Hollywood, California, Monday, June 8th. Lux Radio Theater presented from its new home on Hollywood Boulevard, Hollywood, California. Lux presents Hollywood. Such great personalities as William Powell, Myrna Loy, W.S. Van Dyke, Leda Barra, James Seymour, Minna Gamble, Porter Hall, and many others. We'll take part in this presentation sent to you by the makers of Lux Toilet soap, the beauty soap of the star. Appearing before a distinguished Hollywood audience, Mr. Powell, Ms. Loy, and a cast of 18 great players, presents the play that has broken box office records from coast to coast, The Thin Man. And as producer tonight, we present the director who did The Thin Man on the screen. Together with such triumphs as Naughty Marietta, Trader Horn, Rose Marie, I Live My Life, and countless other smash hit pictures. Mr. W.S. Van Dyke. Mr. Van Dyke. Hello, everybody. Well, it's a great scene at the Lux Radio Theater tonight. In our audience, we have Betty Davis, Jimmy and Lucille Gleason, Bob Armstrong, Oli Olson of Olson & Johnson, Sue Irwin, Jimmy Starr, famous communist, Evelyn Venable, Mr. and Mrs. Leon's fleshing gear. Maybe it would interest you a little inside information on the show we're doing tonight, The Thin Man, and about William Powell and Myrna Loy, who are going to do it for you. As you know, The Thin Man was the best-selling novel by National Hammer. Hans Stormberg, down at the studio, MGM, got ahold of it and brought it to me. Woody said, if you'll make this picture, I'll buy the story. Well, I read it, and a lot of it was a good enough mystery story. There was something else about the book that struck me. Here was something new and fresh and very charming. A romance between a man and his wife. It's a story of a couple of kids that understood each other and had a blessed confidence in each other. Beneath all the casualness and all the wisecracking, there's a lovely wholesome relationship. Something really deep and sweet and inspiring. Well, we decided to make the picture. Albert Hackett and Francis Goodrich wrote a swell script. William Powell and Myrna Loy played the parts. And how? They played them beautifully, because Powell was just Powell and Loy was just Loy. Both of them wisecracking all the time and clowning life through the picture. I suppose you know that plenty of motion pictures take from two months to a year to shoot. We did the thin man in 16 days where he takes an awl.  We didn't make it as one.  But it is evident that people liked it. It has been very interesting to study out how they can tell this story on the radio. Bill and Myrna have had a lot of fun getting it ready for you, just as they did making the picture. And from the original story, from the original motion picture cast, we have, and are fortunate in having, Minna Gamble, Porter Hall, William Henry, and Thomas Jackson here tonight. So here we go, with William Powell and Nick Charles and Myrna Loy as Nora in the thin man. Here they come, Bill Powell and Myrna Loy. We're in a fashionable cafe, Montmartre, New York City. It's Christmas Eve and the well-appointed dining room is filling rapidly. From the bar comes a good-looking young fellow about 35, tall, casual, and worldly wives. He's Nick Charles, the well-known private detective played by William Powell. And he's waiting for his charming wife, Nora, played by Myrna Loy. As he takes his place at the table, a young girl on the other side of the room recognizes him and hurries over. Aren't you Mr. Nick Charles, the detective? Yes, I'm Nick Charles. I thought I recognized you. My name is Dorothy Winans. Oh, yes? How do you do? Do you mind if I sit down for a moment? No, but I'm expecting my wife a few minutes. You don't mind explaining her presence to her. Oh, of course. That might be unfair over there at the other table. Oh, well, that makes everything all right, doesn't it? Sit down. Thank you. Yeah, your name is... Dorothy Winans. I'm Clyde Winans, daughter. Clyde Winans? Oh, yes, of course. Your father was having some trouble about one of his inventions a few years ago. I handled the case for him. I know. That's why I want to speak to you now. Oh, well, I'm not practicing anymore, Miss Winans. You see, I'm very tired of... Please, Mr. Charles, I need you. Oh, that seems to be the trouble. It's dead. He went away about three months ago, and I haven't heard from him. Not a word. I'm worried sick. Oh, I wouldn't have if I were you. After all, he's an inventor. He gets an idea he wants to work on. It's only natural that he should hide away somewhere he's done it before. Yes, but never for three months. Did you see him before he left? No. Mr. Macaulay was the only one he spoke to. Well, Macaulay and Julia Wolfe. She's dead secretary. Julia Wolfe? Yes, I believe I met that. And Macaulay is your father's lawyer, isn't he? Yes. His lawyer and his secretary both speak to him before he leaves, but no one knows where he went. He wouldn't tell him. What about your mother? He wouldn't tell her either? No. Mother and dad aren't... They haven't seen each other for some time. Oh, I see. Well, I don't know just what I can do for you. Why don't you speak to Macaulay? Maybe he's heard from your father and forgotten to let you know. Oh, well, I'll call him now. Yes, you girl. Let me know how it turns out, will you? Of course. I'll be back in a few minutes. I'll be here. Madam, you can't bring that dog in here. Dogs aren't allowed. I'm sorry, but I'll be here. Here, Aster. Aster, come here, boy. Here. Down, boy. Madam, it isn't only your dog. We allowed everyone. Oh, here you are. Aster. Quiet, Aster. Quiet. Hello, Nora. I hear you brought the dog. I didn't bring him. He brought me. I think the doorman's mad. Madam, I'm afraid you have to take the dog outside. All right, Joe. It's my dog and my wife. You might have mentioned me first. Mr. Charles, are you sure that... Of course I'm sure. He's well trained. He'll behave himself. And nobody might bite someone. No, no. Only me, Joe. He only bites me. Yes, he's talking about what he eats. Go ahead, Joe. I'll be responsible for it. Very