Philo Vance: The Bulletin Murder Case 10/05/1948

Summary

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Podcast Summary: Choice Classic Radio Detectives – "Philo Vance: The Bulletin Murder Case" (Original Air Date: 10/05/1948)

Episode Overview

In this classic whodunit, detective Philo Vance investigates the murder of Myrna Harkins, a newspaper reporter killed en route to interview Vance himself. What begins as a seemingly routine feature assignment unravels into a complex web involving a famed concert pianist, a missing husband, editorial machinations, and a fiendish plot to use murder as bait. As always, Vance’s signature intellect and sharp wit drive the story to its dramatic conclusion.

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Key Discussion Points & Plot Developments

1. The Assignment and the Murder (01:35 – 04:11)

• Myrna Harkins is dispatched by her editor, Mike Abbott, to secure a feature story on private investigator Philo Vance. She jokingly notes Vance “never talks to reporters,” setting up her creative approach.
• Harkins had recently chased a story about concert pianist Lillian White supposedly inheriting $500,000, but White denied it and the editor dismissed it as “no story.”
• On her way to the interview, Harkins is stabbed to death in a taxi as discovered by the driver:

  “There's a girl there. I picked her up in front of the Bulletin office 10 minutes ago ... She's dead. There's a knife in her heart.” – Taxi Driver (04:11)

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2. Investigation Commences: Motive and Suspects (04:32 – 08:18)

• Vance, along with District Attorney Markham, investigates at the Bulletin office. The murder feels strangely personal, given Harkins' assignment was to interview Vance.
• Attention turns to her last story: the Lillian White inheritance rumor and a mysterious figure—Joe McGuff, White's estranged husband.
• The taxi driver who found Harkins is also murdered in the same manner, suggesting a highly motivated, dangerous killer.

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3. Untangling the White/McGuff Connection (08:43 – 19:04)

• Lillian White receives a threatening call from Joe McGuff, who’s read about the inheritance and demands a share:

  “I just seen the papers … I want in on that, though I'm entitled to it. I'm still married to you, remember?” – Joe McGuff (09:04)

• McGuff soon arrives in person, menacing and seeking both money and a man named Gregory—his nemesis.

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4. Vance’s Methodical Progress (11:17 – 24:54)

• Vance and Markham review Harkins’ workspace and find carbons of her stories, confirming that Harkins’ primary story was indeed about Lillian White and Joe McGuff.
• Eddie Henderson (reporter) and Abbott (editor) are interrogated, with no overt clues initially.
• Vance visits Lillian White and deduces Joe McGuff’s recent visit; she admits to his being her husband and his search for Gregory.

  “I merely heard voices from outside. Oh, magnificent piano, this.” – Philo Vance (18:39)

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5. The Case Cracks: Motive Revealed and Culprits Unmasked (20:10 – 27:57)

• Vance delivers his classic “drawing room reveal.” He explains the murders were committed not to suppress the inheritance story, but to make sure it was published nationally:

  “That murder was committed in order to make certain that that story appeared.” – Philo Vance (23:41)

• Abbott (the editor), whose real name is Gregory, orchestrated Harkins' murder so her last work would be sensationalized nationwide, attracting McGuff back to town for a personal vendetta.
• Vance exposes Abbott with a cunning trick—calling him by his real name and watching his reaction.

  “Don't bother with the deception, my friend. I know your name is Gregory, and I know you killed Myrna Harkins.” – Philo Vance (25:14)

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Notable Quotes & Memorable Moments

• Meta-Commentary on Media

  “Story that wasn't even a story becomes front page news. Only it costs the reporter's life. Maybe I'll turn in my press card.”
  – Eddie Henderson (06:41)

• Vance’s Signature Reasoning

  “In every case we ever work on, somebody has committed a murder. They've thought out pretty carefully. In their intelligence lies the extent of the trouble they cause us.”
  – Philo Vance (12:18)

