October 12, 1947
This was the third episode of the newly relaunched Stanley/Shirley season.
As with most episodes in the 1947–49 run, the script is attributed to the writing rotation of:
Dennis Green & Anthony Boucher
(Occasionally) Dennis Green & Leslie Charteris
No surviving documentation credits a specific writer for this episode, but based on era‑wide production records, Green & Boucher are the most likely authors. (This is an inference based on the documented writing teams for the season.)
John Stanley — Sherlock Holmes
Alfred Shirley — Dr. John H. Watson
Harry Bartell — Announcer
Dean Fosler — Music Director
Supporting cast: rotating New York radio actors (uncredited)
A rising British statesman — respected, influential, and poised for higher office — finds himself entangled in a scandal that threatens to destroy his career. A mysterious letter, a compromising situation, and a sudden disappearance lead the politician to seek the help of Sherlock Holmes.
Holmes and Watson quickly discover that:
The "scandal" appears manufactured, not accidental
A forged document is circulating among the politician's rivals
A shadowy figure is orchestrating events from behind the scenes
And the politician's closest associates may not be as loyal as they seem
Holmes suspects a political frame‑up, designed to ruin the man's reputation and block a major parliamentary initiative. The clues point toward:
A secret meeting in a fog‑shrouded warehouse
A bribery scheme involving a foreign agent
And a carefully timed plot meant to erupt just before a crucial vote
The investigation culminates in a tense confrontation where Holmes exposes the mastermind — a political rival who engineered the entire affair to seize power. The truth clears the politician's name and restores his standing, while Watson provides the moral reflection that closes the episode.
This story blends classic Holmesian deduction with the intrigue of post‑war British politics, making it one of the more atmospheric entries in the early Stanley/Shirley run.
This episode continues the newly retooled New York production style, emphasizing sharper pacing and more theatrical dialogue.
Stanley's Holmes is crisp and authoritative, echoing Rathbone but with a slightly more cerebral tone.
Shirley's Watson is warm, articulate, and less comedic than Nigel Bruce, giving the series a more literary flavor.
The plot reflects the era's fascination with political corruption and espionage, themes common in late‑1940s radio drama.
Strong use of music cues and scene transitions heightens the tension, especially in the warehouse confrontation.