# Philip Marlowe: Persian Slippers (EP1283)

An episode of [Great Detectives of Old Time Radio Volume 2|Mystery Audio Dramas](https://invisiblenetwork.ai/podcast/1696519927), 12 Aug 2026, 33 min.

Audio: https://dts.podtrac.com/redirect.mp3/pdrl.fm/f90a09/api.spreaker.com/download/episode/57359947/gd1283.mp3

Release Date: June 11, 2014 The only clue Marlowe has to the disappearance of a wealthy woman is the name of a skid row fortune teller. Original Air Date: October 3, 1948 Support the show monthly at https://patreon.greatdetectives.net Support the show on a one-time basis at https://support.greatdetectives.net Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715 Give us a call at 208-991-4783 Take the listener survey at https://survey.greatdetectives.net Check out our social media at https://www.greatdetectives.net

## Transcript

[0:29] Welcome to the Great Detectives of Old Time Radio from Boise, Idaho. This
[0:35] is your host, Adam Graham. If you have a comment, send it
[0:39] to me Box thirteen at Great Detectives dot net, follow us on Twitter at
[0:45] Radio Detectives, and become one of our friends on Facebook, Facebook dot com
[0:51] slash Radio Detectives. Well, before we get started, I do want to
[0:56] let you know we have two other podcasts out there for your listening pleasure.
[1:00] One is The Old Time Radio Superman Show, which is hosted currently I will
[1:06] be by Blaine Dowler as I'm taking some time off to host The War The
[1:10] War dot Great Detectives dot net. It's a really interesting podcaster as we're bring
[1:15] you podcasts now from the late part of World War Two, and you can
[1:21] follow that at the War dot Great Detectives dot net. Well, now,
[1:25] without any further ado, it's time for today's episode of the Adventures of Philip
[1:30] Marvel. It's the Persian Slippers. I felt low, very low the night
[1:37] I set out searching for the girl with the strange hazel eyes. The fog
[1:41] which hung over Los Angeles didn't help, and I felt even worse when I
[1:45] found it. But by then I had death on my hands. From the
[1:52] pen of Raymond Chandler, outstanding author of crime fiction, comes his most famous
[1:56] character as CBS presents the Adventures Philip Barlow and now with Gerald Moore starred as
[2:09] Philip Barlow, we bring you tonight's gripping story, The Persian Slippers. One
[2:19] of those thin, chilly fogs had sneaked in from the Pacific, and it
[2:23] hung vaguely to the street lights along the Sunset Strip. It was a kind
[2:27] of a fog that you could see through, but everything was out of focus.
[2:30] I just start wondering what you were going to do when you were ninety
[2:34] and you were all alone. I'd have liked to have spent the night in
[2:37] a room full of noisy extroverts playing charades, but instead I had to eat
[2:42] a quick dinner and drive up into the secluded Hollywood Hills to meet a guy,
[2:46] a guy who had nothing but trouble on his mind. When I pushed
[2:51] the buzzer, I had the feeling of wishing I was splace else. Called
[2:53] de Eleney himself opened the door. He was grim and brusque. Into the
[2:58] point, Marlow, that's right, come in, Marlow. I appreciate this.
[3:02] You're coming up here after business hours? I mean I wouldn't have asked,
[3:07] except well, perhaps I've waited too long as it is. Sit down,
[3:10] Thanks waited too long for what, mister Delaney. Thirty six hours ago,
[3:15] my wife disappeared. Marlow You've got to find her for me, find
[3:17] her just as fast as you can. Wait a minute disappeared, you said,
[3:22] would you mind playing that pot back a little slower? Enrma simply walked
[3:25] out that door, got in her car, and drove off to get hold
[3:28] of herself, as she always does when we've quarreled. Always before, she's
[3:31] come back in an hour or so. This time, this time she simply
[3:35] didn't come back. Is that it look, mister Delaney? I could you
[3:38] have better let me finish before you do anything. Lately my wife has been
[3:43] brooding over something, something serious that she refused to discuss. I've caught her
[3:47] crying several times, and she's not a woman given to tears. Marlowe,
[3:53] I'm sure that unless we move fast, when we do find her, we're
[3:54] going to find her dead. Suicide. Yeah. With his thick, blunt
[4:04] hand, de Lennie reached for a color portrait, lying face down on the
[4:08] table and gave it to me. I looked and saw the face of a
[4:12] dream, A beautiful dream with strange hazel eyes and soft black hair. I
[4:18] felt to Lennie watching me as I glanced up in time to catch the fading
[4:23] end of a very ugly expression on his face. I handed the picture back
[4:28] to him and he laid it on the table again, face down. Then
[4:30] he took me upstairs to Nomah's room. It was a nice, frilly room,
[4:35] typically haunted by elusive sweet smells. There was only one incongruous note.
