Gang Busters and Philo Vance

Summary

Case Closed! – "Gang Busters and Philo Vance"

Podcast: Case Closed! (Old Time Radio)
Date: August 5, 2026
Host: RelicRadio.com
Episode Theme:
A double-feature of two intricately plotted Golden Age radio crime dramas. First, “Gang Busters” tells a gritty tale of family, temptation, and crime set in New York’s underbelly. Second, “Philo Vance” presents a murder mystery in the glamorous yet cutthroat world of fashion modeling, where private detective Philo Vance unravels a complex case of betrayal and blackmail.

---

I. Gang Busters

Theme:
A compelling story of a man’s struggle against his criminal past, the corrosive pull of family expectations, and the tragic cost of life “in the rackets.”

Key Discussion Points & Plot Breakdown

• Introduction and Set-Up [00:10–01:12]

  • Narrator Roger Foster introduces the episode, emphasizing the authenticity of the story—cooperating with law enforcement.
  • Lewis J. Whiteman, former Assistant to the Attorney General, sets the scene in Yorkville, New York.

• George Harris’ Dilemma [01:44–04:24]

  • George Harris, a reformed criminal, tries to make an honest living in his pressing shop, pressured by his wife Stella and taunted by comparisons to his criminal brother, Sonny.
  • Stella urges George to take “one last deal” for quick money, highlighting family discontent and resentment.
    • Quote:
      "Can't you get it through your head there's no such thing as one deal. One deal leads to another and to another until I wake up one day and find myself hooked again."
      – George Harris [02:26]

• Sonny’s Proposition [04:25–06:16]

  • Sonny Harris visits, offering a lucrative truck-hijacking scheme involving Scotch whiskey.
  • Stella conspires with Sonny to manipulate George into joining the heist.
    • Notable exchange:
    • Quote:
      "In one deal you'd make more than you make pressing pants in two years."
      – Stella Harris [02:21]
    • Sonny reveals they need $1,500 in advance for the accomplice, the “finger man.”

• Family Tension and Manipulation [06:59–10:19]

  • Dinner scene at Ma Harris’ house reveals deeper family fissures, economic pressure, and favoritism towards Sonny.
  • Stella admits to stealing George’s hidden savings to force him into Sonny’s criminal plan.
    • Quote:
      "You can't stay out of it, cuz I took the fifteen hundred dollars you had stuck away And I gave it to Sonny."
      – Stella Harris [09:56]
  • This emotionally manipulative act leads to an explosive confrontation.

• The Hijack Goes Down [10:57–13:55]

  • The heist sequence: George, Sonny, and a third man, Monk, wait outside a diner, subdue the truck driver, and steal the truck.
  • Tension and professionalism in the crime’s execution, with George reluctantly falling into old patterns.

• The Aftermath and Tragedy [14:30–17:01]

  • Next day: The heist unravels. Police (Lieutenant Noonan) visit, revealing the truck crashed in Pennsylvania; Monk is dead, and Sonny is near death.
    • Quote:
      "There were two guys in the truck. One's dead. They don't think the other will live through the day."
      – Lieutenant Noonan [16:45]
    • George, devastated, is forced to tell his mother what happened.

• Confrontation and Final Betrayal [17:56–20:07]

  • George faces his mother’s bitter scorn, her denial of Sonny’s wrongdoing, and her misplaced blame on George.
    • Memorable moment:
      "Sonny's a good boy. He's a good boy. You're the one. You're the bum."
      – Ma Harris [19:30]
  • Sonny survives long enough to blame the whole plot on George.

• Climax and Resolution [21:02–23:24]

  • Stella and George, realizing police are closing in, debate fleeing or fighting.
  • Stella urges George to "shoot it out" with the police. In the ensuing chaos, George kills Stella.
    • Quote:
      "I just killed a woman."
      – George Harris [23:18]
  • Aftermath [23:24]:
    Narrator Whiteman concludes: George is convicted of first-degree murder (life imprisonment), Sonny dies, and the price of "one more deal" is ruin for all.

---

II. Philo Vance: “The Covergirl Murder Case”

Theme:
A twisty, stylish murder mystery set in the high-pressure world of modeling, with layers of jealousy, blackmail, and hidden motives.

Key Discussion Points & Plot Breakdown

• The Fashion World and Rivalries [24:59–29:17]

  • Introduces Al Bennett, modeling agency chief; star model Sugar Keen; aspiring model Betty Downs; and prizefighter Slugger Davis.
  • Tensions and love triangles are evident—Sugar suspects Betty is pursuing Slugger; Betty aspires to Hollywood.
    • Quote:
      "All models aren't dumb, you know. They just look dumb."
      – Sugar Keen [25:24]
  • Sugar is revealed as both ambitious and vindictive.

• Blackmail and the Murder [30:06–35:08]

  • Sugar Keen is seen blackmailing photographer Mr. Stevens for “weekly hushabye money.”
  • Philo Vance's secretary, Ellen Deering, introduces the private investigator.
  • Sugar is murdered—strangled with an uncoiled metal bracelet belonging to Betty Downs.

• The Investigation Begins [35:51–38:24]

  • Vance collaborates with District Attorney Markham; the investigation centers on the murder weapon and the possible suspects—Betty, Al Bennett, Slugger Davis, Mr. Stevens.
  • Betty’s fingerprints are on the bracelet, but she insists she never even wore it.

• Fashion Show Alibis and Intense Interrogation [39:02–42:54]

  • Vance interviews Betty at a fashion show, cross-examines Al Bennett about the bracelet, and confronts Slugger Davis.
  • Each suspect has motive and relationship to the victim.

• Deduction and Breakthrough [43:07–46:02]

  • Sergeant Heath believes the case is closed with Betty’s fingerprints, but Vance is unconvinced.
    • Quote:
      "Even though Ms. Downs is definitely not the murderer."
      – Philo Vance [43:58]
  • Vance calls for all suspects to gather at Bennett’s office.

• Confrontation and Reveal [45:09–47:10]

  • Vance pushes Mr. Stevens to admit the blackmail but absolves him of the murder.
  • The real killer is revealed: Al Bennett. Motivated by the fear of exposure for misappropriating Sugar’s inheritance, he used Betty’s bracelet to frame her.
    • Quote:
      "You killed her just the same. You were entrusted with an inheritance which she was to get when she was 23 next year."
      – Philo Vance [46:40]
  • Vance’s reasoning: Only Bennett could have known about the bracelet—recently bought, never worn by Betty.

• Vance’s Final Explanation [48:12–49:40]

  • In a recording for Ellen Deering, Vance outlines his thought process:
    • Bennett fetched something to plant (the bracelet) in Betty’s room, only to use it as a weapon.
    • Why else would Bennett know Betty had such a bracelet if she’d never worn it?
  • Justice is served; case closed.

---

Notable Quotes & Memorable Moments

• On the Irresistible Pull of Crime:
  "Can't you get it through your head there's no such thing as one deal. One deal leads to another and to another until I wake up one day and find myself hooked again."
  – George Harris [02:26]

• On Family Hypocrisy:
  "Sonny's a good boy. He's a good boy. You're the one. You're the bum. Everything Sonny did bad, you made him."
  – Ma Harris [19:30]

• On Deceit and Betrayal:
  "You can't stay out of it, cuz I took the fifteen hundred dollars you had stuck away And I gave it to Sonny."
  – Stella Harris [09:56]

• Vance’s Final Deduction:
  "Only way [Bennett] could have known is if he took it out of her apartment to use on Sugar King."
  – Philo Vance [48:53]

• Comic Relief/Worldview:
  "All models aren't dumb, you know. They just look dumb."
  – Sugar Keen [25:24]

---

Timestamps for Key Segments

• [00:10] – Opening and introduction to “Gang Busters”
• [01:12–10:19] – George Harris’ struggle, Stella and Sonny’s scheme, family tensions
• [10:57–13:55] – The hijack heist
• [16:45–20:07] – Consequences: crash, deaths, family collapse
• [21:02–23:24] – Police close in, Stella killed by George
• [24:59] – Transition to “Philo Vance: Covergirl Murder Case”
• [30:06–35:08] – Blackmail and Sugar’s murder
• [39:02–42:54] – Suspect interviews, fashion show
• [43:07–46:02] – Vance’s deductions, suspect roundup
• [46:40–47:10] – Vance confronts and exposes Bennett
• [48:12–49:40] – Vance explains his logic to Ellen (postscript)

---

Tone and Style

Both dramas use sharp, direct dialogue and a cinematic narration style, mixing suspense and moral ambiguity. "Gang Busters" is gritty, tense, and tragic, capturing life in the urban underworld. "Philo Vance" is urbane, clever, and slightly sardonic, offering intricate deduction with moments of humor.