• The Reveal: The Importance of Detail

  “When Myrna Harkins wrote the story of Lillian White's alleged inheritance, she spelled McGuff M-C-G-U-F-F. Her editor, who'd sent her on the story in the first place, knew the correct spelling was McGough, so he changed her copy accordingly … he had to change the story to be sure it came to the attention of the right McGuff. Quite simple, isn't it?”
  – Philo Vance (27:16–27:43)

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Timestamps for Major Segments

• The assignment and Harkins' murder: 01:35 – 04:11
• Second murder (taxi driver): 08:09 – 08:18
• Lillian White and Joe McGuff's phone call: 08:43 – 09:32
• Vance interviews Lillian White: 18:31 – 20:10
• The solution is revealed: 25:14 – 27:43

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Conclusion

With characteristic cleverness, Philo Vance unravels a convoluted spree of killings, exposing an editor’s elaborate plan to lure an old enemy by turning an anonymous news item into a nationwide sensation—at the price of an innocent life. As always, Philo’s logic and incisive mind prove up to the challenge.

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Tone & Style:
Classic 1940s noir; witty, brisk dialogue; strong sense of media-era intrigue.

For Listeners:
You’ll enjoy a tightly plotted whodunit with plenty of misdirection, a well-played “aha” finale, and a glimpse into the darker manipulations of newsrooms during the Golden Age of Radio.

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Transcript

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[Philo Vance]

Welcome to Choice Classic Radio where we

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bring to you the greatest old time radio shows.

[Philo Vance]

Like us on Facebook, subscribe to us on YouTube and thank you for [e-mail].

[Eddie Henderson]

Hey, Hawkins, the old man wants you in his office.

[Lillian White]

Oh, thanks, Eddie. Probably wants to give me a bonus on that last yarn I turned in for the sheep.

[Eddie Henderson]

Who knows what he wants? Including him. Walk you to the door?

[Lillian White]

Yeah, do that. Some young cub reporter might be waiting to take a bite out of me in transit.

[Eddie Henderson]

What are you working on for the old man, Harkins? Something hot.

[Lillian White]

Big secret stuff. No can talk.

[Eddie Henderson]

Not even to me. I'm working here, you know.

[Lillian White]

You never know it.

[Ellen]

See you later, Ed.

[Lillian White]

Hi, boss.

[Philo Vance]

Oh, come in, Harkins. I got an assignment for you.

[Lillian White]

Good. Let's have it.

[Philo Vance]

Ever hear of Philo Vance?

[Lillian White]

Private investigator par excellence. Sure, I've heard of him.

[Philo Vance]

Get an interview on him. Something about the cases he's worked on. Ought to make a good feature. Maybe we'll run it as a series on Sundays, that's all?

[Lillian White]

Just like that? I'm to get a story out of Vance? Mike, you know he never talks to reporters.

[Philo Vance]

So don't be a reporter. Be a society gal. Be somebody in trouble. Be anybody. Nobody said you had to be a reporter.

[Lillian White]

No, that's right. Nobody did. A lot of people have told me I'm not a reporter. But you wouldn't be one of them. Would you mind?

[Philo Vance]

I might one of these days. Call me and let me know how you make on.

[Lillian White]

Okay, Mike. By the way, that yarn I was on this morning? Nothing Doing on it? N G? N S. No story.

[Philo Vance]

What one's that?

[Lillian White]

That thing about the concert pianist, Lillian White, inheriting a half million bucks. She denies it.

[Philo Vance]

She denies it, so there's no story. Maybe I should have sent Henderson.

[Lillian White]

Wait a minute, Mike. Keep your top down. Did dig up something on the white gal. Found out she was once married to a man named Joe McGuff. Mean anything?

[Philo Vance]

Not to me. Did you knock out what you have?

[Lillian White]

Yeah, here it is on this paper. Well, it isn't much and you can't use it. But here it is, such as it is. Only I'm telling you now, it's no yarn, it's no nothing.

[Philo Vance]

Well, if you got nothing except that she was married to a guy named Joe McGuff, it sure is no story. Okay, leave it and I'll look it over.

[Joe McGuff]

Go on now.