[4:43] What was the horoscope doing on her desk? And the looks of a picture?
[4:46] I knew that Normal was attractive enough that she didn't need to look at
[4:49] the stars for a future A horoscope. Yeah, you know how women are,
[4:55] Marlow. Will you find her for me? I'll try. I rate
[4:59] his twenty five dollars day plus expenses, and remember you hired me to find
[5:02] her and not bring her back fair enough. You just find her. I'll
[5:05] be satisfied. I'll need a starting point. Were there any phone calls or
[5:11] letters there anything that might be a lead? What about friends? We have
[5:13] no close friends, Norma always state to herself. Wait, there was a
[5:19] phone call yesterday from a Madam Janetta. I think it was Who's that a
[5:25] dressmaker? I haven't any idea. She wanted to speak to missus Delaney.
[5:29] I told her Norma was out, and she asked that my wife call her
[5:30] when she got back. That's all it was to it. Anything else you
[5:33] can tell me, No, no, it's not much to go on.
[5:36] I don't see what I can do, mister Delaney. I'll be here all
[5:39] night. Marlone call me if you need anything. I'll do that. Good
[5:42] night. I drove back through the persistent fog the sunset boulevard. I was
[5:51] nine thirty. I knew it was going to be like tracking a hummingbird through
[5:56] a petrified forest by the bent twigs. But I got to classify directory and
[6:00] I started digging. I checked the hairdressers, the manicurists, and the milliner's,
[6:03] and I was just about to start on the interior decorators when I remembered
[6:08] the horoscope on Norma's desk. I quickly turned to the personal consultants. Yeah,
[6:13] there it was Madame Jeanette's. Her establishment, located in the dubious neighborhood
[6:19] south of Olvera Street, turned out to be a TACKI cottage set back next
[6:24] to an alley. It was as dark inside as out. I was pounding
[6:29] on the door like a vampire at sunrise when a newsboy came up the path
[6:32] looking for Madame Jeannette. Yeah, yeah, you know, sure. She
[6:35] tells fortunes, says I've got a great career line. You want to see
[6:39] it? Not right now? Thanks, And I'll say for her that she's
[6:42] a sound sleeper. Maybe, but not so early as this. But this
[6:46] time she's always hanging around the bar on the corner. Tonight she's throwing a
[6:49] farewell party in there, farewell party. Who for her self? She's leaving
[6:53] town. Oh thanks a lot here, kid, She your buck. My
[6:58] own man will swear up and shooting rap again. I mean another one,
[7:11] Charlie. Not every night I say goodbye to my dear old neighborhood, Jeannette.
[7:16] Yeah, did I say dear old neighborhood, Charlie. I think you
[7:21] did. Jeannette. Must have had one too many then, because of all
[7:25] the low flea bitt and row of shacks I ever lived in. This is
[7:28] the new law, Jeanette. That's no way to talk. You hurt my
[7:31] feet. It ain't nothing like a little deer. This so it hurt?
[7:38] You said it? Jeanette? Can I have another? Yeah? Tel,
[7:41] I get thinking another. This is last the last I thought you said it
[7:45] was a farewell party. Hey, you and all your dogs dogs to get
[7:49] me out of this rat trap of a town, see the last. I
[7:53] want to see it of it in all my life, see yeah, yeah,
[7:55] yeah, Charlie. Hold on, Jeanette, Hey, what'll it be?
[7:59] Miss something just a bit drier than Musca? Tell say Scotch, it's
[8:03] not me mister my party? Well, well, this is indeed a pleasure.
[8:07] You're the Madame Jeanette, aren't you. Yeah? Why you're all of
[8:13] twenty years younger than what I expected, probably the life I lead. Hey
[8:18] wait a minute, why should you be expecting anything about me? I don't
[8:22] know you, perhaps not, but I know you from where. Oh you're
[8:28] more famous than you think. Your reputation is spread far beyond all vera straight.
