enough jewels to retire a family of five. Except for a space in the center, shaped like a mask which was dull, black, and empty. I must have been staring because that's where she picked up the conversation. If you've finished making your estimate now, Mr. Marlowe, maybe we can get down to business. I'm that reasonable facsimile you mentioned, Mona Paxton, Celia's sister-in-law. Oh? And Mr. Paxton's your brother, huh? Same thing. Yeah, well... You said something about a murder, I believe?

[00:40:38] Hmm, that's right. A woman named Vivian Barr. And is that supposed to mean something to the members of this household? Maybe we'd better ask them. I don't think so, Mr. Marlowe. We're all quite busy here just now. Now look, Mona, I followed a lead that started at the body of a dead woman ended here at this house. You people can talk to me now or the police in a few minutes. Make up your mind, fast. What about the police? Mona, what is this? Excuse me, my dear, I'm sorry. I hoped you wouldn't be bothered by the... by Mr. Marlowe here. In his opinion, we're all murderers or something. I see. And why do you say that, Mr. Marlowe?

[00:41:07] I don't. It isn't quite that bad. Then specifically, how bad is it if you don't mind? I don't mind at all. I'm looking for a man named Fred Sears in connection with the killing of my client, Vivian Barr. I'm here because there's a definite tie with somebody in this house. Now at this point, I'm still asking for cooperation. This has gone far enough. It's preposterous. Mr. Marlowe, until you mention their names, I'd never heard of either of those people. Mona? No. They're still my husband, Mr. Marlowe. Dear, will you come out to the door, please? What's going on? What's the matter?

[00:41:38] There's a person here I want you to meet. Mr. Marlowe, my husband, Mr. Paxton. Why, how do you do, Mr. Marlowe? I'm doing better, Mr. Paxton. Oh. Douglas, Mr. Marlowe here wants to know if the names Vivian Barr or Fred Sears mean anything to you. Why, I don't think so. No. No, they don't. Why? You may leave now, Mr. Marlowe. We've given you all the cooperation we can. If you come back, you'd better have a warrant with you.

[00:42:07] Okay, Celia, I will. Because one of you three is a liar. And I can prove it. So if you want to talk it over before I call in the cops, I'll listen for a while. Hey, Cartwright. Yes, sir? You called, sir? Yeah, you look like a fairly honest man. Where can I get a good cup of public coffee around here? Uh, by the... There's a little shop two blocks down, sir. Thanks. And to you, Cartwright, good night.

[00:42:45] In just a moment, we'll return to the second act of Philip Marlowe. But first, Sunday, September 10th. Note it well, or you'll miss a whole lot of laughs. For that's the day Jack Benny checks in again at CBS The Star's address. Yes, this Sunday is the day Jack, Mary, Dennis, Phil, Don, and Rochester return for another great season of top-ranking comedy. Be sure you're on hand this Sunday and every Sunday when CBS brings you the one and only Jack Benny Show. Now with our star, Gerald Moore, the second act of Philip Marlowe,

[00:43:14] and tonight's story, The Fifth Mask. When the two-ton front door of the Paxton home closed behind me, I dropped the cocky attitude quicker than a chorus girl lets us take. I'll go and she hits the wings. I knew that I was still a long way from finding Fred Sears. And ten minutes later, when I was in a corner booth at the plush Beverly Hills version of a one-armed joint Cartwright had suggested me.

[00:43:44] I began to worry about it. Until the front door swung open and admitted Mrs. Celia McKay Paxton. She threw a stern eye in a sharp semicircle that nearly sliced the place in two and then bore it down on me. Mr. Marlowe, I want to talk to you. What do you mean by... Why don't you sit down, Mrs. Paxton? Well, I... Very well. Now, Mr. Marlowe... Coffee, Mrs. Paxton? No, no thank you. Hmm. Mr. Marlowe, specifically, what did you mean when you said that one of the three of us was lying? Specifically that, Mrs. Paxton.

[00:44:14] I don't think I could have been more blunt, but I'll try. I'm after Fred Sears and anybody or anything that can lead me to him. Now, you. Why are you here, Mrs. Paxton? Well, it's, uh... Mr. Marlowe, it, uh... Hard to say, maybe? Well... Hard like I'm suspicious of my husband's connection with all this, Mr. Private Detective. Will you go to work for me? Is that it? No. No, not that. Mm-hmm. But, Mr. Marlowe, I'm no fool.

