Philo Vance: The Backstage Murder Case 09/21/1948

Summary

Podcast Summary: Philo Vance: The Backstage Murder Case

Podcast: Choice Classic Radio Detectives | Old Time Radio
Episode Air Date: May 9, 2026 (original broadcast: Sept 21, 1948)

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Episode Overview

In this classic radio detective tale, Philo Vance is called upon to investigate a threatening note received by stage star Doris Daynell, which quickly escalates into a murder backstage at a Broadway theater. Vance, with his quick wit and analytical mind, unravels the connections between a robbery, a murder, and a tangled web of backstage relationships to catch the culprit before they can strike again. Intrigue, suspense, and sharp exchanges bring this Golden Age radio drama to life.

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Key Discussion Points & Plot Progression

1. Threatening Note & Setup

[01:31–03:45]

• District Attorney Markham introduces Doris Daynell, the star who’s received a death threat saying she’ll be killed if she performs the next night.
• Vance assesses the seriousness of the threat and advises Doris to inform him (and only him) if she receives any further communication.

Quote:

• "The note threatens you if you go on tomorrow night. Not tonight. Might be the work of a crank, but I don't think we can afford to take that chance."
  — Philo Vance [03:45]

2. The Understudy Takes Center Stage

[04:35–06:06]

• Doris hands her leading role to Betty Wheeler, her eager understudy, due to fear for her safety.
• The theater’s company manager, Peters, and director, Oscar Hartley, are introduced, revealing tension and hints of blackmail.

Quote:

• "Do I? Playing the lead on Broadway opposite Jack Aldridge. Oh, I can hardly believe it."
  — Betty Wheeler [05:12]

3. Robbery Connection and Rising Stakes

[06:11–08:10]

• Discussion of a recent, unsolved robbery at the theater—over $4,000 stolen with no sign of forced entry, clues point to an inside job.
• Peters and Hartley have a private exchange hinting at mutual secrets and blackmail.

4. Second Threat and Murder

[09:59–12:58]

• Doris receives a threatening phone call at her apartment—clear evidence the threats are real and persistent.
• Betty Wheeler is discovered murdered in Doris’ dressing room. Tension and panic spread among the cast and staff.

Quote:

• "Betty Wheeler has been murdered."
  — Narrator/Announcer [12:58]

5. Investigation Unfolds

[13:14–15:24]

• Vance investigates the murder scene; Markham asks if the robbery and murder are connected.
• A fake fire alarm is triggered, an apparent diversion attempt by the murderer.

Quote:

• "Let's lock this dressing room, Markham. No one's been in here since the murder."
  — Philo Vance [14:45]

6. Vance’s Reasoning & Breakthrough

[17:10–19:04]

• Vance reasons out the link between the murder and the robbery. He deduces the stolen money must be hidden in Doris' never-locked dressing room.
• The money is found concealed in the laundry bag, just prior to being collected by the laundry service.

Quote:

• "Oh, I know where the money is."
  — Philo Vance [18:18]

7. Suspicions Narrow & The Trap is Set

[20:22–24:51]

• Vance lays a trap: the murderer will try to retrieve the hidden money before it’s taken away.
• Hartley and Peters' complicated past is revealed, and Vance quietly keeps the recovery of the stolen money secret to flush out the killer.

8. The Murderer Unmasked

[25:00–26:42]

• In after-case discussion with Ellen, Vance deduces the murderer: Jack Aldridge, Doris’ fiancé and stage lead.
• Key clues: Aldridge’s knowledge of a second threatening phone call (which only the killer would know) and opportunity.

Quote:

• "So the only way he could have known about it is if he made the call."
  — Philo Vance [26:22]

9. Resolution & Classic Closing Banter

[26:42–End]

• Aldridge is apprehended during his attempt to get the stolen money.
• Doris is reassured and the case is closed, with witty exchanges between Vance and Ellen.