well, sir. If you say so. There you are, my dear. See what an influential husband you've got? You do stand in the doorman. Mr. Charles. Oh, yes, Dorothy? May I introduce my fiancee, Andy Reed, Mr. Charles. How do you do? How do you do, sir? Any luck, Dorothy? Yes, he's just around the corner. Your father? No, no, Mr. McCartney. We're going to see him now. Oh, fine, fine. Oh, and this? Yes, my dear. Oh, I beg your pardon. Uh, Mrs. Wineth, Mr. Reed, my wife. How do you do? How do you do? I'm sorry we have to rush, but you'll excuse us, Mr. Charles. Of course. We're at the Normandy for a couple of weeks. Why don't you drop around? Thanks, we will. Goodbye. Goodbye. Goodbye, sir. Goodbye, Mr. Charles. Goodbye. Where could he go? He seems to like blond. You got tight? Only you, darling. Lanky Brunettes was wicked George. Who is she? Dorothy Wineth, daughter of Clyde Wineth. I work on a case for a father, so I'm not wanted to kill him. Charming? What's the matter now? Wineth disappeared. Dorothy, I pray something happened to him. Has anything happened to him? My darling wife. How do I know? Funny though, that secretary of his ought to know something. Secretary usually do? Who is she? Julia Wolfe. A smart girl, Julia.  Maybe you ought to give her a ring. Before? Oh, just to say hello. Hmm, maybe. Want a nickel? Hmm? No, no, no, I've got one. I'll read it right back. Hello? I want, uh, Skylar, four, oh, nine, six, two. No, Skylar. Hello? Yes, Julia Wolfe speaking. Oh. Oh, hello, Mr. Charles. Yes? What was it that you wanted to... Oh. Oh, no, I don't. He didn't tell me. It's not a word. I'm sorry. That's all right. Goodbye. Morelli. Tell me. Who was that? Nick Charles. The detective? He wanted to know where Wineth was. Oh, yeah? Why? He didn't say. Did anyone see Wineth come here that night? The night you and him had to scrap? I don't know. Oh, no? Well, I guess I'll scrap. Wait a minute, Morelli. Where are you going? Oh, taking a little stroll, that's all. If Nick Charles is going to pop up around here, I want to be far away when he does.  Fool, huh?  Sit down, Morelli. You need money, don't you? Yeah. What about it? You got some? Plenty. I'm Wine and Secretary. Oh, yeah? What do you mean by that? Wouldn't you like to know? Your friend here serves good dinners, Nick. Mm-hmm, all right. You still didn't tell me what Julie Wolfe had to say. Nothing. She didn't know where it was, that's all. Finish? Finish. Let's get out. Grab the cab and get back to the cell. Ready and willing. Where's my purse? Come on, after. Yo, it's Mommy Cab. Yes? Who is it? Oh, he is. I see. Thank you. Oh, Nick? Yeah? It's Mr. McCauley. He's on his way up. McCauley? I wonder what he wants. Isn't he Wine's lawyer? Yeah. Maybe he's got some news. Well, he ought... Say, you're worrying an awful lot about this business. Forget it. Hi, Mrs. Charles. Come in, Mrs. Charles. Hello, McCauley. Hello, Charles. Well, how are you? Fine. Sit down. Thanks. Dorothy told me you were here. I took the liberty of coming to see you. Of course. Uh... Charles, uh... What's Mimi up to? Mimi? Oh, Dorothy's mother. Does she have to be up to something? She usually is, trying one way or another to get money out of wine. I, uh... I wanted to find out if you were, uh... sleuthing for her. I haven't been a detective for years. Oh, you don't say. Oh, my wife's father died. That's a lumber mill, a narrow-gauge railroad, and, uh... Oh, a couple of other things. I'm looking after them. We'll see, we'll see. What's all fuss about? Wine it and hiding? You know as much about as I do. I haven't seen him in three months. He sends word through Julie Wolfe when he wants money. I give it to her. He gives it to him. Mine? Hello? Oh, just a moment, please. It's for you, Mr. McCauley. Your office. Oh, thank you. Hello? What? He is? Well, where is he? Oh, very well. Well, he's back in town. Mr. Winan? Yes, thank heaven. He's waiting for me now. Well, I've got to rush. I'll tell you, it's no joke working for a man like that. Oh, goodbye, Mrs. Charles. Goodbye, Charles. Long. Merry Christmas. Same to you. It's 30. Almost Christmas, darling. If that's a hint, you can drop it. If you get your present at breakfast, not a minute before. Please. You know, Nick, I've been thinking. It's funny the way Winan popped up all of a sudden. Yes. Wasn't it? You think there's anything behind it? Why should there be? Well, I don't know. It just strikes me as being funny. That's all. You're nearer than I am, darling. Hello? Speaking. Oh, hello, rather. I guess of course I'll be here. What is it, darling? What is it? Julia Wolfe has just been murdered. You are listening to William Powell and Myrna Loy and the story of the thin man from the stage of the Lux Radio Theater in Hollywood Boulevard. Before we go on with the story of Nick and Nora, we want to take you on a quick tour of Hollywood. Lobby of the Hotel Roosevelt, where stars and newcomers gather. A young actress just breaking into pictures is telling her friend of her success. I've got one of the best managers in Hollywood, and that means a lot. Oh, but the rules is laid down for me. Gee, what do you mean, rule? Well, you think I was going into training for the Olympics? I've got to lose five pounds. I've got to take lessons in singing, addiction, and of course, my complexion has got to be perfect. I've got to be more careful than ever not to get little blemishes or enlarged pores and know what they call cosmetic skin. Thank goodness I know enough to use lux toilet soap regularly the way everybody around here does. Nine out of ten beautiful Hollywood screen stars use lux toilet soap and have for years. Here's what the famous Claudette Colbert has to say. When I tell people how simple my complexion care is, they always seem surprised. I use cosmetics, of course, but I always use lux toilet soap to guard against cosmetic skin. It's easy to keep skin lovely my way. Now on with the show of the thin man. An hour has gone by since Nick heard about the murder of Julia Wolfe. In the living room of their suite at the hotel, Nick and Nora are listening to the radio. The news reporter is broadcasting the latest developments of the case. Never mind the Chamber of Deputies. Yo, Morelle, that's what I wanted to know about. Well, did you get any more information out of headquarters? As much as I had. Julia Wolfe was shot to kill at about 9 or 9.30. Party discovered on the floor of her living room at 11. Who discovered it? That'll surprise you. Mimi Wyneth. Dorothy's mother? Right. What was she doing there? I don't know. Where's Clyde Wyneth? Still missing. But Macaulay was going to see him. They had an appointment. I spoke to Macaulay. Wyneth never showed up. Nobody knows where he is. It's going to be pretty tough on Dorothy, isn't it? Meaning what? Meaning that it looks as if Clyde Wyneth skipped one appointment in order to keep another with Julia Wolfe.  