Philo Vance - Rhumba Murder Case 12/28/1948

Summary

Podcast Summary: "Philo Vance - Rhumba Murder Case" (Aired 12/28/1948)

Choice Classic Radio Detectives | Old Time Radio | July 11, 2026

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Episode Overview

In this episode, the sophisticated detective Philo Vance investigates the murder of Rosita Ortega, a private dance instructor, in what becomes known as "The Rhumba Murder Case." Set amidst the lively yet secretive world of private dance studios and their clientele, the case weaves together intrigue, blackmail, romance, and rivalry, with multiple suspects and a clever unraveling of an alibi.

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Key Discussion Points & Plot Breakdown

1. Setting the Scene: Dance Studios & Suspicion

• Sally Henderson, secretary to District Attorney Markham, visits Rosita Ortega's studio and becomes suspicious after overhearing a heated phone conversation with Reynaldo, a recently fired male dance instructor. (00:48–02:29)
• Rosita is portrayed as a shrewd, sometimes harsh businesswoman, hinting at questionable activities.
• Sally reports her suspicions to Markham after witnessing tension and threats at the studio. (02:33–03:05)

2. Key Characters & Tensions

• Rosita Ortega: Victim, involved in blackmailing a client, Jack Cummings.
• Reynaldo Alvarez: Recently fired dance instructor, feels wronged and issues veiled threats.
• Jack Cummings: Married man, subject to Ortega’s blackmail due to incriminating love letters.
• Senorita Ramon (aka Margaret Stone): Neighboring "Spanish" instructor, in rivalry with Rosita and caught in blackmail attempts herself.

3. The Murder & Initial Investigation

• Rosita Ortega is found stabbed to death in her studio around midnight. (08:22–08:39)
• Markham and Vance question suspects: Reynaldo, Senorita Ramon, and Jack Cummings. Letters connecting Cummings to the victim cannot be found.

4. Suspect Interviews & Alibis

• Reynaldo claims he was at the Shadowland Dance Hall the entire night, winning a rhumba contest at 12:15 AM with partner Mary Morgan, suggesting a solid alibi. (12:35–14:54)
• Mary Morgan confirms Reynaldo’s story, expressing her affection and loyalty, but details about ticketing and timing at the dance hall become critical to the investigation. (15:00–17:43)

5. Blackmail and Desperation

• Senorita Ramon/Margaret Stone tries to blackmail Cummings, claiming to have seen him at the scene. Cummings, in despair, contemplates suicide until Vance intervenes. Vance reassures him, seeking the truth. (17:43–20:03)

6. Breaking the Alibi – Vance’s Deduction

• Vance investigates the dance hall records. Each dance lasts two minutes, with a minute break and a ticket per dance. (21:00–21:40)
• Mary Morgan turned in only 40 tickets, not the 60 expected if she danced every dance with Reynaldo, leaving a one-hour gap unaccounted for. (24:28–25:03)
• Vance confronts Reynaldo with this information, breaking his “perfect” alibi and leading to his confession.

7. Solution & Wrap-up

• Vance explains to Markham the fatal flaw in Reynaldo’s alibi using simple mathematics, revealing how misplaced loyalty and overlooked details sealed the murderer’s fate.
• Reynaldo confesses, and the case is closed. (24:28–25:40)

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Notable Quotes & Memorable Moments

Rosita’s Blackmail, with implied threat:

Rosita: “How much would you say [those letters] were worth?... Is that blackmail?”
Cummings: “You know it is. And you want to know what those letters are worth to me? They're worth a whole lot more than your life is.”
[05:05–05:18]

Sally’s Instinct for Trouble:

Sally: “But after what I just overheard, I've decided perhaps I'd better get in touch with my boss, the District Attorney, right away.”
[02:33]

The Crime Revealed:

Markham (reading police memo): “Rosita Ortega, private dance instructress, stabbed to death in her studio midnight last night.”
[08:30]

Vance’s Detective Style:

Vance: “…Life is little to a private investigator without a murder.”
[09:35]

The Mathematical Alibi Crack-Down:

Vance: “Ronaldo said he danced every dance from 9:00 o'clock to midnight with Mary Morgan... If Mary Morgan had danced every dance with Ronaldo as she claimed, she would have turned in 60 tickets. But... she turned in only 40 tickets. So she only danced with Ronaldo two hours and not three. That gave him an hour off to murder the Ortega girl.”
[24:30–25:13]

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Timestamps for Important Segments

• 00:48–02:29: Tensions at the dance studio; Sally witnesses threats.
• 05:05–05:18: Blackmail confrontation between Rosita and Cummings.
• 08:22–08:39: Discovery and announcement of Rosita’s murder.
• 12:35–14:54: Reynaldo establishes his dance hall alibi.
• 15:00–17:43: Vance interviews Mary Morgan; alibi detail surfaces.
• 17:43–20:03: Blackmail attempt on Cummings leads to his desperation.
• 21:00–21:40: Dance hall ticket system explained—a key clue.
• 24:28–25:13: Vance mathematically dismantles Reynaldo’s alibi.
• 24:28–25:40: Confession and case closure.

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Tone and Style

The tone throughout the episode is classic Golden Age detective drama: brisk, clever, and only occasionally sentimental. Philo Vance, as always, is witty, logical, and unfailingly composed, while the supporting cast provides both comic relief (especially in the dance studio rivalries) and pathos (Cummings’ despair and Mary Morgan’s earnest loyalty).

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Conclusion

This episode is an exemplary locked-room-style mystery with a clever twist on the “perfect” alibi, leveraging the mechanics of a dance hall ticketing system. Philo Vance’s logical approach and signature dry wit expose the murderer by attention to detail and basic arithmetic, bringing another complex case to a satisfying end.

Transcript

[A]

Welcome to Choice Classic Radio where we bring to you the greatest old time radio shows. Like us on Facebook, subscribe to us on YouTube and thank you for [e-mail]. Yes, senorita, we guarantee to teach you the latest South American dances in 10 lessons or we refund your money.

[B]

I'll buy that. Ms. Ortega, there's something about the samba that I just can't get.

[A]

And samba and Roomba are included, of course. Now, your name, please.

[B]

Sally Henderson.

[A]

Occupation or profession?

[B]

Oh, I'm secretary to Mr. FX Markham. He's district Attorney here.

[A]

Oh.

[B]

Why? What's wrong?

[A]

Nothing, nothing. Ms. Henderson, we will not be able to start your lessons for several weeks. Will that be all right?

[B]

Well, no, not especially all right. You know how it is with these things. You make up your mind to do them and then, well, once you do, you'd like to do them right away.

[A]

If you are in a hurry, you might try somewhere else. I'm very busy. I have many people who give lessons.

[B]

2. One more shouldn't make any difference. Excuse me.

[C]

Hello, Rosita?

[A]

Yes, this is Senorito Ortega.

[C]

Look, don't hi hat me. Rosita Trinalda.

[A]

Yes, what is it?

[C]

This connection must be bad or something. Rosita, this is Ronaldo, remember?

[A]

What is it you want?

[C]

To see you, for one thing, to get my job back for another.

[A]

I'm sorry, there is no position open here now. Goodbye.

[C]

Wait a minute to receive it. Thank you. Take it easy. Maybe if there isn't a job open, you wouldn't mind making a small loan to a friend.

[A]

Absolutely not. We have nothing further to discuss, Reynaldo.

[C]

Oh, yes, we have. We have a lot to talk about. I gave you a week to cool off after you fired me. But nobody's hiring males. Dancing teachers much. I'm not doing too good.

[A]

I'm sorry.

[C]

That's all you can say? I'm sorry? Rosita, you've got no idea how sorry you're going to be.

[A]

Now, where were we? Miss?

[B]

Ms. Henderson, you had just decided not to give me dancing lessons, Senorita. But after what I just overheard, I've decided perhaps I'd better get in touch with my boss, the District Attorney, right away.

[A]

Now, you see, Mr. Cummings, it is really quite simple. Now listen, watch. Just 1, 2, 3. 1, 2, 3.1, 2, 3, 1, 2, 3. You see, the entire rumba is built on the 1, 2, 3 rhythm. Just like your American waltz.

[D]

Is it?

[C]

Rosita?