Quote:

• "Most of all I like going out with you."
  — Ellen Deering [26:35]

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Notable Quotes & Moments

• "I know who he is, Ms. Dano. He probably thinks he's very clever. I'm going to let him make his second mistake."
  — Philo Vance [23:23]
• "As interesting as an unsolved murder."
  — Philo Vance, to Ellen [24:58]
• "I'm going to see a murderer about changing his mind."
  — Philo Vance [22:31]
• "Thinking he was very clever."
  — Philo Vance's definition of the murderer's fatal error [23:33]

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Key Timestamps for Quick Reference

• [01:31] — Philo Vance learns of the threatening note.
• [05:12] — Understudy Betty Wheeler gets her big chance.
• [06:11] — Theater robbery details uncovered.
• [10:03] — Doris receives a threatening phone call.
• [12:58] — Betty Wheeler’s murder discovered.
• [18:19] — Vance reveals where the money is hidden.
• [26:22] — Vance explains how he identified Jack as the murderer.
• [27:17] — Closing banter and wrap-up.

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Tone & Style

This episode is a prime slice of Golden Age radio: witty dialogue, rapid-fire exchanges, sharp observations, suspense, and a tight, clever mystery. Vance’s wry confidence and banter with Ellen add charm and levity amid the intrigue.

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Summary

Philo Vance: The Backstage Murder Case balances a rich backstage setting, a classic whodunit, and clever detective work. With an array of suspects and motives, Vance uses subtle reasoning to solve a murder intertwined with theft—a satisfying listen for classic detective fans.

Transcript

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[Narrator/Announcer]

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].

[Philo Vance]

Miss Deering, do you think you might stop typing for a moment and listen to me?

[Ellen Deering]

I could try.

[Philo Vance]

Thank you.

[Ellen Deering]

You see, Vance, you never know the things you can do until you try. What am I to listen to?

[Philo Vance]

At the moment, a bit of thinking allowed. Markham phoned and asked me to wait for him in my office.

[Ellen Deering]

Right.

[Philo Vance]

Why?

[Ellen Deering]

I don't know. It can't be a murder case or the eminent district attorney would have asked you to meet him at the scene of a crime. Say, who's doing this thinking aloud, you or me?

[Philo Vance]

Both of us. Markham said he was going to bring someone with him. Now who could that be and why?

[Ellen Deering]

Well, it could be anyone and for almost any reason.

[Philo Vance]

Ellen.

[Ellen Deering]

I know. Go back to my typing.

[Philo Vance]

I'd like to make a wager with you. I'll bet I come closer to guessing the purpose of the district attorney's visit

[Ellen Deering]

than you will, Vance. If I bet against your guessing or your reasoning, you'd have the only full time secretary with no pay on record.

[Narrator/Announcer]

Hello there, you two.

[Ellen Deering]

Oh, hello, Mr. Markham.

[District Attorney Markham]

Come in, Doris.

[Philo Vance]

Welcome, Markham. And an extra special welcome to your lovely companion, Ms. Janel.

[District Attorney Markham]

May I present Philo Vance and Ellen Deary.

[Doris Daynell]

How do you do?

[Philo Vance]

How do you do? How do you do? Come into my private office, Markham.

[District Attorney Markham]

Thanks, we will. Come along, Miss Janel.

[Philo Vance]

Go right in, Miss Danelle.

[Doris Daynell]

Thank you, Markham.

[District Attorney Markham]

Thanks.

[Philo Vance]

Oh, Miss Dearing.

[Ellen Deering]

Yes, Mr. Vance?

[Philo Vance]

You should have made that wager. I've never been further off base in my life.

[Ellen Deering]

Now he tells me.

[Philo Vance]

Well, I'm delighted to see you, Markham, and I hope I know why you're here.

[District Attorney Markham]

I'm not sure myself whether I should have come. Vance, this isn't exactly in your line.

[Philo Vance]

I'm a private investigator. What's the trouble? Isn't this private?

[District Attorney Markham]

Yes, it most certainly is, Vance. Doris Daynell is the star of the play at the King's Theatre.

[Doris Daynell]

Let me tell him, Mr. Markham, please. By all means, Mr. Vance. I received this note this afternoon. It worried me. I brought it to the district Attorney's office because I thought that was the thing to do. Here it is. Will you read it, please?