[00:44:44] I know that I'm a plain-looking rich woman who loves her husband. And I... Well, sometimes men are silly. And if there is anything, I'd... Mrs. Paxton, I can't go to work for you. I don't take that kind of a job. Besides, I'm already working on your problem insofar as it concerns the late Vivian Barr. I don't understand that. You say you're looking for a Fred Sears. But not overlooking anything else, Mrs. Paxton. Like the outside chance that Sears didn't kill Vivian Barr.

[00:45:14] I didn't see it happen, you know. It could have been somebody else. Who? You. But I... After all, you just implied a good motive. No. No, I... I didn't. I... I only gave you a suspicion. A dark, ugly thought I'm ashamed I ever had. That's all. And I didn't kill that woman, Mr. Marlowe. I know you didn't. It was only bait, Mrs. Paxton. I hope you'd snap at it and come back with an answer that would get me to Sears. Mr. Marlowe, I never heard of these people before tonight. I know. That's what you said.

[00:45:43] But you see, Mrs. Paxton, even as you, I too sometimes have dark, ugly thoughts that I'm ashamed of. Only in my case, it's business. And tonight the business is Vivian Barr's murder. Good night, Mrs. Paxton. Hello? Comfortable, Mr. Paxton? Marlowe, please. My wife may see us. Get in and drive away. Hurry.

[00:46:13] All right. Just for size, hurry it is. Now, Marlowe, tell me. The seal you know. About Vivian? Hard to say, Paxton. Look, I've got to tell you the truth. Don't bother, man, about town that sticks out like a sore thumb on a hitchhike game. You like it easy, you like it smooth. Your wife was one, Vivian the other. It's not a new story, Paxton. But believe me, Marlowe, I couldn't help myself. I've learned my lesson. Marlowe, would money, say, $50 now, more than $50? More later? Would that help you forget what you know? $50? Well?

[00:46:43] You didn't love Vivian Barr. You hated her, didn't you? I hated... How did you know that? That cheap bribe you just made. Indiscreet gentlemen with their backs against the wall don't offer peanuts now and more later unless they're broke. It could be broke, Paxton. For example, Vivian was blackmailing you out of every cent of your allowance. Good enough? She was rotten. Rotten enough to kill? Kill? Are you crazy? Marlowe, it was Sears. Maybe. I didn't see him do it. You had a good reason. He had a better one. He was taken in just like I was. When he met Vivian, he had a few thousand dollars and she fell in love with every one of them.

[00:47:13] You said a better reason, Paxton. And I'm getting to it. I came into Vivian's life after Sears was hurt saving her in that hotel fire. Saving her? Yes. I didn't know that. I thought he was hurt, period. Yes, that's all the papers got, but he was injured because he rushed into the fire to save Vivian. She couldn't afford to have it known that she was at that particular hotel at that particular time. She told me so herself. You didn't quit even then, huh? I couldn't, Marlowe. I wasn't strong enough. Then later, when I was, she wouldn't let me. Not without paying. And that's the whole story, Marlowe. Mm-hmm.

[00:47:41] Unless you're still holding back a lead on Sears. Why should I? Because if you're it, Paxton, not Sears, you've nothing left but the slim hope that Sears, who knows he's framed, will be shot running away from the police. I know you're wrong, Marlowe. That's not it. All right, then try this. If I'm wrong and Sears is still the one we want, he could also be after you, Paxton. You know, you're a pivot man in that triangle, too. What? Why? I never thought of that. What am I going to do? Grab a cab and go home and hide in a cookie jar. Marlowe, don't be facetious. My life is... Relatively safe, Paxton. He's only trying to trick you into spilling something on Sears.

[00:48:11] Oh. Then you no longer think that I'd kill Vivian? I didn't say that. So long, Paxton. My apartment was only a few minutes from Beverly Hills, so I decided to call the police and fill them in. Also, a little all alone straight drinking might burn the bad taste out of my mouth. But when I was in the hall there, I knew it was going to be a little while before I got a chance to do either one. After all, there was still a Paxton to go.

[00:48:40] Mona, the lady with the beautiful Mardi Gras brooch. And the not-so-beautiful mind for business. I've been waiting for you, Mr. Marlowe. That figures. Come on in. I'll get the lights. You don't seem surprised you expected me. Yeah, as much as the others. I've already huddled with your brother and your sister-in-law. Have a seat. No, thanks. Mr. Marlowe, I'm going to come right to the point. That's a switch. Want a drink? No. Do you want $1,000? Mr. Marlowe, I said... I heard you. Yeah.