---

Summary

This Case Closed! double feature revives two distinctive forms of classic radio crime. The first story is a bleak morality tale, where every “one last job” leads to ruin and fractured families. The second is a stylish murder puzzle, with Philo Vance’s wit and logic cracking a case that seems open-and-shut, but hides deeper motives. Both stories evoke vintage radio’s skill for character, suspense, and memorable lines—reminding listeners why the golden age of crime drama remains peerless.

Transcript

[Lieutenant Noonan]

This is case closed crime stories from

[Philo Vance]

the golden age of radio.

[Narrator / Roger Foster]

And now, Gangbusters.

[George Harris]

We can run away from cops in

[Philo Vance]

a 20 ton truck.

[Lewis J. Whiteman]

I'll never know.

[Sonny Harris]

We're not gonna run away from them.

[Lewis J. Whiteman]

They're pulling up alongside.

[Sonny Harris]

Okay, grab a H. Going to force them off the road. Hey, watch your turn.

[Philo Vance]

I see it. Hey, I can't hold it.

[Ma Harris]

Watch out.

[Narrator / Roger Foster]

Gangbusters presented in cooperation with police and federal law enforcement departments throughout the United States. The only national program that brings you authentic police case histories, Gangbusters has asked Mr. Lewis J. Whiteman, former special Assistant to the Attorney General, Criminal Division, United States Department of Justice, to narrate tonight's case. Mr. Whiteman.

[Lewis J. Whiteman]

Thank you, Roger Foster. And good evening, Gangbusters listeners. Suppose we begin tonight's case in the city of New York on a Saturday night just a few months ago, in a tiny neighborhood cleaning and pressing shop in the Yorkville district, an attractive but overdressed blonde sat at the counter thumbing through the pages of a magazine. A few steps away, the proprietor of the store labored at a pressing machine trying to finish up his day's work.

[Stella Harris]

George. George.

[Sergeant Heath]

What?

[Stella Harris]

Finished yet?

[George Harris]

Not yet. Soon.

[Lewis J. Whiteman]

Ah,

[Stella Harris]

George.

[George Harris]

For crying out loud, Stella, will you let me get finished up?

[Stella Harris]

Well, get finished up. Who's stopping you? You don't seem to realize you got a wife that once in a while wants to go out and enjoy herself a little.

[George Harris]

Go out, enjoy yourself, who cares? Just let me get finished up here, that's all.

[Stella Harris]

George, give it up, will you? There's at least five or six mobs crying for a guy with your talent.

[George Harris]

Now let's not start that against their lives.

[Stella Harris]

You could step right into any one of them and take over. In one deal. You'd make more than your make pressing pants in two years.

[George Harris]

Can't you get it through your head there's no such thing as one deal. One deal leads to another and to another until I wake up one day and find myself hooked again. So let me live a little bit.

[Ma Harris]

Live?

[Stella Harris]

You call this living? How long can you exist taking in 20 or $30 a day? Especially when you got to support your mother out of it and everything.

[George Harris]

Look, let's not start any arguments about my mother.

[Stella Harris]

Who's starting any argument?

[George Harris]

You just said I got to support her, didn't you?

[Stella Harris]

That's starting an argument.

[George Harris]

It brings up the subject.

[Stella Harris]

Well, as long as it brings up the subject, why don't Sunny contribute a little bit to her support too?

[George Harris]

Don't ask me what Sonny does or what Sonny don't I only know what I do.

[Stella Harris]

She's mother too, isn't she? All right, it was the other way around, and things were tough for him and you were having it okay, then I'd say, fine, forget it. But with him, the dough is rolling in and he's throwing it around like water. And you're just struggling along. You don't make an effort and you're standing all the expenses.

[George Harris]

Look, Stella. All right.

[Stella Harris]

You think she appreciates goes every other word out of her mouth is sunny, sunny, Sonny, you'll give her everything you got. He never even shows his face, and all the time it's sunny, sunny, sunny. Think from her he was an angel or something instead of a rotten, slimy thief.

[George Harris]

Okay, I'm all finished. Let's lock up and go home.

[Stella Harris]

George, do me a favor. Get this silly idea trying to make a go of the store out of your head. You got a reputation in the rackets.

[Ellen Deering]

Talk to Sonny.

[Stella Harris]

He's always got some deal cooking.

[George Harris]

Stella, make it easy for me, will you?

[Stella Harris]

I'm trying to make it easy for you.

[George Harris]

Do you think I like this? You think I enjoy struggling along, pressing suits for every Tom and Dick in the neighborhood? You think that's easy for me to do when I. I know I can go out and get in some deal where my end of the score might be 5, 10, 20 grand for a few minutes time and effort? I'm tearing my heart out to stick with the star. Help me instead of convincing me what I know already.

[Stella Harris]

Yeah, how is it?

[Sonny Harris]

It's me, Sonny.

[Stella Harris]

All right, just a second.

[Sonny Harris]

Morning, Stella.

[Stella Harris]

Hello.

[Sonny Harris]

George isn't here, is he?

[Stella Harris]

I got a big surprise for you, Sonny. George is in the stories, pressing pants.

[Sonny Harris]

Oh, I don't know, Stella. What's come over here?

[Stella Harris]

He's leading a good life.

[Sonny Harris]

You know, it used to be that they'd point me out. There's George Harris's brother, they'd say. George Harris. That was a name with magic. Now look at him. Just look at him. He's got a hole in the wall shop and tries to squeeze a living out of.

[Stella Harris]

He says he wants to stay out of trouble because he's got obligations.

[Sonny Harris]

Obligations? I got obligations too. Here, I can throw him a proposition. I gotta look around for somebody else. A stranger.

[Stella Harris]

What kind of proposition?

[Sonny Harris]

Ah, what's the use seeming to be interested? He's not interested in anything except the cleaning and Ma.

[Stella Harris]

Don't forget Ma.

[Sonny Harris]

Who can forget Ma? I spend my whole life trying to forget Ma.

[Stella Harris]

What kind of proposition is this?

[Sonny Harris]

Look, if he Wouldn't be interested. What's the use?

[Stella Harris]

Maybe I could get him interested.

[Sonny Harris]

Who you kidding? I've never in a million years.

[Stella Harris]

What kind of a deal is it?

[Sonny Harris]

A load of liquor. Scotch whiskey from Scotland. The best.

[Stella Harris]

Yeah?

[Sonny Harris]

Yeah, a checker at the truck tunnel. He's all set. The finger to load for a mere 10%. Yeah, and best of all, I got the buyer all lined up. A guy that owns a string of resorts up in the mountains. He's willing to take up to and including all we can get at 25 bucks a case.

[Stella Harris]

How much is on a truck?

[Sonny Harris]

No less than 900 cases. Maybe 1100.

[Stella Harris]

Just you and one other, that's all.

[Sonny Harris]

Me and two others. One of the others I hope to be. George. Look, look. Take off. 10% for the finger working is over 20 grand left to be cut up in three pieces. And it'd be ashamed to let that much money get out of the family.

[Stella Harris]

Yeah, it would be, wouldn't it?

[Sonny Harris]

It is. There's only one little trouble.

[Stella Harris]

What's that?

[Sonny Harris]

Well, the check of the finger man. He wants 1500 in advance before he points out the load.

[Ma Harris]

He can't.

[Sonny Harris]

That's the only way he'll work if he gets an advance.

[Stella Harris]

So give it to him.

[Sonny Harris]

Well, I'm scouting around for it.

[Stella Harris]

Thought you were doing so good.

[Sonny Harris]

Well, you know the old saying, easy come, easy go.

[Philo Vance]

But don't worry, I'll get it.

[Stella Harris]

Sunny. When do you have to know?