[Philo Vance]

You read it to me, Ms. Denel. What does it say? Besides threatening you with death?

[Doris Daynell]

But you haven't seen it yet. How did you know?

[Philo Vance]

You're upset, Ms. Denel. Nothing else would account for it. What else does it say?

[Doris Daynell]

It says if you play your role in the theater tomorrow night, you will be dead before morning. And that's all, Mr. Vance.

[Philo Vance]

That's enough. I'd say so. The note threatens you if you go on tomorrow night. Not tonight. Might be the work of a crank, but I don't think we can afford to take that chance.

[Doris Daynell]

I can't, I'll tell you that.

[Philo Vance]

Do something for me, Miss Dinell. If you receive any further communication, please mention it to no one. Now, that's important. I imagine you are not going on tomorrow night.

[Doris Daynell]

Mighty good imagining, Mr. Vance. I definitely am not. I don't mind taking chances, but when I do, I just assume it cost me money if I lose, not my life. Yes? Who is it?

[Ellen Deering]

It's Betty Wheeler, Ms. Daynell. May I come in?

[Doris Daynell]

Sure. Come on. You wanted to see me badly, Betty. How long have you been my understudy?

[Ellen Deering]

About three months, I'd say.

[Doris Daynell]

And you've never had a chance to go on?

[Sergeant Heath]

No.

[Doris Daynell]

Well, you've got one now. Here. Throw this towel in the laundry bag, the one hanging on the door. Catch.

[Ellen Deering]

Is this your laundry bag?

[Doris Daynell]

It isn't anything Santa Claus is waiting to pick up. Just the laundryman, and he won't be here for two days. Well, what about tomorrow night? Do you want to go on for me?

[Ellen Deering]

Do I? Playing the lead on Broadway opposite Jack Aldridge. Oh, I can hardly believe it. But may I ask one favor?

[Doris Daynell]

Sure, kid. What?

[Ellen Deering]

May I use your room?

[Doris Daynell]

Why not?

[Ellen Deering]

I've never used a star's dressing room.

[Doris Daynell]

The joint's yours for tomorrow night. Take it with all the trimmings. Yes.

[Narrator/Announcer]

Aye, a decent Doris.

[Doris Daynell]

Sure. Come on in, Peters. As if there was a way of keeping a company manager out of the dressing room.

[Narrator/Announcer]

Hi, Doris. Hello, Betty. What's going on here?

[Ellen Deering]

Hello, Mr. Peters. Have you heard? I'm going on to Miss Daynell tomorrow night.

[Narrator/Announcer]

What's the matter, Doris? Don't you feel good?

[Doris Daynell]

I feel fine, but I'd like to stay that way. I got a note threatening my life if I work tomorrow night.

[Ellen Deering]

What?

[Doris Daynell]

Maybe it's a gag, but I'm not taking any chances. Just one performance, that's all the note said. Peters, Betty here is your star for one night.

[Narrator/Announcer]

Well, this show is getting jinxed. I'm sure of it. First it's robbery, now it's this threat.

[Doris Daynell]

What's this robbery routine? Somebody steal a bow?

[Narrator/Announcer]

Stealing a bow? Somebody stole the receipts from the office two nights ago. Over $4,000. And the cops are going crazy because they can't find any evidence of anybody breaking in.

[Doris Daynell]

Inside job, huh?

[Narrator/Announcer]

That's the way it looks. But that doesn't help this threat business any. Doris, you wouldn't.

[Doris Daynell]

No, I wouldn't.

[Narrator/Announcer]

That's what I thought.

[Oscar Hartley]

Mr. Peters, are you in there?

[Narrator/Announcer]

That sounds like our director. Yeah. Come on in, Hartley.

[Oscar Hartley]

Good evening, Mr. Nell. Ms. Wheeler.

[Ellen Deering]

Good evening, Mr. Hartley.

[Oscar Hartley]

Peters, they told me you were in here.

[Narrator/Announcer]

That was very nice of them.

[Doris Daynell]

And you found my dressing room without trouble. Well, the director of our show has a sense of direction. Hey, I'm starting to feel better already.