[A]

Please, Mr. Cummings, pay attention to what I'm trying to Teach you.

[B]

Head up.

[A]

No, no, no. No movement from the waist. Up with the feet.

[B]

One, two, three.

[A]

Can we try it again?

[D]

One, two, three. You do it. I like watching you.

[A]

You can do it if you try, Mr. Cummings.

[D]

Come.

[A]

Try, eh?

[D]

No, no. I'm a little too clumsy for that kind of thing. I realize that this is my 10th lesson and I haven't learned to dance. But I've learned something that's worth a whole lot more. I've learned about you that's come to mean something to me.

[A]

Stop playing, Manuel. I'll call you when I want to.

[E]

Okay.

[C]

Oh, this is what I like.

[D]

You and I alone, Rosita. Of course, it isn't exactly an ideal setting, but it'll do.

[A]

And the ideal setting, what is that?

[D]

That's the kind of thing I wrote to you about, Rosita. Moonlight, away from people. Someplace where they never heard of rumba lessons.

[A]

You are quite romantic, Mr. Cummings. Your letters are very dear to me.

[D]

Are they, Rosita?

[A]

Yes. Mrs. Cummings must be a charming woman, Mr. Cummings. I wonder if she is equally an understanding woman. You think she would like reading your letters?

[D]

You wouldn't show them to my wife.

[A]

Oh, Mr. Cummings, how could you even think such a thing? No, no. In fact, I might even be willing to part with them, despite their great success. Sentimental value to me. How much would you say they were worth?

[D]

Oh, so that's it. Blackmail.

[A]

Blackmail, Mr. Cummings? Oh, no, I. I merely asked for a friendly estimate. How much would you say those letters are worth? Is that blackmail?

[D]

You know it is. And you want to know what those letters are worth to me? They're worth a whole lot more than your life is.

[B]

Good evening, Senorita Ortega. Reynaldo is not here?

[A]

No, he is not, Senorita Rema. He won't be here. I told you that a dozen times. Go on back next door where you belong. Please.

[B]

That is no way for one senorita

[A]

to talk to another senorita. Oh, don't make me laugh. Just because you teach Spanish and because you can fool whoever it is that is stupid enough to come into your studio. Oh, don't think I believe you are Spanish.

[B]

You know many things that aren't good. Senorita Ortega. It's true I'm not Spanish and my name is not Raymond. But I didn't come here to talk about me. Where's Rinaldo?

[A]

I do not know. Here, there, somewhere. I have not heard from him since he quit his job here last week.

[B]

Quit his job? You fired him? Don't try to Kid? Me? He know a little too much about you. Knew the cute little blackmail racket you had going for you. That's one of the reasons you let

[A]

him go, is it? And what's the other reason?

[B]

I'm the other reason and you know it. He was starting to go for me. He was starting to overlook you. You're getting a little old, Ortega. A little tired looking. You can't blame her.

[A]

Get out of here, you. You, whatever your name really is.

[B]

Go on, get out.

[A]

Get out or I throw you out.

[B]

Better get somebody to help you.

[C]

Help me?

[A]

I need nothing to help me.

[B]

I'll push you right out. Get your hands off my charm. Off. You ask for this?

[A]

Oh, a knife you carry, do you? Well, you won't use it on me. I will get that from you. I will.

[D]

Stop.

[B]

Stop it.

[A]

You breaking my rifling knife.

[B]

Drop it.

[A]

Drop it on the floor. Drop the knife.

[C]

My wrist.

[B]

You've broken my wrist.

[A]

You are lucky that isn't all I break. Get out of here and take this knife with you.

[B]

Okay, okay, I'll get out. I'll take the knife with me. But you never can tell Ortega both of us may be coming back. It may be something. And it may be nothing, Mr. Markham, but I thought I'd tell you about it.

[E]

I'm glad you did, Sally. So you went up to one of those private dance studios last evening. And when this Senorita Ortega found you were working for me, the district attorney, she wasn't very anxious to have you take the course.

[B]

Oh, it isn't that so much, Mr. Markham. It's the phone call she got from somebody named Reynaldo. That's why I tried to reach her last night on the phone.

[C]

He.

[B]

He sounded mighty serious when he threatened her.

