ANNOUNCER:

Lux presents Hollywood!

MFX:

THEME ... CONTINUES IN BG

ANNOUNCER:

The Lux Radio Theatre brings you William Powell and Myrna Loy in "After the Thin Man." Ladies and gentlemen, your producer, Mr. Cecil B. DeMille.

MFX:

THEME ... UP AND OUT

SFX:

APPLAUSE

DEMILLE:

Greetings from Hollywood, ladies and gentlemen. When Edgar Allan Poe popularized the detective story, he found the great common denominator of American entertainment. Millions of us have stayed up past bedtime to explore the fascinating realm of "whodunit" -- including the President of the United States. And you can find devotees in every walk of life -- rich man, poor man, beggar man, thief -- and probably policemen, too.

Perhaps we haven't investigated this branch of the drama quite as often as we should in the Lux Radio Theatre. But when we do engage a manhunter, we get the very best. Tonight, our play is "After the Thin Man," adapted from the M-G-M picture and, naturally, starring the same two players that go with the Thin Man story -- Myrna Loy and William Powell. It's an occasion for great rejoicing, but we also must hang our heads a little, because it's exactly four years since Miss Loy was last at this microphone.

There's more to the story of "After the Thin Man" than just the exciting quest of a criminal -- because our detective is the extraordinary Nick Charles, and Nick has a lovely wife named Nora. They happen to be very much in love. But even love can't keep Nora from interfering with her husband's business when she has an idea. And Nora is a girl with many ideas.

Together, they can solve just about any problem you give them. But you don't really need a detective to discover that Lux Flakes is the simple answer to your household problems. It's a deduction that millions of women have made after giving Lux Flakes a trial.

Now, if your wits have been thoroughly sharpened and you're ready for anything to happen, we raise the curtain on the first act of "After the Thin Man," starring William Powell as Nick Charles and Myrna Loy as Nora.

MFX:

JAUNTY ... FOR AN INTRODUCTION ... THEN IN BG, OUT AT [X]

DEMILLE:

A railroad station in San Francisco. Into the dim maze of tracks rolls a mighty streamliner, sleek and shiny, after its mad dash across the country. With a final throb of its powerful engines, it comes to rest.

SFX:

RAILROAD STATION BACKGROUND

BIZ:

CROWD MURMURS EXCITEDLY

DEMILLE:

From the gate tumbles a crowd of reporters and photographers. They rush breathlessly up and down the length of the platform, eager to be the first to greet the arriving celebrities, Mr. and Mrs. Nick Charles. [X]

EXAMINER:

Where's Nick? What car is he in?

CALL BULLETIN:

He's probably in that car over there.

CHRONICLE:

Come on, let's get a statement from him.

EXAMINER:

Hey, is Nick Charles in this car?

CONDUCTOR:

(OFF) Mr. Charles? Two cars back.

EXAMINER:

Thanks.

CALL BULLETIN:

Oh, there he is. Hey, Nick! Nick!

EXAMINER:

Hello, Nicky! How does it feel to be home?

CALL BULLETIN:

Well, you gonna stay with us a while now?

CHRONICLE:

I'm from the Chronicle, Mr. Charles. Can I have a statement?

NICK:

Hey! Easy, guys, easy. One at a time. (TO NORA) Darling, these are the gentlemen of the press. (TO REPORTERS) Gentlemen, my wife!

CALL BULLETIN:

Hello.

CHRONICLE:

How do you do?

EXAMINER:

Glad to know ya, Mrs. Charles.

NORA:

How do you do?

EXAMINER:

Uh, how's about a statement, Nick? Are you going to keep on with your detective work?

NICK:

No, gentlemen. I've retired. From now on, I'm just going to take care of my wife's money -- so I'll have something in my old age.

CALL BULLETIN:

Ho ho! You said you'd retired before, but I notice you took that Thin Man case in New York.

CHRONICLE:

Yeah, that Thin Man was a beaut. They're still talkin' about it.

CALL BULLETIN:

You'd take a case like that, now, wouldn't you?

NICK:

Not a chance. I just took that to please my wife. She wanted some excitement.

CHRONICLE:

Well, I guess you had it, Mrs. Charles.

NORA:

Oh, it was wonderful! Two men tried to kill him. ... But he's not going to take any more cases. You can print that.

NICK:

That's the girl! So long, gentlemen. Come on, darling.

SFX:

NICK AND NORA'S FOOTSTEPS

BIZ:

REPORTERS MURMUR ("Well, goodbye, Mrs. Charles!" "Pleasure to have met you, Mrs. Charles!") AND THEN FADE OUT AS NICK AND NORA DEPART

NORA:

(CALLS) Goodbye! Nice to have met you! (DOWN) Nick, slow down. I can't keep up with you, going-- Whoa!

SFX:

NORA COLLIDES WITH "FINGERS" ... FOOTSTEPS OUT

FINGERS:

Excuse me, lady. Guess I wasn't lookin' where I was going.

NORA:

No. I guess you weren't.

NICK:

Hiya, Fingers.

FINGERS:

(DELIGHTED) Well, well! Nick Charles! How are ya?

NICK:

Fine. How's business, Fingers?

FINGERS:

Business? Oh, I quit that racket.

NORA:

Nick, my purse! It's gone!

NICK:

(UNCONCERNED) Oh? That's a shame. Nora, I want you to meet "Fingers" McCoy. (POINTEDLY) Uh, this is my wife, Fingers.

FINGERS:

Your--? Your wife?!

NICK:

Mm hm.

FINGERS:

Say, I didn't know she was-- (GENUINELY) Oh, I'm sorry about your purse, Mrs. Charles.

NORA:

What'll I do, Nick? I know I had it with me.

NICK:

Oh, it'll turn up. Won't it, Fingers?

FINGERS:

I certainly hope so-- Sure! Well, so long, Nick. (MOVING OFF) Glad I bumped into ya. Goodbye, Mrs. Charles.

NICK:

Bye.

NORA:

Goodbye. (URGENT) Nick, I've got to go back to the train.

SFX:

NICK AND NORA'S FOOTSTEPS ... CONTINUES IN BG

NICK:

No, I wouldn't bother, darling. Let's get home.

NORA:

Well, I just can't go off--

NICK:

Come on, now, come on. You don't want to embarrass him, do you?

NORA:

What do you mean?

NICK:

Fingers. He's a purse snatcher. Think of his feelings.

NORA:

A purse snatcher? Well, he must have taken it.

NICK:

Certainly. But, you see, he didn't know you were my wife. You'll get it back in the morning mail, darling. He's a very honest pickpocket.

NORA:

Oh, Nick, you do know the nicest people.

BUMPS:

(LOW CLASS ACCENT) Hiya, Nick! Welcome home!

NICK:

Hiya, Bumps! How's the boy?!

BUMPS:

Never better, Nick! In the pink!

NICK:

See ya 'round!

NORA:

(BEAT) A prizefighter, darling?

NICK:

No, no. Wrestler.

NORA:

Oh, a wrestler. Well, that's different.

SLATS:

(EVEN LOWER LOW CLASS ACCENT) Hiya, Nicky! What's da good word?!

NICK:

Well, hello, Slats! How's everything?!

SLATS:

I'm doin' okay! Glad to see ya, pal!

NICK:

Likewise!

NORA:

Now, there's a sweet character. He ought to be in jail just to play safe.

NICK:

He got out last Tuesday.

NORA:

Oh.

LADY:

(HIGH CLASS) Welcome home, Nora!

NORA:

Oh, hello. Thank you.

GENTLEMAN:

(HIGH CLASS) Nice to see you, my dear.

NORA:

Thank you very much.

NICK:

Who were those people, darling?

NORA:

You wouldn't know them. They're respectable.

NICK:

Oh.

SFX:

RAILROAD STATION BACKGROUND ... UP FOR PUNCTUATION ... THEN OUT ... TRANSITIONAL PAUSE ... NICK AND NORA'S FOOTSTEPS

NORA:

(WEARY) You know, darling, the best thing about going away is coming back home.

NICK:

I suppose you remember that tonight is New Year's.

NORA:

I know. Got your keys, darling?

NICK:

Yes. I also suppose you've got some ideas on the subject.

SFX:

RATTLE OF KEYS ON RING

NORA:

Very definite ideas.

NICK:

I was afraid of that.

NORA:

I want to lock the doors, unplug the bells, cut off the telephone -- and crawl into bed for a month.

NICK:

(PLEASANTLY SURPRISED) Mrs. Charles, you're a woman after my own heart! I won't be awake at midnight, so I'll kiss you now. Happy New Year, Nora.

BIZ:

KISS

NORA:

Happy New Year, darling.

SFX:

DOOR UNLOCKS AND OPENS ... HUGE NEW YEAR'S PARTY IN PROGRESS ... DRUNKEN, BOISTEROUS CROWD MAKES A LOT OF NOISE

MFX:

LIVELY PIANO PLAYS ... IN BG

DRUNK:

Hiya, folks! Whatcha standin' out there for? Come on in.

NICK:

Hey! What is this?

NORA:

Well, it's our house all right.

DRUNK:

Come on, come on. Make yourself at home, folks.

NORA:

Well, let's go in, darling. He says it's all right.

NICK:

Oh. Well, as long as we're invited.

SFX:

DOOR SHUTS BEHIND--

DRUNK:

There's the bar, right in there. Help yourself.

NICK:

Thank you - very much.

DRUNK:

Okay!

NORA:

What's the celebration?

DRUNK:

Ssh! We're giving a surprise party for Nick and Nora.

NICK:

Nick and Nora?

DRUNK:

Sure! Don't you know Nick and Nora?

NORA:

No, we don't.

DRUNK:

Neither do I. But that's not gonna spoil my fun. It's New Year's, so what's the odds? Go on in. Fake it. It's a cinch.

NICK:

Oh. Thanks for the tip.

DRUNK:

Sure! Get in there and get some of that Napoleon Brandy before it's all gone.