[8:33] In fact, it's gone up as far as the sunset strip, Madame
[8:35] Jeanette, no kidding. I was your kid of fortune teller. Don't you
[8:39] know all? See all and tell all? Well, I'm judging from that
[8:43] Spanish show. Your Hungarian skirting, those embroidered Persian slippers. I'm beginning to
[8:48] think your fame is not only local, but it's a nationals say. You're
[8:52] beginning to make me feel like I shouldn't be giving up as racket after all,
[8:56] giving that fortune telling no, Yeah, I'm living town on a midnight
[9:01] train, and I spread my talents all over the East and I'm not coming
[9:05] back. Don't tell me your crystal ball has laid a golden egg. So
[9:09] to speaker, I commended some lettuce suddenly. That's always nice. I guess
[9:16] it means you won't be interested in the few portray dollars I'd intended to spend
[9:20] with you. I can have another beach. You're not that pinky blow,
[9:22] just a traveling lady. You can always use a little extra mula. What
[9:28] was it you wanted? Then, I'm looking for someone Norma Delaney. I'm
[9:35] afraid I don't know anybody for that name. I'm afraid you do. What's
[9:39] your wrangle? Who are you anyway? I'm Philip Mollow, private detective,
[9:45] some private dick you must be to have to resort to fortune. Tell us,
[9:48] I'm on Jeannette, looking at your crystal muscatels heaving a spot Norma Delaney.
[9:52] I told you once. I don't know the name. Now blow just
[9:54] a minute, dark guys, Hey, Charlie, this bird's crabbing my party.
[9:58] What kind of a joint is this? Anyway? Lady can't sit here
[10:01] and have a farewell party without being insulted by every jerk that drops him.
[10:05] Well, mister, I haven't finished my drink yet. You got pockets,
[10:07] ain't you just poured a drinking to one of them and take it along.
[10:11] You ain't finishing it here. Charlie reached under the bar for his pick handle.
[10:16] So I left without pursuing the subject further. But I knew Jeanette was
[10:22] lying righting up purple lipstick about Norma. I walked back to my car with
[10:26] a cigarette and spent a few precious minutes trying to decide whether or not to
[10:28] break into her place in snoop. Then I caught the shadow of a figure
[10:33] slipping up on me from behind. Turn Wait, wait, don't swing,
[10:37] I don't swing. It's to me me. Thank you. I was in
[10:41] the bar when you was talking to them, Adam. That tight wa Jeanette,
[10:45] Yeah, I saw you. So she did something the minute you left,
[10:50] I figured you might like to know what it was. It all depends,
[10:54] well. I thought it might be worth something to you, like saw.
[10:58] Maybe come on, you spell it any good at all? It's worth
[11:01] five or no more? Right off? She made a phone call? Who
[11:07] too? What you say? Nothing? Just some swear words in Spanish.
[11:13] The line was busy, but I kept my eyes open and I got the
[11:18] number. All right, let's have it if you can still remember it?
[11:20] Oh, I can remember it easy. Uh. Five of first year.
[11:30] The number was crunchaw nine. Put together it like the Year of the Big
[11:37] Crash, thanks to the first of an underweight lush. I wasn't at the
[11:46] end of my rope yet. I drove as far as the nearest drug store.
[11:50] I dropped a nickel in the slapped and dial Crenshaw the Year of the
[11:54] Big Crash. Hello, Hello, let me speak to Norman Delaney. Please.
[12:09] I'm afraid you must have the wrong look you. I'm trying to locate
[12:11] missus Delaney. I suggest you help me. How did you get this number?
[12:15] I'm a client, mister car Delaney. But that's impossible. Let's stop
[12:18] sparring. We can save each other a lot of wear and tear. If
[12:20] we get together and talk this over, maybe you're right. Does that sound
[12:26] sensible? I'm at the Beachwood apartments number four. Check Illy right out,
[12:41] mister Pierre gillim It says here on the door. Yes, you're the matter.
[12:46] Call Uh huh, Philip Marlowe, come in, won't you? You
[12:50] said you were looking for Normal Delaney. Mister marlow tell me what's wrong.
