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The Adventures of Philip Marlowe - "The Dark Tunnel" (1950) · Old Time Mystery Radio | Old Time Radio

• 0:00
  Speaker 1: In a Hollywood alley, Philip Marlowe comes to the aid
• 0:03
  Speaker 1: of Austin Link, a young man searching for missing dancer
• 0:06
  Speaker 1: Julia Thayer. Their first clues, a photograph and an old
• 0:11
  Speaker 1: newspaper clipping, lead toward the new Blossom Dance Land, with
• 0:15
  Speaker 1: stops in Silver Lake and East Los Angeles along the way.
• 0:20
  Speaker 1: From CBS on August 18, 1950, this is episode 97
• 0:25
  Speaker 1: of The Adventures of Philip Marlowe, The Dark Tunnel. Gerald
• 0:30
  Speaker 1: Moore stars as Marlowe in a script by Robert Mitchell
• 0:34
  Speaker 1: and Gene Levitt, produced and directed by Richard Sanville. We
• 0:38
  Speaker 1: now take you back to the original broadcast. Follow Old
• 0:42
  Speaker 1: Time Mystery Radio for more classic mystery and detective broadcasts.
• 0:47
  Speaker 2: Get this and get it straight. Crime is a sucker's road.
• 0:51
  Speaker 2: Those who travel it wind up in the gutter of
• 0:52
  Speaker 2: the prison of the grave. There's no other end. But
• 0:55
  Speaker 2: they never learn.
• 0:58
  Speaker 3: From the pen of Raymond Chandler, outstanding author of crime fiction,
• 1:01
  Speaker 3: comes his most famous character in The Adventures of Philip Marlowe. Now,
• 1:16
  Speaker 3: with Gerald Moore, starred as Philip Marlowe, we bring you
• 1:19
  Speaker 3: tonight's exciting story, The Dark Tunnel.
• 1:32
  Speaker 2: The End.
• 1:39
  Speaker 4: So, after being hitched one month, Marlowe, 30 days.
• 1:42
  Speaker 5: Where am I?
• 1:43
  Speaker 2: I don't know. Where are you?
• 1:44
  Speaker 5: Out in the cold. And with enough unpaid bills, Marlowe,
• 1:46
  Speaker 5: to choke an elephant. Fur coat, hat, shoes, dresses, the works.
• 1:50
  Speaker 4: Furthermore, she tells me it's only the beginning, sweetie pie.
• 1:54
  Speaker 2: Yeah, well, that's tough, Louie. I'll see you, huh? Hey,
• 1:57
  Speaker 2: hold on.
• 1:57
  Speaker 5: How about another scotch, Marlowe?
• 1:59
  Speaker 2: Oh, no, no. It's only 10 o'clock.
• 2:00
  Speaker 4: One for the road on me, huh?
• 2:01
  Speaker 2: Now, listen, I.
• 2:02
  Speaker 4: Hey, Mike, Johnny Walker twice.
• 2:04
  Speaker 5: Unless, of course, I'm bending your ear too much, Bill.
• 2:07
  Speaker 2: Oh, how could you say a thing like that? Look, Louie,
• 2:09
  Speaker 2: I've had a long day. I want to go home.
• 2:11
  Speaker 2: Fair enough. I'm glad I bumped into you.
• 2:13
  Speaker 5: I'll see you.
• 2:13
  Speaker 6: You drive west, don't you?
• 2:15
  Speaker 2: Yeah. Would you mind dropping me off, Louie? No, Louie,
• 2:19
  Speaker 2: it'll be a pleasure.
• 2:20
  Speaker 4: Well, skip the drinks, Mike.
• 2:22
  Speaker 5: Make up your mind, will you? Well, like I was saying, Phil,
• 2:24
  Speaker 5: first it's her mother moving in on us, then it's
• 2:26
  Speaker 5: both of them drinking my special stuff like it was water,
• 2:29
  Speaker 5: then these clothes I already mentioned.
• 2:31
  Speaker 4: So I ask myself, what'll it be.
• 2:32
  Speaker 5: Next, Louie? What do I get for an answer?
• 2:35
  Speaker 2: All right, Louie, what do you get?
• 2:36
  Speaker 5: Divorce, my only out. You get my point, huh, Marlowe?
• 2:38
  Speaker 2: Yeah, I get you. My car's around here in the alley, Louie.
• 2:41
  Speaker 5: Check. Well, now, divorce is something a guy wants to
• 2:43
  Speaker 5: think about. A thinking guy, that is. And you know, Marlowe.
• 2:46
  Speaker 2: Wait a minute, wait a minute. That's a cute little exhibition, huh?
• 2:51
  Speaker 2: Scrapped nothing. It's a few inches short of murder and
• 2:54
  Speaker 2: closing fast. Better break it up, Louie. Hey! Hey, Heavy! Yeah?
• 2:59
  Speaker 2: Kind of a hot night for this, isn't it? What
• 3:00
  Speaker 2: do you want, sonny? I'd like to hold your coat.
• 3:03
  Speaker 2: Seems to be cramping your style. He's in one piece.
• 3:05
  Speaker 6: Why, you lousy long-nosed... Don't worry, I am!
• 3:10
  Speaker 2: How do we go on, muscles? All right, mister.
• 3:14
  Speaker 3: Right now, he's all yours, if you can bring him to.
• 3:18
  Speaker 6: So long, hero.
• 3:18
  Speaker 5: Hey, Marlowe, this kid's bleeding all right.
• 3:22
  Speaker 2: Yeah, come on, give me a hand, Louie. We'll get
• 3:23
  Speaker 2: him out of here. No. Okay, fella, come on. Up
• 3:26
  Speaker 2: we go. Up on your feet.
• 3:27
  Speaker 5: Oh, thanks, mister.
• 3:31
  Speaker 2: All right, you live near here?
• 3:32
  Speaker 5: A couple of blocks away. The DeWitt Arms Hotel on
• 3:36
  Speaker 5: Western near Sunset.
• 3:38
  Speaker 2: Take it easy, take it easy. Put your arm over
• 3:40
  Speaker 2: my shoulder. We'll get you there.
• 3:41
  Speaker 5: Thanks.
• 3:42
  Speaker 2: Come on, Louie. Over to my car, huh?
• 3:43
  Speaker 5: Yeah, sure, Ma.
• 3:45
  Speaker 6: But maybe I better skip the lift, huh?