Oh, yes. You're the detective around here, darling. That's Dorothy. I just wanted to see me. Well, come in, Dorothy. Thank you. Anyone here? That's Nora. Have a seat. Hello, Dorothy. I'm sorry for breaking in on you like this. No, that's all right. We're used to it. Anything wrong? Julia Wolfe is dead. Yes, we know that. Here's the gun she was shot with. What are you trying to tell me? That you did it? Yes. I hated her. She kept me from seeing my father. I went down there to ask her where he was. She wouldn't tell me. I shot her. Where did you hit her? Why? In the heart. Pretty good shot you are. What did she do? She fell down. Did she make any sound? Didn't scream? I don't know. Which way did she fall? She fell over backwards. Oh, yes? People fall toward a shot, you know, not back from it. I knew you were lying. Oh. Oh, come on. Now, brace up. Where did you get this gun? I bought it in a pawn shop. I thought so. Why did you say you did it? Call me you're trying to shield me. Oh, please, don't ask me. You've got to tell me. Nick, let me handle this, will you? Dorothy, look at me. Nick is trying to help you. Why don't you help him? You were trying to shield your mother, weren't you? No. Your father then? Dorothy. Yes, my father. Why'd you think he did it? Mother was the first one to find Julia. She saw something in Julia's hand and she took it. What was it? A watch changer. It belonged to my father. So you think your father did it? I don't know, I don't know. Did your mother turn the chain over to the police? No, she kept it. She didn't tell him anything about it. But she showed it to you? Yes. Why did your mother go to Julia Wolf's apartment in the first place? She went to us for money. Oh, money again, huh? Yes. Oh, uh, have them come up, please. Who is it? Dorothy, uh, I wonder if you'd mind waiting in the bedroom. Of course. For the only minute. Well, Nick? Mimi Wyman. Alone? She's never alone. Dorothy's brother is with a screwy college kid. And, uh, some guy by the name of Chris Jorgensen. Jorgensen? Who's he? Macaulay told me about him. A hang-er-on type. I think he's after Mimi's dough. But she hasn't, any. Maybe that's why she wanted to get some from Julia. I'll take it. Hello. Nick, how are you? Fine. Come in, Mimi. Thank you, Nick. This is my son Gilbert. How are you? Very well, thank you. And Mr. Chris Jorgensen, he's no friend of mine. How do you do? How do you do? Sit down. Sit down. Uh, uh, my wife. How do you do? Mr. Wyman, Gilbert Wyman, and Mr. Jorgensen. How do you do? Well, Mimi? Nick, I've never been in such a state in my life. You know, of course, that I was the one who found Julia Wolf. So we've heard. Oh, my dear, it was terrible. I walked in and there she was, lying dead on the floor. I meant to ask you, mother. Was there much blood? Gilbert, don't be so morbid. But I'm interested in murder. You know, Mr. Charles, I formed a theory about this one already. So, in my opinion, the man who did it was... Gilbert, be quiet. You don't know anything about this. Oh, but I do. Be quiet. Uh, you were saying, Mrs. Wyman, about finding Julia Wolf. I was simply petrified and such a mystery. Clyde Wyman's crazy. Absolutely crazy to stay away at a time like this. No, one of the police think he had something to do with it. What do you think? Oh, I know he didn't. But I wish I could find him. I have something very important to tell him. And McCauley won't help at all. He thinks I just want money. Well, don't you? Oh, Nick, you're always teasing. Mrs. Wyman, were you alone when you found Julia Wolf? Quite. Of course I was. Wasn't Mr. Jorgensen with you? I? Certainly not. I don't know anything about it. The first blood I had that Julia Wolf was dead was when Mrs. Wyman called me at my club. Oh, she called you? Yes. Why? I beg your pardon. Oh, let's not even talk about it. The thing to do is to find Clyde. And that's what I've come to you for, Nick. You will help me find him, won't you? I'm afraid I can't, Mimi. Oh, Nick, please.  I want them. But Clyde knows you. All you have to do is to get in touch with him and tell him that Mimi says everything is all right, but that I've got to see him. I'll tell you again, I don't want any part of it. Is that final? Final. Well, if that's the way you feel. If you turn up, you just help all you can. Give the police every possible assistance. What do you mean by that? Oh, nothing in particular. Oh. Well, we'll say good night. Good night. I'm sorry I can't help you, Mimi. Is this the Normandy Hotel? I want to speak to Mr. Charles. Yeah, Nick Charles. Mr. Charles? Say, I'm sorry I woke you up, but Mr. Charles, I'd like to lay a proposition before you. It's about the murder of Julia Wolfe. Well, what's the difference who I am? Wait a minute. All right. Wait a minute. Don't hang up. I'll tell you who I am, but you've got to keep it under your hat. I'm Al Nunheim. Yeah, Nunheim. Now listen, I know who murdered Julia Wolfe, see? Sure I do. And I'll spill it to you for five grand. I'll tell you how I know, because I was outside of her apartment when she was shot. And I saw the one who did it. And I'll spill it to you when I get... Hey, wait a minute. Hey, I can't talk now. I'll call you again. Hello, are you still there? Hello. Now what, darling? I don't know. I'm cranked, I guess. You better get back to bed and get some sleep. Good. I want to talk to you. That's jolly. Don't you think you'd like to go back to detecting once in a while just for the fun of it? Can't you get to sleep? No. Everybody says you were a grand detective. They were kidding you. I'd like to see you work. Tomorrow I'll buy you a whole lot of detective stories. Oh, that poor girl's in an awful spot. There's nothing I can do to help her. She thinks you can. It wouldn't hurt you to find out if you could, would it? Darling, my guess is that Winehead killed Julia and Dorothy knows it. And the police will catch him without my help. Now, please put out the light. I'm tired. Oh, all right. But I'm mad at you. Mm-hmm. You hear a knock? Mm-hmm.  