[Ellen Deering]

Ms. Daynell, can't we go somewhere and talk? There are so many things I want to ask you.

[Doris Daynell]

Well, there's one thing I want to tell you. Don't get used to the way Jack Aldridge makes love to you on stage. He's mine on stage. And what's more important, off.

[Ellen Deering]

Oh, of course, Mr. Henhill. I know that.

[Narrator/Announcer]

Well, what are you standing there like that for, Hartley? You're supposed to come in here to see me. What about?

[Oscar Hartley]

I did not want to interrupt the young ladies. I find their conversation very interesting.

[Narrator/Announcer]

I'll have a record of it made for you. Now, what do you want with me?

[Oscar Hartley]

Please come outside, Peters, so we can talk.

[Narrator/Announcer]

Tell me in here.

[Oscar Hartley]

I think it would be better for you if you came outside.

[Narrator/Announcer]

Okay. Come on. I'm ready. Well, Hartley, what is it? It's on your mind.

[Oscar Hartley]

Money, Peters, I need some money.

[Narrator/Announcer]

10 till payday.

[Oscar Hartley]

Let's not fool, Peters. I don't want any of that vaudeville money. I need dough. A thousand, maybe fifteen hundred.

[Narrator/Announcer]

Who doesn't?

[Oscar Hartley]

You are Going to give it to me, am I?

[Narrator/Announcer]

How do you know?

[Oscar Hartley]

It isn't how I know. It's what I know. Shall I go into details,

[Doris Daynell]

Jack? You know, I think I'm being a SAP for believing that that threatening note I got was on the level.

[Jack Aldridge]

Maybe you're right, Doris. I just don't know. Nothing happened at tonight's performance.

[Doris Daynell]

It wasn't supposed to be tonight that anything happened. I worked a little with Betty Wheeler, and tomorrow night. Maybe the understudy gets her a big chance. I told her she could, but now I'm not so sure.

[Jack Aldridge]

I'll miss you, honey. If you don't make it, you might

[Doris Daynell]

miss me permanently if I work tomorrow night. But I'm not sure yet that I won't go on. Something tells me maybe I ought to. Well, here's my apartment. You've got to make the long walk to the next one all by yourself. Think you can make it?

[Philo Vance]

I can make it this once. You're not nervous?

[Doris Daynell]

No, not a bit. If anybody bites me, I'll scream for you and you can come and bite them back. Okay?

[Philo Vance]

Sure is. Two more weeks and no more good nights, right?

[Doris Daynell]

Right. Just two weeks till the wedding.

[Philo Vance]

Good night, darling.

[Jack Aldridge (alternate tag)]

Oh, you want an extra good morning

[Philo Vance]

kiss for the one we missed tonight?

[Doris Daynell]

Well, I'm kind of going to want you to pay that little debt, honey. Good night. What's the matter with this lock? It's not the lock. It's me. There. I'm so tired. Who can that be at this hour?

[Jack Aldridge]

Hello, Ms. Danelle. You got my note?

[Doris Daynell]

Yes. Who is this?

[Jack Aldridge]

Never mind. You're gonna be a smart girl and not go on tomorrow night, ain't you, Miss Danelle?

[Doris Daynell]

I. I don't know.

[Jack Aldridge]

You better know. You better know for sure, too. And icono. I wasn't kidding, sister. I meant it. You walk on stage tomorrow night and you'll be carried out of your apartment the next day.

[Narrator/Announcer]

Hey, everybody. 20 minutes to rehearsal time. 20 minutes on stage in 20 minutes. That's what we did for your understudy. Doris called a special rehearsal.

[Doris Daynell]

Where is Betty Peters?

[Narrator/Announcer]

She said she had an okay from you to use it.

[Doris Daynell]

That she did. Is Jack around?

[Narrator/Announcer]

I don't know. I haven't seen him.

[Doris Daynell]

Well, here's my room.

[Narrator/Announcer]

I saw Betty come in about a half hour ago. Wait, I'll knock. Hey, she couldn't have gone out or I'd have seen her. Betty. Betty. Ms. Wheeler.