• 3:47
  Speaker 7: I mean, my problem, the discussion we were having, we
• 3:49
  Speaker 7: better postpone it for a while, huh?
• 3:51
  Speaker 2: Yeah, I know what you mean, Louie. Yeah, it'll keep.
• 3:53
  Speaker 2: All right, kid, come on. Let's go.
• 3:56
  Speaker 5: Let's go.
• 4:05
  Speaker 2: The DeWitt Arms on Weston was one of those cheap
• 4:07
  Speaker 2: stucco and neon sign little hotels where the lobby floor
• 4:10
  Speaker 2: is threadbare carpet and cigarette butts. The furniture is chained
• 4:14
  Speaker 2: in place, and there are always the usual number of
• 4:16
  Speaker 2: John Smiths on the register. By the time we were
• 4:19
  Speaker 2: there and in the dingy, cramped room, number 111, it
• 4:22
  Speaker 2: was no bigger than a cell. I knew that the
• 4:24
  Speaker 2: boy with the swollen face who leaned heavy on my
• 4:26
  Speaker 2: shoulder was 25. I answered to Ira Clausen, and he
• 4:29
  Speaker 2: knew that I was a private detective without a job
• 4:31
  Speaker 2: on my hands. Then I began to learn a little more.
• 4:35
  Speaker 5: That slick guy in the alley, Mr. Marlowe, his name's Link.
• 4:38
  Speaker 5: Austin Link. He runs the New Blossom Dance Land on
• 4:41
  Speaker 5: North Hoover.
• 4:41
  Speaker 2: Well, what is he to do with his Julia Thayer?
• 4:44
  Speaker 5: I'm not sure. It was the last place she worked
• 4:46
  Speaker 5: just before she dropped out of sight a month ago.
• 4:50
  Speaker 5: I don't think I'll need this town anymore.
• 4:51
  Speaker 2: I feel... Take it easy, take it easy. You better
• 4:53
  Speaker 2: stay on your back, kid.
• 4:55
  Speaker 5: Oh, yeah. Anyhow, Mr. Marlowe, I went to the New
• 4:59
  Speaker 5: Blossom Dance Land tonight... See if I could pick up
• 5:02
  Speaker 5: any kind of a lead on Julia. Where she went,
• 5:04
  Speaker 5: or why, anything at all.
• 5:05
  Speaker 2: Uh-huh, and you found out what?
• 5:07
  Speaker 5: In Austin Link's office, in a desk drawer, this newspaper clipping.
• 5:11
  Speaker 5: It's a month old, like Julia's disappearance. Otherwise, it doesn't
• 5:15
  Speaker 5: make any sense to me. It was stapled to this
• 5:18
  Speaker 5: picture of Julia. Here. Guess it was used in an
• 5:21
  Speaker 5: ad for the dance hall or something.
• 5:23
  Speaker 2: Hey, she's a pretty girl, isn't she? That clipping, what's
• 5:25
  Speaker 2: it all about?
• 5:26
  Speaker 5: Well, I'll read it to you. You mind closing the
• 5:29
  Speaker 5: window first, Mr.
• 5:30
  Speaker 4: Marlowe?
• 5:30
  Speaker 5: I think I'd rather have it hot in here.
• 5:32
  Speaker 2: Yeah, I know I would. Every jerk thinks he's Valley.
• 5:34
  Speaker 2: All right, go ahead, kid.
• 5:39
  Speaker 5: The headline is, Faye Petilio killed in car wreck, and
• 5:43
  Speaker 5: then mystery surrounds death of famed gangland woman.
• 5:46
  Speaker 2: Faye Petilio, Hollywood's glamorous first lady of crime in the records.
• 5:51
  Speaker 5: Yeah. Says she was killed late last night when her
• 5:54
  Speaker 5: car plunged from Lookout Mountain Road at a hairpin turn. However,
• 5:57
  Speaker 5: the police are puzzled by the fact that although the
• 5:59
  Speaker 5: 40-year-old redhead was in her own car, she was not
• 6:02
  Speaker 5: found at the wheel but in a back seat where,
• 6:04
  Speaker 5: according to the condition of the wreck, she could not
• 6:06
  Speaker 5: have been thrown.
• 6:07
  Speaker 2: Furthermore... Furthermore, no sign of any driver dead, injured, or
• 6:09
  Speaker 2: otherwise was or has been found. I know all about
• 6:11
  Speaker 2: that one. Now, look, is that all you have to
• 6:13
  Speaker 2: go on?
• 6:13
  Speaker 5: Well, not quite, Mr. Marlowe. There's one thing more. What?
• 6:16
  Speaker 5: Just before Link caught me in his office and I
• 6:18
  Speaker 5: ran and hid as far as the alley where you
• 6:20
  Speaker 5: found me... I overheard him talking to someone on the
• 6:22
  Speaker 5: phone about Julia. I have no idea who it was,
• 6:26
  Speaker 5: but Link was very respectful. And he was given a
• 6:28
  Speaker 5: private telephone number. A number he was to remember, not
• 6:31
  Speaker 5: write down.
• 6:32
  Speaker 2: You know what it was? Yeah.
• 6:34
  Speaker 5: Washington 7017. 7017.
• 6:35
  Speaker 2: That's it, Mr.
• 6:37
  Speaker 5: Marlowe.
• 6:37
  Speaker 2: It's not quite, Ira. That's only half of it.
• 6:40
  Speaker 5: What do you mean?
• 6:41
  Speaker 2: You and Julia. Why you want to find out what
• 6:43
  Speaker 2: she means to you? Why you haven't gone to the police? Well?
• 6:47
  Speaker 5: I'd rather not say, Mr. Marlowe. If you don't mind.
• 6:50
  Speaker 2: Okay. Suit yourself. Well, good luck, kid. When you're on
• 6:55
  Speaker 2: your feet again, play it a little neater, huh? You'll
• 6:57
  Speaker 2: stay on your feet a lot longer that way.
• 6:59
  Speaker 5: Mr. Motto, wait. Please. I, uh.
• 7:03
  Speaker 4: I want you to work for me. I'll tell you everything.
• 7:06
  Speaker 2: That's better. May help, kid. Anyway, it can't hurt. No.
• 7:12
  Speaker 5: Not any more than it has already. Began back home, Mr. Marlowe.
• 7:18
  Speaker 5: A couple of years.