[Sonny Harris]

Soon. Soon as we can.

[Stella Harris]

I got a way to get George into it.

[Mr. Stevens]

Yeah?

[Sergeant Heath]

What?

[Stella Harris]

Easy. You leave it to me. Ma said if I saw you to tell you to come tonight. You didn't see me, George and I'll be there.

[Sonny Harris]

That's enough of a delegation. I'll stay away, tell Ma how to run down to Philly on business. And you talk to George, would you?

[Stella Harris]

I'll talk to him. Don't you worry about that.

[Lieutenant Noonan]

21st Squad, Lieutenant Noonan.

[Special Agent Thompson]

Hello, Lieutenant. Special Agent Thompson, FBI.

[Lieutenant Noonan]

Oh, how are you, Tommy?

[Special Agent Thompson]

Okay, considering.

[Lieutenant Noonan]

Considering what?

[Special Agent Thompson]

Considering that they shoved me a couple of tough hijacking cases. Oh, I know you used to handle this kind of stuff when you were downtown. I thought maybe you'd give me a little information on some of the boys who could be right for hijacking trucks.

[Lieutenant Noonan]

I'll try, Tommy. Where can I meet you?

[Special Agent Thompson]

Oh, your office is all right, lieutenant. I'll be right there.

[George Harris]

Pie is pretty good, Ma.

[Lieutenant Noonan]

Delicious.

[George Harris]

Understand?

[Stella Harris]

Yeah, wonderful.

[Ma Harris]

Should be good. Took a half pound of butter nearly.

[George Harris]

Is that so?

[Ma Harris]

If I could afford more butter, I'd bake at least once a week. It's a shame to have a nice stove and not be able to bake in it more than once in a while.

[Stella Harris]

Yes, me. You can get just as good cakes and pies at the bakery.

[Ma Harris]

It's not like homemade, Stella.

[George Harris]

It sure isn't, Mom. Can I have another piece, Mom?

[Ma Harris]

Oh, we ought to save some for Sonny, don't you think?

[Stella Harris]

I told you I saw Sonny's afternoon. He said he couldn't come. He had to go to Philadelphia on business. Are you sure you saw him?

[George Harris]

Of course she saw, Ma.

[Ma Harris]

Maybe he didn't go.

[George Harris]

He went. He went.

[Ma Harris]

Maybe he didn't. Did you see him go?

[George Harris]

All right, maybe he didn't.

[Ma Harris]

You two sit. Have another cup of coffee. I'll wash the dishes.

[George Harris]

No, no, no, no, Ma, you stay still. Let Stella.

[Ma Harris]

No, Stella is a guest. Guests don't wash the dishes, Stella.

[Stella Harris]

I'll wash them. I don't mind. I knew I was gonna do them anyway. Prepare the rest of them.

[George Harris]

Okay.

[Ma Harris]

Be careful, Stella. Those are my wedding dishes.

[Stella Harris]

Yeah, I know. You told me before a dozen times.

[George Harris]

It was a good dinner, Ma.

[Mr. Stevens]

Good.

[Ma Harris]

A roast would have been good, but if all I can afford is cutlets. Now we have cutlets.

[George Harris]

The cutlets were good. They were fine. Excuse me, Ma.

[Ma Harris]

Oh, George.

[George Harris]

Yeah, Ma?

[Ma Harris]

I need some more cream for my coffee.

[George Harris]

Okay, I'll bring it. Yeah, yeah.

[Stella Harris]

Not in the sink. Put them on the side. They gotta be scraped through.

[Sonny Harris]

Oh,

[Stella Harris]

fine thing. She don't even offer to help with the dishes. Now, Stella, family I married, she's an old lady. Hold our grant you. She's not too old to mooch you for every last nickel you got. The worst of it. Nothing's for you. Everything's for Sunny. How'd you like that with a piece of pie?

[George Harris]

What do you want me to do?

[Stella Harris]

I want you to get in that deal with Sonny. Make a few dollars for yourself.

[George Harris]

I told you no. I don't want you to start with it again, George.

[Stella Harris]

Oh, what does she want now?

[George Harris]

She wants cream for a coffee. All right, Ma, In a second she gets the cream. All right, that's enough.

[Stella Harris]

I'll get some of the cream too. You're going into that deal with Sonny.

[George Harris]

I told you I'm not. So forget about it.

[Stella Harris]

You're going into it because you can't stay out of it.

[George Harris]

All right, Ma, Just a minute. What do you mean I can't stay out of it?

[Stella Harris]

You can't stay out of it, cuz I took the fifteen hundred dollars you had stuck away And I gave it to Sonny.

[George Harris]

You what?

[Stella Harris]

I gave it to Sonny to pay off the finger man.

[George Harris]

Why you.

[Stella Harris]

Now, you gotta go into it to protect your money. You gotta see that it comes off right. Don't you gotta hit up the deal, huh?

[George Harris]

Yes, Stella, I gotta do it.

[Stella Harris]

See, George, all you need's a little encouragement.

[George Harris]

And I got plenty, didn't I? All right, I'll go through with it, Stella. You win and you lose too.

[Stella Harris]

George. No.

[George Harris]

I'll teach you.

[Ma Harris]

Ow.

[George Harris]

I'll teach you.

[Ma Harris]

Good. Good.

[George Harris]

I'll teach you.

[Ma Harris]

Ow. George. George. What happened? What happened to her?

[George Harris]

She slept, Ma. She hurt herself.

[Ma Harris]

Oh, my. It's too. Oh, look, the bottle of cream is broken. It's all the cream I got in the house.

[Lewis J. Whiteman]

And once again, here is tonight's narrator, Mr. Lewis J. Whiteman. Well, as I was telling you gangbusters listeners, the conspiracy to hijack a truckload of liquor was formed. And a few nights later, George Harris and the confederate, a man named Monk, were standing in the doorway of a waterfront warehouse. Out of the range of the nearest streetlight, they watched the door to a diner down the darkened street. Soon they saw the door open, and Sonny hurried to the point where the others were waiting.

[Sonny Harris]

Okay, George. He's paying his check.

[Al Bennett]

Good.

[George Harris]

Monk.

[Mr. Stevens]

Yeah?

[George Harris]

Go on. Sit in the car and be set. Keep your eyes open.

[Philo Vance]

Okay, I got you,

[Sonny Harris]

driver. Won't be no trouble, believe me. He'll just be okay.

[George Harris]

Quiet. Here he comes out of the diner.

[Philo Vance]

Yeah.

[Sonny Harris]

Yeah, that's him all right.

[George Harris]

All right, back in the doorway.

[Sonny Harris]

This is like taking candy from a baby. You see, George?

[Al Bennett]

What?

[Sonny Harris]

Were you hesitating?

[George Harris]

Let's get this over, then. I'll tell you what. I was hesitating.

[Sonny Harris]

Oh, look, don't get so at me. Blame stolen a little.

[George Harris]

Get hers.

[Sonny Harris]

What kind of a guy are you?

[George Harris]

Okay, quiet. Here he comes. Get ready. Now, wait a minute. Driver.

[Lewis J. Whiteman]

Me. Hey, what's it.

[George Harris]

Okay, give it a. Yeah, no, grab him.

[Sonny Harris]

I got him.

[George Harris]

I drag him on the car.

[Sonny Harris]

He's with him. He ain't no light for you.

[George Harris]

Come on, come on. Open up.

[Sonny Harris]

Get a hold on this driver. Look.

[Philo Vance]

Yep, I got it.

[George Harris]

Drag him in.

[Sonny Harris]

Watch it. Watch it.

[George Harris]

Get him in.

[Philo Vance]

Okay, okay.

[George Harris]

He's in.

[Sonny Harris]

Oh, man.

[George Harris]

Give me the tape, Monk.

[Lieutenant Noonan]

Here.

[George Harris]

Okay, Sonny, you look for the truck key.

[Sonny Harris]

Yeah, yeah.

[George Harris]

Keep your eyes up, Monk.

[Sergeant Heath]

They're open.

[Lewis J. Whiteman]

They're open.

[George Harris]

Let's work fast now.

[Sonny Harris]

I got the key, George.

[George Harris]

Okay, help me get him taped up here.

[Sonny Harris]

You'll rip it. I'll tape him up.