NICK:

D'oh! (TO NORA) May I have this dance, Mrs. Charles?

NORA:

Thank you, sir. You're a gent. Who are all these people?

NICK:

Well, now, let's see. That looks like Moe Stone over there; he's a bookie. That fella with him is a police captain. And I believe the gentleman in the loud suit runs a pool room. That fellow in the fireman's hat is a--

NORA:

Never mind. I get the general idea.

PETERS:

(GREETINGS) Mrs. Charles -- welcome home, madam.

NORA:

Thank you.

NICK:

How are you, Peters?

PETERS:

Never better, Mr. Charles. I'm sorry about the party, sir, but they forced their way in.

NICK:

Yeah, knowing my friends, I can believe that.

NORA:

Nick! I smell something burning!

NICK:

Probably just the living room rug or, uh--

SFX:

PHONE RINGS ... CONTINUES IN BG

PETERS:

If I may be allowed to suggest, sir, that's probably Mrs. Charles' aunt. She's been calling all day and very much annoyed. She wants you to come to dinner this evening, Mrs. Charles.

NORA:

Oh, dear.

NICK:

Goodbye, darling. See you next year.

PETERS:

(CLEARS THROAT) She expects you, too, Mr. Charles.

NICK:

Me? Aunt Katherine wants me to come to dinner?

NORA:

There must be some mistake. She couldn't want you, Nick. I'll take it in the bedroom, Peters. Nick, come with me.

NICK:

If it's your Aunt Katherine, get out of it. No more family dinners. I wouldn't go through that again if you had twice as much money.

SFX:

BEDROOM DOOR SHUTS ... PARTY NOISE OUT ... RECEIVER UP

NORA:

Hello?

SELMA:

(FILTER) Hello, Nora?

NORA:

Who is this?

SELMA:

(FILTER) This is Selma.

NORA:

Oh, hello, darling.

NICK:

(LOW) "Darling"? Aunt Katherine?

NORA:

(LOW, TO NICK) Shut up. It's my cousin, Selma. (INTO PHONE) How are you, Selma?

SELMA:

(FILTER) Nora, I had to call you. I wanted to make sure you were coming tonight.

NORA:

Well, I'm afraid not, Selma. You see--

SELMA:

(FILTER) Nora, you've got to come! I'm in terrible trouble!

NORA:

What?

SELMA:

(FILTER) Please! I can't tell you now, but you must come! I'm desperate! I-- Oh, wait a minute.

AUNT K:

(FILTER, OFF, ANGRY) Selma! Put down that phone!

SELMA:

(FILTER) I won't! I'm speaking to Nora.

NORA:

Hello?

AUNT K:

(FILTER, OFF, ANGRY) I told you not to call anyone!

NORA:

Hello? Selma?

AUNT K:

(FILTER, OFF, ANGRY) Give me the phone! (TO NORA, CHEERFUL) Hello, dear!

NORA:

Hello? Is this--?

AUNT K:

(FILTER) How are you, Nora? This is Aunt Katherine.

NORA:

Well, what's the matter with Selma?

AUNT K:

(FILTER) Oh, nothing at all, dear. You know Selma well enough not to pay too much attention to her. We'll see you tonight, Nora.

NORA:

Well, you see, it's New Year's Eve, Aunt Katherine--

NICK:

(LOW) The old battle-axe.

NORA:

Shut up!

AUNT K:

(FILTER) What?

NORA:

Excuse me, Aunt Katherine. I was talking to the dog.

AUNT K:

(FILTER) Oh. We'll expect you at seven-thirty.

NORA:

All right, Aunt Katherine. We'll come. Goodbye.

SFX:

RECEIVER DOWN

NICK:

What did you say?

NORA:

I said we'd be over for dinner.

NICK:

Oh. (WOUNDED) My own wife!

NORA:

I'm sorry, Nicky. But I had to do it. It's Selma. She's in trouble. You like Selma, don't you?

NICK:

Not as much as that.

NORA:

But she sounded so funny -- as if she'd been crying.

NICK:

Mm. Living with your Aunt Katherine, I can't say I blame her.

SFX:

TRANSITIONAL PAUSE

SELMA:

(CRYING)

AUNT K:

Selma! Selma, stop that crying. Do you want the servants to hear you?

SELMA:

I don't care, Aunt Katherine. I'm going crazy. I can't stand it any longer. I'm going to call the police.

AUNT K:

You'll do nothing of the sort. Haven't we paid out enough to hush up his other scandals?

SELMA:

He never did anything like this before! How do we know but what he may be dead!

AUNT K:

I told you I'd handle this.

SELMA:

I can't go on this way. Robert's my husband and he--

AUNT K:

Be quiet!

SFX:

DOOR OPENS

AUNT K:

(CHEERFUL) Yes, Henry?

HENRY:

Beg pardon, madam, but should I set a place for Mr. Robert tonight?

AUNT K:

Certainly. Mr. Robert will be here.

HENRY:

Very good, madam.

SFX:

DOOR SHUTS

SELMA:

(SADLY) You know he won't be here, Aunt Katherine.

AUNT K:

I know nothing of the sort. Now go upstairs and make yourself presentable.

SELMA:

When Nora comes, I'm going to tell her.

AUNT K:

You will not tell her! I will not have that husband of hers snooping into our family affairs.

SELMA:

I don't care! He can help us! I'm going to tell him the whole story!

MFX:

TURBULENT BRIDGE

BIZ:

HUGE FAMILY DINNER ... IN PROGRESS ... MUCH MURMURING OF UPTIGHT RICH PEOPLE ... CONTINUES IN BG

NORA:

(WHISPERS) Nick? Nick?

NICK:

(BORED, DRUNK OR BOTH) Hm?

NORA:

Aunt Katherine wants to speak to you.

NICK:

What did I do now? Use the wrong fork?

NORA:

Nick, listen. Do you know why Robert wasn't here tonight?

NICK:

Sure. Because he's smart.

NORA:

I'm not fooling. He's disappeared.

NICK:

That's swell. Now, if we could only get rid of Aunt Katherine, we'd be all set!

NORA:

Come on. She's in the library with Selma.

SFX:

LIBRARY DOOR OPENS AND SHUTS ... MURMURING OUT

NORA:

Here he is, Aunt Katherine.

AUNT K:

Oh, Nicholas, I'm sorry to take you away from the family.

NICK:

Oh, that's fine! I mean, it's, uh, quite all right. Well, what's this all about, Selma? How long's Robert been gone?

SELMA:

Three days. Three days without a word.

NICK:

Hmm. Have you notified the police?

AUNT K:

Certainly not. And we're not going to.

SELMA:

(SARCASTIC) Oh, no! Robert may be kidnapped. He may be lying dead somewhere. But we mustn't do anything about it. Our precious name might get in the papers!

AUNT K:

Oh, don't pay any attention to her. She's exaggerating the whole affair. However, to please her, I thought you might investigate the matter quietly. With your experience as a - a - er--

NORA:

As a flatfoot?

AUNT K:

Well, I didn't mean to be blunt as that.

NICK:

Why not? It's all in the family.

NORA:

Selma, have you any idea where Robert might be?

SELMA:

No. But there's a woman mixed up in it, I know it.

AUNT K:

Selma, you know nothing of the sort!

SELMA:

What about the vanity case they sent me from that Chinese restaurant?

AUNT K:

That was a stupid mistake on their part.

SELMA:

Mistake? Some woman left it. He was there with some woman.

AUNT K:

Selma, you know that Robert worships you.

SELMA:

How can you say that?! You know he hates me! He only married me for my money! He never did love me. Sometimes I wish he were dead!

NICK:

Well, I - I'm a little confused. Tell me, Selma, do you want him back or don't you?

SELMA:

(SOBS, CONTINUES IN BG)

AUNT K:

Of course she wants him back!

NORA:

(COMFORTING) Don't, Selma, please.

BIZ:

AUNT K AND SELMA MOVE OFF DURING FOLLOWING

AUNT K:

Come, Selma, I'll take you up to your room. Dr. Kammer will be here any moment. He'll give you something for your nerves. Excuse me, Nora, Nicholas.

SFX:

DOOR OPENS AND SHUTS ... AS AUNT K AND SELMA EXIT

NORA:

Well, Nick? What do you think about it?

NICK:

I'm not thinking at all. What are you getting me into? There're lots of detectives in this town, men who need the job.

NORA:

But no one as good as you, Nicky.

NICK:

Yeah, that won't get you a thing. I've retired.

NORA:

But this is different. This is for Selma. You will help find Robert, won't you?

NICK:

Why? I didn't lose him.

NORA:

It's your chance, Nick. It'll get you in right with the family.

NICK:

That's just what I'm afraid of.

NORA:

Nicky!

NICK:

Get your hat, darling. We're going to get out of here while we still got the chance.

SFX:

TRANSITIONAL PAUSE ... THEN FADE UP TRAFFIC NOISE OUTSIDE OF HOUSE ... FRONT DOOR OPENS AND SHUTS

NICK:

Well, where's it gonna be? Still New Year's Eve. We ought to go someplace.

NORA:

All right. Let's go look for Robert.

NICK:

Now, listen, my sweet--

DAVID:

Hello, Nick. Hello, Nora.

NICK:

Oh, hiya, David.

NORA:

David, how nice to see you. What are you standing out here for?

DAVID:

Oh, they don't let me in the house any more. Selma said she'd try and meet me later.

NORA:

I'm afraid she won't be able to make it. Did you know that Robert had disappeared?

DAVID:

If he has, it's the only decent thing he's ever done.

NICK:

What's he been up to lately, David?

DAVID:

The last thing he pulled on me was a couple of days ago. Called up and said that if I'd give him twenty-five thousand dollars, he'd go away and leave Selma to me.

NICK:

Lovely boy.

NORA:

What did you say?

DAVID:

I asked him to give me a couple of days to think it over. You know, twenty-five thousand would be cheap if he'd really go.

NICK:

Why don't you take up a collection? There are a lot of people who'd like to contribute.