• 7:19
  Speaker 2: The story Ira Clausen told me I'd heard before. So
• 7:22
  Speaker 2: had anybody who'd spent more than a weekend in Hollywood.
• 7:25
  Speaker 2: Only the names were different. Julia Thayer had loved Ira,
• 7:28
  Speaker 2: Ira loved Julia, all this in Cedarville, Oregon. Then the snapper.
• 7:32
  Speaker 2: Someone says Julia's not only beautiful, but has talent. She's
• 7:35
  Speaker 2: wasting her time in Cedarville. Julia believes this, packs her bag,
• 7:39
  Speaker 2: scrambles for movie land where she falls flat on her face,
• 7:43
  Speaker 2: which isn't quite as gorgeous in Hollywood as it was
• 7:45
  Speaker 2: in Cedarville. Then it's no dough, lots of pride, you
• 7:48
  Speaker 2: gotta eat to live so you get a job. That
• 7:50
  Speaker 2: was where the new Blossom Dance Land came in. And
• 7:54
  Speaker 2: when the letters quit coming on the home front, Ira
• 7:56
  Speaker 2: started to worry. He knew that Julia needed help.
• 7:59
  Speaker 5: And followed one lead after another.
• 8:02
  Speaker 2: Got as far as the alley where I collected you. Okay, kid,
• 8:05
  Speaker 2: I think I've heard enough.
• 8:06
  Speaker 5: Then you'll help me?
• 8:08
  Speaker 2: Yeah, yeah, I'll try. Call you later.
• 8:20
  Speaker 7: So, your problem's a phone number, huh, Marlowe? Washington, uh,
• 8:24
  Speaker 7: what was it?
• 8:25
  Speaker 2: 7017. Hey, Callahan, that's a handy book.
• 8:28
  Speaker 7: Newspapers need handy books, Marlowe. People clam up too much
• 8:32
  Speaker 7: these days. I blame the movies myself.
• 8:34
  Speaker 2: Uh-huh.
• 8:35
  Speaker 5: Hey, no such animal.
• 8:37
  Speaker 2: It could be a new number. Didn't I mention that?
• 8:39
  Speaker 2: You didn't.
• 8:39
  Speaker 5: All right. We'll try the supplements. Get one from the
• 8:42
  Speaker 5: phone company every month like a bill. Let's see. Wallace, Washington, 5,000, 6,000, 7,000. Yep,
• 8:48
  Speaker 5: here it is. 7-0-1-7. Address 1622 Ramona Boulevard, which would
• 8:51
  Speaker 5: be East L.A.
• 8:52
  Speaker 2: And Industrial.
• 8:54
  Speaker 5: Listing southern cities where.
• 9:04
  Speaker 5: Warehouse?
• 9:05
  Speaker 2: Ring a bell?
• 9:05
  Speaker 5: A cannon.
• 9:06
  Speaker 7: Southern City's warehouse is just one of the interests of L.A.
• 9:09
  Speaker 7: 's answer to whatever became of the big bootleggers. I
• 9:12
  Speaker 7: mean Joe Stapp, a very smooth, very nasty man.
• 9:15
  Speaker 2: Yeah, this I've heard. Now tell me, Callahan, does he
• 9:18
  Speaker 2: also happen to own the new Blossom Dance Land over
• 9:19
  Speaker 2: on North Hoover?
• 9:20
  Speaker 5: He does?
• 9:21
  Speaker 2: Yeah.
• 9:21
  Speaker 5: Now you tell me, Phil. There's a story I could
• 9:24
  Speaker 5: use here?
• 9:24
  Speaker 2: Oh, no, no, no story.
• 9:26
  Speaker 5: Uh-huh. You know, Marlow, it's just like I said.
• 9:29
  Speaker 2: People climb up. It's all right. Good night, Callahan. If
• 9:41
  Speaker 2: the good gray reporter hadn't mentioned Stapp's prohibition background, I
• 9:44
  Speaker 2: would have chalked the warehouse off as the kind of
• 9:46
  Speaker 2: nine-to-five place that couldn't possibly help. But on the hunch
• 9:50
  Speaker 2: that Stapp might live in a lush penthouse atop a
• 9:52
  Speaker 2: stockpile a la Chicago 1929 style, I pointed my car
• 9:56
  Speaker 2: for East L.A. and the Southern City's warehouse. Twenty minutes later,
• 10:09
  Speaker 2: when I was there and saw a step-down Hudson outside
• 10:11
  Speaker 2: and soft light oozing over the edges of the room,
• 10:14
  Speaker 2: I didn't regret my move. Not at least until I'd
• 10:17
  Speaker 2: found a flat metal door and had pushed the button
• 10:19
  Speaker 2: attached there, too. Then I began to wonder because Aladdin
• 10:22
  Speaker 2: himself couldn't have gotten a quicker response. Nor could his
• 10:25
  Speaker 2: genie have been any more of a mountain than the
• 10:27
  Speaker 2: item I drew. Out of a nearby shadow, not the door.
• 10:30
  Speaker 8: Okay, Charlie, lay it out nice and neat. Who are
• 10:33
  Speaker 8: you and what do you want?
• 10:34
  Speaker 2: Joe Stapp. Name's Marlowe, occupation-private detective, now you. The handle's pork.
• 10:39
  Speaker 2: I work for Stapp.
• 10:41
  Speaker 8: Hey, now wait a minute. What's it to you who
• 10:42
  Speaker 8: I am? Chalmers is close enough to cop the stink.
• 10:46
  Speaker 8: I'll beat it before I start thumping on your boy, Wanda,
• 10:48
  Speaker 8: and turn you into something vest pocket size.
• 10:51
  Speaker 2: Steady, Falk.
• 10:52
  Speaker 4: Seems to be the trouble.
• 10:53
  Speaker 6: Who are you, mister?
• 10:54
  Speaker 2: His name's Marlowe, Mr. Stapp. He's a private.
• 10:56
  Speaker 6: He'll answer for himself, Falk.
• 10:57
  Speaker 2: Go ahead, Marlowe.
• 10:58
  Speaker 5: What do you want with me? What's it about?
• 11:00
  Speaker 2: Faye Petilio. Faye Petilio?
• 11:02
  Speaker 6: Shut up, Falk. Faye Petilio is dead, Marlowe. So is
• 11:06
  Speaker 6: conversation about her.
• 11:07
  Speaker 5: Anything else?