[George Harris]

Yeah.

[Ma Harris]

Okay.

[George Harris]

His mouth. Tape up his mouth.

[Stella Harris]

Okay.

[Sonny Harris]

Give me a chance.

[George Harris]

I'll turn him over. Get his hands.

[Sonny Harris]

That's it. That's fine.

[George Harris]

Wrap it around again.

[Sonny Harris]

Yeah. How's this?

[George Harris]

Fine.

[Sonny Harris]

Hey, he's coming out of.

[George Harris]

Don't worry about it. He's no spot to kick. Hey, boys.

[Sonny Harris]

Police car cruising. Holy.

[George Harris]

Get low, everybody.

[Mr. Stevens]

Low.

[Sonny Harris]

What a spot.

[George Harris]

Shut up. Stay low.

[Special Agent Thompson]

Car 619 at 1443 Park. Meet a man in regard to a lost child.

[George Harris]

Okay, Monk.

[Sonny Harris]

Okay. Everything happens to me.

[George Harris]

All right, get out. When a truck drives away, Monk, come pick me up.

[Lewis J. Whiteman]

I got you.

[George Harris]

Let's go. SME.

[Sonny Harris]

Well, so far so good, huh, George?

[George Harris]

Yeah. Take the truck, drive it right to the drop, start unloading the goods.

[Sonny Harris]

Okay.

[George Harris]

I'll be at the store early tomorrow morning. If you have any trouble with a buyer on the price getting the stuff moved out, call me.

[Sonny Harris]

Yeah, okay. Don't worry.

[George Harris]

Worry. And bring my end of the door around as soon as you get it.

[Stella Harris]

I will.

[Al Bennett]

I will.

[Sonny Harris]

What's the matter? Don't you even trust your own brother?

[George Harris]

I trust you, Sonny, as far as I can see. Okay, open it up. Climb in. Now get gone.

[Ma Harris]

George.

[Al Bennett]

Why?

[Stella Harris]

Where's Sonny? What happened to him? Why haven't we heard from him?

[George Harris]

What'd you say?

[Stella Harris]

Oh, honest to goodness, do you have to be pressing pants when bigger things are going on in the world?

[George Harris]

Look, Stella, don't annoy me anymore. I still got a score to settle with you.

[Stella Harris]

Honey, you'll be glad. You'll be tickled to death when. So he walk and lays over ten grand on that counter and says, go on, George, pick it up. It's yours. Won't you be glad? What happened? What's holding up, Sunny? You think the buyer showed up at the drop?

[George Harris]

Okay, take it easy, Stella. These things never come off to the minute.

[Stella Harris]

We should have heard. We should have had customers.

[Lieutenant Noonan]

Morning.

[Stella Harris]

Yes, sir.

[Ma Harris]

Can I help you?

[George Harris]

That's all right, Stella. I know the gentleman. How are you, Sergeant?

[Lieutenant Noonan]

It's Lieutenant now, George.

[George Harris]

Lieutenant, why? Do you see how behind I am on the nose?

[Lieutenant Noonan]

Yeah. We haven't had much business with you

[George Harris]

lately, George, and you're not gonna have either, Lieutenant.

[Lieutenant Noonan]

It's good to know.

[George Harris]

Stella, honey, this is Lieutenant Noonan, an old friend of mine. It's my wife, Stella.

[Lieutenant Noonan]

Very old friend.

[Stella Harris]

Pleased to know you.

[George Harris]

What can I do for you, Lieutenant?

[Lieutenant Noonan]

I got a little news for you, George.

[George Harris]

Yeah? Is that so?

[Lieutenant Noonan]

Yeah. There was a truck at the United Terminals hijacked last night.

[George Harris]

No kidding.

[Lieutenant Noonan]

Three men jumped the driver as he Was coming out of a diner downtown. They got the truck with 10, 70 cases of scotch whiskey on it.

[George Harris]

That's out of my line these days, Lieutenant. I'm in the pants. Pressing business.

[Lieutenant Noonan]

See, the driver was lucky. They didn't hurt him too bad. They gagged him with adhesive tape and dumped him out in Long Island City.

[George Harris]

So what's all this got to do with me?

[Lieutenant Noonan]

Plenty, George. For instance, we got an alarm out on the truck about 3 o' clock this morning. Soon as the driver could get himself loose and find a cop.

[George Harris]

So?

[Lieutenant Noonan]

So a couple of state troopers in Pennsylvania, near Lancaster, spotted the truck on the road this morning. They lit out after it. The driver of the truck tried to run the troopers off the road. Instead, he missed a curve and the truck went over into a ditch.

[Stella Harris]

Oh, man.

[George Harris]

I still don't get what it's got to do with me.

[Lieutenant Noonan]

There were two guys in the truck. One's dead. They don't think the other will live through the day.

[George Harris]

That's too bad.

[Lieutenant Noonan]

One of them was your brother.

[George Harris]

Sonny?

[Lieutenant Noonan]

Yeah, Sonny.

[George Harris]

Oh, no, he's not.

[Lieutenant Noonan]

No. Oh, it's the other one that's dead. A boy named Monk Sampson. Do you know him?

[George Harris]

I heard of him, but I don't know.

[Stella Harris]

Is he Bev? Is he very bad, son?

[Sugar Keen]

Andy?

[Lieutenant Noonan]

Pretty bad, lady.

[Stella Harris]

Oh, George, that's awful. George.

[George Harris]

All right, honey, all right. Take it easy.

[Lieutenant Noonan]

He's in the Mercy Hospital at Lancaster. I think he's got a fractured skull. He hasn't regained consciousness.

[George Harris]

I'll get out there as soon as I can. Lancaster, Pennsylvania.

[Lieutenant Noonan]

Mercy Hospital. See an FBI agent named Thompson when you get there. He'll take care of you. I'm sorry.

[George Harris]

There's nothing to be sorry about. I better go get Ma. Better take her out there. You stay here. Stella, stay in the store. Thanks, Lieutenant. George, I'll phone you for Mars.

[Lieutenant Noonan]

George.

[George Harris]

Yeah?

[Lieutenant Noonan]

A truck driver says there was a third guy. So we were wondering if you had any idea who it might be.

[George Harris]

How should I know?

[Lieutenant Noonan]

There was some speculation that being your brother was involved, the third guy might be you.

[George Harris]

Is that so?

[Lieutenant Noonan]

But we threw that theory out the window temporarily. You'd better get to your mother's. From the way that wire from Lancaster read, you don't have too much time.

[George Harris]

Ma. Ma.

[Ma Harris]

All right, I'm coming. I'm coming. Ma, you have to break down the door. George.

[George Harris]

Ma, sit down.

[Ma Harris]

What's the matter?

[George Harris]

Sit down.

[Lieutenant Noonan]

Ma.

[Ma Harris]

It's Sonny, Ma. Something's happened to Sonny. What happened to Sonny?

[George Harris]

He's been in an accident.

[Ma Harris]

An accident. Oh, my Lord.

[George Harris]

Please, Ma.

[Ma Harris]

Oh, my Lord. He's dead, isn't he? He's dead. My Sonny. My Sonny.

[George Harris]

He's not dead, Ma. He's hurt bad, but he's not dead.

[Ma Harris]

He's not?

[George Harris]

No, Ma, he's not.

[Ma Harris]

Oh, my boy. My son.

[George Harris]

He's in a hospital in Pennsylvania.

[Ma Harris]

In Lancaster, Pennsylvania. What is he doing in Pennsylvania? Take me to him, George. Take me. George.

[George Harris]

Yeah, Ma. Sure. Right away.

[Ma Harris]

Let's go. Let's go. What was he doing in Pennsylvania? How did it happen?

[George Harris]

He was in a truck. It turned over. The police.

[Ma Harris]

Police? What have the police got to do with Sonny, Ma?

[George Harris]

You'll find out sooner or later. Anyway, he was driving a load of stolen liquor.

[Ma Harris]

No, he wasn't.

[George Harris]

He was not.

[Ma Harris]

Sonny?

[George Harris]

Yes, Sonny.

[Ma Harris]

Not my Sonny.

[George Harris]

What do you think he is? You think he's an angel? He's a bum. A no good bum.