DAVID:

Tell me, did you see Selma? How is she?

NORA:

I'm terribly worried about her.

DAVID:

I know. I am, too.

NICK:

Come on, David. We're going to go someplace and get the taste of respectability out of our mouths.

DAVID:

Thanks, but I couldn't.

NORA:

Oh, David, why not?

DAVID:

I've got too much on my mind. Well, I'm glad you're back, anyway. (MOVING OFF) Happy New Year to you.

NICK:

Happy New Year.

NORA:

Happy New Year. (PAUSE) Selma was a fool not to have married him instead of Robert.

NICK:

They can't all be as lucky as you, darling. Well, where are we going?

NORA:

How do you feel about some Chinese food?

NICK:

Awful.

NORA:

Oh, I'm so sorry. Because we're going to that Chinese restaurant that sent the compact to Selma. The Li Chee. Please, darling.

NICK:

Now, see here, I'm not looking for Robert.

NORA:

Of course you're not. I am!

SFX:

TRAFFIC NOISE ... UP FOR PUNCTUATION ... THEN FADES OUT ... TRANSITIONAL PAUSE ... FADE IN NEW YEAR'S CROWD, PARTYING AT THE LI CHEE ... CONTINUES IN BG

MFX:

PARTY TUNE, IN BG

WAITER:

Hey, boss?

DANCER:

Yeah?

WAITER:

Fella here wants a table.

DANCER:

Well, tell him we're all filled up.

WAITER:

I did. He says to tell ya his name is Nick Charles.

DANCER:

Nick Charles? Where is he?

WAITER:

Over by the door.

SFX:

LI CHEE CROWD ... UP, FOR A BRIEF TRANSITION ... THEN IN BG

NICK:

(NO LONGER BORED) Ahhhh! Now, this is more like it!

NORA:

You must feel right at home in a place like this. Too bad we didn't bring Aunt Katherine.

DANCER:

Hello, Nick. How are ya?

NICK:

Hello, Dancer. Tell me ya haven't any tables.

DANCER:

Oh, I guess I can find one, seein' as it's you. You just slumming?

NICK:

That's all, Dancer. Why?

DANCER:

Just wanted to make sure. I don't like business calls on New Year's. Oh, say, I want you to meet my partner. (CALLS) Hey, Lum Kee? Come here.

LUM KEE:

Yes?

DANCER:

Want you to meet a friend of mine, Lum Kee. This is Nick Charles.

NICK:

And Mrs. Charles.

LUM KEE:

Oooh, I'm your friend, you bet you.

DANCER:

You sent his brother up, Nick. Lum Ying. Remember?

NICK:

Oh, yes, yes. He's the one who spread a tong war out to include sticking up a bank.

LUM KEE:

(LAUGHS) You bet you. You catch-a my brother. You play trick on him!

NICK:

No play trick on him, no catch him -- you bet you. Is he still in jail?

LUM KEE:

Oh, you bet you. Four, five years more. Goodbye. Have nice time, please.

NORA:

Is he a tong man, too, Mr. Dancer?

DANCER:

No. But you never can tell how close brothers are. I thought you might like to know, Nick.

NICK:

Thanks.

DANCER:

He's a good guy to have liking you. Oh, there's a table over there by the wall.

NICK:

This way, Mrs. Charles.

NORA:

Nicky! There's Robert!

NICK:

I know. I saw him before.

NORA:

Why didn't you tell me? (CALLS) Robert? Robert?

ROBERT:

(DRUNK, APATHETIC) Oh. Hello.

NICK:

Good evening, Robert. Happy New Year.

ROBERT:

Is it?

NORA:

Robert, what are you doing in a place like this? We just saw Selma, Robert.

ROBERT:

Yeah?

NORA:

She's terribly worried about you. Don't you think you'd better go home?

ROBERT:

Sure, I'll go home. (MOVING OFF) When I feel like it and not before.

NORA:

Robert!

NICK:

Oh, let him go.

DANCER:

(APPROACHES) I've got your table, Nick. Oh, is that fella a friend of yours?

NICK:

On the contrary, he's a relation.

DANCER:

He's been hangin' around here, drunk, for three days. He's got a case on our prima donna.

NORA:

I wish you'd toss him out. His wife is going crazy.

DANCER:

Aw! That's too bad. (MOVING OFF) I'll speak to his girlfriend.

NORA:

Well, I've done my duty.

SFX:

LI CHEE CROWD ... UP, FOR A BRIEF TRANSITION ... THEN IN BG

DANCER:

Hey, Polly? Polly? Come here.

POLLY:

What's up, Dancer?

DANCER:

Now, listen. That boyfriend of yours is pretty drunk.

POLLY:

So what? I thought that was the idea. Keep him happy.

DANCER:

Sure. But a couple of his relations just blew in.

POLLY:

Relations? What'll we do?

DANCER:

Well, give the customers one more song and then knock off for the night. And take him out of here!

POLLY:

(WITH DISTASTE) Okay. But I'm getting sick of that guy.

DANCER:

Aw, it'll just be till tomorrow, honey, and then we can turn him loose.

POLLY:

Tomorrow's a holiday. The banks'll be closed.

DANCER:

Ahhh, that's right. Well, then, the next day. Aw, what's the difference? Ain't it worth it?

POLLY:

I guess so.

DANCER:

That's the girl. Now, make it snappy, Polly. (MOVING OFF) I'll keep an eye on him.

WAITER:

Hey, Polly?

POLLY:

Yeah? What?

WAITER:

I got a message for you.

POLLY:

What is it?

WAITER:

Your brother's lookin' for you.

POLLY:

My brother? Where is he?

WAITER:

In your dressing room. He wants to see you right away.

SFX:

DRESSING ROOM DOOR SHUTS ... CROWD NOISE OUT

PHIL:

Hello, Polly. (NO RESPONSE) What's the matter? You don't look so happy to see me.

POLLY:

Please, Phil, don't try to start anything. I'm in a hurry.

PHIL:

You've been in a hurry ever since I got back.

POLLY:

Can I help it if I gotta work?

PHIL:

That's not what I'm kickin' about. What's goin' on with this drunk, Robert Landis?

POLLY:

Nothing.

PHIL:

Oh, no? Then what's this check doing on your dressing table?

POLLY:

Give me that!

PHIL:

A check made out to you, signed by Robert Landis.

POLLY:

Get out of here. What are you--?

PHIL:

Shut up, or I'll smack you right in the teeth. I'm in on this, you know.

POLLY:

Phil, please--

PHIL:

If you don't cut me in, the party's off.

POLLY:

I can't cut you in.

PHIL:

The check's yours, ain't it?

POLLY:

Yes, but--

PHIL:

But what? (NO ANSWER, SAVAGE) But what?!

POLLY:

(IN PAIN) Let me go! Let me go!

PHIL:

(VICIOUS) Sure! But this is just to remind you that I'm in on the deal!

SFX:

SMACK! PHIL HITS POLLY HARD IN THE FACE

POLLY:

(PAUSE) You big lug. Look what you've done to my face! How am I gonna explain that?

PHIL:

There's a lot of things you'll have to explain before I'm through. You and Dancer are takin' this Landis guy for plenty of dough, aren't ya?

POLLY:

What about it?

PHIL:

How much? (NO ANSWER) Come on, how much?!

POLLY:

Twenty-five thousand.

PHIL:

Did you get it yet?

POLLY:

No.

PHIL:

Go ahead. Spill it.

POLLY:

Some friend of his wife's is putting it up to get him to leave her alone.

PHIL:

So you're gonna keep him drunk and then collect it for him. When?

POLLY:

I don't know.

PHIL:

(THREATENING) When, I said?!

POLLY:

Tomorrow night.

PHIL:

Okay. I'll be around the next morning. Early.

SFX:

DRESSING ROOM DOOR OPENS ... CROWD NOISE IN

DANCER:

What are you doin' here?

PHIL:

Hiya, Dancer. Just leavin'. So long, Polly.

SFX:

DRESSING ROOM DOOR SHUTS ... CROWD NOISE OUT

DANCER:

What did that heel want?

POLLY:

Nothing. It's okay, Dancer.

DANCER:

Now, listen, there's a switch in the plans. I just heard that that dough is bein' handed over tonight.

POLLY:

Tonight?

DANCER:

That David guy is meetin' Landis in front of his house. Now, you'd better be with Landis, see?

POLLY:

I'll be there.

DANCER:

I told Nick that you were takin' Landis home. Now, make sure they see ya as you go out.

POLLY:

Sure.

DANCER:

And when the dough's delivered-- You know what to do. I'll be across the street just in case something goes wrong. Now, get goin'. And no slip-ups!

MFX:

BRIEF BRIDGE BUILDS, THEN ABRUPTLY OUT FOR--

SFX:

CROWD LOUDLY YELLS "H-A-P-P-Y N-E-W Y-E-A-R!" ... THEN CHEERS ... THEN BUZZES EXCITEDLY WHILE ALSO SINGING ALONG WITH--

MFX:

"AULD LANG SYNE" ... CONTINUES IN BG

NICK:

(APPROACHES) Nora! Hey, Nora?! Happy New Year!

NORA:

Happy New Year, Nicky!

NICK:

Where've you been?

NORA:

Trying to find a phone. I wanted to call Selma and see if Robert got home.

NICK:

Oh. Well, come on, there must be a phone in Dancer's office. He won't mind.

MFX:

FADES OUT WITH--

SFX:

CROWD FADES OUT ... TRANSITIONAL PAUSE ... DIAL OF ROTARY PHONE ... OFFICE DOOR OPENS

NICK:

Hello, Dancer. Come in.

SFX:

OFFICE DOOR SHUTS

DANCER:

(UNHAPPY) What are you doin' in this office?

NICK:

Just calling a number. Any objections?

DANCER:

(DISGUSTED) Ah, once a gumheel, always a gumheel. I don't like gumheels! And I thought you'd quit it when you married a pot of money.

NORA:

Did he call me a "pot"? ...