• 11:08
  Speaker 2: Yeah, something else. Girl who used to work over at
• 11:10
  Speaker 2: the New Blossom Dance Land, Julia Thayer. Know where she is,
• 11:13
  Speaker 2: why she disappeared?
• 11:14
  Speaker 6: No, and I don't care.
• 11:16
  Speaker 2: Why should I? Because you used to go places with her.
• 11:21
  Speaker 6: I've gone with a hundred girls, Marlowe. Julia was no different,
• 11:24
  Speaker 6: except for one thing. She gave me the brush.
• 11:27
  Speaker 5: Well, good night, Marlowe.
• 11:29
  Speaker 6: Sorry I couldn't have been more help.
• 11:31
  Speaker 2: I won't be long. Now, one more thing, Joe. Do
• 11:33
  Speaker 2: you mind telling me who Julia dropped you for?
• 11:36
  Speaker 6: Not at all. A pretty boy, Dean Cotey. Julia thought
• 11:40
  Speaker 6: he was better looking than a mink coat.
• 11:42
  Speaker 2: Now, where can I find him? Can you throw that in? Surely.
• 11:45
  Speaker 6: Forest Grove Cemetery, Marlowe.
• 11:47
  Speaker 2: Oh.
• 11:47
  Speaker 5: He was burned to death in an accident at some cottage,
• 11:50
  Speaker 5: poor boy.
• 11:51
  Speaker 6: Well, good night, Marlowe. Pork here will walk with you
• 11:54
  Speaker 6: as far as your car.
• 11:55
  Speaker 2: That's real friendly. Let's go, Charlie. No funny business. Oh,
• 11:59
  Speaker 2: I wouldn't think of it, Pork. You got height, weight, reach,
• 12:03
  Speaker 2: and artillery on me. Yeah, and I'll gladly use them all.
• 12:07
  Speaker 2: That your buggy there? Yeah, yeah, that's it. Well, it's
• 12:12
  Speaker 2: been a nice stroll, Porky.
• 12:13
  Speaker 5: Charming.
• 12:14
  Speaker 8: Just so it stays that way, Charlie, remember to keep
• 12:17
  Speaker 8: away from here, huh? Here, the dense land and the
• 12:20
  Speaker 8: Silver Lake spot.
• 12:21
  Speaker 2: The... Silver Lake, huh? Yeah, Porky, I'll remember. Every word
• 12:28
  Speaker 2: of it.
• 12:39
  Speaker 5: City desk.
• 12:39
  Speaker 7: Callahan, go ahead.
• 12:40
  Speaker 2: Marlowe again, Callahan. Now, listen on Joe, Stapp. Does the
• 12:43
  Speaker 2: Silver Lake spot mean anything to you?
• 12:45
  Speaker 5: It does.
• 12:45
  Speaker 2: Yeah?
• 12:46
  Speaker 7: It's on the north end of Silver Lake Road, Marlowe,
• 12:48
  Speaker 7: overlooks the reservoir. Stapp built it as a nightclub, mountain
• 12:51
  Speaker 7: lodge style, about, oh, ten years ago.
• 12:54
  Speaker 5: Uh-huh. When it didn't go, he converted it into a
• 12:56
  Speaker 5: private home. Or I should say, a cozy place to
• 13:00
  Speaker 5: take the cuties for that one drink.
• 13:02
  Speaker 2: I know what you mean. Good night, Callahan. The Silver
• 13:13
  Speaker 2: Lake Reservoir was only a mile off Lower Sunset Boulevard,
• 13:16
  Speaker 2: but the setting could have been a street in Switzerland.
• 13:19
  Speaker 2: A lodge Callahan told me about stood out among the
• 13:21
  Speaker 2: neat little chalets that skirted the water's edge like a
• 13:24
  Speaker 2: Sherman tank in Toyland. Also, it was showing light from
• 13:27
  Speaker 2: a screened-in porch. So when I was out of my
• 13:30
  Speaker 2: car across a shaky, rustic bridge that spanned the promise
• 13:32
  Speaker 2: of a creek and moving up close... I didn't have
• 13:35
  Speaker 2: any trouble spotting the girl I saw inside talking earnestly
• 13:38
  Speaker 2: into a telephone as Julia Thayer by build, size, and
• 13:41
  Speaker 2: color of hair. About the face, I couldn't say. She
• 13:45
  Speaker 2: wore a hat that sported an up-veil of mosquito-proof twin beds.
• 13:48
  Speaker 5: Oh, that's different. The tunnel.
• 13:52
  Speaker 4: All right, I'll wait there.
• 13:54
  Speaker 5: Yes, when it's possible.
• 13:56
  Speaker 2: Goodbye. Hello, Julia.
• 14:00
  Speaker 5: Who are you?
• 14:03
  Speaker 4: What do you want?
• 14:04
  Speaker 2: Quite a bit, honey. But for a starter, let's say
• 14:07
  Speaker 2: that I'm a private detective named Marlowe working for a
• 14:09
  Speaker 2: guy who's worried sick about you. Ira Clausen.
• 14:13
  Speaker 5: Ira Clausen? Who's that?
• 14:16
  Speaker 2: Yeah, well, I'm not sure, but maybe he's the world's
• 14:19
  Speaker 2: greatest sucker. Now, let's level, baby. It's getting late for
• 14:22
  Speaker 2: guessing games, huh?
• 14:23
  Speaker 4: I'll pay it. Oh, what's the use? What do you
• 14:27
  Speaker 4: want to know, Mr.
• 14:28
  Speaker 5: Marlowe?
• 14:28
  Speaker 2: Too much to chat about here. The owner is no
• 14:30
  Speaker 2: friend of mine. Come on, we'll take my car.
• 14:33
  Speaker 5: All right.
• 14:33
  Speaker 4: What do you say?
• 14:35
  Speaker 5: I'm tired of running.
• 14:37
  Speaker 1: Let's go.
• 14:39
  Speaker 5: Will you take my arm, please?
• 14:41
  Speaker 4: This darn bridge scares me silly.
• 14:43
  Speaker 2: Oh, sure. Just watch your heels on those loose planks.
• 14:45
  Speaker 2: You okay?
• 14:46
  Speaker 5: Uh-huh.
• 14:47
  Speaker 4: I think I'm going to be just fine, Mr.
• 14:49
  Speaker 5: Marlowe.