You want to answer it, Nick? Oh, good lord. All right. Stay in bed. I'll do it myself. Well? Mr. Charles here. Yes? I got to talk to him right away. What about? What's going on? What's going on? There's someone to see you, Nick. That's great. I was afraid I'd have to go to sleep. Come in. Yeah. How about a chair?  I got your cover, so don't move. The stick up.  I got to talk to you, Mr. Charles. I want you to tell me something, and I want you to give it to me straight. You get me? Do you mind putting that gun down? My wife doesn't care, but I'm a very nervous person. Thank you. All right. Shoot. I mean, uh, what's on your mind? You don't need to tell me you're tough. I heard about you. I'm Joe Morelle. I've never heard about you. I didn't bump off Julia. All right, you didn't. I haven't seen her in three months. We were all washed up. Why tell me? I wouldn't have any reason to hurt her. She was always on the up and up with me.  So he put the finger on me. That's all right, swell brother. Only you're peddling your fish in the wrong market. I've got nothing to do with it. Now, listen. The boys used to say that you were OK. A square guy. Now, that's why I'm here. What's the law doing to me? Do they think I did it? Or is it just something else that's been on me? I can't even find you, but I'm not even on this. Ask the police. Yeah, that'd be very smart. The boys would love to have me come in and ask questions. They'd like it right down to the end of their blackjacks. Now, I came to you on the level. The boys say you're on the level. Be on the level. I'm on the level. Who's that? I don't know. This is your party. Open up. Open up. This is the police. The police? You dirty... Look out, Norah. Give me that gun. I'll show you. I'll drop that gun. Drop it. You'll go across me, will you? Come on. Drop it. Give me that gun. Grab it. Grab it. Grab it. Let me go. I'll take that gun. Thanks, officer. You almost had me.  Norah. Are you all right? Norah. This guy's shooting. No, he tried to shoot me. I socked her in the jaw to get her out of the line of fire. I guess I hit her too hard. Norah. Oh. Look at me, Norah. Are you all right, darling? Oh.  You didn't have to knock me out. I knew you'd take him, but I wanted to see you do it. She's all right. Okay, Slaughtery. Take Morelle down stairs. Don't push. How do you people have to pop in, Inspector? We hear this is getting to be a sort of a meeting place for the Winan family. So we figured we'd stick around in case the old man himself shows up. Then we seen Morelle sneaking, and we decided to come up. And I was pretty lucky for you, too. Yeah. Morelle, your friend of yours? I never saw him before. What's he want of you?  What's that to you? Nothing. What did he think it was to you? Ask him. I don't know. I'm asking you. Keep on asking. Oh. So you're going to keep mum, huh? All right, Mr. Charles. I won't bother you tonight, but I'll be in tomorrow morning. I've got plenty of things to ask. Good night. Thank you, Inspector Guild. Next time you come try to stay longer. Wake up. It's Christmas. Oh, yeah? Look, here's a telegram for you. Just came. Open it, will you? Probably a touch from somebody. Well? Me? What is it? It's from Clyde Winan. Listen. Will you take charge of investigation on Julia Wolfe's murder? Communicate with Herbert McCauley. Clyde Winan. Where's it from? Philadelphia. Then he didn't do it, did he, Nick? He don't know. Communicate with McCauley, huh? All right. We'll ask him up here this morning. There you are, McCauley. What do you think? He wants you to handle the case. Yeah. Well, what of the chance are you doing it? Slam. Oh, please, Nick. Quiet, dear. I wish you would, Mr. Charles. Would it help any if I could persuade him to meet you? You might. I had word from Wynet, myself, last night. He gave me a code message to insert in the newspapers in case I wanted to get in touch with him. Wouldn't do any harm. Put it in. I'm sure you could clear this up. Oh, Wynet will only come back. It doesn't look well. He's staying away at a time like this. Yes? Oh. Oh, just a minute. For you, Mr. McCauley, police department. Police department? In Allentown? Yes. Well, when's the next train? Right. I'll get that. Well?  They wanted me to go down and identify him. Well, I guess this changes the whole story, doesn't it? That looks like an admission of guilt. Well, I had such hopes. I thought if you got on this case, oh, well. Well, it's no use thinking about it now. Well, I'm sorry to have wasted so much of your time. You will excuse me, won't you? Of course. Goodbye. Bye. Well, that's that. We're finished. What's the matter with you? All the mystery's all gone. And I wanted you to find out who did it. Maybe I will. But why then? I don't think he did it. Why don't you? No reason. That's fine. But I'm going to find out. Come on, Dr. Watson, we're going places. I want to speak to Inspector Guild. Man to man, Mr. Charles. Are you working on this case? Man to man, Inspector Guild, I'm not. But he's interested. I don't mind telling you. I'd rather have you in on the right side. You mean not on the Wyman's side? I'd rather have you working with us than against it. Don't lie. It's a bargain, then. Do you know about the case? I read the papers. What about the suicide? Oh, that's a phony. The men didn't even have to go down. Yeah, I thought it might be. From now on, they're going to think that every thin man over six feet with white hair is Wyman. Do you think that Wyman did it? Looks like he planned something.  