[12:54] Has anything happened to her man? Her husband seems to think she might have
[12:56] killed herself. But I have a hunch that you might have something interesting thing
[13:00] to say. Oh, poor kid, poor Norma. I'll tell you what
[13:05] I can model, but it isn't much. Oh I'm all is, and
[13:07] I'll say it thanks. I was in love with Normal once, briefly,
[13:13] a long time ago. It was a wonderful girl, but her husband was
[13:18] insanely jealous, even though she hadn't loved him for years. He refused to
[13:22] give her up, even threatened to kill her first. No, Norma,
[13:26] and I realized that serious trouble lay ahead. So we bought it good friends,
[13:31] and I haven't seen her or heard from her in months. I buy
[13:35] it all, but the last line you have seen or heard from her and
[13:39] recently. I'm not going to argue that I told you the truth. You
[13:41] can take it or leave it. I leave it most we both put our
[13:46] cards on the table. You lied to me when you said called delnegating my
[13:50] number. I know because Madame Jeanette called me short touche. But why did
[13:56] she run the call you with the mention of Norma's name if you two broke
[14:00] up months ago and incidentally have that Ursat's ericle, Jeanette get mixed up in
[14:03] this in the first place. That is a long story, Mollo good.
[14:07] I like long stories. I'll bet it begins just for a lock. Norma
[14:09] and I went down to Olvera Street. Once they have our palms read.
[14:13] That's exactly how it started. Madame Jeanette was an unusual woman, a character
[14:18] you might say. Well, we became friendly with her. Norma got quite
[14:22] sentimental about her. One day we made a sort of pact that either of
[14:26] us was in trouble and needed the other, we'd go to Madame Jeannette or
[14:30] get a message to her. She would notify the other. So when I
[14:33] walked in asking for Norma, that madam assumes she was in trouble, right,
[14:37] called me immediately because she herself was leaving town in less than an hour.
[14:39] I know, well, mister gill Him, it's all very interesting,
[14:43] but it's getting me no place. Thanks if I need you. Oh wait,
[14:46] Marlo, don't go. I know a lot of details about normally that
[14:50] I'm sure will be helpful. For instance, she drives a Nash coupe,
[14:56] part of blue, out of blue coupee. E. Thanks, that will
[15:00] health. Oh and and she has a fondness for white gloves. Were's them
[15:03] quite often. I see, well, I better get more. Oh wait,
[15:07] just a minute, I've got to go now. Listen, I told
[15:09] you I was not hurry, take it easy, stick around a while.
[15:11] Yeah, I wait, thatt door, But just who do you think you
[15:13] are? I'm busting in here, prying, asking questions. You dirting,
[15:20] you asked for it? Kill you got a left too, saw my brother
[15:30] let Gillim sprawled all over his coffee table, his limp as a five cent
[15:33] salad and side. I glanced at my watch. Madam Jeannette's train left in
[15:37] forty minutes. I ran through twenty two bucks worth of red lights getting down
[15:41] to a cottage because I was sure Gillim's attempted stall was tied in with the
[15:45] departure, but I couldn't figure out why that is. I couldn't until I
[15:50] switched out my lights and coasted to a stop in front of her place.
[15:54] Then I saw it, half hidden in the shadows. Back of the house,
[15:58] sat a pot of blue coupe. I got up on the porch close
[16:02] to the front door and listened. Jeanette was talking to a woman. I
[16:06] couldn't catch what they were saying, but one thing was certain. The woman
[16:10] was norma Dealini. All at once I realized the talk had stopped. That
[16:12] was my cue. I shoved opened the door and went in. Jeanette sat
[16:18] at the table alone, facing me. Oh, mister Marlow, you've redturned.
[16:23] I like my fortune too. Yeah, I listened close comes you.
[16:27] I'll make this a short and snappy reading, because I'm catching the train in
[16:32] fifteen minutes. There's a woman very close to you. In fact, she's
[16:40] right mind. You suck a work. When I finally opened my eyes again,
[16:56] nothing changed. It took me a long time to faceigure out that the
[17:00] lights were off and it was dark. I climbed up the table leg hand
[17:03] over hand, and switched on a lamp. Jeanette's house was absolutely quiet.
[17:10] I had caught a glimpse of a white glove hold known as a blunt instrument
[17:12] just before I dozed off, and that reminded me what I was down here
[17:17] for. I wabbled through the kitchen and out the back door, but the
[17:22] pot of blue coupe was gone. It was twelve fifteen I had in the
[17:27] fog. Both had got a little thicker, so I just stood there useful
[17:33] like a ping pong ball and a bowling alley. It was a sound of
[17:37] footsteps that finally moved me, and a newsboy was back. Wow high again,
[17:41] mister. Did you ever get a hold of Madam Jeannette before she left?