• 14:56
  Speaker 2: It was all the lead she needed because by the
• 14:57
  Speaker 2: time I'd crawled out of the inch-deep, inch-wide river and
• 14:59
  Speaker 2: was back up on the road, Julia Thayer was in
• 15:02
  Speaker 2: her car away fast as far as Sunset Boulevard. So
• 15:05
  Speaker 2: I went to the phone back in the lodge and
• 15:06
  Speaker 2: got through to my client at DeWitt Arms Hotel and
• 15:08
  Speaker 2: brought him up to date in a hurry, including the
• 15:10
  Speaker 2: latest question mark.
• 15:12
  Speaker 5: The tunnel? Well, of course I've heard of it, Mr.
• 15:14
  Speaker 6: Marlowe.
• 15:14
  Speaker 5: Matter of fact, I've been there.
• 15:15
  Speaker 2: Why? Well, it's where Julia's heading right now. Now, what's
• 15:17
  Speaker 2: the location of it, Ira?
• 15:19
  Speaker 7: Ira!
• 15:20
  Speaker 5: I'm still here, Mr. Marlowe.
• 15:21
  Speaker 2: Yes. You sound real different. I don't get it. What's up?
• 15:25
  Speaker 5: Very personal business, Mr. Marlowe. You see, I'm Ira Cody,
• 15:29
  Speaker 5: not Clausen.
• 15:30
  Speaker 2: Dean, Cody's... Brother, Mr.
• 15:32
  Speaker 5: Marlowe. Brother who's out to get the girl responsible for
• 15:34
  Speaker 5: his burning to death.
• 15:36
  Speaker 4: Julia Thayer, the cheap scum.
• 15:38
  Speaker 2: So Marlowe played Patsy. Oregon, the boy, girl, pitch. You
• 15:41
  Speaker 2: made it all up.
• 15:42
  Speaker 7: Every bit of it.
• 15:43
  Speaker 5: Mr. Marlowe, before I needed your help.
• 15:44
  Speaker 4: Now I don't anymore. Get lost. What?
• 15:57
  Speaker 3: In just a moment, we will return to the second
• 15:59
  Speaker 3: act of Philip Marlowe. But first, there will be four
• 16:02
  Speaker 3: more amateur songwriters on hand, and one of them will
• 16:04
  Speaker 3: sell his songs for nationwide plugging and distribution when Songs
• 16:08
  Speaker 3: for Sale comes along tonight on most of these same
• 16:11
  Speaker 3: CBS stations. Songs for Sale gives these new songwriters a
• 16:15
  Speaker 3: great chance. Their songs are judged by a panel of experts.
• 16:18
  Speaker 3: Their music is sung by Rosemary Clooney and Richard Hayes.
• 16:22
  Speaker 3: They're made to feel at home under the guidance of
• 16:24
  Speaker 3: the experienced showman, Jan Murray. For an hour of fascinating
• 16:28
  Speaker 3: fun behind the scenes of Tin Pan Alley, hear Songs
• 16:31
  Speaker 3: for Sale tonight and every Friday on CBS. Now with
• 16:37
  Speaker 3: our star, Gerald Moore, the second act of Philip Marlowe
• 16:40
  Speaker 3: in tonight's story, The Dark Tunnel.
• 16:52
  Speaker 2: I stood there for a minute after Ira Cody hung
• 16:54
  Speaker 2: up and tried to figure my next move. While the
• 16:57
  Speaker 2: phone in my hand quietly buzzed sucker. A pair of
• 17:00
  Speaker 2: haywire lives was scheduled for a smash up and I
• 17:02
  Speaker 2: let myself get mixed up right in the middle. Now
• 17:05
  Speaker 2: my only chance to do something about it was to
• 17:06
  Speaker 2: find out fast what was meant by the tunnel. I
• 17:09
  Speaker 2: started out of the place but only got as far
• 17:11
  Speaker 2: as the front door. You going somewhere, cutie? That rod
• 17:15
  Speaker 2: makes you six feet taller, doesn't it, Porky, huh? I
• 17:17
  Speaker 2: don't like you, Charlie. You played a dirty trick on me.
• 17:19
  Speaker 5: Trick?
• 17:20
  Speaker 2: What are you talking about?
• 17:21
  Speaker 8: When I slipped and mentioned Silver Lake, it made Mr.
• 17:23
  Speaker 8: Staff mad at me, and I don't want Mr. Staff
• 17:25
  Speaker 8: mad at me. That I can understand. Now, look, you
• 17:27
  Speaker 8: feel like talking this out?
• 17:28
  Speaker 6: No.
• 17:29
  Speaker 2: Oh, listen, you dumb ape. It's for your own good.
• 17:32
  Speaker 2: Something's going to happen tonight that'll make your boss a
• 17:34
  Speaker 2: lot madder than he is now. I'm the only one who...
• 17:36
  Speaker 2: You're just trying to trick me again, but it won't work.
• 17:38
  Speaker 2: Not this time. First, we lift your gun and... Now,
• 17:44
  Speaker 2: get going. I'll take your car. Bucky, you're going to
• 17:47
  Speaker 2: hate yourself for this in the morning when Stapp finds out.
• 17:49
  Speaker 2: I doubt it.
• 17:50
  Speaker 9: You see, Charlie, it's his idea. Now, get going. Over there, Marlowe,
• 18:04
  Speaker 9: the big door.
• 18:05
  Speaker 2: I don't suppose Stapp would bother to tell you why
• 18:07
  Speaker 2: he wanted to see me, would he, Porky? No, that's
• 18:10
  Speaker 2: none of my business.
• 18:11
  Speaker 4: Yet.
• 18:11
  Speaker 2: What do you mean by yet?
• 18:13
  Speaker 8: Oh, he might want you to tell him something you
• 18:15
  Speaker 8: might not want to. Then it's my business, Charlie. Go on,
• 18:18
  Speaker 8: go on, open it up. That's enough inside.
• 18:23
  Speaker 2: Well, well, well. Real genuine warehouse, huh? Chains, tackle, even
• 18:28
  Speaker 2: a hand truck. Well oiled, too. Don't tell me your
• 18:32
  Speaker 2: boss is going legit. Never mind that junk.
• 18:34
  Speaker 8: Just stand right there till I get this crazy door locked.
• 18:37
  Speaker 2: Here, Paul, try something heavier. Like this truck. Ow! My leg!
• 18:42
  Speaker 6: Why, you.