NICK:

Hey, I don't like to be critical, Dancer, [but it] sure doesn't look quite right when you, and your partner, and your prima donna, and your best customer all go out at the same time. It gives the place a sort of a vacant look.

DANCER:

Have you ever been thrown out of a place, Mr. Charles?

NICK:

How many places was it, up to yesterday, Mrs. Charles?

NORA:

How many places have you been in, Mr. Charles?

NICK:

(INTO PHONE) Hello? Aunt Katherine? This is Nick-- Er, Nicholas. (BEAT) What?! (BEAT, SUDDENLY SERIOUS) When? (BEAT) I see. (BEAT) Yes, I will. Bye.

SFX:

RECEIVER DOWN

DANCER:

If you're through in here, you can beat it.

NORA:

What's the matter, Nick? Bad news?

SFX:

OFFICE DOOR OPENS

POLLY:

Dancer! You'd better--!

NICK:

Ah! Polly. Come in. Another of our travelers has returned. Now, if only Lum Kee would-- (CHUCKLES) No sooner said than done.

LUM KEE:

(APPROACHES) Oh, someone call me?

NICK:

Quite a gathering of the clan, isn't it? I wonder which one of you would be most surprised if Robert Landis walked in now. But you know there's no chance of that, don't you? All of you?

DANCER:

I don't know what you're talking about. Now get out of here.

NORA:

What is it, Nick? What's happened?

NICK:

Robert's been killed.

NORA:

Killed?

NICK:

He was killed on the front steps of your aunt's house. Police are questioning Selma.

DANCER:

What's that got to do with us? Go on! Get out!

SFX:

RECEIVER UP ... DIAL OF ROTARY PHONE

NICK:

You said that before, Dancer, and it's foolish. I'm not gonna get out. On the contrary. We're gonna have a lot more people in.

DANCER:

Listen, you--!

NICK:

(INTO PHONE) Hello? Nick Charles speaking. I want to get hold of Lieutenant Abrams of the Homicide Squad.

DANCER:

Why are you callin' him? It's a cinch none of us shot Landis.

NICK:

That so? Well, then maybe you'd like to explain how you knew he was shot.

MFX:

TO A FINISH

SFX:

APPLAUSE

ANNOUNCER:

The curtain falls on Act One of "After the Thin Man," with Myrna Loy and William Powell. During this short intermission before Mr. DeMille presents Act Two, we introduce a very charming guest. Strike up the band, Lou.

MFX:

BRIEF, BRISK VERSION OF "DIXIE" ... THEN OUT

ANNOUNCER:

That music, ladies and gentlemen, welcomes a real Southern belle, Miss Mary Nell Porter from Memphis, Tennessee. In private life, she's a debutante. But, this spring, she's touring the country in a very important role -- as "Maid of Cotton" -- representing our huge cotton industry. We're certainly delighted to welcome you to the Lux Radio Theatre, Miss Porter.

MISS PORTER:

(SOUTHERN ACCENT) Thank you very much, Mr. Ruick. I'm so glad to be heah.

ANNOUNCER:

I hear that you've been doing quite a little flying the last three months.

MISS PORTER:

I certainly have. Over twelve thousand miles.

ANNOUNCER:

And, on top of that, I understand that you've had a staggering schedule of fashion shows and radio speeches and personal appearances in thirty different cities.

MISS PORTER:

It has been a very int'restin' experience, and I've enjoyed meetin' so many nice people all over the country. We've had such large crowds at all our cotton fashion shows.

ANNOUNCER:

Well, I'm sure the women want to hear about that.

MISS PORTER:

And I'd love to talk about it. You know, cotton is terr'bly smart this yeah -- for playsuits and street dresses and evenin' frocks.

ANNOUNCER:

Now, here, just a minute, please. How 'bout giving us some details?

MISS PORTER:

Well, there's a very goo'-lookin' red and white striped daytime dress, with big sleeves, and has a very full skirt with the cutest Dutch-boy pockets. Ah wear it with blue shoes.

ANNOUNCER:

That sounds very patriotic.

MISS PORTER:

It surely is. Red, white and blue is awf'lly fashionable this yeah. A lot of the dresses in our show are patriotic.

ANNOUNCER:

I see where the stripes fit in, then.

MISS PORTER:

Well, they're smart, too. An' so are flannel prints. My bathing suit has tropical flowers scattered all over it.

ANNOUNCER:

Oh, so cotton goes swimming?

MISS PORTER:

I should say it does. And dancing, too. You should see one evening dress in our fashion show. It's a brilliant red muslin with large white Hawaiian flowers all over it.

ANNOUNCER:

Straight from the South Seas?

MISS PORTER:

Well, straight from a storybook. (CHUCKLES) It has the sweetest puff sleeves and a long basque bodice.

ANNOUNCER:

Well, tell me, is cotton all glamor?

MISS PORTER:

Goodness, no. It's simply wonderful for weahin' in town, too. Things like gingham or pique or seersucker make beautifully-tailored suits. They're cool as can be, and awf'lly easy to take care of.

ANNOUNCER:

Miss Porter, don't you find it hard to keep all these lovely cottons fresh on your trip?

MISS PORTER:

Not at all. You see, the whole wardrobe is "Luxable." Even some of my shoes and bags.

ANNOUNCER:

That makes things easy, doesn't it?

MISS PORTER:

I should say so. Why, new quick Lux Flakes are simply wonderful. They take such beautiful care of all the lovely new cottons. You know, everything safe in water is safe in Lux.

ANNOUNCER:

Ladies, please note. This year, smart cottons are really fine fabrics, and they must be treated gently, just like washable silks, rayons and woolens. New quick Lux is so mild, it keeps them new-looking longer.

MISS PORTER:

That's why we use it for everything in our cotton show.

ANNOUNCER:

Well, we've certainly enjoyed having you with us tonight, Miss Porter.

MISS PORTER:

Thank you so much. I'm mighty glad to have met you all.

ANNOUNCER:

Well, good night, and good luck on your trip home.

MISS PORTER:

Thank you. Good night.

MFX:

BRIEF, BRISK VERSION OF "DIXIE" ... THEN OUT

ANNOUNCER:

Now, our producer, Mr. DeMille.

DEMILLE:

Act Two of "After the Thin Man," starring William Powell as Nick Charles and Myrna Loy as Nora.

MFX:

FOR AN INTRODUCTION ... THEN IN BG, OUT AT [X]

DEMILLE:

It's two hours later. With mystery shrouding the death of Robert Landis, the police have been questioning Selma, who discovered the body. Now the grilling is over and her nerves are worn to the breaking point. [X]

SELMA:

(PANICS) They're going to arrest me! They're going to arrest me, Nora!

NORA:

No, no. Of course they're not.

SELMA:

They all believe I did it! Aunt Katherine, everyone!

NORA:

They don't, Selma; they don't think that at all.

SELMA:

I know! I heard them!

NORA:

Now, darling--

SELMA:

But I didn't kill him, Nora! I didn't! I'm sure I didn't! I couldn't have.

NORA:

What? What do you mean?

SELMA:

(EXHALES, CALMER) Nora, you'll help me, won't you?

NORA:

Tell me what happened. Everything.

SELMA:

He came to the house at midnight to get his things. He said he was leaving me. I tried to stop him. He pushed me away and went down the stairs. I followed him to the front door. While he was letting himself out, I went to the library table. There was a gun there.

NORA:

A gun, Selma?

SELMA:

I didn't mean to use it. I only wanted to frighten him. To make him come back and listen to me!

NORA:

All right. Go on.

SELMA:

I went to the door. He was standing on the steps looking up and down the street. And then-- And then there was a shot. And he fell!

NORA:

Where did the shot come from?

SELMA:

I don't know! I don't know!

NORA:

All right, darling. Never mind. You've been through enough. You'd better lie down now and rest.

SELMA:

I can't. I can't rest. I've got to think. I-- Nora?

NORA:

Yes?

SELMA:

David!

NORA:

What about David?

SELMA:

He thinks I'm guilty, too. He thinks I killed Robert!

NORA:

Selma, how could--?

SELMA:

He must think so or he wouldn't have taken--

NORA:

(BEAT) He wouldn't have taken what?

SELMA:

Nothing. But he mustn't think that. I couldn't bear it. You must tell him. Tell him I didn't do it.

NORA:

Couldn't you telephone?

SELMA:

No, no, somebody might be listening. You go to him. Tell him. Hurry!

MFX:

BRIDGE

SFX:

KNOCK ON DOOR

DAVID:

Who is it?

NORA:

(BEHIND DOOR) It's me, Nora!

SFX:

DOOR OPENS

DAVID:

Hello, Nora! This is a surprise. Come in.

SFX:

DOOR SHUTS

NORA:

I got over as soon as I could, David. Selma said--

DAVID:

What's the matter? Is there anything wrong?

NORA:

Well, you mean you don't know?

DAVID:

Know what? What's happened?

NORA:

Robert's been killed.

DAVID:

Killed? But that's impossible.

NORA:

What do you mean?

DAVID:

I saw him only a little while ago.

NORA:

How long ago?

DAVID:

About ten o'clock. I met him in front of the house and gave him twenty-five thousand dollars in bonds.

NORA:

Wait a minute. This is too much for me. Where did he go then?

DAVID:

He went inside the house to get his things.

NORA:

Oh. Then, it was when he came out again that he was shot.

DAVID:

I've got to see Selma. Will you come with me?

NORA:

Come on.

SFX:

DOOR OPENS

MALLOY:

(OFF) Oh, no, you don't! Stay right where you are, the both of ya.

DAVID:

What is this? Who are you?

MALLOY:

Detective Malloy, homicide squad. We've had our eye on you, buddy. Tryin' to make a getaway, huh?

DAVID:

Are you crazy? Listen, someone's been kidding you, officer.

MALLOY:

Sure. Maybe you were kidding, too, when you were seen throwing that gun into the river.

NORA:

David!