[E]

Yes, I didn't get in till quite late. And he was serious all right. Sally.

[B]

What do you mean?

[E]

Look at this memorandum that came into me just before you arrived. It's from Sergeant Heath at the Homicide Department. Here, read it.

[B]

Rosita Ortega, private dance instructress, stabbed to death in her studio midnight last night, Mr. Markham.

[A]

She's dead?

[E]

Apparently. I was about to go up to the dance studio to meet Philo Vance. There I'd call him.

[B]

You mean that maybe I gave you a clue to the murderer?

[E]

A clue to the suspect? Undoubtedly. Somehow, clues to a murderer are never this easy to find. Well, Van, Sergeant Heath has this Ronaldo individual on the late Senorito Ortega studio. Shall we go in?

[F]

No, not for a moment, please. Mark. Malcolm, let's stay here in the Outer office a minute. It was quick work on Sergeant Heath's part.

[E]

Apprehended, Renaldo? Yes, it was. Heath has another suspect for us, too. Senorita Ramon. She teaches Spanish in the studio next door.

[F]

Senorita Ramon?

[C]

That's right.

[F]

I noticed her sign as we came down the hall. Well, Markham, I'm about ready to go to work. It's been quite a while since our last murder case. And life is little to a private investigator without a murder.

[E]

To a private investigator such as you, that's undoubtedly correct. Now, how about this, Ronaldo Vance.

[F]

Let's get him in here. Now, if you will, Markham.

[C]

Right.

[E]

I'll have Heath send him in. Sergeant Heath, would you ask Ronaldo to come here, please?

[C]

Sure.

[E]

He's on the way, Vance.

[F]

Good.

[C]

I'm Ronaldo Alvarez.

[E]

Right in. This way, please, Ronaldo.

[C]

Sure. What happens now, Ronaldo?

[E]

I'm District Attorney Markham. This is Philo Vance.

[C]

Vance, huh?

[E]

You heard of Mr. Vance?

[C]

Who hasn't? But I don't suppose he can want anything from me.

[F]

I might, now that Sergeant Heath apprehended you so quickly.

[C]

What apprehended? I walked in here this morning to see Ortega. Didn't know a thing about her being dead until then.

[F]

Perhaps that's true, Ronaldo. Why did Senorita Ortega discharge you?

[C]

Why? Because she thought she could get along without me, that's why.

[F]

Was that the only reason?

[B]

What is going on in here? Why am I being held like a prisoner in the studio?

[F]

It's all right, Heath.

[E]

Let her come in.

[B]

Why am I being held in there like a thief? Why?

[E]

And who are you, may I ask?

[B]

Me? I am Senorita Raymond. I have the studio next door.

[E]

Oh, I see.

[B]

Is that reason enough for me to be held until you get ready to speak to me?

[F]

I think it might be. Senorita Raymond. That accent of yours is slightly spurious too, I might add. What is your right name?

[C]

Her name is Margaret Stone, Vance.

[F]

Thank you, Reynaldo.

[C]

You knew her very well.

[E]

Would you please wait in the studio just one moment, Senorita Ramon or Stone, whichever you prefer. I promise you we won't be more than a few minutes.

[B]

Okay. Only I don't like to be kept hanging around like a pet dog.

[F]

Quite a young lady there, Ronaldo, huh?

[C]

She's really something, Vance. And can I go now?

[F]

Not yet, Ronaldo. I'd like you to tell me all you know about the late Senorita Ortega

[C]

and who might have killed her. Look, Vance, I'm a dancer, not a detective. But Rosita did Have something off the record going on with a guy named Cummings. Jack Cummings. He was married and he wrote us some letters.

[E]

That sounds like something, Vance.

[F]

Yes, it does. Where did the senorita keep those letters, do you know?

[C]

I should know. I saw looking at them only last week. I got an idea that was one of the reasons I was fired. They're right in that desk, Mr. Markham. Sitting at middle drawer.

[E]

Yeah.

[F]

Slocked. Well, that shouldn't be entirely unexpected. That paper knife ought to be capable of prying the drawer open and set it right in the center. Markham, Right. Well, no.

[E]

No letters. Nothing that even looks like a letter.