[Ma Harris]

Bum? You're the bum. You're the jailbread. You're the one.

[Sugar Keen]

Ma.

[Ma Harris]

Sonny's a good boy. He's a good boy. You're the one. You're the bum. Everything Sonny did bad, you made him. You're the one who made him.

[Stella Harris]

No, Ma.

[Ma Harris]

You. Since the minute you were born. Since the minute you were born, you've been nothing but trouble for me. You were an ugly and hateful boy. Ma, I hate you.

[George Harris]

Don't do that to me, Ma. Don't. Don't slap me.

[Ma Harris]

Bad boys get slapped.

[George Harris]

Goodbye, Ma.

[Ma Harris]

George.

[George Harris]

I gotta go, Ma.

[Ma Harris]

Take me to Sunny.

[George Harris]

I gotta go, Ma. I don't feel right.

[Mr. Stevens]

I gotta.

[Ma Harris]

George.

[Lieutenant Noonan]

21st Squad, Lieutenant Noonan.

[Lewis J. Whiteman]

Oh, good.

[Lieutenant Noonan]

Put him on. Hello, Lieutenant Noonan speaking.

[Special Agent Thompson]

Hello, lieutenant.

[Lieutenant Noonan]

What's up, Tommy?

[Special Agent Thompson]

Sonny came out of it, lieutenant. Yeah, the doctor let me talk to him. He says the whole thing was his brother George's idea. Oh, George put up the door for the finger man. He engineered the whole deal, according to Sonny. Did you locate George?

[Lieutenant Noonan]

Yeah, I notified him of what happened. I just got back. He was supposed to be headed out there to see about Sonny.

[Special Agent Thompson]

Well, maybe he's headed someplace else.

[Lieutenant Noonan]

If he is, he won't have much of a start. I'll check with you. Tommy Levitt.

[Philo Vance]

Yeah, lieutenant?

[Lieutenant Noonan]

Get hold of Brown, Adler and Mackie. We got a collar to make.

[Narrator / Roger Foster]

And now back to gangbusters.

[Stella Harris]

Come in, George.

[George Harris]

Stella.

[Stella Harris]

I locked up when you left. What'd your mother say, George?

[George Harris]

She slapped me.

[Stella Harris]

She what?

[George Harris]

She slapped my face, George.

[Stella Harris]

What are we gonna do?

[George Harris]

About what? She slapped my face. Stella.

[Stella Harris]

Sonny regains consciousness. He's gonna talk.

[George Harris]

Let him talk.

[Stella Harris]

What was he doing in Pennsylvania?

[George Harris]

I don't know. Just like I was a kid. She slapped my face.

[Stella Harris]

Sonny's double crossed you, George. Your own brother double crossed you. He was taking a load someplace. He was gonna cut you out of your share.

[George Harris]

I don't care.

[Stella Harris]

You gotta get out of here. George. He could double cross you like that. He'll involve you in the whole thing when he comes out of it.

[George Harris]

Let him involve me.

[Stella Harris]

Honey, let's get out of here.

[Lewis J. Whiteman]

No.

[Stella Harris]

At least till it dies down. Let's go someplace till we see what.

[George Harris]

I'm not leaving the store.

[Stella Harris]

George.

[George Harris]

Why?

[Stella Harris]

Come out of it, will ya? You know what could happen.

[Ma Harris]

You.

[Stella Harris]

George, they're coming. Cops. Two cars of em. Yeah, coming back.

[Ma Harris]

Come on. Come on.

[George Harris]

Yeah, you're all right.

[Stella Harris]

Close the curtain. Oh, I'll close it. Only one way. You got a chance, George.

[George Harris]

A chance for what?

[Stella Harris]

Chance to get away. Here, George, here's your gun. Gotta shoot it out with him.

[George Harris]

Are you crazy, Stella?

[Stella Harris]

You gotta shoot it out with them. They're coming to get you. Take the gun. Take it, will ya? Yeah, they are. Well, let them know who's bought.

[George Harris]

George, what are you doing to me? What are you giving me a gun for?

[Stella Harris]

Shoot it out with him, George.

[George Harris]

Look at me standing here with a gun. George, I got nothing. I got nothing in the world. I tried to make something, but you wouldn't let me.

[Stella Harris]

You wouldn't let me.

[Ma Harris]

Nobody would let me. Nobody would let me. Not you, not mine, nobody. George.

[Sergeant Heath]

All right.

[George Harris]

Yeah. Come this.

[Lieutenant Noonan]

What's going on, George?

[George Harris]

I just killed a woman.

[Lewis J. Whiteman]

Well, gangbusters, listeners. George Harris came to trial and was convicted of first degree murder with a recommendation of mercy. He is now serving life imprisonment. His brother Sonny died of his injuries shortly after his arrest. That's how this case was concluded. Thank you, Mr. Lewis J. Whiteman, former special Assistant to the Attorney General, Criminal Division, Department of Justice, for this most interesting and unusual case history.

[Narrator / Roger Foster]

Tonight's Gangbusters case was dramatized by Stanley Niss and directed by Leonard L. Bass. With Ralph Bell, Elspeth Eric and Briana Rayburn in leading roles. Roger Foster speaking.

[Al Bennett]

Yes, Mr. Douglas. I understand you want six girls to model evening gowns for your fashion show tomorrow night.

[Sergeant Heath]

And they've got to be told stories. Slender and attractive, Mr. Bennet, I understand

[Al Bennett]

they will be, Mr. Douglas. In fact, I can give you the same girls you had a few weeks ago.

[Philo Vance]

Oh, do that.

[Sergeant Heath]

They were very satisfactory. Goodbye.

[Al Bennett]

Goodbye.

[Sugar Keen]

Well, do you think we have time to finish our little conversation now?

[Al Bennett]

No, I'm sorry, Sugar. Business is business, you understand?

[Sugar Keen]

I understand more things than maybe you realize. All models aren't dumb, you know. They just look dumb.

[Al Bennett]

Sugar, listen, you're going on a photography job tomorrow afternoon for me. Two girls, you and Betty.

[Lieutenant Noonan]

Down.

[Al Bennett]

Wait a minute, sugar, will you? Mr. Bennett speaking.

[Sergeant Heath]

And Douglas again.

[Sonny Harris]

Bennett.

[Al Bennett]

Oh, yes, Mr. Douglas.

[Sergeant Heath]

I just wanted to make sure of something. One of the girls you're sending me for my fashion show will be Sugar Keen.

[Al Bennett]

Oh, yes, of course, Mr. Douglas. In fact, she's right here in my office at this moment.

[Sergeant Heath]

Oh, fine, fine. Just wanted to check, that's all. Bye.

[Al Bennett]

Bye.

[Sugar Keen]

Somebody wanted me.

[Al Bennett]

I just wanted to be sure you'd be on a fashion show job tomorrow night, Sugar. Another Hollywood style preview. You worked a few weeks ago, remember?

[Sugar Keen]

Return engagement by popular demand. Well, at least I'm not slipping.

[Philo Vance]

Slipping?

[Al Bennett]

Why, you're the top photography and fashion model in the country, Sugar. Have been for years.

[Sugar Keen]

Let's get back to this business. About the date. Tomorrow afternoon. You say it's important. And I'm going to work with Betty Downs, huh?

[Al Bennett]

Yes, it's very important. The pictures are for a Hollywood department store. Every movie producer in California will see them. Doesn't that make the job important to Betty?

[Sugar Keen]

Maybe he's got movies on her mind, not me. She's got movies on her mind when she hasn't got Sluggard Davis on her.

[Al Bennett]

She's not taking your prize fighting boyfriend away, is she?

[Sugar Keen]

She's trying and I don't like it. And I like it a whole lot less because Slugger doesn't mind.

[Al Bennett]

Look, let's keep personalities out of business, Sugar. You see, I've got a personal contract with Betty. And if she goes to Hollywood, I'll make plenty on that tomorrow's date. See that her makeup is okay. See that she looks right. Will you look out for her, please, Sugar?

[Sugar Keen]

Listen, Al, I'm telling you right now, if she doesn't watch her step, she better look out for me.

[Lieutenant Noonan]

No, no, no, Ms. Towns. Not like that. Like this. Who shoe too blue. Who shoe do blue? The lips around. Project the words. Now, once more, please.