DAVID:

(TO NORA) It's all right. There's been a mistake. Tell Selma, will you?

NORA:

All right.

MALLOY:

Come here, sister. You're not telling anybody anything. You're going along with us.

NORA:

Where?

MALLOY:

Down to headquarters.

NORA:

Oh. (CHUCKLES) Oh, you don't understand. I'm Mrs. Nick Charles!

MALLOY:

Oh, yeah? And I'm Mother Goose! Come on, step on it.

MFX:

BRIDGE ... THEN WHIMSICAL, IN BG

ABRAMS:

(FILTER, ON PHONE) Hello, Nick?

NICK:

Yeah?

ABRAMS:

(FILTER) This is Abrams, down at headquarters.

NICK:

Oh. How are you?

ABRAMS:

(FILTER) Say, Nick we picked up a woman a few minutes ago in David Graham's apartment. She claims she's your wife.

NICK:

My wife?

ABRAMS:

(FILTER) Yeah. Says her name's Nora. What about it, Nick?

NICK:

(CAN'T PLACE THE NAME) Nora? Nora? Oh, sounds like a phony to me. You'd better put her in the jug till I get down there.

ABRAMS:

(FILTER) You are the doctor, Nick. In the jug she goes.

MFX:

AN ACCENT ... THEN OUT

SFX:

FOOTSTEPS ... OUT AT [Y]

MATRON:

Right down here, Mr. Charles.

NICK:

Thank you, matron.

NORA:

(OFF) Nick! Nick! Here I am, over here!

NICK:

(AMUSED) Well. Hello. (CHUCKLES) [Y] Fine way to start the new year -- getting thrown in the can.

NORA:

Nicky, get me out of here.

NICK:

How long has this thing with David been going on?

NORA:

Oh, Nick, stop that and get me out of here. I've got something to tell you.

NICK:

About the case?

NORA:

Yes.

NICK:

Ho ho, no. I'll get you out on one condition. No more cases, no more detecting. Promise?

NORA:

But this is important.

MATRON:

You want me to let her out, Mr. Charles?

NICK:

Definitely not.

NORA:

Nicky! Please.

NICK:

Well? Promise?

NORA:

I promise.

NICK:

All right, let her out, matron.

SFX:

CELL DOOR UNLOCKED AND OPENED BEHIND--

NORA:

Nick, have you been working on the case?

NICK:

I've been giving it my undivided attention.

NORA:

What have you found out?

NICK:

Nothing.

NORA:

(DISAPPOINTED) Oh, Nick.

NICK:

The only new development is that Polly has a brother -- where, we don't know.

NORA:

What about her and Dancer and Lum Kee?

NICK:

All in the neighborhood at the time of the shooting. We've established that but we can't prove a thing.

NORA:

But, Nick, somebody killed him.

NICK:

Yes, I think that's been proved.

MALLOY:

(APPROACHES) Mrs. Charles?

NORA:

Yes?

MALLOY:

Lieutenant Abrams wants you for questioning.

NORA:

Questioning? Nicky! They don't think I'm mixed up in this?

NICK:

Don't worry, darling. If they find you guilty, I'll write you every day.

MALLOY:

This way, please.

NORA:

Nicky!

SFX:

TRANSITIONAL PAUSE

ABRAMS:

Now, tell me, Mr. Graham, were you and Robert Landis on good terms?

DAVID:

Decidedly not.

ABRAMS:

On bad terms, Mr. Graham?

DAVID:

Very bad.

ABRAMS:

You and Mrs. Landis were once engaged, weren't you, until Landis came along?

DAVID:

Yes.

ABRAMS:

Ever ask her to divorce him and marry you?

DAVID:

I may have. But she never said she would.

ABRAMS:

But you hoped she would. And you thought that with him out of the way she might.

DAVID:

I didn't kill Robert.

ABRAMS:

No, of course not. But you did pay him to go away.

DAVID:

Yes.

SFX:

DOOR OPENS

NICK:

Lieutenant Abrams, my wife.

ABRAMS:

Oh, come on in. I got to ask her some questions, Mr. Charles. I'm sorry.

NICK:

It's quite all right. Go ahead.

ABRAMS:

Now, Mrs. Charles, why did you go to Mr. Graham's apartment?

NORA:

Well-- Why-- I--

NICK:

Maybe I'd better leave.

NORA:

No! ... Selma had a silly idea that David thought she killed Robert. She wanted me to tell him that she didn't.

DAVID:

Why, I can't imagine how she could think a thing like that. It's ridiculous, I haven't seen her for a couple of days.

SFX:

DOOR OPENS

MALLOY:

Here's Mrs. Landis, boss.

ABRAMS:

Oh. Will you come in, Mrs. Landis?

SELMA:

David! Oh, I didn't want you dragged into this.

DAVID:

Now, now, it's all right, dear.

ABRAMS:

Mrs. Landis, why did Mr. Graham think you killed your husband?

DAVID:

I never said that! I never thought it for one minute!

SELMA:

Don't, David. (TO ABRAMS) He had every right to think I did it. He's just trying to protect me. He heard a shot, he rushed up to me, and saw me standing near Robert with a gun in my hand. But I didn't fire the shot! It came from the street!

DAVID:

(STUNNED) You mean -- you didn't kill him?

SELMA:

No. Look at the gun, David. It hasn't been fired.

DAVID:

(DEVASTATED) Oh, Selma, forgive me.

SELMA:

Oh, of course I forgive you.

NICK:

Well, that's all cleared up. Come on, Nora.

ABRAMS:

It isn't cleared up as far as I'm concerned! I've got to have something more than that! Where's that gun, Mrs. Landis?! I've gotta see that gun!

SELMA:

Well, I haven't got it.

NICK:

What?

SELMA:

Well, David took it from me. David, where's the gun? (NO ANSWER) What is it, David?

DAVID:

(DEEPLY APOLOGETIC) Selma, I thought you were guilty. I thought I was doing the only thing. I - I threw it away.

SELMA:

You threw it away?!

DAVID:

I threw it into the river.

NICK:

(IRONIC) Oh, that's marvelous.

DAVID:

But they can get it! I'll show them where I threw it! I'll get divers to go down after it! They'll find it! They must!

ABRAMS:

(SKEPTICAL) Phooey! She don't want that gun back any more than you do. (CALLS) Hey, Mac! Swear out a warrant for the arrest of Mrs. Robert Landis on suspicion of murder!

MFX:

BRIDGE

NORA:

(WIDE AWAKE) Nicky? (NO ANSWER) Nicky?!

NICK:

(HALF ASLEEP) Mm?

NORA:

Are you awake?

NICK:

Hm? No. No, I'm not.

NORA:

Oh, I thought you were.

NICK:

(SIGHS)

NORA:

Did you say something about scrambled eggs?

NICK:

Hm? No. No, I didn't. (BEAT) Oh. I suppose that means you'd like me to get up and fix some for you.

NORA:

Oh, no. I don't care about them.

NICK:

(YAWNS) Sure?

NORA:

Really.

NICK:

Good. Good night.

NORA:

Good night. (BEAT) After all, if I want scrambled eggs I can get them for myself. Of course, I'm not as good a cook as you are, but-- Oh, well, don't bother about me. You go on sleeping. I love to watch you sleep. You look so cute.

NICK:

(HALF SNORES)

NORA:

Nicky, have you any pictures of yourself taken as a baby?

NICK:

Hm? No.

NORA:

Oh, that's a shame. I wanted to see what you looked like.

NICK:

I'll have one taken in the morning.

NORA:

Poor Selma, poor David. Nicky, can you reach the water?

NICK:

Huh? Oh. Yes, I suppose so. Here.

NORA:

Oh, I didn't want it. I just wanted to be sure you could reach it.

NICK:

(LAUGHS) Nora? Please go to sleep.

NORA:

I can't. I keep thinking of Selma down in that jail.

NICK:

Darling, there's nothing to worry about. Tomorrow they'll find the gun. And it won't have been fired. Selma will be free.

NORA:

Then you don't think she did it?

NICK:

For the tenth time, no.

NORA:

You're not saying that just to make me happy?

NICK:

Mm.

NORA:

You really mean it?

NICK:

Yeah, I mean it.

NORA:

Of course you're right. She didn't do it. She couldn't have done it. I don't think I'd kill you if you ran off with another woman. ...

NICK:

Hm. Thank you, darling. [Well, that's something to look forward to.]

NORA:

I might, though.

NICK:

Nora, don't be morbid. Go to sleep.

SFX:

CRASH! OF ROCK THROWN THROUGH WINDOWPANE

NICK:

(WIDE AWAKE) What in the name of--?

NORA:

Nick, the window!

NICK:

Keep your head down.

NORA:

Nick, somebody smashed the window!

NICK:

(IRONIC) No, really?

NORA:

Look! There's a rock. With a note attached to it. Nicky, a note!

NICK:

Let's see.

SFX:

UNTIES AND OPENS NOTE

NORA:

What is it, Nick? What does it say?

NICK:

Silly little woman. I told her to stop writing to me.

NORA:

Oh, darling. Please. Read it!

NICK:

(READS) "Mr. Nick Charles. If you want to know something about the murder of Robert Landis, get a line on Phil Byrnes, the guy Polly says is her brother. He's an ex-con and was married to Polly in Topeka, Kansas three years ago."

NORA:

Married three years ago!

NICK:

Well, what are we supposed to do, send them an anniversary present? ... (AMUSED) Look at the way this fella spells Topeka. T-O-P-E-K-E-R. (CHUCKLES)

NORA:

What's the matter with that? ...

NICK:

(BEAT) Nothing, darling. Good night.

NORA:

Oh, Nick, you can't go back to sleep now! Phone Abrams.

NICK:

What? And have him here, keeping us up all night?

NORA:

Don't you see? If Phil is her husband, then he shot Robert because he found out about him and Polly. Oh, Nicky, you've got to call him.

NICK:

(SIGHS, RELENTS) Just as you say. Will ya hand me the phone?