[C]

Really? It's like I told you. Then Cummings kill Rosita for those letters.

[E]

That sounds logical and very pat.

[F]

Where were you at midnight last night, Ronaldo?

[C]

Midnight? I can tell you. I won a Roomba contest over at the Shadowland Dance palace, little after midnight. I was there all night. Mary Morgan, she's my dancing partner. Maybe we're going to do an act together.

[E]

I'd like to know a little more about this Cummings man you mentioned, Ronaldo. What's his first name?

[C]

As far as I know, it was Jack. He took lessons from Rosita.

[E]

You know the name, Vance?

[F]

Jack Cummings.

[C]

No.

[F]

No, I don't think I do. There is a quite wealthy merchant in this city named John H. Cummings. Renaldo was Cummings. Rather big, about 45, gray hair parted on the side?

[C]

That's about right.

[E]

You do know him then, Vance?

[F]

Yes, I know of him, that is, I attended an exhibition of his wood carvings about a year ago. Wood carving's his hobby. He's quite good at it, too, as I remember.

[E]

Vance, listen, the Ortega girl was killed by a knife. Cummings carves. Wood is a pastime, certainly.

[C]

And the automotive. Those letters. If I know Rosita, she was using those letters, too.

[E]

It adds up. Vance, I'm going to have Heath pick up Cummings at once. What we found out this morning practically proves it was he that killed Rosita Ortega.

[F]

Does it, Markham? Personally, I'm of the opinion that what we found practically proves that he didn't.

[E]

This is District Attorney Markham. The rumba murder case began when Rosita Ortega, dance instructress, was found knifed. Vance's suspects include a Spanish teacher, Margaret Stone, a dancer named Ronaldo Alvarez, whom the senorita had discharged, and Jack Cummings, merchant and amateur wood carver, who we have reason to believe was being blackmailed by Senorita Ortega. Renaldo has told us that he had been at the Shadowland Dance hall the entire evening previous dancing With a hostess there named Mary Morgan. And I know that Vance checked the dance hall, found out her apartment address and is there with her right now.

[F]

I'd like you to know something, Ms. Morgan. This is the first time I've ever been in the apartment of a dance hostess.

[A]

Oh, gee. High sounding name, Mr. Vance. I'm a taxi dancer. You sure you don't mind that record playing? I like music. It relaxes me.

[F]

I don't mind at all. Mind if I ask you some questions?

[A]

Go ahead, ask.

[F]

First of all, these pictures of Reynaldo that are in your place here. How many of them are there?

[A]

Oh, three in here and three in my bedroom. I go for that guy, Mr. Vance. He's a swell dancer. Excuse me.

[C]

Surely.

[A]

We won a Roomba contest last night at Shadowland. Did I tell you that?

[F]

Not that I recall. What time was the contest held?

[A]

Quarter after 12. Rinaldo and I have been practicing all night.

[F]

At Shadowland?

[A]

Sure, at Shadowland. Oh, it was perfectly legit. Y But tickets the same as any customer.

[F]

My knowledge of dance halls is a little limited, Ms. Morgan. Tell me about Shadowland.

[A]

Where do I turn off this record, huh?

[C]

There.

[A]

Well, Mr. Vance, there are about 25 of us girls. They call us hostesses. We sit around till some fellow comes over and asks for.

[F]

Some fellow?

[A]

Well, sure. Fellas come up there to dance and they buy a bunch of tickets and they dance with us. Every time they dance they give us a ticket.

[F]

I understand. Now, you were telling me about Ronaldo. I know he won a contest with you a little after midnight. He says he was with you all evening from nine o' clock on.

[A]

That's just about right too. He got there about nine and we started dancing. He didn't miss a dance until a contest. Every dance we danced.

[F]

You must have been pretty tired.

[A]

Oh, I do that every night. I'm used to it. Only every night I don't get a break. Like dancing with Ronaldo every dance.

[F]

I'm curious about one thing, Ms. Morgan. How much money do you girls make? If I'm not being too personal.

[A]

That ain't personal, Mr. Vance. We get six cents on every ticket. Tickets cost a dime. The house makes 4 cents.

[F]

I see. You really do have to do a lot of dancing to make money, don't you?