• 18:43
  Speaker 2: Now it's your chin! Good night, Charlie. I fished my
• 18:52
  Speaker 2: own gun out of Pork's pocket, tossed his. 45 off
• 18:54
  Speaker 2: in a dark corner and rolled to hulk himself out
• 18:56
  Speaker 2: of sight behind a stack of crates. Then I went
• 18:59
  Speaker 2: over to an elevator in the corner. On the way
• 19:02
  Speaker 2: into the warehouse, the light I'd seen earlier from the
• 19:04
  Speaker 2: roof was still there. So I decided to try the penthouse.
• 19:08
  Speaker 2: I walked quietly down a thick carpeted hall to the
• 19:10
  Speaker 2: only door... When I knocked, it was with a barrel
• 19:13
  Speaker 2: of my. 38. Come in.
• 19:16
  Speaker 6: Well, hello, Marlowe. I've been waiting for you.
• 19:18
  Speaker 2: A gun? Hey, how come... Fork?
• 19:22
  Speaker 5: Fork!
• 19:22
  Speaker 2: Save it, Joe.
• 19:23
  Speaker 5: Oh, that dumb cluck.
• 19:24
  Speaker 2: Yeah, a big wheel like Joe's staff ought to afford
• 19:26
  Speaker 2: better help. Now, I'm holding the gun, so I'll ask
• 19:29
  Speaker 2: the questions. What and where is the tunnel?
• 19:31
  Speaker 6: A tunnel is a hole, Marlowe, usually in the ground.
• 19:34
  Speaker 2: Deliver, Joe. It's got a lot to do with your girlfriend, Julia. Julia?
• 19:38
  Speaker 5: Oh, that's a hard one.
• 19:39
  Speaker 6: I went to all this trouble to haul you in
• 19:41
  Speaker 6: here for the same reason. Now put down the gun
• 19:43
  Speaker 6: and let's talk. It makes me nervous.
• 19:45
  Speaker 2: I'm not interested in your nerves. I'm interested in your talk.
• 19:47
  Speaker 5: All right.
• 19:48
  Speaker 6: Now, you've got a long nose, Marlowe, and poking it around,
• 19:51
  Speaker 6: you might find out enough to get real curious and
• 19:53
  Speaker 6: call in the cops.
• 19:54
  Speaker 5: That I can't afford. Uh-huh.
• 19:56
  Speaker 6: So I'm going to level with you, tell you what
• 19:57
  Speaker 6: you want to know, just so you'll lay off.
• 20:00
  Speaker 2: Got a deal? I'll let you know.
• 20:01
  Speaker 5: All right. You wanted to know about Julia. Yeah.
• 20:07
  Speaker 6: Nothing like Julia Thayer ever happened in my life before.
• 20:09
  Speaker 6: Most beautiful thing I ever saw. Sweet and soft. She
• 20:13
  Speaker 6: made me ashamed of myself.
• 20:15
  Speaker 2: Somehow I don't hear violins.
• 20:17
  Speaker 6: Marlowe, I'd have done anything Julia asked me to. And
• 20:20
  Speaker 6: all she ever asked of me was to give her up.
• 20:22
  Speaker 2: The Dean Cody?
• 20:23
  Speaker 6: Yeah, Dean Cody. Young physique that wasn't all wasteland like this.
• 20:29
  Speaker 6: A handsome face that of a boiled lobster like mine is.
• 20:32
  Speaker 6: She was crazy about him, fascinated, and I didn't blame her.
• 20:35
  Speaker 6: Until I found out he had the morals of a rattlesnake.
• 20:38
  Speaker 2: Keep talking. Cody was rotten, Marlowe.
• 20:41
  Speaker 6: Dirty, clear through. Cheating on Julia every time she turned around.
• 20:44
  Speaker 6: I couldn't stand it.
• 20:45
  Speaker 2: I tried to tell her. I made her hate you, huh? Look, Stab,
• 20:47
  Speaker 2: so far this is no better than a serial in
• 20:49
  Speaker 2: tarot romances. The point, the point.
• 20:51
  Speaker 6: I'm getting to it, Marlowe. One night I thought I
• 20:54
  Speaker 6: could convince her. Because Cody had a date with Faye Petilio.
• 20:58
  Speaker 5: I don't have to tell you.
• 20:59
  Speaker 6: She was the lowest thing in town.
• 21:01
  Speaker 5: They were going to a spot up on Lookout Mountain.
• 21:03
  Speaker 6: So I told Julia.
• 21:04
  Speaker 5: She went up there and waited.
• 21:06
  Speaker 2: They showed, all right.
• 21:08
  Speaker 6: Both loaded. She saw him take that dive off that
• 21:11
  Speaker 6: hairpin turn. Once she got down to him, they.
• 21:14
  Speaker 2: Were both dead. Wait a minute. You told me Dean
• 21:16
  Speaker 2: Cody was burning the cottage. Sure.
• 21:18
  Speaker 6: That's what I'm still telling you.
• 21:21
  Speaker 3: Julia was so far gone over that louse, she pulled
• 21:23
  Speaker 3: his body out of that wreck, hauled it all the
• 21:25
  Speaker 3: way down to that.
• 21:26
  Speaker 6: Cottage at Malibu, and then set fire to the police.
• 21:28
  Speaker 2: So the world would never know he's going with a
• 21:30
  Speaker 2: trap like Fay Petillo, huh?
• 21:32
  Speaker 7: Yes.
• 21:33
  Speaker 6: How would you like to have that kind of loyalty
• 21:35
  Speaker 6: on your side, Father, huh?
• 21:36
  Speaker 5: Hmm.
• 21:37
  Speaker 6: Anyway, after Cody was gone.
• 21:38
  Speaker 2: Cody's young brother's in town, Stapp. He thinks Julia's responsible
• 21:42
  Speaker 2: for Dean's death and he's going to kill her. What?
• 21:44
  Speaker 2: They're scheduled to meet at that tunnel I asked you about. Now,
• 21:46
  Speaker 2: where is it? Stapp, I asked you.
• 21:47
  Speaker 5: I heard you.
• 21:49
  Speaker 6: Tunnel's an old abandoned underpass in back of the New Blossom.
• 21:51
  Speaker 6: But we're not going there, Marlowe. We're going to sit
• 21:53
  Speaker 6: tight and let it play as is.
• 21:55
  Speaker 2: Are you nuts? Not anymore.