[00:49:09] Also, Miss Paxton, I've heard a lot tonight about all I can take. I'll make it fast, will you? All right. The $1,000 is yours, Mr. Marlowe, if you'll do one thing. When you catch up with this Sears, if you haven't already done so... I haven't. Keep my brother's name out of this, that's all. Well, it's a little too much. Also, you're a little easy, Mona. Your brother isn't worth covering up for. That's not news, and it's beside the point. The $1,000 is to help me, not him. I've spent five very difficult years getting the rights to a cosmetic formula that can't be beat.

[00:49:38] The point, Mona, the point. All right, the point, Mr. Marlowe, is that all I need now is backing. Just yesterday, I got the promise of it. $150,000 worth of promise from my sister-in-law. Mrs. Celia McKay Paxton. And I'll lose that promise, Marlowe. Celia gives my brother his walking papers, and she will if she finds him out. Will you take the money, Marlowe? No. No. No, well, I go out of my way to whispering Celia's ear. You're practically safe, Mona. Practically? Who else is there? Sears.

[00:50:08] If the police take him alive, there's a good chance he'll make a lot of embarrassing statements about your brother killing his girl and... Who expects someone? Oh. Unless the police are tired of waiting to hear from me. I shouldn't be seen here. Not if you're going to keep Doug's name out of me. Easy, honey. Get in there, the kitchen. Oh, yes, thanks. Marlowe, thanks a lot. Okay, coming. Keep your shirt on, I... Oh, no. Yeah, well, didn't expect to see little old Mutt Pomeroy so soon again, eh, kid? Mind if I come in? Very much. What do you want, Pomeroy? To show my wares, Phil boy. You know, like the jewel T-man. Skip the funnies. What is it?

[00:50:38] Fred Sears. I know where he is. You sure about that? Sure like I don't take $3 bills. I followed him tonight when he got away from you. All right, come in. Hey. Nice place, Phil. What's your price, Mutt? 200. I'll pay one, the address. The money. Okay. Here. 15, 16, 80, 90, 90, 100. Yeah. Thanks, Phil boy, thanks. The address says 31 Bayfront Drive, Santa Monica.

[00:51:08] It's an all-alone beach joint. Kind of neat. Belongs to a friend of Sears who's out of town. Oh, he's using his car, too. I overheard him explaining to a neighbor. Yeah. Good night, Marlowe. See you around, huh, kid? Oh, uh, Pomeroy. Yeah? Yeah. What is it, Phil? Two questions. Uh-huh. First? Your connection with all this, what is it? Oh, a hunch that I could pick up a little extra. You see, I spotted Pex and I with that Vivian babe once, and I knew who he was.

[00:51:37] Also, I knew who his wife was, so I figured... Yeah, I know how you figured. Okay. But you said two questions, kid. The other. This! Whatever made you think I do business with a louse like you! He's unconscious? Yeah. If you ever saw you, hear your mailbox, you get nothing but extortion notes for the next six months, so get out now. All right, Marlowe, but won't he ruin everything anyway? Don't worry, Marlowe. I'll convince him one way or another.

[00:52:09] Marlowe, you'll cross me. Sure, I'll do it every time, Pomeroy. We're conflicting personalities. Police headquarters. Would you like to speak to Detective Lieutenant Met... Holy cow. Hello. Police headquarters. Hello. Please... Never mind. Pomeroy, that little hunk of jewelry there on the rug just fell out of your pocket when I frisked it, didn't it? Didn't it? Yeah. Yeah, sure it did. So what? Before I beat your sense, let's get up and tell me where you got it. Come on, where'd you lift it? Come on, Pomeroy! Hey, hey, hey, hey, hey, get your hands off. All right.

[00:52:38] I found it at that Vivian barge joint. It was on the floor and it sparkled like dough. She was dead, so I figured it might as well... Nice, Pomeroy, you told me all I want to know. Don't weigh it up. Mutt! Good. Thank you. Outside I piled into my car and drove fast for the beach house at 31 Bayfront Drive, hoping hard all the way that either I was making a fat mistake or if I was right I was going to be on time.