NORA:

(DELIGHTED, MOVING OFF AND ON TO FETCH PHONE FOR NICK) Oh, isn't it wonderful? Everything's working out beautifully! All we have to do is find this fellow Phil Byrnes and we've got the murderer! Here, darling, call him and--

SFX:

PHONE RINGS

NORA:

Oh, now who can that be?

SFX:

RECEIVER UP

NICK:

Hello?

ABRAMS:

(FILTER) Hello, Nick? This is Abrams.

NICK:

Oh, I was just going to call you.

ABRAMS:

(FILTER) Yeah? Well, maybe you better get down here. You know that guy Phil Byrnes, Polly's brother?

NICK:

Yeah, what about him?

ABRAMS:

(FILTER) We traced him to his hotel.

NICK:

Find him?

ABRAMS:

(FILTER) Yeah, but somebody else found him first. He's been murdered!

MFX:

BRIDGE

ABRAMS:

Well, there he is. That's the way we found him, Nick. Dead for two hours, at least. Strangled.

NICK:

Yeah. Looks like he was beaten up a bit before the strangling set in. Any fingerprints?

ABRAMS:

All over the place. We're checkin' on 'em now.

NICK:

Mm, what else did ya find?

ABRAMS:

Nothin' much. He had a thirty-eight in his drawers, six bullets in it, and a little dough. Oh, yeah -- and this key. I guess it's the key to Polly's apartment. It's got her number stamped on it.

NICK:

Another good guess would be that Selma Landis didn't do this.

ABRAMS:

Fair enough. But he wasn't killed the way Landis was, either.

NICK:

Might be a good idea to check the chambers on that thirty-eight. He might have fired it and slipped in a new shell.

ABRAMS:

Okay. Anything else on your mind?

NICK:

Er, yes. That key to Polly's apartment. Could I borrow that for an hour?

ABRAMS:

Sure. Here.

NICK:

Maybe you'd better give me a skeleton key, too, just for good measure.

ABRAMS:

Okay. What are you lookin' for?

NICK:

I haven't the faintest idea. Just a hunch. Call you later.

ABRAMS:

Okay.

SFX:

DOOR OPENS AND CLOSES

NORA:

Nick, what did you find in there?

NICK:

Dead man.

NORA:

Is that all?

NICK:

Isn't that enough?

NORA:

Where are we going now?

NICK:

Well, I don't know about you. I'm going to visit Polly Byrnes.

NORA:

At this time of night? Without a chaperone?

NICK:

Nora, this is purely business.

NORA:

For me, too. Come on, darling.

MFX:

BRIDGE

SFX:

TWO LONG BUZZES ON APARTMENT DOOR BUZZER

NORA:

She's not home. Miss Byrnes keeps late hours, doesn't she?

NICK:

Mm.

SFX:

APARTMENT DOOR UNLOCKED BEHIND--

NORA:

Nick, where'd you get that key?

NICK:

Ssh. From Abrams. It was in Phil Byrnes' pocket.

NORA:

Oh. It's good you had an answer for that.

SFX:

APARTMENT DOOR OPENS

NICK:

Go on in. Be quiet.

SFX:

APARTMENT DOOR SHUTS

NORA:

Here's a light switch.

NICK:

Will ya turn it on?

SFX:

CLICK! OF LIGHT SWITCH

NORA:

What do you expect to find in here?

NICK:

I don't know.

NORA:

Well, how do I know what to look for?

NICK:

Don't look for anything. Go over there and sit down.

NORA:

Suppose she comes in? What do we do?

NICK:

Tell her it's a surprise party.

SFX:

DRAWERS OPENED, RUMMAGED THROUGH, IN BG

NORA:

Anything in the drawer?

NICK:

Hey, give me a chance.

NORA:

(PAUSE) Nick, why do you suppose people want a hole in the ceiling?

NICK:

They don't.

NORA:

Some people do. Look up there.

SFX:

STOPS RUMMAGING

NICK:

Where?

NORA:

Up there. See? In the corner. A little hole in the plaster. What could that mean?

NICK:

Well, it might mean that the ceiling's falling down. Or it might--

NORA:

(BEAT) What?

NICK:

What's the number of this apartment?

NORA:

Uh, Three-D.

NICK:

I wonder who lives in Apartment Four-D. Let's go upstairs and find out.

SFX:

TRANSITIONAL PAUSE ... NICK AND NORA'S FOOTSTEPS, IN UPSTAIRS HALLWAY ... OUT BEHIND--

NORA:

Here it is. Four-D. This is right over Polly Byrnes' apartment.

NICK:

What's the name on the bell?

NORA:

Uh, Anderson.

SFX:

APARTMENT DOOR UNLOCKED BEHIND--

NORA:

Say, where did you dig up all these keys?

NICK:

Ssh! We're going to visit Mr. Anderson.

NORA:

Or Miss Anderson. It doesn't say which.

SFX:

APARTMENT DOOR OPENS

NORA:

Anybody home?

NICK:

Put on the light.

SFX:

CLICK! OF LIGHT SWITCH

NICK:

Let's see. That hole in the ceiling downstairs was right under this corner. If I'm right, these floorboards ought to be loose.

SFX:

WOODEN FLOORBOARDS PRIED LOOSE

NICK:

Uh oh.

NORA:

I get it. Somebody took this apartment so they could see what went on downstairs.

NICK:

Exactly.

NORA:

Look through the hole, Nicky. What do you see? (NO ANSWER) Well?

NICK:

That's funny.

NORA:

What is it?

NICK:

Can't see anything. It's-- The hole's been plugged up from the other side.

NORA:

What? But how--?

NICK:

There's somebody down there now. Somebody who knows about this peephole. Whoever it is plugged it up while we were coming upstairs.

NORA:

Nick!

NICK:

You stay here.

NORA:

No, Nick, it may be the murderer.

SFX:

APARTMENT DOOR OPENS

NORA:

Nicky, wait!

NICK:

I've got to see who it is.

SFX:

DISTANT FOOTSTEPS DOWN STAIRS

NORA:

Listen. Whoever it is, just left. I can hear him going downstairs. Nick, let him go.

NICK:

(MOVING OFF) Nora, we've got to catch him before he gets to the street.

NORA:

(MOVING OFF) Nick, wait for me!

SFX:

TRANSITIONAL PAUSE ... NICK AND NORA'S FOOTSTEPS DOWN STAIRS

NORA:

Well? Did you see who it was?

NICK:

No. He went through that door at the end of the hall.

NORA:

That must go to the cellar.

NICK:

Wait here and don't move.

SFX:

CELLAR DOOR OPENS

NORA:

Nick, be careful. It's black as pitch down there.

NICK:

Lay back, darling.

SFX:

NICK'S FOOTSTEPS DOWN CELLAR STAIRS ... THEN PAUSE

NICK:

(TO UNKNOWN) Would you like to come on upstairs? Or do I have to come and get you? (NO ANSWER) All right. Have it your way.

SFX:

NICK'S FOOTSTEPS SLOWLY ACROSS CELLAR FLOOR

NICK:

(TO UNKNOWN) Come on. I can see you over there. Come on out or I'll--

SFX:

SIX GUNSHOTS ... DURING WHICH A WINDOWPANE IS SMASHED

NORA:

(OFF) Nick! Nick, are you all right?!

NICK:

I'm okay! Come on down.

SFX:

NORA'S FOOTSTEPS DOWN CELLAR STAIRS

NORA:

(CLOSER) I can't see! Nicky, did he get you?!

NICK:

(OFF) No, but I didn't get him, either. He got out through a window over there.

NORA:

Oh, darling! I was so scared! Where are you?! (FINDS HIM) Oh! Put your arms around me, darling. Are you sure you're all right? Oh, Nicky, you're bleeding.

NICK:

(OFF) What are you talking about? I'm not bleeding.

NORA:

(STARTLED) Nick! Where are you?!

NICK:

(OFF) I'm here!

NORA:

Well-- Well, then, who's this man over here?!

MFX:

TO A FINISH

SFX:

APPLAUSE

ANNOUNCER:

You have just heard Act Two of "After the Thin Man," with William Powell and Myrna Loy. During this brief intermission before Mr. DeMille presents Act Three, we bring you another story -- about Mary.

MFX:

BRIEF, HOMEY

SFX:

CLATTER OF POTS AND PANS IN SINK

VOICE:

She's washing dishes.

SFX:

CLANG! POT OR PAN THROWN DOWN

VOICE:

Oh, boy! Is she mad!

MARY:

(SNARLS LIKE A CAT)

VOICE:

I say, look at her hands! (WHISTLES) They're all red!

SFX:

CRINKLE! OF ROUGH PAPER

MFX:

AN ACCENT

VOICE:

And coarse.

SFX:

RIP! RIP! RIP! OF PAPER

MFX:

A BIGGER ACCENT

VOICE:

Here, let's see your soap, Mary. Ho! (CLICKS TONGUE FOUR TIMES) It's harsh. And soap that's harsh pecks away at your hands.

MFX:

AN ACCENT ... STRINGS SHARPLY PLUCKED

VOICE:

No wonder they're red and rough. Here's a friendly tip--

ANNOUNCER:

Try new, quick Lux. It's so kind to your hands -- so mild, so pure.

MFX:

A GENTLE ACCENT ... SWEET STRINGS AND HARP ... THEN OUT

ANNOUNCER:

I want you to hear about our One Hand Test of five dishwashing soaps, including Lux. Now, here's the story in the words of one of the women who took the test, Mrs. Hugh Rennie of New York. She says--

MRS. R:

For twenty minutes, three times a day -- that's just about the time I spend doing my own dishes -- I dipped one hand in Lux suds, and the other in suds from another soap.

ANNOUNCER:

Mrs. Rennie took that test for several weeks, under conditions similar to home dishwashing. She goes on to say--

MRS. R:

At the end of the test, my Lux hand was still nice and smooth, while the other hand was coarse and red. I hadn't realized there was such a difference in dishwashing soaps. I'll never use anything but Lux.