[A]

That I do. Why don't you come up sometime, Mr. Vance? You look like you wouldn't get fresh or nothing.

[F]

I might do that, Ms. Morgan. This case I'm working on seems to be getting nowhere. The lack of clues is a little fantastic. Perhaps After I solve it. If I solve it, I might devote some time to the light fantastic.

[D]

Yes, I know you. You teach Spanish in a studio next door to Senorita ortega's.

[B]

That's right, Mr. Cummings. Only I'm not Spanish. And that has nothing to do with why I came to your apartment. We are alone.

[D]

Yes, but what has that to do with what you're going to say?

[B]

Plenty. I just came from a little interview with Mr. Markham and Philo Vance. They wanted to know what I knew about Ortega's murder.

[D]

What did you tell him?

[B]

Nothing. Cops don't pay for information.

[D]

What are you driving at?

[B]

This Ortega was murdered about midnight last night. You were at a studio at about that time I saw you. I want $10,000 to keep quiet about it.

[D]

I won't pay it.

[B]

I think you will.

[D]

Get out of here. I've worried enough about my being up there last night. I was there to get something that belonged to me. But I didn't kill her. Do you understand? I didn't kill her. I won't pay a cent.

[B]

You will. You've got a wife, respectively married, children. You wouldn't want them to read about you and the papers. You'll pay.

[D]

Get out of here. Get out. I won't pay a cent. Get out of here.

[B]

Everybody throws me out. And everybody's sorry they did right afterwards. One more chance, Mr. Cummings. Are you paying?

[D]

I said get out and I meant it. Get out.

[B]

Okay, okay. Stop pushing. I'll go. In case you change your mind, you know where to reach me. I'll give you an hour.

[E]

An hour?

[D]

An hour. I can't pay her. She'll blackmail me for the rest of my life. I can't pay her. I can't face the ruin I'll bring to my family. I know. Where is it? I always kept it here. Oh, here it is. This is my way out, this gun of mine. First I better write. No, no. I'll telephone my wife. That'll be better. Quick, quicker. Oh, no, no, I can't talk to her. I can't. I've just got to do this now. The longer I think about it, the longer I'll put it off. And I mustn't put it off. I've got to.

[F]

I wouldn't if I were you, Mr. Cumming.

[D]

Who are you?

[F]

My name is Vance. Violo Vance. Mind if I take that gun?

[D]

Here, take it. Take it quickly.

[F]

Thank you. I'm glad my appearance has that effect, Mr. Cummings. I take it you were going to kill yourself because of your connection with The Ortega murder?

[D]

Yes, yes. But I didn't kill her. Only no one will believe it when they find out I was up there last night.

[F]

I wouldn't say no one, Mr. Cummings. I believe it. And as soon as I meet Mr. Markham up at the Shadowland Dance hall, which I'm to do in a few moments, I think everyone concerned will believe it too. There's nothing quite so desolate looking as a dance hall during the day, is there, Markham?

[E]

Oh, I don't know, Vance. An empty stadium at night, an office building on Sunday. They give this dance hall a little competition for desolation.

[F]

Perhaps you're right. So this is Shadowland. Temple of Terpsichore.

[C]

Hey, you two. What are you doing here?

[E]

Watchman, Vance?

[F]

I think not. Must be the manager. I phoned him a while ago. My name is Vance.

[C]

Oh, yeah, you called me, didn't you? Who's your friend?

[F]

This is District Attorney Markham.

[C]

Hi. What can I do, Vance?

[F]

Have you the records I asked for?

[C]

Oh, sure. In my office. It's right here. Come on in. Not much doing around here this time of day.

[E]

We figured that out for ourselves.

[C]

Got the records right here in one desk. Here they are. Last night, Mary Morgan, the girl you asked about. Vance turned in 40 tickets.

[F]

40, eh? Tell me something. How long does a dance last the

[C]

same time when the music is continuous? We got two bands. Every dance lasts exactly two minutes. We do a minute break between dances to collect tickets and let people out and out the floor.

[E]

What's that information for, Vance?

[F]

Just general knowledge, Markham.

[C]

All.

[F]

Let's say that's what it's for. One thing more. How much did Mary Morgan make the night before last?