But there's nothing yet to clinch it. If they'll get you a hundred that Wyman didn't do it. Who's your candidate? I haven't got that far yet. I don't think that everything points to Wyman. What about the alibis? They're all OK. Mrs. Wyman, the boy, Dorothy, McCawley, even Morelle. Now, what about Jorgensen? Oh, I'll check on that. Well, I'm afraid this is kind of dull for you, Mrs. Charles. Dull? I'm sitting on the edge of my chair. Frankly, I'm stunned. I don't know what to do next. What about you, Charles? Me? No, but, uh, I've got a hunch. What is it? I got a call last night. I thought it was from a crank, but I changed my mind. However, it was new something. And I've got a feeling I'll hear from him again. What time is it? Almost 10. You're waiting to hear from the crank? And how? Here, give me that quick. Hello? Yes? Ed? This is Nick Charles. Who? Can't hear you. I said I can't hear you. I'll speak louder. I can't speak any louder. Hey, this is Al Nunheim again.  Hey, listen, are you still interested in that proposition? Yeah, huh? All right, then. Now, here's the dope. And get this straight. The man who killed Julia Wolfe! What's this, girl? You think Wyneth killed Julia Wolfe and Nunheim? Right. Why? Two reasons. First off, Mimi Wyneth came across with a watch chain. She plucked off Julia's body. Oh, she did, huh? It belonged to Clyde Wyneth. Yeah. What's the second reason? A pip. The bullet that killed Nunheim came from the same gun. That's all right, Inspector. All right, it's perfect. Clyde Wyneth is guilty of both of those murders. Maybe? What? But you'll still get your hundred. I say Wyneth's innocent. You can say what you want. But I'm spreading a dragnet for that guy over every town in these United States. And I'll get him, too. You think they'll find him, Nick? He must be in New York. Probably is. Oh, it's getting me down. I saw Darcy today. Yeah? What? She's broken off her engagement. What for? Don't ask me. She was a little hysterical. Something about not wanting to ruin her fiance's life. Daughter of a murderer and all that. Poor kid. Well? See you later, darling. Where do you think you're going? I'm going to take her out for a walk. He's just been for a walk. We're going sightseeing. Why don't we ask that? Nick, what are you up to? I've got a hunch. I'm going down to look at the wine and shop. I'm going to find out why it's closed. Well, I shouldn't be closed if he went away. You went away lots of times than I knew him, but he never closed his shop. I've got to hunch something's up. You mean he might be hiding there? I don't know, but this thing's got my goat. I've got to find out. Nick, Nick, I won't have you going down there at this hour of the night. He's a crazy man.  He'll be all right. I've got asked her to protect me. All right. Go on. Go on. See if I care. But it's a dirty trick bringing me all the way from New York just to make me a widow. You wouldn't be a widow long. You bet I wouldn't. Not with all your money. You dog. Goodbye, darling. Nicky, take care of yourself, won't you? Sure, I will. Don't say it that way. Say it as if you meant it. Well, I believe a little woman cares. I don't care. I'm just used to you, that's all. Sure. Come on, darling. Come on out, sir. Come on, come on. Goodbye. Call me, darling. Please. I'll be waiting to hear from you. After. After, if you let anything happen to him, you'll never wag that tail again. You are listening to the Lux Radio Theatre's production of The Thin Man, starring William Powell and Myrna Loy with the music under the direction of Louis Silvers. This is W.S. Van Dyke speaking. We have here tonight the man who wrote the great picture, Lawyer Man, or Bill Powell here. He's a producer, too, but just on the writing end. He's done many great pictures. 42nd Street, the Gold Diggers, King of Burlesque, and lots of others, including an original musical, Ladies in London, which you'll be seeing soon. And here he is, the man whose name you'll see on the screen before the picture starts. One of Hollywood's greatest picture writers, James Seymour. Mission. Thanks, Woody. I've been a movie writer for 10 years. That's the first kind word anybody has said to me. Listen, Jim, the average person thinks a movie writer is a fellow that sits by himself as a typewriter. He hammers out a lot of dialogue and hands it in. Would you like to correct that impression? I certainly would. Nobody works alone and by himself to make a picture. It's a matter of constant cooperation between producer, director, technician, actors, and the writers. Some of the best story ideas come out of the conferences. Jim, how many writers would you say there are on an average picture? Plenty. Believe it or not, I've seen pictures where there were more writers than actors. If all the people who contributed to the story got screen credit, it would look like a page from the telephone directory. You're written on both the stage and screen, Jim. Tell the folks how they're different. Well, pictures have less talk, but they tell more in less time. Like concentrated foods, all the good and none of the waste. In the theater, everything must be brought to the audience. On the screen, you take your audience wherever the camera can go. And here's another important point that comes right back to your luxe radio theater. On the stage, the star just enters. But on the screen, she's introduced with a big close-up. A picture of the star's face many times larger than life's size. Every time a movie star's complexion is mentioned in this luxe radio theater, I think of those close-ups. Those stars just have to be beautiful. And they found that luxe toilet soap helps them look their best. Producers know it, too. And that's why it's the official soap in all the great studios in Hollywood. Right, Woody? Right on the nose, Jim. Thanks for coming over. Thanks for asking me. We pause for station identification. This