• 21:57
  Speaker 6: Julia was out of her head that night. Something went
• 21:59
  Speaker 6: wrong when she started that fire. She got caught in
• 22:02
  Speaker 6: it herself, Marlowe.
• 22:04
  Speaker 2: You mean she was burned? Yeah. A face. It's bad.
• 22:11
  Speaker 6: She'll never be right again, no matter how.
• 22:13
  Speaker 5: Much plastic surgery.
• 22:14
  Speaker 2: Yeah, but there's no reason to let her be murdered.
• 22:15
  Speaker 6: That's a matter of definition. You see, Julia's still in
• 22:18
  Speaker 6: love with the memory of Dean Cody, Marlowe, so we'll
• 22:22
  Speaker 6: just forget it and let it play itself out.
• 22:24
  Speaker 2: We'll forget nothing. I got the gun, Stapp. But you're
• 22:26
  Speaker 2: gonna drop it, aren't you? Otherwise, I'll have to drop you. Oh, fine.
• 22:31
  Speaker 2: Now remember, you Austin Link, knuckles in an alley. Drop it.
• 22:36
  Speaker 2: That's right, nosy. What's the word, Joe? Get him out
• 22:40
  Speaker 2: of here, Link.
• 22:41
  Speaker 6: Get him out of my sight.
• 22:42
  Speaker 5: I don't care where you go.
• 22:43
  Speaker 2: Come on, Slick. Let's go.
• 22:45
  Speaker 5: Just sit on him for a few hours.
• 22:46
  Speaker 6: We'll talk it over then.
• 22:54
  Speaker 2: Link was a professional. He stayed exactly far enough behind
• 22:57
  Speaker 2: me to be always out of reach, but always close
• 22:58
  Speaker 2: enough to keep me under control. All the way down
• 23:01
  Speaker 2: in the elevator, I watched for a chance that never
• 23:03
  Speaker 2: turned up. And as I rounded a corner and headed
• 23:05
  Speaker 2: for the big door again, I glanced at the stack
• 23:07
  Speaker 2: of crates. Pork had come too. It was on his
• 23:10
  Speaker 2: feet behind him, a heavy steel pulley block in one hand,
• 23:13
  Speaker 2: his face a stupid mask of blind hate. He slammed
• 23:16
  Speaker 2: the block at me with everything he had. I'll kill you!
• 23:21
  Speaker 2: I dropped to the floor and heard the thing connect
• 23:23
  Speaker 2: behind me. It had caught Link dead center. He fell
• 23:26
  Speaker 2: like a bag of sand. Before Pork realized what had happened,
• 23:29
  Speaker 2: I charged the stack of crates through my shoulder against him...
• 23:32
  Speaker 2: Made it to the door and out in one dash.
• 23:34
  Speaker 2: My car was sitting where I'd left it. I heaved
• 23:36
  Speaker 2: a sigh of relief and piled in. Ten minutes later,
• 23:46
  Speaker 2: I pulled up at the new Blossom Dance Land. It
• 23:49
  Speaker 2: was just closing. I ran along the side of the
• 23:51
  Speaker 2: building to the back where a yellow light above the
• 23:53
  Speaker 2: rear door cast an out-of-place halo over... Oh, no. Hey, you.
• 23:59
  Speaker 5: What are you doing back here? This is for employees only.
• 24:02
  Speaker 2: Yeah, well, I'm employed. Listen, do you know where the
• 24:05
  Speaker 2: tunnel is?
• 24:05
  Speaker 4: The which?
• 24:06
  Speaker 2: I can see what you mean. The tunnel, the tunnel.
• 24:08
  Speaker 2: It's an old underpass. There's an entrance to it back
• 24:10
  Speaker 2: here someplace.
• 24:11
  Speaker 5: Oh, that, sure. See the light over there?
• 24:14
  Speaker 7: Yeah.
• 24:14
  Speaker 5: And that little cement house?
• 24:15
  Speaker 2: Yeah, yeah. That's it.
• 24:16
  Speaker 5: Steps lead down inside.
• 24:18
  Speaker 1: But why?
• 24:19
  Speaker 5: Nobody ever uses that anymore.
• 24:21
  Speaker 2: Well, I tell you, I got a date in there
• 24:23
  Speaker 2: with a couple of screwballs.
• 24:24
  Speaker 5: Oh, well, you'll be right at home. Good night, dearie.
• 24:30
  Speaker 2: A baker's dozen steps led down into the thick darkness,
• 24:32
  Speaker 2: littered with newspapers, weeds, and wine bottles, all long dead.
• 24:36
  Speaker 2: As I eased down inside, I heard voices, low and tense,
• 24:39
  Speaker 2: amplified by the rolling, hollow echo in the tunnel. At
• 24:42
  Speaker 2: least I'd made it in time. When I got to
• 24:44
  Speaker 2: the bottom, I could see the two of them, silhouetted
• 24:46
  Speaker 2: against the dim glow at the far end. I pressed
• 24:49
  Speaker 2: my back against the wall, thought about my empty shoulder holster,
• 24:51
  Speaker 2: and moved toward them.
• 24:54
  Speaker 5: Didn't you? You're making a mistake, Ira.
• 24:56
  Speaker 4: A terrible mistake. No, no, no. You killed him, all right.
• 24:59
  Speaker 4: You and that beautiful face of yours that he couldn't resist.
• 25:02
  Speaker 4: Why are you hiding it behind a veil? You used
• 25:04
  Speaker 4: to be so proud of it. You killed Dean just
• 25:07
  Speaker 4: the same as if you'd shot him. But you're not
• 25:09
  Speaker 4: getting away with it, Julia. I'm going to square it
• 25:11
  Speaker 4: up for him right now.
• 25:12
  Speaker 6: Ira!
• 25:14
  Speaker 4: Marlowe, how did you find this place?
• 25:17
  Speaker 2: I found plenty beside that. Ira, give me that gun.
• 25:19
  Speaker 4: No, no, you're not going to stop me. Even if
• 25:20
  Speaker 4: you shoot, I'll kill her first.
• 25:21
  Speaker 2: I don't have a gun, Ira, but I got facts.
• 25:24
  Speaker 2: Before you shoot anybody, you better listen. Julia wasn't responsible
• 25:28
  Speaker 2: for Dean's death. He was. Everything she's done since then
• 25:31
  Speaker 2: has been to protect what little good there was left
• 25:33
  Speaker 2: of his crummy reputation.