[Doris Daynell]

Hey, Wheeler, open up. Peters, I never locked that door in my life.

[Narrator/Announcer]

Something's wrong here, Doris. Hey, somebody. Miller. Hartley, come on over here. Something's the matter in Doris dressing room.

[Philo Vance]

Doris?

[Doris Daynell]

It isn't me, Jack. It's Betty Wheeler. She was using my room.

[Philo Vance]

Oh, thank goodness. What's going on, Peters?

[Narrator/Announcer]

I don't know. Wait a minute. I got a key to this dressing room.

[Doris Daynell]

Betty took mine yesterday.

[Oscar Hartley]

Ms. Wheeler is in there. I saw her go in.

[Narrator/Announcer]

Thanks, Hartley. You're a big help. Yeah. Here's the key.

[Doris Daynell]

Jack. Jack, darling, stay close to me. I think I'm getting scared.

[Narrator/Announcer]

Come on.

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[Philo Vance]

Betty.

[Oscar Hartley]

Good Lord.

[Doris Daynell]

Let me

[Narrator/Announcer]

get back. Everybody. Everybody keep away from this room until the police get here. Betty Wheeler has been murdered.

[District Attorney Markham]

This is her dressing room, Vance. Nothing has been touched, but the body has been removed.

[Philo Vance]

So this is it, eh, Markham? No possible lead on the killer?

[District Attorney Markham]

Nothing Sergeant Heath could find. Vance, you know about the robbery here

[Philo Vance]

a few nights ago when the night's receipts were taken? Yes, I know about it. Heath believes that was an inside job, doesn't he?

[District Attorney Markham]

From what I understand, it had to be. No one broke in and the receipts were missing. Over $4,000.

[Philo Vance]

That kind of money will be hard to trace. All small denomination bills. It would also make a pretty sizable package. I don't suppose that matters. What does matter most now is this murder.

[District Attorney Markham]

Vance, do you think there's a connection between the murder and the robbery?

[Philo Vance]

Possibly. Let me see. Doris Danell received a note threatening her if she went on stage for tonight's performance. And then her understudy, Betty Wheeler, was murdered in Ms. Danelle's dressing room.

[Jack Aldridge]

What's that?

[Philo Vance]

Sounds like a fire warning.

[Sergeant Heath (alternate tag)]

Fire?

[Narrator/Announcer]

Everybody get out. There's a fire in the Theater?

[Philo Vance]

Everybody, Markham. Includes us, I suppose.

[District Attorney Markham]

Doesn't anything ever upset you or your routine, Vance?

[Philo Vance]

Certainly I was about to leave, wasn't I?

[Oscar Hartley]

Neither of you gentlemen need leave. There is no fire.

[Philo Vance]

I beg your pardon?

[Oscar Hartley]

I'm Oscar Hartley, Mr. Vance. There is no fire.

[District Attorney Markham]

Well, that's an absurd complication. Fire alarm, but no fire. Thank you very much, Mr. Hartley. Oh, apparently you know Mr. Vance. I'm Markham, District Attorney.

[Oscar Hartley]

Oh, how do you do?

[Narrator/Announcer]

Somebody set off the fire alarm, but there's no fire. Vance, what's going on here?

[Philo Vance]

I haven't the slightest idea. Lets lock this dressing room, Markham. No one's been in here since the murder.

[District Attorney Markham]

No, it's under guard until the police are able to go through it properly. But are we leaving, Vance?

[Philo Vance]

Yes, we're of the theater now, Markham. And tradition, it seems, insists that the show must go on. Well, so must.

[District Attorney Markham]

This is District Attorney Markham. The backstage murder case began when Doris Daynell, stage star, received a note threatening her life if she played her role. The following night. The threat came after the theater office had been robbed of $4,000 in small bills. Vance appeared at the theater after Betty Wheeler, Miss Janel's understudy, had been murdered and met Peters, company manager, and Oscar Hartley, director of the show. He has yet to meet Jack Aldridge, Ms. Janel's fiance and leading man. I have just had a report that Peters, the company manager, is in his office with Doris Daynell. It's just about the time for.