[Philo Vance]

See what you can find out from Philo. Vance.

[Lillian White]

I'm on my way. Only, from what I've heard of him, I've got an idea he'll find out more about me than I will about him.

[Sergeant Heath]

Keep moving. Keep moving there. Keep moving. Hey, you. What's the idea of parking in the middle of a busy street? Move that cab out of there before I give you a ticket.

[Joe McGuff]

Hey, officer.

[Eddie Henderson]

Officer, I gotta talk to you.

[Philo Vance]

Come here, please.

[Joe McGuff]

Hurry.

[Sergeant Heath]

Okay. What's with you in that taxi?

[Eddie Henderson]

Officer, look in the back of my cab. There's a girl there. I picked her up in front of the Bulletin office 10 minutes ago.

[Sergeant Heath]

What about it?

[Joe McGuff]

She's dead.

[Eddie Henderson]

She's been murdered. There's a knife in her heart.

[Philo Vance]

That's the story, Vance, all of it. A girl was a reporter on the Bulletin and she was on her way to interview you when she was murdered. Interview me? That sounds like a very interesting case, Markham.

[Ellen]

Not to me, it doesn't. If anybody was murdered because they were on their way to interview you, Vance, murder's getting a little too close to home.

[Philo Vance]

Perhaps we'll move our home then. Ellen, what does the district attorney think about that? I'm not thinking about anything, Vance, except this girl's murder and the fact that she was on her way here when she was killed. Generally, you're not concerned with the murder until after it happens. That's true, of course. But before I do anything on the girl's murder, I think it might be an idea to quiet my secretary's fear for my safety. Ellen, up until now, I've done a pretty good job of taking care of myself, haven't I?

[Ellen]

Yes, Aunt, you have. But it only takes one mistake. To bring your average all the way down to zero.

[Philo Vance]

Well, I'll try not to make that mistake. Come on, Markham, let's get going. We'll make the newspaper office our first stop. I don't know a better place to pick up some news. Eddie, listen to me. Somebody murdered one of our staff reporters. Have solved crimes before, but this one we've got to solve.

[Eddie Henderson]

I'd like to get my mitts on whoever knocked off Harkins. Mike, she was one of the best newspaper men I've ever worked with.

[Philo Vance]

Well, go on, get going. Eddie, there must be some connection with her death and the story she was working on.

[Eddie Henderson]

Well, you'd know what yarn you gave her, Mike. What was she on?

[Philo Vance]

Nothing at the moment. Nothing but a straight assignment. An interview with Philo Vance.

[Eddie Henderson]

What was she working on before?

[Philo Vance]

Nothing. That item about a concert pianist named Lillian White inheriting some money. Nothing important.

[Eddie Henderson]

Nothing except that you took that story and put it on page one. What a nice little job you made of it too. Headline. Is this the story that caused the death of the Bulletin reporter? Subhead. Who is this mysterious Joe McGowan? Nuts.

[Philo Vance]

McGough.

[Eddie Henderson]

McGough is McGough.

[Philo Vance]

All right, Eddie, have it your way. Only don't be bitter. That yarn treated just that way will be on page one of every paper in the country by morning. They'll all handle the story the same way. It's human interest.

[Eddie Henderson]

Story that wasn't even a story becomes front page news. Only it costs the reporter's life. Maybe I'll turn in my press card.

[Philo Vance]

I know how you feel, Eddie, but forget it. Now, listen. Pop out to the house where the taxi driver lives. The one that picked up Harkins in front of our building. Get him to say something. Whether he saw anybody get in the cab when it stopped for a light, anything.

[Eddie Henderson]

Okay, Mike, I'm on my way. Only, if the cab driver knew anything, he'd have told the cops. And Riley at headquarters said he keeps insisting he didn't see anyone get into the cab after Harkins got in.

[Philo Vance]

The cops let him go, Eddie. He's home now. You got the address? Sure.

[Eddie Henderson]

Riley gave it to me.

[Philo Vance]

Well, get on your horse and see what you can find out.