ANNOUNCER:

Hundreds of women took that One Hand Test with similar results. It proved Lux kindest to hands. Try it yourself and see. Ask for the generous large box of new, quick Lux tomorrow -- and use it for dishes every day. It's so thrifty. Even in hard water, it gives more suds, ounce for ounce, than any of ten other leading soaps tested. It's fast, too. Yet it costs you no more. Remember -- new, quick Lux in the same familiar box.

We pause now for station identification. This is the Columbia Broadcasting System.

MFX:

LUX SIGNATURE FILLS THE PAUSE ... THEN OUT

DEMILLE:

The curtain rises on Act Three of "After the Thin Man."

MFX:

FOR AN INTRO ... THEN BUILDS OMINOUSLY IN BG, OUT AT [X]

DEMILLE:

In the thick blackness of the cellar, Nora has bumped into a man she thought was Nick. Now, she discovers her mistake, and Nick rushes to her side. With quick, tense fingers, he strikes a match. There, in the wavering light, a man stands propped against the wall. As they stare at his gleaming white face, he slumps to the floor at their feet. [X]

SFX:

BODY SLUMPS TO CELLAR FLOOR

NORA:

Nick!

NICK:

All right, take it easy.

NORA:

What's the matter with him? Is he--? Is he--?

NICK:

Yep. He's dead. Shot.

NORA:

But when - when was he--? (REALIZES) I've seen that man before.

NICK:

You know him? Who is he?

NORA:

Light another match, quick.

SFX:

MATCH STRIKES

NICK:

Well?

NORA:

Of course I know him. His name is Pedro Dominguez. He used to be my father's gardener about six years ago.

NICK:

Your father's gardener? Well, that does a lot of good. Come on, we'd better call Abrams.

MFX:

BRIDGE

NICK:

What'd you find out, Lieutenant?

NORA:

Was I right about his name?

ABRAMS:

Yes, you were, Mrs. Charles. Pedro Dominguez. But he wasn't a gardener any more. He was janitor of this building. Probably shot about five hours before you found him. But here's a very funny thing.

NICK:

Go ahead. We could stand a laugh right now.

ABRAMS:

The telephone company tells us that about eleven-thirty last night -- that'd be just before he was shot -- someone here called up information and asked for Nick Charles' number.

NORA:

Our number? What would Pedro Dominguez be calling Nick for?

ABRAMS:

I don't know. Do you, Nick?

NICK:

I can't imagine. I haven't even heard his name for six years.

ABRAMS:

Did you remember him when you saw his face?

NICK:

No.

ABRAMS:

That's funny, seeing he used to be Mrs. Charles' gardener.

NICK:

Who remembers a gardener unless he squirts a hose at you?

ABRAMS:

Did you recognize him right away, Mrs. Charles?

NORA:

I had to look twice. He's a lot grayer than he used to be.

NICK:

By the way, what'd you find out about the person in the apartment over Polly Byrnes?

ABRAMS:

Not a thing. Not a fingerprint in the place, not a stitch of clothes. Only a hunk of lead pipe and a ladder.

NICK:

(THOUGHTFUL) Piece of lead pipe and a ladder? Well, that's interesting. Anything in Pedro's books?

ABRAMS:

No, just that someone named Anderson took the apartment a week ago. Paid cash in advance.

NICK:

That's all, huh?

ABRAMS:

That's all. And the name is "Anderson" -- no front name. No Mr., Mrs., or Miss.

NICK:

That's just dandy. You know, I've got a feeling that if we could just find out who took that room, we might have our murderer.

ABRAMS:

Well, what do you think we ought to do?

NICK:

Get them all together in the Anderson apartment; everyone that's mixed up in this. Let's shake them all up and see what happens.

ABRAMS:

You're on.

NORA:

(EXCITED) Are you going to take the murderer tonight?

NICK:

Well, we're going to try.

NORA:

How're you gonna do it, Nicky?

NICK:

I haven't the slightest idea. I'm just going to listen, and pray that somebody makes a slip, just one slip.

MFX:

BRIDGE

BIZ:

COPS AND SUSPECTS MURMUR ... THEN IN BG

NICK:

Lieutenant? Did you get them all here?

ABRAMS:

All set and waiting, Nick. Picked up Dancer and Lum Kee at the Li Chee. Polly was with them. Then there's that David Graham guy and your wife's cousin, Selma Landis.

NICK:

Anyone else?

ABRAMS:

Yeah. A fat dame they call Aunt Katherine. I brought her along for luck.

NICK:

Oh, swell.

ABRAMS:

Oh, say, before you go in. I checked Phil Byrnes' apartment. Dancer's fingerprints were all over the joint.

NICK:

Dancer's? You sure?

ABRAMS:

Sure I'm sure.

NICK:

You haven't told him, have you?

ABRAMS:

Not yet.

NICK:

All right, don't.

ABRAMS:

What's your plan, Nick?

NICK:

Build up a case against each of them. Throw all we've got at them, and throw it hard enough to bounce.

ABRAMS:

I'll make it bounce, all right.

NICK:

And keep them talking.

NORA:

(IMPATIENT) Nick, come on. The party's getting dull.

NICK:

Coming. (TO ALL) Good evening.

BIZ:

EVERYONE QUIETS DOWN

NICK:

Shut that door, please, Lieutenant?

ABRAMS:

Sure.

SFX:

APARTMENT DOOR SHUTS

NICK:

Ladies and gentlemen, I asked you all down here 'cause we've just found that another murder has been committed. He's a man I think you all know. Pedro Dominguez.

POLLY:

Pedro killed?

NICK:

Yes. What do you know about it, Polly?

POLLY:

Nothing. I only saw him a couple of times when I went down to pay my rent.

NICK:

What about you, Dancer? You're in and out of this apartment, you must've known him.

DANCER:

Sure, I know him. So what?

NICK:

You, Lum Kee?

LUM KEE:

I never been in this house before.

NORA:

You knew him, Selma.

SELMA:

I? Why, no, I don't think I--

NORA:

You remember, Selma. He was our gardener. Six years ago.

SELMA:

Oh.

NORA:

David, you remember Pedro Dominguez?

DAVID:

Yes, vaguely. A man with long, white mustaches.

ABRAMS:

What did you know about him, Mr. Graham?

DAVID:

Nothing. That was six years ago. I haven't seen him since.

AUNT K:

Nicholas, I can't see what possible connection this can have with us.

NICK:

It's very simple, Aunt Katherine. You see, Pedro and Robert were both shot with the same gun.

BIZ:

EVERYONE REACTS

NICK:

Now, there was some monkey business going on we want to find out about. Seems that one week ago, Pedro rented an apartment to someone calling himself -- or herself -- Anderson. Did you ever see this Anderson, Polly?

POLLY:

No.

NICK:

Did you ever hear anyone in the apartment just over you?

POLLY:

No.

NICK:

I thought not. This Anderson intended to climb down into your apartment one night with the aid of a ladder and polish off Robert with this lead pipe.

SFX:

LEAD PIPE ROLLS AROUND

NICK:

Then he was going to climb up to his place again and leave you holding the bag for Robert's murder. Now, do you know anyone who would be interested enough in you to do that?

POLLY:

Why, er, no.

NICK:

You're Dancer's girl, aren't you?

POLLY:

I work for him.

ABRAMS:

That's not what he asked you.

POLLY:

Well--

NICK:

Did Dancer know that you were going away with Robert?

POLLY:

Why--

ABRAMS:

Come on, come on. You told us before.

POLLY:

(TENSE, TO ABRAMS) You said you'd keep that a secret. I'll never trust a cop again.

DANCER:

If you've made a dicker with the cops, okay, Polly. But that ladder stuff's a lot of malarkey, Nick. No one did come down that ladder, and Landis wasn't killed in her place.

NICK:

The only reason the murderer didn't kill him that way was because he was found out. Pedro came in yesterday to clean up Anderson's apartment and discovered the loose boards on the floor. He didn't like the looks of things, so he put a new lock on the door. When Anderson came in, he found he was locked out. He heard Pedro telephoning me -- and he killed him.

DANCER:

So what?

NICK:

So -- who is Anderson?

DANCER:

I'll bite, who?

NICK:

Polly, Phil had a key to your apartment. And Dancer had one.

POLLY:

Yeah.

NICK:

Who else?

POLLY:

Nobody.

DANCER:

(ANGRY) He's trying to hang this murder rap on us to protect his own family! That Selma dame! She knocked her husband off. Everybody knows that.

SELMA:

No, I didn't! I didn't!

DANCER:

Then you got your boyfriend David to throw away the gun!

DAVID:

That's a lie!

NICK:

Now, just a minute, please. Look, Dancer, let's come clean. You and Polly and Lum Kee were out to shake Robert Landis down for twenty-five grand, right?

DANCER:

Oh, sure. Then I suppose I knock him off and stir up all this fuss before I get the dough. What kind of a stumblebum does that make me out to be?

ABRAMS:

You're the kind of a stumblebum that left your fingerprints all over the room when you killed Phil Byrnes.

POLLY:

Phil? Phil's dead?

NICK:

Yes, strangled.

DANCER:

Well, I didn't do it!

NICK:

Then why did you go to his place?

DANCER:

Because I thought he'd gummed up my game. I figured he'd tried to stick up Landis and had to kill him. So I pushed him around a little to learn him manners. And when I left him he had a split lip and couple of dents in him. But he was just as much alive as you are. If that means anything.

NICK:

Polly, who knew Phil was your husband?

POLLY:

What?

NICK:

You were married, weren't you?

POLLY:

Yeah, but--

DANCER:

So Phil was your husband?

ABRAMS:

As if you didn't know.

DANCER:

I never knew till now! (BEAT) But I wish I had, Polly.

NICK:

Didn't you ever tell anyone that you were married, Polly?

POLLY:

No.

NICK:

Would Phil have told?

POLLY:

No.

NICK:

Did you and Phil talk about it?

POLLY:

Yeah, one night last week. But no one could have heard. We were alone, down in my room.