is the Columbia Broadcasting System. The Thin Man. Nick is on his way to Clyde Winans' deserted laboratory. In a dark and desolate section of the city, his cab beers sharply around the corner and pulls up in front of a gloomy, old, rickety building. Hey, mister. Are you sure this is the place you wanted? Looks like it. Come on, I said jump. How much are you? $1.20. Oh, do you want me to wait? No, never mind. Oh, that's good. This ain't no neighborhood. It'll be in at 2 o'clock in the morning. I want to get out of here. There you are. Thanks. Hello. Come on, Aster. What's up with you? Nora, what are you doing here? I beat you down. I want to go with you, Nick. Now, listen. No. You're not going in that place alone in that settlement. And I'll get out that skeleton key of yours and open that door. I'm here to stay. All right. Come on. Yes. Duh. Nice neighborhood wine and picked out this laboratory. I can almost hear the chains rattling. You'll believe him, girl, Snakey. There we are. Come here. You're dark in here. I've got a flash. Which way? Straight ahead. Can you get the layoffs? Look, big to me. You can't even see into the corner.  Who's frightened you? I'm horrid. I'm madder. I can slag the memoirs. Look, Nick. There's a cement floor all around. Yeah. A lot of weight goes on that table. Come on. Where to now? No desk over there. What do you expect to find? Nothing. If I knew what I'd find, I wouldn't be. Nick. What about Nick? There's a loose board, I guess. It sounds like somebody was walking over that way. Just your imagination. There's no one in here with us. No. What about why not? He has workshop. Asda, come here. He's scratching on the cement around the work table. Asda. What did I say? Asda. Nick, look at him. He's after something. I've seen him scratch the ground like that one when he was looking for... Asda? Nora, look. New cement. Listen. Nick. It's hollow. I wonder if I could find something to dig it up. There's an iron bar on the table I just saw. If I just knock a hole in that cement, we'll find out what's under there. Nick, I'm scared. Asda, come here. Once more. Look. There she goes. Oh, I'm through the cement. Asda, get away from there. Get away. Nick, what is it? We just got a spectrogill here. What's under there? A body. Must have been there for weeks. Oh, Nick. The reporters, you'll get your story as soon as they can give it to you. Until then, you've got to leave this alone. Come on now, get out. The reporters are enough to drive a guy nuts. Well, you were right, Nick. It was a body, a skeleton rather buried in line. I wonder what Wynan had against this one. Did you find any clothes? Yeah, but no identification on them. Just a silver belt buckle with the initials. DWR. DWR. Who's that? I got a good idea. In that case, you worked on the guy who threatened to kill Wynan. What was his name? Oh, uh, Rosewater. Yeah, Rosewater. He said Wynan tried to steal an invention, didn't he? Yes, but we figured it was just blackmail. Just the same, Wynan wouldn't mind having him out of the way, would he? And according to the doc, the body's been there at least a couple of months. Hmm. That's just about the time Wynan closed the shop. Right. Did you put the skeleton to the fluoroscope yet? Half an hour ago. We found the bullet he was killed with, and something in the leg bone. An old piece of shrapnel. Shrapnel? Yeah. Why? Shrapnel in the leg bone. He probably limped. What do you mean? Oh, nothing. Well, so long, Inspector. I'm going to pick up my wife, take her home. It's been a long night. So long. Give her my best, will you? Right. Back to the hotel in my suite. I got bags and took a nice trip somewhere. Nice old woman. I gave her three murders, and you aren't satisfied. I want you to stay and find Wynan. I did find her. What do you mean? She was down in the shop. Yes. Look at this body that was buried there. Wynan's body? Yeah. But they all said it was rose water. Oh, that's what they think. What makes you so sure it's Wynan's body? Several things. Clothes, for instance. They were carefully preserved. They were carefully preserved. The body was just carefully destroyed. A person had killed him, counted on one thing. That all skeletons look alike. Well, don't say. Sure. But I remember that Wynan had some shrapnel in his shin. They found it under the fluoroscope. How long has he been dead? A couple of months, anyway. Then he couldn't have committed those other murders. Smart gal. Why not him? Does Dorothy know? No. Nobody but you. I didn't even tell Gil. Why not? I want to lie low until I get the whole dope. I don't want to go off half-cocked. What are you going to do? I'm going to get the real murderer. I've got an idea. Want to see me take him? Yeah. You got a nice evening dress? Oh, I've got a loo. Come on.  Everything from Russian caviar to camembert cheese, an orchestra behind the palms, a dude lighting. What is this? And I'm going to invite all of the suspects. The suspects? They won't come. Oh, they'll come. I'll have Gil issue the invitation. Nick, who's going to be there? Everybody. You, me, Dorothy, Eric's fiancee, uh... His name's Andy. Uh, right. Macaulay, Mimi, Gilbert, Jorgerson, and Morelle. Oh, party. Good evening, everybody. What are you eating of this? The meaning of what, Mimi? Vitaminals and broth to the sitters. To eat, Mimi, and talk. Will everyone please be seated? Dorothy here. Thank you. Andy, next to her, please. Oh, but Mr. Charles... Please. Very well. Mimi, on the other side of Andy. Mr. Jorgerson, over there, please. Very kind, Mr. Jorgerson. Not at all. Mr. McCaulay, next. Of course. Morelle? What? Right where you are. Now, say, listen. Sit down. Uh... And, uh, Gilbert, uh, you can sit just opposite Mama. Mr. Jorgerson, I have a theory. Uh, we'll listen to it later. Inspector Gill, you and your men will stand by, uh, by the door, please. Sure. Fine. Now, Nora, if you'll sit here by me. Delighted, Mr. Jorgerson. Pleasure, Mr. Charles. Now, we're all ready to begin. Uh, will you please pass this gallery, Mrs. Weiner? No, I will not. I demand to know why we are here. Before dinner? All right. I've got some important news. I have seen Weiner. You've seen Mama? Yeah, I love her. Certainly, I mean it. That's nothing. I saw him myself. Yes, Mimi. When? He came to see me in my apartment. Oh, did he? What did he say? He didn't say very much. He won't know how I was and how the children were. I'm afraid you're lying, Mimi. You see, I really did see Weiner last night. Are you kidding? No. Why didn't you tell me? Why didn't you hold him?  