[Joe McGuff]

Okay.

[Eddie Henderson]

I mean, don't expect me to die just to put my story on the front page. Hi, Johnny.

[Joe McGuff]

Hi, Eddie.

[Eddie Henderson]

Hey, what is this? Every newspaper man in town waiting to see that taxi driver.

[Sergeant Heath]

Looks like you're doing it.

[Joe McGuff]

We can't get in though, Eddie.

[Sergeant Heath]

Cops have been there since I got here.

[Eddie Henderson]

Flash your press card I could have left at home. Sergeant Heath's in charge.

[Joe McGuff]

Heath?

[Eddie Henderson]

Yeah, Heath's on homicide. What's he doing here? That Harkins girl's death wasn't any accident, you know. And if you really want to know

[Sergeant Heath]

what Heath is doing, ask him yourself.

[Eddie Henderson]

Here he comes.

[Sergeant Heath]

Out the door now. Hey, Heath. What'd he say, huh? Did you get anything on it? All right, shut up. Shut up, all of you.

[Joe McGuff]

Okay, quiet.

[Eddie Henderson]

Hey, Heath, all we want to know is whether that cab driver talked. Did he say he saw anybody get in his cab while he was driving?

[Philo Vance]

The girl?

[Joe McGuff]

Yeah.

[Eddie Henderson]

What'd you get from it?

[Sergeant Heath]

I said shut up and I mean it. The cab driver didn't talk much more. He ain't gonna talk. Now or never. To nobody.

[Philo Vance]

He's dead.

[Sergeant Heath]

What? Yeah. Killed the same way as a girl was. We don't know who knocked him off either.

[Lillian White]

Hello?

[Ellen]

Ms. Lillian White? Yes. Long distance is calling. I have your party, sir. Go ahead, please.

[Joe McGuff]

Hello? Lil?

[Lillian White]

Yes, who is this?

[Joe McGuff]

This is Joe. Lil, Your darling husband. Remember me?

[Lillian White]

Joe, where are you? What do you want?

[Joe McGuff]

It don't make hardly any difference where I am and what I want. Well, that don't make hardly any difference either. I just seen the papers.

[Lillian White]

But Joe. Joe, I don't know how that reporter found out that you were my husband. I didn't tell her.

[Joe McGuff]

No, I don't suppose you would. Hardly. But she found out. Only I don't care about that. I care about a half million bucks you inherited, according to the story. I want in on that, though I'm entitled to it. I'm still married to you, remember?

[Ellen]

Kiss.

[Lillian White]

Joe, that story isn't true.

[Joe McGuff]

Maybe. Maybe not. Anyhow, I'm hopping a plane in a few minutes and I'll be in to see you in a couple of hours. Just don't be too surprised when I walk in. I hardly want to surprise you, honey. Hardly.

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[Philo Vance]

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[Joe McGuff]

Whoa.

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[Philo Vance]

City rooms on the eighth floor. Gentlemen.

[Joe McGuff]

Thank you.

[Philo Vance]

Well, we're finally on the way to the Bulletin office.

[Eddie Henderson]

Vents.

[Philo Vance]

Sorry, we were held up. That taxi driver's death didn't help us any, Markham. Apparently the Same person killed Ms. Harkins. Find the one murderer and you solve two murders. Sounds like bargain day. You know why the taxi driver was killed? I think so. And I think I know why Ms. Hawkins was killed too. I'd say she was killed because of a story she was working on. Someone didn't want that story in print. And if that's true, when we see her editor, we'll find out what she was working on and we'll have our suspects. The general idea is a possibility. The cab driver's death is pretty easily explained. He probably did see someone in his cab with Ms. Harkins. Didn't tell the police, but instead figured he'd try a little blackmail. When will people learn, I wonder? He won't learn anything anymore, I'm afraid. Well, here's the eighth floor, City room style.

[Eddie Henderson]

Straight ahead.

[Joe McGuff]

Right.