[00:53:11] All told, it was about 40 minutes later when I screeched to a stop in front of the place and found its lights out and deserted. I'm ready to start cheering until from the closed garage that was tucked under a wing of the house, I heard it. A car motor running as in suicide by carbon monoxide. The big double doors were locked, but around on the side, there was a window. In another minute, I was in and over to Fred Sears. He was slumped over the front wheel, his face the color of wet ashes. I cut the motor, then dragged him out of the place by a back door that led to a patio. There, I stretched him out on the ground

[00:53:41] and took a good look, a long look that left no doubt in my mind. I turned away from him when I heard a woman's footsteps on the walk outside near the window I'd broken. It was Mona Paxton. Marlowe, are you all right? Yeah, but don't come back here, Mona. It's not a very pretty sight. It's Sears. Sears? Yeah, I dragged him out here. He left the motor running, carbon monoxide. Oh, no, what a terrible way to go. No worse than Vivian Barr.

[00:54:10] How'd you turn up here, Mona? Follow me? Yes. Because I was worried about that man in your apartment. I wanted to ask you who he was. When I took off Coattail flying, it looked like something important, huh? Yes, it certainly did. And it certainly was. Yeah. Well, I'd better get through to the police now. There must be a phone inside. You go wait at my car, huh? Quit shaking. After this, you haven't got a thing to worry about. Uh, business, I mean.

[00:54:37] Yes, I know, but I just can't start smiling. I'll be at the car, Marlowe. Lieutenant Matthews speaking. Marlowe, Matthews. I'm out in Santa Monica, 31 Bayfront Drive. I've got Vivian Barr's killer. Fred Sears? Great.

[00:55:06] Just hold it, Phil Mooney. Wait a minute. All Santa Monica. I've got a car out to 31 Bay Front Drive. Hey, Matthews! Hey, Marlowe, nice work. I'm glad I let you know. Now, will you wait a minute, Matthews? It doesn't play that way. What? What do you mean, Phil? Not Sears? No. It's a woman, Mona Paxton. Sister to Douglas Paxton, a guy married and playing around with Vivian Barr. Mona killed Vivian because Vivian was blackmailing her brother, and that in turn was about to ruin a business deal that meant a lot to her. An awful lot. Yeah, it must have. Yeah. What about Sears? Does he still tie in? Sure he does.

[00:55:36] She found out where Sears was hiding, which is out here at the same time I did. But she got a head start on me at the point of a gun, set him up in a closed garage in what was supposed to be suicide. Oh, he's dead, huh? No, he's fine. I was lucky enough to get here in time. He's resting out on the patio, breathing well. See you, Matthews. Everything's taken care of, Marlowe?

[00:56:06] Mm-hmm. Just about, Mona. Well, the police will, uh... Correction. The police are here. Yeah, yeah. Doesn't take them long, does it, huh? No. I've won him. Glad of it. Just as soon get all this over with. You too, I guess. Yeah. Me too, Mona.

[00:56:43] I got away from it all as soon as I could. But I didn't go home. I drove out to a spot I knew nearby, a cliff edge where the only sounds were a couple of seagulls who couldn't sleep in the ocean a hundred feet below, crashing on the rocks. Then I took a second look at the little item Mudd Pomeroy had picked up in Vivian Barr's apartment. A collection of tiny stones, diamonds, emeralds, rubies, all in the shape of a small mask.

[00:57:11] A mask that I knew would fit in place exactly over an empty spot on Mona Paxton's Mardi Gras brooch. The proof that Mona had been to Vivian's place. Yeah. A little mask. We all wear them one way or another. We've all got something to hide. Maybe that's what's wrong with people, huh? They all think they've got to hide from each other and from themselves. Yeah, so...

[00:57:42] I threw the little mask into the ocean and then... then I went home. The Adventures of Philip Marlowe, bringing you Raymond Chandler's most famous character, star Gerald Moore, are produced and directed by Richard Senville

[00:58:10] and written for radio by Robert Mitchell and Gene Levitt. Featured in the cast were Francis Robinson, Betty Lou Gerson, Anne Stone, Olin Soule, Jay Novello, and Larry Dobkin. The special music is composed and conducted by Richard Durant. Be sure and be with us again next week when Philip Marlowe says... This time a little man with big heels tried to run over me. A giant in a warehouse nearly cost me my life.

[00:58:38] And a treacherous blonde almost buried me at sea. All that for a client who couldn't pay me a cent. But on whose behalf they were paid in full. This is Roy Rowan speaking for CBS, where you enjoy the contented hour every Sunday night, the Columbia Broadcasting System.

[00:59:11] This has been a Cryptic County podcast. To listen to our other storytelling podcasts, like Let's Not Meet and Odd Trails, visit crypticcountypodcasts.com. We'll see you next time. You know what ought to happen next? If this was a horror story? That's what ought to happen next. It did.