[C]

I'll have to find that out for you, Vance. Won't take me a minute.

[F]

Don't hurry. We'll be here when you get back.

[E]

Vance, I've got something to tell you. We're picking up Jack Cummings, the man Ronaldo spoke to us about. He was supposed to have written some letters to Senorita Ortega, remember?

[F]

Of course. And you've picked him up, eh?

[E]

Yes. You see, the girl who has the place next to Ortega, Senorita Ramon saw him near the Ortega apartment at the time of the murder.

[F]

And she told you that?

[E]

Definitely.

[F]

Markham. I wouldn't overlook this Senorita Ramon if I were you.

[E]

You mean you don't think that Cummings murdered the Ortega girl?

[F]

No, I don't. I told you that once before. I know who the murderer is, Markham, and believe me, it's not Jack Cummings. Just leave me here in your office. For a few minutes with Reynaldo Marcum and I'll be with you.

[C]

Right, Vance. Well, Vance, what's eating you?

[F]

Not a great deal. I've been over to see your girlfriend, Mary Morgan Nevin.

[C]

Great gal, huh?

[F]

Terribly loyal. She's in love with you.

[C]

Apparently, because my pictures are all over her apartment. She's a picture patsy. Before me there was a shipping cleg. I'm doing a little better than him, though. One more picture.

[F]

He only had five. Congratulations. Reynaldo. What made you think you could get away with murdering Senorita Ortega?

[C]

Me? You think I killed her?

[D]

No.

[F]

I know you did. And I'm supposed to say, oh, no, please, please don't turn me in.

[C]

I did it, I admit it.

[F]

But don't turn me in.

[C]

Nuts, Vance, you don't know a thing.

[F]

Don't I, though? I wouldn't be quite so sure. I'm listening, but I'm not paying too much attention. It might be an idea if you did.

[C]

Sure. I couldn't prove where I was last night. Maybe.

[F]

But I can. 500 people saw me win that rumba contest at 12:15 last night in Shadowland. I don't doubt that at all. Well, Senorita Ortega was killed at midnight. Shadowland is near enough to the Ortega studio for you to have killed her and then gone over to the dance hall.

[C]

Oh, it is? Look, Vance, I was at Chatelaind all night from nine o'clock on. I didn't leave the joint. Mary Morgan can tell you that.

[F]

Yes, I know. In fact, she did tell me that. So you claim you couldn't have killed Senorita Ortega because you were at Shadowland all evening? Of course you stick to that story, my boy. It's a perfect alibi. Perfect for me. You see, instead of proving that you didn't murder the Ortega girl, it proves you did. Well, Markham. What you want to know then is how I knew Ronaldo killed Ortega. It's a matter of mathematics. Sit down. Listen.

[C]

Very well.

[E]

I'm doing both.

[F]

Good. Ronaldo said he danced every dance from 9:00 o' clock to midnight with Mary Morgan. That's three hours.

[C]

That's right.

[F]

Now, the Shadowland Dance hall manager told me that each dance lasted two minutes, with one minute intermissions between each dance. In other words, there were 20 actual dances per hour.

[E]

Can't argue with that either.

[F]

All right, let's take it from there. 20 dances per hour for three hours makes 60 dances. In other words, if Mary Morgan had danced every dance with Ronaldo as she claimed, she would have turned in 60 tickets. But she didn't. The manager told me she turned in only 40 tickets.

[E]

So she only danced with Ronaldo two hours and not three.

[F]

Of course, that gave him an hour off to murder the Ortega girl. He thought he had a foolproof alibi because he knew Mary Morgan would lie for him. But they overlooked the detail of the tickets.

[E]

Yes, they did.

[D]

Silly of them, wasn't it?

[F]

Our friend Jack Cummings was silly too. Going to a studio like Senorita Ortega's to learn to dance. There are hundreds of legitimate dance studios. Recognized, licensed places. You're almost looking for trouble when you go visit someone like the senorita.

[E]

Fortunately, there are no others we know of Vance. Well, Ronaldo has confessed in view of the way you broke his alibi. And it looks like the end of his career to me.

[F]

To me too. But Markham, it also looks like the end of the Roomba murder case.

[C]

Sam.