[Philo Vance]

You know, Vance, I think this case is going to give us trouble. I just have that feeling. All cases give us trouble, Markham. In every case we ever work on, somebody has committed a murder. They've thought out pretty carefully. In their intelligence lies the extent of the trouble they cause us. And I'm sure our murderer this time isn't stupid. Then my hunch was correct.

[Joe McGuff]

Probably.

[Philo Vance]

We'll know very shortly as soon as we know what story Ms. Hawkins was going to print. Come on in with me. I beg your pardon.

[Joe McGuff]

Yes, what is it?

[Philo Vance]

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

[Joe McGuff]

How are you?

[Philo Vance]

Oh, hello.

[Eddie Henderson]

Hello, both of you. I'm Eddie Henderson. Can I help you, Vance?

[Philo Vance]

Perhaps I'd like to see the City Editor. Where do I find him?

[Eddie Henderson]

In that office back there. The first one on your right. Walk right in where it says private. Everyone else does.

[Joe McGuff]

Thank you.

[Philo Vance]

Oh, by the way, which desk was Ms. Harkins?

[Eddie Henderson]

That one there. First one. You see? Why.

[Philo Vance]

I don't imagine we have to explain why, do we, Mr. Henderson?

[Eddie Henderson]

Oh, no, of course not. I'm sorry. Well, I gotta get this copy to the boy.

[Joe McGuff]

Excuse me.

[Philo Vance]

Why didn't you tell him why we wanted to see Ms. Harkin's desk, Barkham? A very complicated reason, Vance. You didn't tell me why we wanted to see him. Well, here it is. Now, let me see. Every newspaper writer I ever knew kept a carbon of every piece he wrote. Generally the top drawer. Hmm. Ms. Hawkins was no exception. Apparently, there are her carbons. I'm going to take a look at the last few just for luck. Nothing on the first one except a note to interview me. We knew about that. Yes, of course. This one, Lillian White, denied today that she had inherited $500,000. Although the Bulletin learned from authoritative sources that she had. This White, famous concert pianist, was the wife of Joe McGuff. You hear of him? Markham McGuff. How do you spell his aunt? M, C, G, U, S, S. No one. I'm not sure. Well, Markham, that's the unfinished story every paper in America carried as the last item Ms. Harkins wrote. That's the story her killer didn't want finished, I imagine, eh? Perhaps. Then again, perhaps not. I'll just borrow this carbon. Now, let's see. Our friend, the city editor. Oh, his name is Abbott. Mike Abbott. So? That doesn't tell us anything.

[Joe McGuff]

Cost.

[Philo Vance]

It isn't his name, I expect, will tell us anything. I'm hoping that he will.

[Eddie Henderson]

Hello, Ms. White.

[Lillian White]

Eddie. Eddie, what are you doing in my apartment?

[Eddie Henderson]

Talking to you. I don't know why I'm bothering to. I've done a lot for you in the Bulletin, Lillian. But I didn't like what you did to pay me off.

[Lillian White]

Please, Eddie, don't. I have enough trouble now. I. I don't even know what you're talking about.

[Joe McGuff]

Don't you?

[Eddie Henderson]

Wouldn't be that you wanted to make sure Myrna Harkins never got any more information about you, would it?

[Joe McGuff]

And that you killed her.

[Lillian White]

I killed her? Who sent it to me with that made up story about an inheritance that I never got? Couldn't have been anybody but you.

[Eddie Henderson]

Doesn't matter where the paper got the tip that sent Harkins here. What does matter to me is that you wouldn't want any information about your husband. This Joe McGuff to get out. See, I just got finished checking. I found out the rackets he's been running.

[Lillian White]

Get out of here, Eddie. Get out of here before I send for someone to throw you out.

[Eddie Henderson]

Who are you going to send for, Joe. And what are you going to tell him? And aren't you afraid I've got something to tell him too?