[Ma Harris]

Who shoe do blue?

[Betty Downs]

Who shoe do blue?

[Lieutenant Noonan]

No, no, no, Ms.

[Al Bennett]

Towns.

[Lieutenant Noonan]

Of 20 minutes. Now, I try to teach you how to speak. How to speak. Like this. We the he she how now brown cow. Who shoo do blue. And what comes out you learn nothing.

[Betty Downs]

I'm sorry, Pierre. I'm trying.

[Lieutenant Noonan]

Trying. Trying is not enough. Doing you must do.

[Philo Vance]

Hello.

[Lieutenant Noonan]

Once more, please.

[Philo Vance]

The ooh. Sounds ready.

[Betty Downs]

No, no, I'm not ready. I'm tired of making ooh sounds. Oh, Pierre, I'm so tired.

[Lieutenant Noonan]

Oh, I am sorry, my dear. You muddle all day, and then in the evening you work with me. It is very difficult for you, Naspa. You rest a while. We try again in a few minutes, eh? Who is that coming?

[Al Bennett]

Hi, Betty. What's the good word?

[Betty Downs]

Hello, slugger. Sugar Keen isn't here. She isn't even expected, I don't think.

[Al Bennett]

I'm not calling for Sugar, Betty. Not tonight. I came to pick you up. Hiya, Frenchie. I'm Slugger Davis, next middleweight champion of the world. You're Pierre, ain't you?

[Sergeant Heath]

I am Pierre, ain't I?

[Philo Vance]

Well, ain't you talk such talk?

[Lieutenant Noonan]

Sacre no. Maybe it is you who ought to come take lessons for me.

[Al Bennett]

Well, I talk plenty good with my hands, Frenchy. That's all I gotta worry about.

[Betty Downs]

You might worry about Sugar King. She isn't gonna like your calling for me, slugger.

[Al Bennett]

No, I guess she ain't. But ain't that too bad, Betty? Ain't that just too bad?

[Sugar Keen]

Fill your upper lip a little more, Betty. Oh, here, give me the lipstick. I'll show you what I mean.

[Betty Downs]

Thanks, Sugar. It's awfully swell of you. I understand these pictures we're taking are going to Hollywood.

[Sugar Keen]

They sure are. And don't you wish you were, Sugar. Hold your mouth still so I can take care of that upper lip. Why I do these things, I'll never know. Oh, yeah? Take a look. Better?

[Betty Downs]

Oh, it looks fine.

[Sugar Keen]

Have you plenty of pancake on? Those lights are going to be hot.

[Betty Downs]

I think I've got enough.

[Ma Harris]

Sugar.

[Betty Downs]

I want to talk to you about Slugger.

[Sugar Keen]

I want to talk to you about him, too, only not now. Business is business, and this is a job. Use a little more pencil on your eyebrows and put a dot on the outside of each eye. Makes your eyes photographed bigger.

[Betty Downs]

Thank you. Right here.

[Sugar Keen]

That's the spot. Okay, let's get inside.

[Betty Downs]

I'm ready. Thanks again, Sugar. I'll never forget this.

[Sugar Keen]

Yeah, I know. Okay, Mr. Stevens, we're ready. Where do you want us?

[Mr. Stevens]

I want you for the first shot. You alone, Ms. Keane, Ms. Downs. You can wait in the anteroom if you like. I'll call you when I want you. You'll find magazines if you can't read.

[Betty Downs]

Thank you, Mr. Stevens. I'll be ready when you call me.

[Sugar Keen]

What now, Stevens?

[Mr. Stevens]

Just walk up those steps, sugar. At the third step, turn around and face the camera. This shot shouldn't take long. Ready?

[Sugar Keen]

Yes, I'm Ready? Walk up about here.

[Stella Harris]

Turn.

[Sugar Keen]

Face the camera.

[Mr. Stevens]

Hold it just like that. Sugar, want to take a look for the camera? Hold it.

[Sugar Keen]

Now, while you're looking, see if you can find the hundred dollars I'm supposed to get today.

[Mr. Stevens]

Turn a little bit more this way. That's good. Now back so I can get a shadow across the bottom half of your gown.

[Sugar Keen]

I still haven't seen the hundred.

[Mr. Stevens]

Yes, that's about it. Let me take another look through the camera.

[Sugar Keen]

Maybe the money will be there this time.

[Mr. Stevens]

All right, you'll get your blackmail. Now, hold still.

[Sugar Keen]

You look awfully silly, Stephen. In fact, the only way you don't look silly is when you're paying me my little weekly hushabye money.

[Mr. Stevens]

Stop talking and bend your right knee a little. Little more.

[Philo Vance]

Good.

[Mr. Stevens]

Hold it. Hold it just that way. And turn on the smile.

[Philo Vance]

The big prop.

[Mr. Stevens]

Smile, but make it like you mean it.

[Sugar Keen]

I'll just make believe you are paying me. How's this?

[Mr. Stevens]

That's good. Now hold it. That did it. Relax.

[Sugar Keen]

One shot. Sugar, they call me. What next?

[Mr. Stevens]

Relax for a while. I want to take Ms. Downs now.

[Sugar Keen]

I'll get her right after you give me that little cash present I get every week. You do like giving it to me, don't you? I couldn't possibly accept it if I thought you didn't enjoy giving it to me.

[Mr. Stevens]

I love it. And you'll have it before you leave. When do I get back those letters?

[Sugar Keen]

At the end of the year, just as I promised. You pay me every week for a year like a good little boy and your wife will never know you were a bad little boy. And that I have your letters to prove it. You wanted Betty. I'll get her.

[Stella Harris]

Hey, bet for Sugar.

[Al Bennett]

Hello, honey.

[Sugar Keen]

Oh, just like that. Hello, honey. Slugger, I told you to keep away from Betty.

[Betty Downs]

But, Sugar.

[Al Bennett]

I'll handle this. Betty.

[George Harris]

Look, Sugar.

[Al Bennett]

What are you building? Can I talk to another dame without you blowing your lid?

[Sugar Keen]

Listen, slugger. The only thing that will ever break you and me up is my making up my mind that it'll happen me when I decide you and I aren't a team. We're through. Not when you do. Do you understand?

[Al Bennett]

Maybe I do and maybe I don't. Maybe I don't like you handing out the decision. Sugar, what happens then?

[Ellen Deering]

What happens then?

[Sugar Keen]

This happens. Try walking out on me, slugger, and you'll be the sorriest pug that ever walked on his heels. I said the sorriest. I meant the deadest. Come on inside. Then we have to have our Pictures taken. Business is business, you know.

[Ellen Deering]

Officer Philo vance, private investigator. Ms. Deering speaking.

[Lieutenant Noonan]

What a speech it is, too. Hello, Ellen. Vance there?

[Ellen Deering]

Hi, Mr. Markham. You're not taking him out of the office, are you?

[Lieutenant Noonan]

I'd say it was more a matter of his wanting to go than my taking him. May I talk to him?

[Sugar Keen]

Why, of course.

[Ellen Deering]

Just a moment. The district attorney, Vance Markham.

[Philo Vance]

Splendid. Would you hand me the phone, please? Thanks. Hello, Markham.

[Lieutenant Noonan]

Vance, this is one of those calls. There's been a murder. How soon can you come up?

[Philo Vance]

I'm practically there now. Who was killed?

[Lieutenant Noonan]

A photographer's model named Sugar Keen, Vance.

[Philo Vance]

She was throttled.

[Lieutenant Noonan]

A wire wound tightly around her neck.

[Philo Vance]

Sugar Keen, eh? Do you have the wire?

[Lieutenant Noonan]

No, I don't. It's missing. Sergeant Heath. Is Ms. Keene's employer, Al Bennett, up here, and I'm phoning you from her apartment in the Belmont towers.

[Philo Vance]

I'm on my way, Markham. I did want to meet Ms. Keene, but I would have preferred to have her answer when I said, how do you do by.

[Ellen Deering]

I heard that, Vance. So Sugar Keen is the murder?

[Philo Vance]

That's what the man said. You sound as if you knew her.

[Ellen Deering]

Only by side. I've seen her pictures in the magazine.

[Sugar Keen]

Everybody has.