Well, you know that, but that's ridiculous. Wait a minute. Let him have each day. Thank you.  Was she dripping Weiner? Taking dough on the sly? Well, she don't say she is, but I figure she is, yes. Thank you. Now I'll tell you why no Weiner didn't commit those murders. Three months ago, Weiner found out that Julia was cheating him and was splitting with some man. He went to find the man, and he did. That man was desperate. He knew that he was caught dead to rights. And at prison, staring him in the face, he took the only way out. He killed Weiner. Oh. It's terrible to tell you this way, Dorothy, that your father's dead. He's been dead for three months. Oh, darling, don't cry. I know it's terrible, but isn't it really better this way? Oh, Andy. Andy. You'd better take her home, Andy. Yes, of course. Come on, darling. Let them out, Inspector. Oh, open up. Oh, don't cry, darling, please. It'll be all right now. Oh, can you help me, Daddy? This is absurd. How can cry be dead? You said yourself you saw him last night. I did. I saw him lying buried in his shop. You mean that body was Weiner's? Perfectly absurd. And the murderer is right here in this room tonight. He's sitting at this table, huh? Who is it? I don't know. But I thought if we all had a little get-together, we might be able to find out. I'll tell you as much as I know. This murderer is a very clever man. He planned the whole thing beautifully.  Then he took Weiner's body and buried it in the shop with another man's clothes that throws off the track. He even put a belt buckle with an R on it, hoping that we'd think it was rose water, an old enemy of Weiner's who dropped out of sight years ago. Oh, Morally. Yeah? Would you mind holding your knife the other way you're worrying Gilbert? Oh, thank you. Mac, if that knife is missing, I'll look for it in your bag. I'll help you look. Well, after our hero had killed Weiner, he got a brilliant idea. He realized that he and Julia could still collect money. Weiner was supposed to be on a trip. No one knew where. So our dinner guest wrote letters to Macaulay, signing Weiner's name, so that Macaulay would continue to send the money to Julia. He even telephoned Macaulay. Do you remember Macaulay the first day that you came to see me? He telephoned that he was in town. Oh, it must have been Weiner. I should have known if it weren't his voice. He's clever about that. He called when you were out. And that same afternoon, Julia telephoned him. She said that you were coming, Mimi, to ask about Weiner. He got terrified. He was afraid that Julia would break down and tell. So he went to Julia and killed her and left Weiner's watch chain in her hand. Maybe one of the two of you loved him. I don't know. Julia, it makes sense. I hope you will. Uh, quiet, please. His plan was still working beautifully. The only hitch was a man named Nunheim who had found out something.  But our hero overlooked just one item. A telegram, wires, and telephones were all very well. But no one had seen Weiner. So the murderer picked on poor Mimi here to strengthen his case. Mimi is the only one at this table who can tell us who the real murderer is. Mimi? I told you to say you'd seen Weiner. Nobody told me. I did see him. What did he pay you, Mimi, to stick to that story? It isn't a story. It's true. I did see Weiner. He's not dead. You're lying, Mimi. But then you do anything for money. You're getting a good price for saying you saw Weiner. I'm not going to stay here and be insulted. Sit down. You're getting a good price, Mimi. But don't forget this. Two other people were in with him on this deal. Julia and Nunheim.  I'm not going to take any chances on you. What do you want to do? Be next on his list? No, no. And who is he? Who paid you that money? McCauley. I think that'll hold him.  Hey, nice work, Mr. Charles. There's your man, Inspector. Mr. McCauley. I can't believe it. Boy, you want me to do wrap him up in cellophane? Pick him up and get him out of here. Come on, boys. Grab him. Let me get a handle. Yes, you took him. I knew you would. I'm not developing a surprise fight there. Oh, Nicky, you're grand. You're glorious. I bet you saved up to all the boys. Well, that's that. The story of the thin man with William Powell and Myrna Loy. I'm going to get them back out here in a minute to talk to you. As you know, these broadcasts from the Lux Radio Theatre are quite an event in Hollywood. And among our many friends here tonight is one of the greatest stars of the silent pictures. I admired her from afar when she was doing such a great job. And I was just next to her. Today she is the wife of one of our leading film directors. I've known her for many years as a most charming and gracious lady. And I want you to meet her now, Ms. Theda Barrett. Thank you, Woody. Hollywood Entertainment has certainly developed amazingly since I was making pictures. Yes, everything's different now. As you and I know, before pictures grew up and started to talk, we had to translate all emotion into pantomime. Well, you may think you have trouble today, but do you remember the difficulties we had working with a split screen? We had to express jealousy, hate, love, or devotion or in pantomime. And at the same time, keep pace as the director guided us with a 1, 2, 3, 4 just as a metronome guides a pianist. Pantomime has always been one of the greatest of arts. And may I say, Ms. Barrett, I have always thought that you were one of the greatest masters of that art. Oh, you're very kind, Woody. You worked awfully hard making those pictures. For instance, in making Cleopatra, we had no research