[Philo Vance]

This is District Attorney Markham. The Bulletin murder case began when Myrna Hargans, Bulletin reporter, was found stabbed to death in a cab. Lionel Vance visited the Bulletin office where he talked to Eddie Henderson, reporter, and Mike Abbott, editor. Neither could throw any light on the murder. But the police believe that a story Ms. Harkins was writing and which was later published unfinished is a clue. It concerns a concert pianist named Lillian White and her secret and up till now, missing husband, Joe McGuff. Vance was on his way to Ms. White's apartment when I last saw him and should be there in a few minutes.

[Joe McGuff]

What's the matter, Lily? You don't seem hardly glad to see me at all. Hardly.

[Lillian White]

Go away, Joe. Go back where you came from.

[Joe McGuff]

I hopped the plane just to look at you, Lily. So stop playing that piano. I want to look at you and that half million bucks.

[Lillian White]

There is no half million, Jo. I don't know where the newspaper ever thought I inherited anything. I didn't. Believe me, I didn't.

[Joe McGuff]

Maybe not. Anyhow, I'm going to stick around town here to make sure. Hey, that newspaper dame that wrote that story, she's the one got herself killed. That wouldn't hardly be anything you did, Lily.

[Lillian White]

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

[Joe McGuff]

No, maybe not. Hey, Lil, I've been away a couple of years. I was coming back about this time anyhow to take care of a guy. You wouldn't hardly know nobody named Gregory, would you? Bill Gregory?

[Lillian White]

No. No, I never heard of him. And I wish I'd never heard of you.

[Joe McGuff]

I like you too many lady. Only I don't hardly like the way you talk to me. Somebody call on you, Lily?

[Lillian White]

I don't know. I'm not expecting anyone. Might be the police. They've been here almost all the time since that story appeared.

[Joe McGuff]

Okay, Lily. If it's the cops, I'll get out the back way. I gotta take care of you and that Gregory guy. Only it's two different ways of taking care. Be seein you, Lily.

[Lillian White]

I'm coming. Just a moment.

[Philo Vance]

Yes? Ms. White? I'm Philo Vance. May I come in?

[Lillian White]

Yes, yes, of course.

[Philo Vance]

Your company left in a hurry. I presume I didn't scare him off, did I?

[Lillian White]

How did you know there had been somebody here?

[Philo Vance]

Please, Ms. Weiss, don't expect any Sherlock Holmes explanation such as a rubber heel mark on your rug or a burning cigar left carelessly behind. I nearly heard voices from outside. Oh, magnificent piano, this.

[Lillian White]

What do you want, Mr. Vance?

[Philo Vance]

Well, under any other circumstances, I'd want to hear you play. Right at the moment, I'd like to know about a man named Joe McGuff.

[Lillian White]

What the papers printed about him was true. He's my husband.

[Philo Vance]

McGuff, eh? McGough?

[Lillian White]

Yes.

[Philo Vance]

Then the papers had the spelling right. I wondered. By the way, it wasn't he who was here a little while back, was it?

[Lillian White]

Yes, it was. He left the back way. He thought you might be the police.

[Philo Vance]

Oh, what's his allergy to police, Ms. White?

[Lillian White]

I don't know what he's been doing. He's been away for five years. All I do know is that right now he's looking for a man named Greggly.

[Philo Vance]

He's been away five years. And Ms. Hawkins found out about you and him.

[Lillian White]

She came to interview me when I was out. My maid let her in and she was alone here in the apartment. She might have come across my marriage license, correspondence, anything.

[Philo Vance]

They did say she was a good reporter. Ms. White, have you any idea where I can see Joe McGuff?

[Lillian White]

No. No, I don't.

[Philo Vance]

I haven't either, but I'll find him. You may be unhappy to learn. I think that will be all, Ms. Deering. My notes are up to date on the Bulletin.

[Eddie Henderson]

Murder, I believe.

[Philo Vance]

Read me the last item again, will you, please?

[Ellen]

Certainly, Vance. With the knowledge of the above facts, detailed in chronological order, it is very evident to me who murdered Myrna Harkins and as a consequence, Arthur Allen, the taxi driver. Well, that's it, Vance. Now tell me, who was it?