[Narrator/Announcer]

Look, I don't want to hear any more about it. Doris, you're going on tonight. You've got to.

[Doris Daynell]

I can't, Peters. I just can't.

[Narrator/Announcer]

I can't. Why? Because of what happened to Betty?

[Doris Daynell]

Not only that, I. I can't tell you why. Mr. Vance told me not to.

[Narrator/Announcer]

What is all this? What's going on here?

[Doris Daynell]

Oh, all right, I'll tell you. I got a phone call last night. It warned me not to go on. Mr. Vance told me if I received another threat, I was to mention it to no one. And I haven't till now.

[Narrator/Announcer]

You told nobody?

[Doris Daynell]

Nobody but you, Peters. Not even Jack.

[Narrator/Announcer]

Doris, you've got to go on. I'll fill backstage with policemen if necessary, but you got to go on. I can't refund the money for tonight's performance and I'll have to if you don't work. We're in a financial jam as it is, what with that money being stolen.

[Doris Daynell]

I know and I'm sorry, but I

[Narrator/Announcer]

feel like I know how you feel and I'm sorry. Too. But please do this for me, for yourself, for the rest of the company. You've got to do it. Hey, Da.

[Sergeant Heath (alternate tag)]

Maybe I ought to take this murder room apart piece by piece. Maybe then I'd get a clue to who killed that Betty Wheeler.

[District Attorney Markham]

Well, do you think that'll help? Go ahead, Sergeant Heath.

[Philo Vance]

Maybe that won't be necessary, Heath. Hello, Markham.

[District Attorney Markham]

Oh, hello, Vance. Heath and I were just sitting here in the dressing room trying to reason out this Wheeler murder.

[Philo Vance]

That's not a bad way of solving a murder, Markham. Heath, what's the status of this room? What's been done to it since the murder?

[Sergeant Heath (alternate tag)]

Nothing yet. Fingerprint man went over it, found nothing. I'm thinking of taking it apart.

[Philo Vance]

Not a bad idea. What's this on the back of the door?

[District Attorney Markham]

You mean the laundry bag?

[Philo Vance]

No, I mean this tacked up notice. Don't forget to turn out lights. Laundry will be picked up every Friday. That's tomorrow. Please leave key with dormant. Well, there's certainly nothing unusual about that. It's on every theater door in the country.

[Sergeant Heath (alternate tag)]

You know, Vance, I was thinking the murder of this Wheeler girl had something to do with a robbery in this theater.

[Philo Vance]

I think it's the other way around, but I agree.

[Sergeant Heath (alternate tag)]

You know something, Vance? If I could just find out who stole those receipts or where the money is, I'd be on the right track. I'm sure of that.

[Philo Vance]

Oh, I know where the money is.

[Sergeant Heath (alternate tag)]

What?

[District Attorney Markham]

You do, Vance?

[Philo Vance]

And who stole it. I don't know who stole it or who murdered Ms. Wheeler. But I repeat, I do know where the money is.

[Sergeant Heath (alternate tag)]

Well, where is the do, Vance?

[Philo Vance]

Right there in that laundry bag.

[District Attorney Markham]

But you can't know that, Vance. You were only in this room once before and then only for a few minutes. And I was with you all the time. I didn't see you look in that bag.

[Philo Vance]

I haven't looked yet, but I see the sergeant is about to. Go ahead, Heath. Dump all that stuff on the floor.

[Sergeant Heath (alternate tag)]

It's just what I'm doing.

[Philo Vance]

Holy mackerel, this package.

[Sergeant Heath (alternate tag)]

Is that the money, Vance?

[Philo Vance]

Probably.

[Sergeant Heath (alternate tag)]

Hey, it is money. Lots of it.

[Philo Vance]

Over $4,000, if I'm not mistaken.

[District Attorney Markham]

Vance, anytime you say anything from now on, I'll bet you're not mistaken.

[Philo Vance]

How did you know it was there? Reasoning, Markham? The theater robbery we suspected was an inside job. In view of what followed, it seemed reasonable to me that the thief hid the money in this dressing room.

[District Attorney Markham]

Why would he do that?