NICK:

Alone? Don't forget, Anderson could hear everything that went on in your room. Lieutenant -- when was Phil Byrnes killed?

ABRAMS:

Oh, about two, near as we can figure.

NICK:

At three-thirty, Anderson threw this note in at my window. He was beginning to use some of the information he'd gathered while he was up here. Dancer -- how do you spell "Topeka"?

DANCER:

None of your business!

NICK:

This note is a poor attempt at illiteracy. The easy words are spelled wrong, and the tough ones right. Like to see it, Lum Kee? (NO ANSWER) It was meant just to steer me down to Phil's place, to find his body -- and your fingerprints, Dancer. Someone's framing you, Dancer.

DANCER:

Yeah?

NICK:

You say you don't know this Pedro, Lum Kee?

LUM KEE:

No.

NICK:

Well, I've got a picture of him right here. This picture was taken about six years ago when--

NORA:

(PAUSE) Nick? What is it?

NICK:

(SLOWLY) Nothing. Except-- Except that all this time I've been waiting for someone to make a slip. And someone has made it.

NORA:

Who?

NICK:

We've been wrong. This wasn't a killing for money. It was a murder of hatred, of revenge. (BEAT) Polly -- what did Phil go to the pen for?

POLLY:

Blackmail.

NICK:

Blackmail. David, when were you supposed to give Robert the money to go away?

DAVID:

This morning.

NICK:

In cash?

DAVID:

Yes.

NICK:

But when he decided to go last night, you had to give him bonds?

DAVID:

Yes.

NICK:

Where were you going to get cash on New Year's Day? A bank holiday?

DAVID:

Funny, I forgot about that.

NICK:

No, you didn't, David. You never meant to give Robert that money. You didn't want him to go away. You wanted to kill him. You were going to get even with him for taking Selma away from you.

DAVID:

Nora, is he fooling?

NICK:

Sure, and you were fooling when you said you hadn't seen Pedro for six years. You said Pedro had long, white mustaches. Well, he's got long, white mustaches now, but look at this picture. There he is six years ago. His mustache was neither white nor long. You didn't notice him six years ago, any more than I did. You remember him as he was last night -- when you shot him. You killed him and then you killed Robert. Phil saw you do it. He was going to blackmail you, so you had to kill him, too. And then you threw that note in my window hoping to put me off your trail.

SELMA:

David! David, don't let him say these terrible things! Tell him it isn't true!

NICK:

Ask him why he threw away your gun, Selma. He knew it hadn't been fired. He knew you only had to show it to prove your innocence. Yet he threw it away. Ask him why he did that.

SELMA:

David? David, why don't you speak?

NICK:

Wasn't it because you hated her as much as Robert? Wasn't it because you wanted to get even with her, too? Wasn't it because you wanted to see her hang for Robert's murder?

SELMA:

David!

NICK:

Tell her the truth now, David. You don't have to pretend any more.

DAVID:

(INCREASINGLY HYSTERICAL) That is the truth. I've hated you, Selma -- and Robert -- ever since you threw me over for him. I've been watching, waiting for the time when I could get even with you for having ruined my life. I did kill Robert. But not the way I wanted to. It was too easy, too quick! I wanted to see him suffer the way he'd made me suffer. And you! And you! I wanted to see you go gradually madder and madder as the day came when you were going to hang! Well, I'm not going to see you hang -- but I'm still going to see you die!

ABRAMS:

Put down that gun, Graham!

NICK:

Don't be a fool, David.

DAVID:

Get out of the way!

BIZ:

EVERYONE REACTS ... CONTINUES TO MURMUR, IN BG

DAVID:

I've got six bullets! One for her and one for myself! And the rest for anyone who tries to stop me! Get out of the way, Charles!

DANCER:

Grab him!

DAVID:

Get out of my way!

SFX:

GUNSHOT! THEN, POW! LUM KEE SOCKS DAVID

LUM KEE:

I get him! I get him!

ABRAMS:

Okay, Graham. I'll take that gun now.

NICK:

Nice work, Lum Kee, nice work.

NORA:

Nick, he saved you! And you sent his brother up.

LUM KEE:

Oh, sure! Mr. Charles send him up. Number one detective! I no like my brother. I like his girl. I'm your friend, oh, you bet you!

MFX:

BRIDGE

NICK:

Tired, darling?

NORA:

Not very.

NICK:

Well, can you believe it? We're alone. No reporters, no friends, no surprises.

NORA:

I suppose we really should decide where we're going.

NICK:

(LONG SIGH OF RELAXATION) Do you care?

NORA:

No. But I haven't any clothes.

NICK:

All the better. You won't have to pack. All I need in the world is you and a toothbrush. Say, what's that you're doing?

NORA:

I'm knitting something.

NICK:

Oh. You haven't gotten very far with it.

NORA:

Mmmm, yes, I have. There -- it's done.

NICK:

Done? Why, it-- Say, that looks like-- Is that a baby's sock?

NORA:

(CHUCKLES) And you call yourself a detective.

NICK:

(PAUSE, QUIETLY PLEASED, LOVINGLY) Why, Mrs. Charles!

MFX:

TO A FINISH

SFX:

APPLAUSE

ANNOUNCER:

We draw the curtain on "After the Thin Man." In a moment, Mr. DeMille returns with our stars.

While we're waiting, let's talk about babies. You know, families often speculate on the chances of the stork bringing twins or triplets. Well, here are some figures that may interest you. The chances of having twins is about one in eighty-four; of having triplets, one in seven thousand, five hundred. That makes triplets a pretty rare occurrence. Mrs. Francis Bardol of Holbrook, Massachusetts was one of the mothers who drew the lucky number in 1939 and she's doubly lucky now because she has new, quick Lux to help her in caring for her three small babies. She says--

MRS. B:

The triplets have such sensitive skin I wouldn't dream of washing their clothes in harsh soaps or rubbing them with cake soap. I just won't take chances on having woolens or diapers getting rough and scratchy.

ANNOUNCER:

She's a wise mother, isn't she? She goes on to say--

MRS. B:

New, quick Lux is so mild and gentle, it's the only thing I'd use for the baby's clothes. It's so safe for everything safe in water alone. I can depend on it never to make woolens harsh and scratchy, or fade the pretty colors of little dresses and sun-suits.

ANNOUNCER:

Yes, new, quick Lux is so wonderfully gentle. And so easy to use, too; so fast! In water as cool as your hand, it dissolves three times as fast as any of ten other leading soaps tested. Ask for the generous big box of new, quick Lux tomorrow. It comes in the same familiar package and costs you no more.

Here's Mr. DeMille with our stars.

DEMILLE:

As Bill Powell and Myrna Loy return to the microphone, we offer our congratulations to the Thin Man and some first class detective work.

POWELL:

Cecil, you're seldom wrong but I'll have to mark that one up against you.

DEMILLE:

Hm?

POWELL:

However, if it's any consolation, everybody makes the same mistake.

LOY:

Brace yourself for a shock, Mr. DeMille. Bill is not, and never was, the Thin Man.

DEMILLE:

He isn't? He never has been? Mercy, Myrna, can't we even believe what we see in the movies?

POWELL:

Just for the record, the Thin Man was murdered in the first Thin Man picture. We haven't seen him since.

LOY:

Except in the title where he seems amazingly healthy.

DEMILLE:

(CHUCKLES) What's in a name? Call the picture by any name you like -- so long as you and Bill remain as our favorite detectives. What's going to happen next to Nora and Nick?

LOY:

Well, there's another Thin Man picture planned but we haven't started making it yet.

POWELL:

It's called "The Shadow of the Thin Man." Very promising manhunt.

DEMILLE:

Mm hm. I have entire confidence in both of you.

POWELL:

By the way, Cecil, didn't I hear you say that you're going to do "Show Boat" next week?

DEMILLE:

You certainly did, Bill, and we are.

LOY:

Who's going to be in your cast, Mr. DeMille?

DEMILLE:

We'll have Irene Dunne, Alan Jones and Charles Winninger. They were all in the cast of the motion picture and they'll all be here on this stage to bring us the exciting drama of "Show Boat" and the great song hits by Jerome Kern. We embark at the usual time next Monday night for this cruise of adventure and romance along the Mississippi, and we hope you'll all be on board.

POWELL:

"Show Boat" is practically a command to listen. Good night, Cecil.

LOY:

Good night!

SFX:

APPLAUSE ... THEN IN BG

DEMILLE:

Good night. Good night. We'll call you two on another case soon.

MFX:

THEME ... CONTINUES IN BG

SFX:

APPLAUSE ... OUT, BEHIND--

DEMILLE:

Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night, when the Lux Radio Theatre presents Irene Dunne, Alan Jones and Charles Winninger in "Show Boat." This is Cecil B. DeMille saying good night to you from Hollywood.

MFX:

THEME UP AND OUT

SFX:

APPLAUSE ... THEN OUT

ANNOUNCER:

Heard in tonight's play were -- Julie Bannon as Selma; Fred MacKaye as David; Edward Marr as Abrams; Mary Lou Simpson as Polly; Warren Ashe as Dancer; Wally Maher as Lum Kee; and Arthur Q. Bryan, Abe Reynolds, Walter White, Ynez Seabury, Tristram Coffin, Eric Snowden, Russell Fillmore, Lou Merrill and Fred Shields.

The American Red Cross needs millions of dollars for European war relief work. They're asking for your contribution now. Anything you can give. The place to give -- your local Red Cross chapter. The time -- as soon as you possibly can.

William Powell and Myrna Loy appeared tonight through the courtesy of Metro-Goldwyn-Mayer. They will soon be seen together on the screen in "I Love You Again." Our music was directed by Louis Silvers and your announcer has been Melville Ruick.

MFX:

THEME

SFX:

APPLAUSE

ANNOUNCER:

This is the Columbia Broadcasting System.

SFX:

APPLAUSE CONTINUES TO END

MFX:

LUX THEME CONTINUES TO END