[Ellen Deering]

In fact, I think there's a picture of her in this magazine here. Now we'll find it for you.

[Betty Downs]

Yes.

[Sugar Keen]

Look here.

[Ellen Deering]

Here's a picture. Girl on the right.

[Philo Vance]

Oh, she was lovely, wasn't she?

[Ellen Deering]

Vital statistics. Her name, Sugar Keen. Height, 5 foot 10. Weight, 120. Single brown eyes, blonde hair. Is seen very often with Saga Davis, middleweight challenger.

[Philo Vance]

Very interesting, Ellen. You know, you're an ideal secretary. There isn't anything that you don't know or can't find out, is there?

[Ellen Deering]

Well, I wouldn't say that exactly, Vance. I wouldn't mind knowing or finding out something about you.

[Philo Vance]

You mean there are things about me you don't know, Ellen? Surprising after all these years. Shows how resourceful I am.

[Sugar Keen]

Or evasive.

[Ellen Deering]

Well, aren't you off to investigate the Sugar Keane murder?

[Philo Vance]

I most certainly am. Ellen. Who's the girl shown posed with Ms. Keene? Looks a little younger than the murdered girl.

[Ellen Deering]

Oh, she works for Al Bennett's model agency, too. Vance. Name's Betty Downs. She's new.

[Philo Vance]

Just thought I'd ask. Well, maybe she's new. But I'd better be off to meet Markham at the apartment of the late Sugar Keen before any clues left around are old. I'll be back, Ellen.

[Ellen Deering]

Okay, Vance, I'll be here.

[Sergeant Heath]

Miss Geen worked for you didn't. She, Mr. Bennett. You must know who didn't like her.

[Al Bennett]

Well, I'm sorry, Sergeant Heath. I wish I could help you, but this is a. Upset me terribly. You see, I've known Ms. Keane so long, ever since she was a child. But you've got to give me time to think.

[Philo Vance]

You've just got to.

[Sergeant Heath]

Sorry, Mr. Bennet. I didn't mean to be tough. You've gone over this murder room without missing a thing. Can't find any clue to work on. I thought maybe you could help.

[Al Bennett]

Well, maybe I can, but not right now. I can't do anything right now. Look, can I leave, please? You'll know where to find me if you want me again.

[Sergeant Heath]

I'll ask the district attorney. He's talking to his friend Philo Vance in the next room.

[Lieutenant Noonan]

There just doesn't seem to be anything

[Lewis J. Whiteman]

at all that point.

[Sergeant Heath]

Hey, da, Is it all right for Al Bennett to leave? Who? He's the head of the model agency this keen gal worked for. He wants to go home.

[Lieutenant Noonan]

Let him go, Heath. We can get him if we want him.

[Sergeant Heath]

Okay, DA Just wanted to get an okay from you.

[Lieutenant Noonan]

Well, Vance, you know all the facts.

[Philo Vance]

What do you think, Markham? It's hard to form an opinion at the moment. You say she was strangled with a wire of some sort?

[Lieutenant Noonan]

That's right. The police are tearing the murder room next door apart trying to find it. I wish we could lay our hands on it.

[Philo Vance]

Is that the only wish you can make, Markham? Because if it is, I can fill it for you. This is the murder weapon, I think.

[Lieutenant Noonan]

Where did you get that, Viz?

[Philo Vance]

It was lying here in a corner of this room. I saw it. Listen, while you were talking to Heath just now. The police haven't gotten around to this room, apparently. But, Markham, it isn't a piece of wire.

[Lieutenant Noonan]

No, I can see that. Just what is it?

[Philo Vance]

I'm not positive, but I believe it's a piece of costume jewelry. A coiled bracelet that's been unwound would make a very effective weapon. Here, take it. And my handkerchief with it. There may be fingerprints on it. Segments of fingerprints. Anyhow, it isn't very wide.

[Lieutenant Noonan]

My guess is the murderer threw it into this room as he ran out of the apartment.

[Philo Vance]

Do you agree that with the fact that the murderer threw it here? Certainly I agree with that, Markham. What I don't agree with, however, is that you refer to the murderer as he.

[Lieutenant Noonan]

This is District Attorney Markham. The covergirl murder case began when Sugar Keen, popular model, was found strangled by an uncoiled piece of Metal, which Philo Vance believes was once a costume jewelry bracelet. Al Bennett, model agency head, told us Ms. Keene and her boyfriend, Slugger Davis, had been having a severe quarrel over another model, Betty Downs. And also that at one time Ms. Keane was friendly with a photographer named Stevens. To see Ms. Downs, who at the moment is about to make an appearance as a model at a fashion show. Vance should be there.

[Betty Downs]

Please, Mr. Vance, I really must leave. I'm due to go on any moment now.

[Philo Vance]

All right, Ms. Downs. I'll walk with you to the side of the stage. Allow me.

[Sugar Keen]

Presenting an original creation, imported and only.

[Philo Vance]

Oh, that's quite attractive.

[Sugar Keen]

Featuring off the shoulder design for the cocktail.

[Philo Vance]

Such lovely shoulders.

[Sugar Keen]

Please notice the un. The full black skirt shirt has a wonderful bottom in contrasting white crepe.

[Philo Vance]

Quite effective.

[Betty Downs]

I'm on next, Mr. Vance. I'll have to leave you now.

[Philo Vance]

Very well. I'll watch you from the wings. Fine, but very interesting. Goodbye.

[Sugar Keen]

Our very latest import, ladies and gentlemen, another La Ro original. For very formal, even wear. Severe black, relieved by a gold band at the waist. Completely backless.

[Al Bennett]

I beg your pardon, Mr. Vance.

[Philo Vance]

Always, Bennett. Is it not the long black clothes?

[Al Bennett]

Fashion show doesn't seem the same without Sugar keen in it, Mr. Vance. You should have known that. She was wonderful, Lovely, exquisite.

[Philo Vance]

All three.

[Al Bennett]

She was everything, Mr. Vance. Everything.

[Philo Vance]

Mr. Bennett, did you know it was a bracelet that strangled Sugar Keen?

[Al Bennett]

A bracelet?

[Philo Vance]

One of those coiled bracelets, Bennett. Someone unwound it, used it on Ms. Keane's neck.

[Al Bennett]

You think Ms. Down?

[Philo Vance]

Possibly. I understand she was part of a triangle. Along with a pugilist named Sluggard Davis. People have been killed for less. Tell me, as far as you know, did Ms. Downs own a coil bracelet?

[Al Bennett]

Well. Well, yes, as a matter of fact, she did. I've seen her wear it.

[Philo Vance]

Really? I almost didn't want to hear that. Well, I'll see Ms. Downs later on. I have another call to make. At a gymnasium. Perhaps the challenger to the middleweight championship of the world can forget the ring to discuss a bracelet. Just keep on your work. Mr. Davis. I didn't mean to interrupt your bag punching.

[Al Bennett]

You ain't France. You ain't?

[Philo Vance]

No, I don't suppose I am. Davis, I understand you and your former sweetheart, Sugar Keen had quite a quarrel just before her death.

[Ma Harris]

Yeah.

[Philo Vance]

So you might have killed her, Mr. Davis.

[Al Bennett]

Yeah. Well, all I've got to say to you, Vance, is this.

[Philo Vance]

Well, that's quite a punch you have, Mr. Davis. I think I understand what it was you had to say to me. I'm very Happy, though, that you said it to me through the medium of that punching bag. Hey, slugger. Hey, slug.

[Mr. Stevens]

There's a doll outside wants to see you. And voila. Doll.

[Al Bennett]

Yeah, well, thanks, Crunchy. You want in on this, too, Vance?

[Philo Vance]

For just a second, I want to verify one fact.

[Al Bennett]

Huh?

[Philo Vance]

It has nothing to do with you, believe me. Is this the door we use? Sure.

[Al Bennett]

Well, I throw this robe over my shoulder there. Okay, let's go. Hi, Freddie.

[Philo Vance]

Good afternoon, Ms. Downs.

[Betty Downs]

Mr. Vance. I didn't expect to find you here.

[Al Bennett]

You said you had something to ask her, Vance. Go ahead.

[Philo Vance]

Very well. Ms. Downs, I've been informed that you owned a coiled bracelet. Costume jewelry, I believe. Is that correct?