[Philo Vance]

My guess is that he was almost caught. There's a night watchman at this theater. Maybe the thief saw him and knew he couldn't explain the package. Ms. Danelle told me her dressing room was never locked. Everybody in the show must have known that.

[District Attorney Markham]

So the thief, to avoid being seen, ducked into this dressing room.

[Philo Vance]

That's right. He dropped the money in the laundry bag here, thinking he could pick it up the next day. But he couldn't get in here because Ms. Danelle was using a dressing room when she wasn't.

[Sergeant Heath (alternate tag)]

There was somebody around her maid or fiance, actors or somebody. So he couldn't get in here to take out the money.

[District Attorney Markham]

He knew the laundry was to be removed tomorrow. And tonight was the last chance he had to get into this dressing room and get back the money he'd stolen.

[Philo Vance]

Go ahead, Markham. You're doing fine.

[District Attorney Markham]

Thank you. First he threatened Ms. Daynell, but he found that that didn't work. Because Ms. Wheeler was using this room.

[Philo Vance]

That's right, Markham. And when he learned Ms. Wheeler intended to use this dressing room tonight, he tried to get in here this afternoon. Only Ms. Wheeler caught him. He had to kill her, but he still had no chance to get the money out. Later, he tried to get us out of the room with that fake fire. But that didn't work either.

[District Attorney Markham]

Yes, that certainly sounds reasonable, Vance.

[Philo Vance]

It's what happened, Markham. I'm sure. Let's not say anything about finding this money as a first step toward finding the killer. That's right. And, Markham, what a big step that's liable to be. I've questioned Jack Aldridge and Mr. Peters, Mr. Hartley, and I didn't want you to think I was slighting you in any way.

[Oscar Hartley]

I know you had talked to them. I overheard you. You did?

[Philo Vance]

How?

[Oscar Hartley]

By the exceedingly simple process of putting my ear to the door. I just wanted to see how far Peters would go in indicting me. You see, he and I did not get on very well.

[Philo Vance]

So I learned. But still, you direct every show he's connected with.

[Oscar Hartley]

I'm a genius.

[Philo Vance]

That's not the way I heard it. Apparently, you have a hold of some kind on Peters?

[Oscar Hartley]

Very definitely. You see, many years ago, Mr. Peters happened to take some money out of a theater safe. The producer caught him. Peters was allowed to put the money back when he swore it was his first offense and would never happen again. So nobody was hurt nor any the wiser, except you. Oh, I had to know. You see, I was the producer.

[Ellen Deering]

It's an hour before curtain time, Vance. Aren't you going to the theater to watch Doris Daynell? If you decide she is to go on Probably.

[Philo Vance]

And you're going with me, Miss Dearing.

[Ellen Deering]

Well, good. You think I might have time to hop off home and don some gay arraignment?

[Philo Vance]

Yes, if you like. I thought I'd.

[Jack Aldridge (alternate tag)]

Vance, you've got to come to the theater.

[Philo Vance]

Now, sit down, Aldridge. Relax. What's the trouble?

[Jack Aldridge (alternate tag)]

Doris received another threat. A phone call last night. The murderer insisted she doesn't go on and that there'll be no performance tonight.

[Philo Vance]

No cause for your excitement, Aldridge.

[Jack Aldridge (alternate tag)]

No cause for excitement after what's happening in our theater. I love that girl, Vance, and all this is making a wreck of her. She says she'll go on if you tell her to, but you can't take a chance with her life. I'm sure the murder intends to strike again.

[Philo Vance]

That sounds like a line out of a play, but. Very well, Aldridge. I'll go. I'm sorry, Ellen. You won't have to bother about changing your dress. I'm going to see a murderer about changing his mind.

[Doris Daynell]

I'm so glad you're here, Vance. When you're around, I feel much safer.

[Philo Vance]

That's hardly a tribute to my romantic appeal, but I like it. Ms. Danelle. I'm just taking a little inventory. How many phone calls did you receive?

[Doris Daynell]

Just one. One in my room, vance. I told Mr. Peters about the call. I had to. I was trying to tell him why I couldn't go on tonight.