department at the studio. I worked myself for a month with the curator of Egyptology at the Metropolitan Museum in New York. It was great fun, though. I understand, Ms. Barrett. You're going to make some radio appearances. Yes, I am. And I'm also going to do some motion picture work. I'm considering an offer now, running through scripts and ideas. Oh, I just hope everyone will be as happy about another Theta Barrett picture as I am. The public has been very good to me in the past. And I know they'll be awfully glad to see you again. I'm sure it'll be a great thrill, not only seeing you but hearing your voice. Thanks, Ms. Barrett, for joining us tonight. I'm glad I could. Good night. Hearing Theta Barrett talk of her plans brings to my mind some other plans. I've heard discussed in Hollywood this week. Picture people are talking about Charlie Chaplin's recent statement that he will start work on a new picture very shortly. Ms. Paulette Goddard will be starred. One will write and direct, but will not act in it. A disappointment to many of us. Barbara Stanbick and Robert Taylor are starting a new picture today. And I'm tickled to death that I got the job directing. It's called His Brother's Wife. Speaking of Bob Taylor, there's a lad who's going places. He's got a great future. And sometime in that future, he's going to do Armand to Greta Garbo's Camille. Bill Powell and Myrna Loy here are interested in the making of MGM's picture of the good earth. Louise Rainer, who is with them in the great Ziegfield in the stars. And now Bill Powell and Myrna Loy are coming out on the stage. Arise, Bill. Myrna. Yes, you did a great show. You're really marvelous. What? No retakes? No. And no property, man. Yeah, Bill. I'll bet you're glad my property man isn't here. Remember how I used to swatch it with a broomstick when you weren't hurrying on the set fast enough? Yes, I'd hurry out with this great fellow with his most independent customer whole picture business. Listen, Bill, that fellow was with me in the Arctic and after a man is handled crocodile, sharks, pythons and polar bears, you can't expect him to be afraid of a mere actor. There's only one thing I can never understand about that picture, Eskimo Woody. How did they tell you from the polar bears? He wore rubbers. I wore a hat. It must be pretty tough, Woody, when you have to plow through swamps, bubbles, tropics in the Arctic.  Do you want the snowshoes or the snake bite medicine? Unfortunately, she doesn't say that. When I say I'm going on location, she just says you are not. Incidentally, I thought all about that traveling, I thought all about it when the luck soap people asked me to do this broadcast. Isn't it funny, in the Arctic, soap is something they like to eat. In the tropics, they use soap for money. Here in Hollywood, soap is something that keeps the stars beautiful. Now, I can see that keeps Mernin beautiful, Woody, nice talk. What I do use is that. That's no kidding. Anyway, thanks for coming up, kids. Goodbye, Woody. Goodbye. Before I tell you about next week's show, I'm going to ask our announcer, Mr. Rick, to tell you more about the cast and about Hollywood studios who are cooperating with us. Our cast of characters tonight, Nick William Powell, Nora Merneloy, Mimi Minagambo, Anthony Barbara Luddy, Gilbert William Henry, Chris Jorgensen, Brett Morrison, Julia Wolfe, Margaret Brayton, Inspector Guild, Thomas Jackson, Morelli, Wally Mayer, Nunnheim, Ernie Adams. Our director W.S. Van Dyke and our stars, William Powell and Merneloy, appeared through courtesy of Metro Gordon Mayer, as did Mr. William Henry, and Porter Hall through the courtesy of Paramount. The musical director of this program, Mr. Louis Silvers, is behind this of 20th Century Fox. And now, here is your producer, Mr. W.S. Van Dyke. Thanks to all of you in the cast. You did a swell job. Next week, ladies and gentlemen, the Lux Radio Theater is going to have a great show for you, and believe me, Al Jolson and Ruby Keeler are going to be here to appear in Burlesque. It was a smash hit on Broadway and then a great moving picture, and now it's going to make a marvelous radio vehicle for Al Jolson and Ruby Keeler. It's time to turn to the Lux Radio Theater in time to produce Burlesque, and you know he'll give you a great show. I've enjoyed being with you all, and good night. This is the Columbia Broadcasting System.


So, what's it feel like, you know, 1987 High School All-American meeting and 1977 High School All-American West Philadelphia Speed Boys? Talk to me about the significance of this moment. I'm going to let the veteran speak and then I'm going to speak after him. Well, the only thing I can say is it's great to see that a young guy, I say he's young, he's old and mad, he's a man now, come right after and see how things continue on and his growth and contribution he did, not just for the school and the community, but worldwide. You know, that makes your heart feel good that they carry that kind of thing on and do some good things. Because he's not just a good ball player, he's a good person. And that means a lot. That makes your heart feel good. It makes you feel really proud of not just being a fill of heritage, but just what kind of person he is. I mean, that goes a long way. That feels special. I appreciate that. I'm here. Well, you know, without him, it wouldn't be a Mike Monroe because he set the tone at West Philadelphia High School and just took it to the next level to raise the bar for all of us Speed Boys throughout the years to really continue the growth of Speed Boy basketball. And like he said, to help the community, help us bring the community back. You know, I started a barber shop. I've been a barber for 22 years. I have the Barber Shop ESP. I'm here in Arizona. I'm 60th Avenger Ride. And I give back to the community a lot. We give out free haircuts, $200 haircuts to the kids. We give out jackets and book bags for the kids. So we kind of give back. Like, you know, that's what we do. Speed Boys for life. And we continue to try to make it happen. Speed Boys for life.