[17:45] Yeah? I have. I'm not tight enough. Say a blue cupe
[17:48] left here a few minutes ago, just see it? Nope, I did.
[17:51] She I'm sure. Sorry she went away. She gave me a buck
[17:53] tonight too, said she was coming into a fortune you and your career,
[17:59] saying what's that down there in those weeds? I don't know. It looks
[18:03] like some kind of a shoe. It is a shoe, you see?
[18:10] What do you know? A Persian slipper? I took the slipper along as
[18:18] a souvenir for my scrapbook and walked back to my car, trying to fit
[18:22] Norma Delaney's lovely hazel eyes in with that crack on the skull, but I
[18:26] couldn't between throbs of my headache. I figured Pierre Gillim would know why Norma
[18:30] had dropped in on a madam so close to train time, and decided to
[18:34] go back and ask him. Gillim was as reliable as a two headed quarter
[18:38] and just as tricky, So when I got to his apartment, I pushed
[18:41] the buzzer, stepped back and braced myself. There was no fight left in
[18:45] him. He opened the door in his robe, fingered the mouse I had
[18:48] given him in grin. So you found your way out by yourself. Uh
[18:53] huh, say Gilim? What was so important about Norma seeing Madame Jeanette just
[18:57] before a train left. I don't know. You know enough to try to
[19:02] keep me here? Did delay me? Why? Oh mollow? I did
[19:03] that for old time's sake, for an old friend. Jannette asked me to
[19:07] hold you here until midnight, and I tried my best. Obviously wasn't good
[19:12] enough. That's all I know about I see your phone is off the hooks.
[19:15] You know that. Yeah, I took it off. It's given me
[19:18] nothing but trouble. Tonight. I hereby wash my hands of this whole business.
[19:22] I'm going to bed and I hope to sleep. Good night. I
[19:33] envied him, and left to call my client, Carl Delaney. He said
[19:37] he'd be in all night for me. Phone kept ringing and ringing, and
[19:41] no one answered. I suddenly got a very creepy feeling. Twenty minutes later,
[19:45] I pulled to a stop at that small but elegant house. The lights
[19:49] were on and I saw the pot of blue coupe in the garage, next
[19:52] to Karl's big black sedan. I ran up the steps. The front door
[19:56] was ajar, so I went in. I found card in front of the
[20:00] fireplace, face down on the floor. It did. There was a handbag
[20:11] on a chair. I opened it, compact cigarettes and a key to room
[20:17] three forty in the Bradford Arms Hotel, OH identification. That color portrait of
[20:22] normal was standing up on the table. This time, those searching hazel eyes
[20:26] seemed to follow me all the way to the telephone. Turn a bar speaking
[20:41] till MALOI barra, there's a dead one. At ten seventy seven Holy Crest
[20:45] Road named Carl Delaney murdered. I'll be right out. I hung up the
[20:52] phone, and then the hair on my neck crawled as I heard thee unmistakable
[20:57] sound of a woman's heels on the floor ups theirs. I ducked behind the
[21:00] door as the heels clicked down the steps. Then she entered the room.
[21:11] Norma de Laney was lovely, as lovely as a picture. She moved calmly
[21:17] and deliberately, put a note on the table, picked up a handbag,
[21:21] then turned to face the door I was hiding behind. You can come out
[21:26] now, mister Marlow, Hello missus Delaney. You can call me Norma now.
[21:32] And if you're thinking of using your gun, perhaps you'll be good enough
[21:34] to read this note first. Here to whom it may concern, I,
[21:41] Norma Delaney purposely and with premeditation shot and killed my husband Karl. It is
[21:48] beyond me to express how deeply I hated him. And since I must pay
[21:52] for this in Canada and you're a public spectacle, I shall take my own
[21:55] life within the next few minutes. Now, look, Norma, no gun
[22:00] kill you if necessaries, but it would be so pointless. Now I'm free
[22:04] at last, and I want to spend a little time left to me in
[22:07] my own way. If you're from tonight, I made my only friend and
[22:14] Madame Jeanette happy, and I killed a man who needed killing. Something good,
[22:19] something bad. So I'm quitting. Even what are you propose to do
[22:25] with me? You mustn't try to stop me, Marlow. See that closet,
[22:30] Get inside, and careful how you move your hands. Turn around to
[22:37] the wall. That did Marlow. I'm sorry I had to hit you with
[22:44] Jeannettes Tonight. Goodbye. It took three shots to smash the lock in that
[22:56] closet door. I heard it driving away just as I got it open.