[Philo Vance]

You're going on, Doris, and you're going to be great.

[Doris Daynell]

But the man who murdered Betty and who threatened me, Vance. What about him?

[Jack Aldridge]

Him?

[Philo Vance]

I know who he is, Ms. Dano. He probably thinks he's very clever. I'm going to let him make his second mistake.

[Doris Daynell]

Second? What was the first?

[Philo Vance]

Thinking he was very clever. Sergeant Heath.

[Sergeant Heath]

Right here, Vance. Can't see you very well in the dark, though.

[Philo Vance]

Just keep your eyes straight ahead, Heath. There'll be a light showing any minute now.

[Narrator/Announcer]

Huh?

[Philo Vance]

A light, A match or a flashlight match, probably. It doesn't attract as much attention and suits the purpose. You are sure everybody connected with this show thinks we haven't examined the late Ms. Wheeler's dressing room.

[Sergeant Heath]

Sure, I'm sure. I practically announced it to two cops so that everybody could hear. Did a good job, Fance. Down the corridor. A light. It's a match.

[Philo Vance]

That's what I expected.

[Sergeant Heath]

Do I grab whoever is carrying it?

[Philo Vance]

That's right.

[Sergeant Heath]

I'd sure love to know who it is.

[Philo Vance]

There goes the match in the dressing room, plus the man that's carrying it. Go get him, Heath, and get a look at him yourself. I promise you a great surprise. Ellen. How long will you be getting dressed?

[Doris Daynell]

Not long. What's the hurry?

[Ellen Deering]

Won't they hold up the show till we get there? Well, Vance, how do I look?

[Philo Vance]

As interesting as an unsolved murder.

[Ellen Deering]

As soon as I find out if I like that, I'll thank you. And speaking of unsolved murders, let's talk about one. You solved the backstage murder case. I understand from Mr. Markham that you had everything in the case all figured as you went along. How'd you know?

[Philo Vance]

Trade secret.

[Ellen Deering]

Let's trade secrets. I'll tell you why I like going out with you and you tell me how you knew the murderer.

[Philo Vance]

Deal. You know all about the robbery of the theater safe and its association with the murder of Betty Wheeler.

[Ellen Deering]

Yes, of course.

[Philo Vance]

Your turn.

[Ellen Deering]

Well, I like going out with you because I never know what you're going to do or say next. Your turn. Oh, just a second. Seems to me that I understood Doris Daynell got a phone call from the murderer several nights ago. Just a few seconds after she'd said goodnight to her fiance. Now, how could the murderer have been Jack Aldridge?

[Philo Vance]

Very easily. He needed only a few seconds to go into his apartment and call Doris to threaten her. Well, I'm waiting, Ellen.

[Ellen Deering]

Oh, let's see. I like going out with you because you're so different. Now, another question. How did you know it was Aldrich?

[Philo Vance]

Good question. When he came breaking into our office last evening, he seemed terribly distressed about the phone call his fiance had received. He wasn't supposed to know anything about that phone call. Doris didn't tell him. Peters, whom she told, didn't tell him.

[Doris Daynell]

So?

[Philo Vance]

So the only way he could have known about it is if he made the call.

[Ellen Deering]

So he made it. Now it's my turn to say something nice to you, isn't it? Well, let's see now.

[Philo Vance]

Is it that difficult?

[Ellen Deering]

No, I've got it. I like going out with you on account of. Most of all, I like going out with you.

[Philo Vance]

A little repetitious but very flattering repetition. Well, that's about all there was. Of course, while I knew his identity, I couldn't prove it. So I set the stage for Aldrich to steal back the money he had hidden in Doris Danelle's laundry bag. He tried to. And Sergeant Heath took care of him.

[Ellen Deering]

I'm glad.

[Philo Vance]

But Sergeant Heath took care of Aldrich.

[Ellen Deering]

That and the fact that you were right again and that we're going out and that you're you and that I'm me and most of all. I'm what? Glad.

[Philo Vance]

Yes.

[Ellen Deering]

That this is the end of the backstage murder case.

[Philo Vance]

Sa.