• 25:34
  Speaker 4: You're a liar.
• 25:35
  Speaker 2: I can prove it. Dean went bad. I were all bad.
• 25:39
  Speaker 2: He was a low, double-crossing cheat.
• 25:40
  Speaker 6: You're lying.
• 25:41
  Speaker 7: You're lying.
• 25:41
  Speaker 2: The night he died, he was two-timing Julia. But in
• 25:44
  Speaker 2: spite of that, she risked everything to move his body
• 25:46
  Speaker 2: from a smashed-up car. Nobody would ever find out what
• 25:50
  Speaker 2: really happened to him. It's too late. Stop it.
• 25:52
  Speaker 5: Stop it. You liars, both of you.
• 25:54
  Speaker 4: I won't let you say things like that about my brother.
• 25:57
  Speaker 4: You don't care if he's dead, Julia. You'll do, right?
• 26:01
  Speaker 4: You've got the kind of beauty all the men go for.
• 26:04
  Speaker 4: And you, Marlowe.
• 26:05
  Speaker 2: Shut up, you crazy punk. Stay back.
• 26:08
  Speaker 4: Admit you're a liar, Marlowe. Admit it or I'll kill you.
• 26:11
  Speaker 4: I swear I'll kill you along with Julia. You'll be
• 26:14
  Speaker 4: doing me a favor.
• 26:16
  Speaker 5: You haven't seen my face lately, have you, Ira?
• 26:19
  Speaker 4: I never want to see it.
• 26:20
  Speaker 2: I think you're better, kid.
• 26:22
  Speaker 4: Got a match, Marlowe?
• 26:24
  Speaker 2: Sure. Here.
• 26:27
  Speaker 5: Look, Ira. You.
• 26:33
  Speaker 2: You can't beat Julia.
• 26:35
  Speaker 5: I was burned, Ira.
• 26:37
  Speaker 4: It happened to me when I tried to hide the
• 26:39
  Speaker 4: kind of.
• 26:39
  Speaker 2: The kind of rotten trash that Dean had been mixed
• 26:41
  Speaker 2: up with. The only reason she did it was because
• 26:44
  Speaker 2: she loved him maybe more than you did. Come on, kid.
• 26:48
  Speaker 2: Let's have that gun. You don't want to kill anybody. No.
• 26:52
  Speaker 5: I don't want to kill anybody. Julia, I'm sorry. Ira!
• 27:01
  Speaker 2: Let him go, Julia. The hard part's over now. He'll
• 27:07
  Speaker 2: be all right. I'll look in on him after a while,
• 27:10
  Speaker 2: just to be sure. But, uh, what about you?
• 27:16
  Speaker 5: What about me? I'll be okay, Marlo.
• 27:21
  Speaker 4: After I've done some thinking. This shock, I.
• 27:27
  Speaker 5: I think it's what I needed. Goodbye.
• 27:31
  Speaker 2: It's a dark tunnel, honey. Think you can find your
• 27:35
  Speaker 2: way out alone? Yeah.
• 27:38
  Speaker 5: Yeah, I'll find a way out alone.
• 27:42
  Speaker 4: One of these days....
• 27:50
  Speaker 2: It was gone. And I went back and climbed the stairs.
• 27:55
  Speaker 2: Out of the tunnel and into the night again. As
• 27:59
  Speaker 2: I drove slowly home, I thought of Julia. Alone in
• 28:03
  Speaker 2: a dark, blind tunnel with no end to it. And
• 28:06
  Speaker 2: then I thought of all the dark, blind tunnels that
• 28:09
  Speaker 2: men stumble into. Tunnels of blind love and blind hate.
• 28:15
  Speaker 2: Of blind submission that lets empty suits of armor conquer
• 28:17
  Speaker 2: cities and men's minds. Tunnels of blind worry and blind greed,
• 28:22
  Speaker 2: of blind ambition, of blind... But then I stopped because
• 28:27
  Speaker 2: I was getting no place except into a blind alley.
• 28:44
  Speaker 3: The adventures of Philip Marlowe bringing you Raymond Chandler's most
• 28:48
  Speaker 3: famous character, star Gerald Moore, are produced and directed by
• 28:52
  Speaker 3: Richard Sanville and written for radio by Robert Mitchell and
• 28:56
  Speaker 3: Gene Levitt. Featured in the cast were Lorene Tuttle, Bob Sweeney,
• 29:00
  Speaker 3: Paul Dubov, David Ellis, Barney Phillips, and Larry Dubkin.
• 29:04
  Speaker 2: The special music is composed and.
• 29:06
  Speaker 3: Conducted by Richard Arant.
• 29:12
  Speaker 2: Be sure and be with us again next week when
• 29:13
  Speaker 2: Philip Marlowe says... This time greed in a green suede dress.
• 29:19
  Speaker 2: A diehard from Dixie and a cuckoo coin collector added
• 29:22
  Speaker 2: up to violent death for two. And all over a
• 29:25
  Speaker 2: half a buck in Confederate money.
• 29:40
  Speaker 3: Every Friday night, CBS brings you stories taken from the
• 29:43
  Speaker 3: files of parole boards of the 48 states. With only
• 29:46
  Speaker 3: the names changed, these stories give in complete detail the
• 29:49
  Speaker 3: events of a criminal's life up to the time he
• 29:51
  Speaker 3: is up for parole. Then before you hear the board's decision,
• 29:55
  Speaker 3: you can make up your mind. Is this man ready
• 29:57
  Speaker 3: to be set free? It's been hailed by press and
• 30:00
  Speaker 3: public alike as an outstanding anti-crime show. And you can
• 30:04
  Speaker 3: hear it now by staying tuned because Up For Parole
• 30:07
  Speaker 3: follows immediately on most of these same CBS stations.
• 30:10
  Speaker 2: Roy Rowan speaking.
• 30:14
  Speaker 3: This is CBS, where you play Sing It Again every
• 30:17
  Speaker 3: Saturday night, the Columbia Broadcasting System.
• 30:34
  Speaker 1: The Adventures of Philip Marlowe has concluded with The Dark Tunnel.
• 30:39
  Speaker 1: Good night, and thank you for spending this time with
• 30:41
  Speaker 1: radio's enduring detectives. Follow Old Time Mystery Radio for more
• 30:47
  Speaker 1: classic mystery and detective broadcasts.