[Philo Vance]

Who it was, Alan, is secondary in this case to why it was. Wait until Markham gets here, which should be momentarily, and I'll tell you both at the same time.

[Lillian White]

You could dictate it.

[Ellen]

And then I'll promise not to even look at it until the district attorney gets here.

[Joe McGuff]

Oh, Ellen.

[Ellen]

I'll wait for Markham.

[Joe McGuff]

Hello, you two.

[Philo Vance]

Here I am, right on schedule.

[Ellen]

Practically on cue. And I'm glad you're here, really.

[Philo Vance]

Well, that's very complimentary, Vance. I've got some information. Joe McGough at the Rex Hotel. Heath tracked him down. Only McGuff doesn't know that. Good, Markham. That's really good news. It will postpone My announcement, however. I'm going to see Mr. McGuff, Vance.

[Joe McGuff]

You promise?

[Philo Vance]

Yes, I did, Ellen. But I told you the fascinating part of this case was why Ms. Hawkins was killed. That's the part I don't know either, but it's the part I'm going to find out.

[Sergeant Heath]

Now.

[Joe McGuff]

I could kick you out of here, Vance. You could hardly blame me for that, could you? Hardly.

[Philo Vance]

No, I couldn't. You don't seem surprised that I found you, Mr. McGough.

[Joe McGuff]

I heard of you, Vance. I ain't surprised at nothing. You do.

[Philo Vance]

Then it won't disturb you too much to know that I can find a certain man named Gregory for you.

[Joe McGuff]

Gregory? You know where he is?

[Philo Vance]

I think so.

[Joe McGuff]

Maybe you're thinking it's a good maybe. You talk faster than you know. What does he look like?

[Philo Vance]

About 45, gray hair, parted on the side.

[Joe McGuff]

Big fellow, big hand and big bluff. Okay, Vance, you know him.

[Philo Vance]

Where is he? First, what do you have against Mr. Gregory?

[Joe McGuff]

A beef. That's what I have. And he knows I got that beef. And he knows that one day I was gonna come and take it out on him the hard way.

[Philo Vance]

So he's afraid of you.

[Joe McGuff]

He's been afraid of me for five

[Philo Vance]

years, ever since he crossed me.

[Joe McGuff]

And every day of those five years, he ain't hardly slept hardly on a Conor. He knew I'd get him.

[Philo Vance]

You think?

[Joe McGuff]

Not hardly.

[Philo Vance]

You know, I'm going to do more than just tell you where Gregory is and what name he's using. I'm going to deliver him to you. How'd you like that?

[Joe McGuff]

How'd I like it? With bells on my coat, often my sleeves rolled up.

[Eddie Henderson]

That's how I'd like it.

[Ellen]

Hello, Ellen.

[Philo Vance]

This is Vance. Is Markham still at the office?

[Ellen]

Yes, he's sitting right here, Vance, and so am I. Only I'm on pins and needles.

[Philo Vance]

Rather uncomfortable, I imagine.

[Ellen]

Vance, I've got to know who killed Myrna Hawkins and why. But I'll settle for one thing now. Were the police right in their original premise that the story about Ms. White's inheritance was the reason Ms. Hawkins was murdered?

[Philo Vance]

You mean, was Ms. Hawkins killed to prevent that story from being printed?

[Joe McGuff]

Yes.

[Philo Vance]

We've never been more wrong in our lives. That murder was committed in order to make certain that that story appeared. Good evening, Mr. Abbott.

[Joe McGuff]

Huh? Oh, hello, Vance.

[Philo Vance]

Where's your star reporter, Mr. Abbott? Mr. Eddie Henderson, I believe his name is. He's out in the City Room. You want him? Yes, as soon as I check some facts with you. Yeah, check away. Mr. Abbott, Myrna Harkin's last story would never have been printed if she hadn't been murdered. Isn't that so? You mean it was no story the way she wrote it? That's right. Suppose it was important to somebody that that story appear not only in your paper, but nationally? It would be impossible unless the person who wrote it suddenly became important. You know, Abbott, I think.

[Joe McGuff]

Hey, Pete.