[23:00] In spite of what she said, I couldn't let her kill herself. I
[23:02] ran outside to my car. One glance under the hood was all it took.
[23:07] There was nothing left to the wiring but loose ends. I ran into
[23:10] the street, and the miracle happened the first time in my life, a
[23:12] taxi in Los Angeles when I wanted it. I'm sorry, fella, I'm
[23:17] gonna call get it. This is an emergency. Hey wait a minute,
[23:19] you lad business. A girl is driving up the road in the blue coupe.
[23:22] We gotta catch up before she kills herself. Let's go. I think
[23:37] I saw a tail lights just then. Yeah, can't you go any faster
[23:41] out on these curves, brother, I got a wife and kids. Okay,
[23:42] fellow, we'll be at the top of the hill. When we can
[23:45] get around the next bend, we should spot he then, Yeah, you
[23:48] can see the whole road down the other side. Here we are, mister,
[23:52] this is the top, but I don't see it. Where is she?
[23:56] Hey, wait a minute, stop here, turn up your motor.
[23:59] This is haywire. I don't get it. We were gain an honor and
[24:04] now she just disappeared. That side road we passed, that's it. Look
[24:18] holy smoke. We both saw the awful sight for just an instant, a
[24:29] part of blue coupe with a woman crouched over the wheel. It shot out
[24:33] of that side road, crashed through the guardrail and fell end over end down
[24:36] into the gorage. By the time we got to the hole in the fence,
[24:38] the wreck was an in final No, he was trying to get down
[24:41] there. The whole hill side'll be on fire another minute, I guess.
[24:44] She pulled over here into his side road and waited for us to go by,
[24:47] and we did. Yeah, Sandy here too, so one of she
[24:49] didn't get stuck. What's the matter. There's something buried here in the sand.
[24:55] One of her tires ran over it. What is it? It's plenty,
[24:57] brother, Come on that hack of yours around. Let's get off this
[25:00] mountain. I just found the answer to a lot of questions, Lieutenant.
[25:18] We found the body and the wife's suicide. Note. Then one of the
[25:22] boys spottled that fire up on the hill. What is it? Ka went
[25:25] off the road? An accident or the suicide, just a little of both,
[25:29] he bora. But we'll talk later. Right now, we got to
[25:30] go to the brad Fordams hotel on the double and please no siren. The
[25:41] Bradford Arms was a three story walk up and when we got there he borrow
[25:44] a station. One man in front, sent another to cover the back,
[25:45] and we started up the stairs. He had reached the second floor when we
[25:48] saw him on the landing above Gillim. He spotted us at the same time
[25:52] and turned back fast. There mallow, who's that? That's our boy?
[25:55] Borro up here, Gillim. Let's go there he goes, he's sading for
[25:57] the fire. I got lieutenant, he's oh, yes, I got this
[26:00] is the other way. Shot right, shot room three thirty six, thirty
[26:08] eight, three forty. It's all over now you better drop the gun please.
[26:17] It's been neat so far. I don't mess it up. Come on,
[26:21] beautiful, drop it. It's better. Oh my god, I wing
[26:26] him to bring him down when here he is and the lady must be yes,
[26:30] Lieutenant. The lady is Normah Delaney, the girl who wanted to kill
[26:33] a jealous husband and then commit suicide, but didn't want to die doing it,
[26:38] so she used someone else's body, Madam Jeannette's, which was a logical
[26:42] choice because Jeanette was blackmailing her. That's two vultures with one stone, leaving
[26:48] two love birds free to fly away together. Right, Nomah. Didn't you
[26:52] give Madame Jeanette money so she'd leave town and tell everybody she was going away?
[26:56] Yes? I did that way the body wouldn't be messed. Uh.
[27:02] Yeah, isn't it pretty? I'll lay off Marlow, catch you, Okay,
[27:06] yell them okay, eliebar. I've got a sour taste in my mouth.
[27:10] I think I'll go home and goggle anything else you'll need. No,
[27:12] I guess not, Phil, I've had all it's necessary. Uh wait,
[27:17] just one thing. How'd you get inside this setup? How do you find
[27:21] out who was the dead Madam Jeannette who went over the cliff instead of the
[27:25] very much alive missus Delaney. Here Jeannette had on a pair of Persian slippers,
[27:30] lieutenants. One fell off down at her cottage, where Norma murdered her
[27:33] and put her in the trunk of the car. The other one fell off
[27:37] in the sand to that side road when she took Jeannette out of the trunk
[27:38] and propped her up behind the wheel. Was lucky Bara, just dumb luck.