[Betty Downs]

Yes. Yes, I own a bracelet like that, but I can't find it anywhere, and I don't understand where it can be.

[Mr. Stevens]

No?

[Philo Vance]

I wonder.

[Betty Downs]

What upsets me is that I only bought it yesterday. I've never had a chance to even wear it.

[Philo Vance]

So you say. I just want to check one more thing. Did sergeant Heath take your fingerprint?

[Al Bennett]

Forget it, Vance. And beat it. Each took everybody's fingerprints, and I've taken about all that talk of yours I can stand. Get out of here. Betty and I have things to say to each other.

[Philo Vance]

Have you really? Perhaps it might be a good idea for both of you to devote the things you have to say toward perfecting an alibi for each other.

[Sergeant Heath]

I tell you, Markham, I needed that guy Vance on this case like I needed a hole in the head. I got it all wrapped up.

[Lieutenant Noonan]

Really, Heath, How?

[Sergeant Heath]

How? We know what the murder weapon is, don't we? That bracelet, right?

[Lieutenant Noonan]

Yes. And if memory serves me, it was Vance who found it.

[Sergeant Heath]

Sure, because he was in the room next to the murder room, and that's where it was. But who checked the fingerprints on it? And who found whose? They were me, that's who.

[Lieutenant Noonan]

Whose prints are on the bracelet?

[Sergeant Heath]

Whose prints? Betty Downes, that's whose. She had to get her prints on the thing when she unwound it to stop Strangle the King gal.

[Philo Vance]

Hello, Markham.

[Lieutenant Noonan]

Hello, Vance.

[Sergeant Heath]

Hi, Vance.

[Lieutenant Noonan]

Vance, you're just in time to help with a hosanna or two to be hurled in sergeant Heath's direction. He has fairly conclusive proof that Betty Downs murdered Sugar Keen.

[Sergeant Heath]

You bet I have.

[Philo Vance]

Congratulations.

[Al Bennett]

He.

[Philo Vance]

I hate to say this, but I know who killed Ms. Keane. I've known for some time now.

[Lewis J. Whiteman]

You have?

[Sergeant Heath]

Sure. As soon as the DA mentions his name, you say you knew it all the while.

[Philo Vance]

Oh, but I did hear congratulations just the same. Even though Ms. Downs is definitely not the murderer. Hello, Ellen, this is Van.

[Ellen Deering]

Hi, boss. What's up?

[Philo Vance]

My spirits, for one thing. Ellen, I think we're near the end of the Covergirl murder case.

[Ellen Deering]

We sure did that quickly enough. How did we do it?

[Philo Vance]

I'll tell you all about it. As if I dared do anything else but that. But first, Ellen, I want you to call Markham and have Mr. Bennett, Ms. Downs, slugger Davis and a photographer named Stevens in Mr. Bennett's office in an hour.

[Sugar Keen]

Right.

[Ellen Deering]

Anything else?

[Philo Vance]

Yes. I want you to stop at the office of an attorney named Wolf Bartley J. Wolf. And when you're there, here's what I want you to do. Forgive me, Mr. Bennett, for using your office as a meeting place, but it's centrally located and completely convenient.

[Al Bennett]

Perfectly all right, Mr. Vance. Thank you.

[Lieutenant Noonan]

All right.

[Philo Vance]

Now, please, everybody, may I have a little quiet? Thank you all. Mr. Stevens, may I ask you one question?

[Mr. Stevens]

Vance, I've got two appointments, a photograph from my studio waiting for me. I want to get out of here.

[Philo Vance]

I may not keep you long. I know a photographer with your reputation. Must be busy. Mr. Stevens, was sugar Keen blackmailing you? Well, was she?

[Mr. Stevens]

Yes.

[Philo Vance]

Thank you for being so very truthful. Actually, I imagined that was true. I found some letters you had written to her. And her bank account was larger than it should have been according to the money she earned from Mr. Bennet, to whom I am indebted for that information.

[Mr. Stevens]

You think because you know that you can prove that I killed her? Well, you can't. And I'm not sitting here waiting for you to try.

[Ma Harris]

I'm getting out.

[Philo Vance]

Steve.

[Sergeant Heath]

He ain't getting anywhere. Vance, that works.

[Stella Harris]

You can't frame him.

[Sergeant Heath]

Get back to your seat. Now, Steve, go ahead and sit down. Sit down.

[Philo Vance]

Please. Sit down. Mr. Stevens, I know you're not our murderer. But I won't keep anyone in suspense any longer. We were a little late in getting started because I was waiting for a telephone call from my secretary, Ms. Deering. I had to find a motive for my murderer. I know it. Now, Mr. Bennett, would you prefer to confess? What?

[Al Bennett]

Me, confess?

[Philo Vance]

Shall I prove how I know you killed Sugar Keen?

[Al Bennett]

I killed her? Well, Vance, there's something the matter with you. Did you hear that? Everybody thinks I killed her. Now, why should I kill her? I needed her in my business. I liked her. She was my friend. Everybody. Tell Vance. Sugar was my friend.

[Philo Vance]

Oh, I don't doubt that you two were friendly, Mr. Bennett. But you killed her just the same. You were entrusted with an inheritance which she was to get when she was 23 next year.

[Al Bennett]

Vance, you don't know what you're saying.

[Philo Vance]

Oh, yes, I do. My secretary found out that information from the attorney who represented Sugar King's dad up until his death. That was the phone message I got. My guess is you dissipated the money that was rightfully Ms. Keane and that you couldn't face the accounting you knew you'd have to have with her shortly.

[Al Bennett]

That still doesn't prove I killed her, does it? Everybody does. That prove I killed her?

[Philo Vance]

Nobody knows. It doesn't any better than I. But I can prove you did kill her. I said that before, didn't I? You see, I know something. The one little thing that will prove it to the complete satisfaction of the district attorney.

[Ellen Deering]

You mean to tell me, Vance, that you're going to let me crawl with curiosity and you're not even coming down to the office?

[Philo Vance]

That's right, Ellen. Well, it's partly right. I can control your curiosity, even though I won't be down today.

[Ellen Deering]

Well, start controlling, boss. I've got questions to ask about that covergirl murder case.

[Philo Vance]

You'll find the answers on the dictaphone. I dictated a record last night. Now I'm going to sleep. See you later, Ellen.

[Sugar Keen]

All right.

[Ellen Deering]

But if you've left out anything, I'll be on the telephone. Bye, then.

[Philo Vance]

Goodbye.

[Ellen Deering]

Pick the phone. Well, we'll see.

[Philo Vance]

Ms. Deering, you probably want to know how I knew Al Bennett killed Sugar Keen and why I sent him to that attorney's office.

[Ellen Deering]

I certainly do.

[Philo Vance]

We knew Ms. Keane was strangled with a winding bracelet belonging to Betty Downs. But Betty Downs claimed she had never worn the bracelet. I knew that was probably true because she'd have no reason to lie about wearing it once she admitted she owned it. But to make certain, I checked with the store where she had purchased the bracelet. I was told it had been delivered late in the afternoon of the murder day. Al Bennett, however, knew she had that bracelet. How could he possibly know? He never saw her wear it. The only way he could have known is if he took it out of her apartment to use on Sugar King.

[Ellen Deering]

I wonder what he was doing in Betty Downs apartment in the first place.

[Philo Vance]

I imagine with your logical mind, Alan, you want to know why Bennett would go to Ms. Downs apartment. Well, I believe he went there to get something. A glove, a belt, a handkerchief. Something he could leave at the scene of the crime that would be traced to Ms. Downs. He hit upon the coil bracelet. His one mistake.

[Ellen Deering]

And what a mistake.

[Philo Vance]

Once Bennett said he knew Ms. Downs owned the winding bracelet, I knew he was our man. And if there aren't any Questions from you, Ms. Deering, I believe that is all that needs explaining.

[Ellen Deering]

Well, what's the difference? If I had a question, you couldn't answer it, could you? Hey, what am I doing talking to a record?

[Philo Vance]

I thought I'd covered everything, Ellen. Or perhaps I should. They uncovered everything. Suffice to say that I'm sure we've reached the end of the Covergirl murder case.