[Philo Vance]

Oh, come in, Henderson. We were talking about you a while ago. Sergeant Heath.

[Sergeant Heath]

Yeah, Vance.

[Philo Vance]

Please come in with Mr. Henderson and stay close to him, will you?

[Sergeant Heath]

Sure, Vance, Anything you say. Come on, Henderson. Vance wants you.

[Eddie Henderson]

What do you want with me, Vance?

[Philo Vance]

Eddie, Mr. Vance thinks you had something to do with Myrna Harkin's death. He does?

[Eddie Henderson]

Well, that night.

[Sergeant Heath]

Don't get tough with Vance, or I'll wrap you one.

[Philo Vance]

Thank you, Sergeant. Don't mention it, Henderson. You knew nobody would print the Lillian White inheritance story the way she wrote it. So you killed her to make sure it would appear. Take him downtown, Heath.

[Sergeant Heath]

Sure, Vance. Come along, you.

[Eddie Henderson]

Get your hands off me, you big ape. I never killed anybody.

[Sergeant Heath]

Come on out. I'll take care of this character, Vance. Don't worry.

[Philo Vance]

Thank you. Well, so Henderson's a murderer. I can't believe it. Then don't try to. Oh, Mr. Gregory. Yeah? I mean, who? Don't bother with the deception, my friend. I know your name is Gregory, and I know you killed Myrna Harkins. That little by play with Henderson just now is to throw you off your guard so you'd answer to the name of Gregory. What does that prove? A lot of things. You said whoever killed Harkins did it so her story would get in the paper. Well, I'm the editor. I could have used that story if I'd wanted to. And what's this Mr. Gregory business about? You're Gregory, all right. I described you to Joe McGuff. McGuff, that's right. And it's right that you could have published Ms. Harkin's story in your own paper. But that wasn't any good. You had to have a story that would break nationally, so no matter where McGuff was, he'd see it and come back here. I wanted him back here, whoever he is. Most certainly that was your intention. When you first dreamed up the inheritance story for Ms. Harkins to work on. You had the whole thing planned, then let her write the denial. Then you were to kill her. And her last story would then be page one news all over the country. You wanted McGuff back here, so you could kill him before he got you.

[Joe McGuff]

Heath.

[Philo Vance]

Heath.

[Sergeant Heath]

Here I am, Vance. Can I take this guy downtown, please?

[Philo Vance]

One of the lowest murderers I've ever met. Killing an innocent girl just as a means to bring somebody here where he could get his hands on him. Harkins.

[Lillian White]

Innocent?

[Philo Vance]

That's how much you know. She knew all about me. The same things that McGuff knew. She'd been blackmailing me for years.

[Joe McGuff]

Hey, Vance.

[Philo Vance]

Vance, tell me. I gotta know something. Where did I make my mistake? You were too good a newspaper man, Gregory. Too good a newspaper man, but not too good a murderer. Well, Ellen, any questions?

[Ellen]

Just one dance. What pointed to Mr. Abbott or Gregory as the murderer?

[Joe McGuff]

I'll tell you.

[Philo Vance]

When Myrna Harkins wrote the story of Lillian White's alleged Inheritance she spelled McGuff McG.

[Joe McGuff]

U, F, F. Yeah.

[Philo Vance]

Her editor, who'd center on the story in the first place knew the correct spelling was McGough, so he changed her copy accordingly.

[Ellen]

Oh, I get it. And actually, he'd have no way of knowing the right spelling unless he knew McGuff.

[Philo Vance]

Correct. He had to change the story to be sure it came to the attention of the right McGuff. Quite simple, isn't it?

[Ellen]

It always is after you explain it. Vance, you're so wonderful.

[Lillian White]

You.

[Ellen]

You solved this one. And it was a pretty tough package.

[Philo Vance]

Well, let's not discuss packages, Ellen. Let's understand only that this is the end of the bulletin. Murder case.

[Joe McGuff]

Sam. Sa.

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[Philo Vance]

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[Joe McGuff]

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