[27:52] I took a walk later, a long walk, oh by myself,
[27:57] so that thin empty fog, the dark empty streets, A pair of hazel
[28:03] eyes and a pair of persian slippers went round and round in my head,
[28:08] And for some reason I kept thinking, a pair of persian slippers has two
[28:12] souls and two heels, and it's hard to tell just exactly where the one
[28:19] becomes the other. The Adventures of Philip Barlow, created by Raymond Chandler,
[28:32] stars Gerald Moore and is produced and directed by Norman McDonald. In Tonight's story,
[28:37] the Persian Slippers. Virginia greg was heard as Madame Jeannette, with Larry
[28:40] Dobkin as Pier Gillam and Louis Van Ruton as Carl Delaney. The additional players
[28:45] were Gene Bates as Norma Delaney, Gil Stratton Juniors the Newsboy, Frank Richards
[28:49] as the barkeeper, and Tony Barrett is Pinky. Detective. Lieutenanty Barrow was
[28:53] played by Jeff Corey. The special music was conceived and conducted by Ivan Dittmars.
[29:07] Be sure to be with us again next week at the same time when
[29:10] Philip Barlow says, sounded good, real good. A weekend at Malibu,
[29:17] expenses paid with a cash bonus thrown in. But that was before I knew
[29:21] about the Henchman, the Redhead, and the corpse. These three and a
[29:25] white Panama hat ruined it all for me. The Big Stars started. Array
[29:38] of CBS Sunday show starts tonight, one, two, three, four,
[29:44] five. Top entertainment programs that make listening to your CBS station a happy habit.
[29:48] One Cabin B thirteen, the popular dramatic show by John Dixon Carr,
[29:52] renowned mystery writer. Two The New Electric Theater Guest starring Henry Fonda tonight and
[29:59] regularly star Helen Hayes, first Lady of the Theater when she returns from London.
[30:03] Three are Miss Brooks, The hilarious comedy Success starring Eve Arden for Lomon
[30:08] Abner, a brand new half hour show of smiles and chuckles with the merchants
[30:12] of pine Ridge. Five, Strike It Rich, the sensational quiz show with
[30:18] a heart to wind up, The sparkling Parade of Entertainment, mysterid drama,
[30:22] comedy Excitement Tonight over most of these CBS stations, And next Sunday, the
[30:27] first broadcast and the new season for two of radio's greatest stars, Amos Andy.
[30:33] Yes, Sunday Nights are great on CBS. Check your local newspapers for
[30:37] programmed times. This is Roy Rowan speaking for CBS the Columbia Broadcasting System.
[31:08] Welcome back. Well, we once again see a very good mix of the
[31:15] hard boiled dialogue with a solid detective solution here. And we're not even I
[31:26] think, to the best part of this series. But the one thing that
[31:29] really does stand out is the way that More plays it. In the way
[31:32] the scripts are written, they seem like things that it's really conceivable that Raymond
[31:40] Chandler might have written for Philip marvelf he'd been inclined to write radio plays,
[31:44] and of course being able to call on Virginia Greg always helps. All Right,
[31:49] Well, now for some listener comments and feedback, we turn to mail
[31:56] we had from Jeff, who says, just a quick to thank you for
[32:00] all the work you have done aggregating so many great radio shows from many years
[32:06] ago. The shows provide an enjoyable break from the unnatural busy world. I
[32:09] really look forward to listening to these shows no matter where I am on any
[32:14] particular day in this world. Your intros and summaries are great as well.
[32:17] Thank you very much. Well, thanks so much, Jeff. And he's
[32:22] emailing in from Phoenix, so I hope you're able to get somewhere cool for
[32:27] a couple of weeks during this summer. Those Arizona summers can definitely be a
[32:31] challenge. All right. Well, that'll do it for today. We'll be
[32:37] back tomorrow with Nick Carter and join us back here on Wednesday for another episode
[32:42] of the Adventures of Philip Marlow. In the meantime, send your comments to
[32:45] Box thirteen at Great Detectives dot neat follow us on Twitter Radio Detectives and become
[32:52] one of our friends on Facebook, Facebook dot Com. Slash Radio Detactives from
[32:55] Boise, Idaho. This is your host, Adam Grahamson and Off

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