Philo Vance: The Case of the Strange Music 08/09/1945

Summary

Philo Vance: The Case of the Strange Music
Choice Classic Radio Detectives | Old Time Radio
Original broadcast date: 08/09/1945
Summary by podcast: March 21, 2026

---

Episode Overview

In this suspenseful episode of "Philo Vance," listeners are treated to a classic murder mystery entitled "The Case of the Strange Music." Philo Vance is drawn into the intrigue following a night at a rural carnival, when a jovial evening quickly turns into a crime scene. A wealthy, eccentric man, Bertram Newberry, is found dead in the wax museum, stabbed in the back and posed among the lifelike exhibits. The setting is thick with family drama, suspicion, and secrets, as the brilliant Philo Vance methodically uncovers the truth behind the murder—and its connection to strange, recurring organ music echoing through the night.

---

Key Discussion Points & Story Breakdown

1. A Night at the Carnival (00:23–04:32)

• Vance and Lane Randall are introduced in high spirits, returning from a country dinner.
• The pair happily detour into a lively carnival, indulging in food, a Ferris wheel, and passing curiosity at a wax museum showcasing infamous crimes.
• Lane’s playful fright at a “wax” figure she suspects is actually alive foreshadows the macabre discovery to come.

“Oh, Lane, that—That man, he—He's real.”
— Lane Randall, [04:08]

2. Meeting the Newberrys—Family Tensions (04:33–09:14)

• Outside, they encounter Francis Newberry, who has twisted her ankle. Vance helps her home, encountering:
  • Her gruff and demanding husband, Bertram Newberry
  • Her sarcastic nephew, Edward
  • A courteous neighbor, Tom Rhinelander
• Tension among the group is palpable, with biting remarks and awkward social exchanges that hint at deeper discord.
• Francis’s orchid, her husband’s idea, becomes a subtle indicator of his controlling behavior.

“You little fool. Must you make a scene every time we go out of the house?”
— Bertram Newberry [05:17]

3. The Haunting Music (09:14–11:03)

• As Vance and Lane leave, strange, mournful organ music drifts from the Newberry house, unnerving Lane.
• Lane realizes she has lost a glove and insists they return to the wax museum to retrieve it.

“Isn't it odd? Meeting people like that will do...”
— Lane Randall [10:10]

4. The Gruesome Discovery (11:00–12:46)

• Back at the wax museum, they find the "victim" in one of the crime displays is not wax but the real, freshly murdered Bertram Newberry.

“That body is real… That’s Bertram Newberry’s body.”
— Philo Vance [10:59–11:03]

5. The Investigation Intensifies (12:46–16:01)

• Vance quickly involves the District Attorney, John Markham, and the household becomes the scene of a traditional locked-room mystery.
• Each character’s potential motive unravels:
  • Francis, the mistreated wife with a possible lover
  • Edward, the nephew eager for his inheritance
  • Tom, the neighbor in love with Francis
• The murder weapon, a knife with Francis’s fingerprints, points suspicion towards her.

“Her own fingerprints are on the knife in her husband's back.”
— Lane Randall [17:00]

6. Alibis and Musical Deception (16:01–20:16)

• Edward’s alibi is tested: he claims to have been listening to a radio mystery; Vance confirms details of the program to corroborate his story.
• Francis and Tom’s alibi—Francis playing the “strange music” on the organ—crumbles. Vance reveals he found an automatic organ roll in her desk drawer, suggesting the music was pre-recorded so she could sneak away.
• Confronted, Francis admits she and Tom planned to run away that night, using the music roll as their cover.

“I did make that roll for the organ myself... I was going to put it on while Bert was listening upstairs and then leave with Tom.”
— Francis Newberry [21:29]

7. The Unmasking: How the Crime Was Committed (22:17–25:04)

• In a dramatic demonstration at the wax museum, Vance reconstructs the crime:
  • The wax figure, “Lippy the Knifer,” had a spring-loaded knife set up using Edward’s fishing line and a fine thread.
  • By pulling the thread, Bertram orchestrated his own fatal stabbing, making it appear as murder.
  • The curtain used for changing exhibits concealed his preparations from carnival patrons.

“No one, John. Bertram Newberry killed himself.”
— Philo Vance [24:34]

• Vance surmises Bertram, upon learning of Francis’s plans to leave him, orchestrated his own bizarre suicide to frame her (and possibly Tom) for the crime.
• The organ music and staged evidence were meant to ensure suspicion fell on Francis.

---

Notable Quotes & Memorable Moments

• On the surreal domestic drama:
  “Never such naked ones. Why, they don't care what they say or who knows it.”
  — Lane Randall [09:06]

• On the power of money to distort family ties:
  “Money, darling. It makes you that way sometimes.”
  — Philo Vance [09:10]

• Vance’s deduction on the crime’s mechanics:
  “A body made of wax, but strong as steel. These dummies are steel, you know, with a wax coat.”
  — Philo Vance [23:03]

• The reveal:
  “Bertram Newberry killed himself… he planned it that way, got her fingerprints on the knife and then used the spring mechanism and the dummy to plunge the knife into his own body.”
  — Philo Vance [24:34–25:04]

---

Key Timestamps

• 00:23–03:13 — Carnival sequence, introduction to wax museum
• 04:33–09:14 — Meeting the Newberrys; tense family dynamics
• 09:14–11:03 — Haunting music and return to the wax museum
• 11:03–12:46 — Discovery of Bertram's body
• 12:46–16:01 — Investigation and suspects’ alibis
• 16:01–20:16 — Alibi breakdown; the music roll trick
• 22:17–25:04 — Crime reconstruction and Vance’s solution

---

Tone and Style

• The episode features brisk, witty dialogue common in golden-age radio mysteries, underscored with a sense of upper-class sophistication and dry humor.
• Philo Vance remains unflappable and logical, with Lane providing sharp-edged, light commentary.

---

Conclusion

This classic mystery delivers both an ingenious locked-room puzzle and a study in human motives—jealousy, revenge, and the dark corners of the mind. Ultimately, it is not foul play but a tortured man’s desperate scheme that brings about the night’s strange music—and its tragic finale.

---

For golden age detective fans, "The Case of the Strange Music" is a tightly-plotted, witty, and atmospheric gem—with a solution as chilling as the organ music echoing through the night.

Transcript

[Philo Vance]

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].

[Narrator/Announcer]

Lifebuoy presents the adventures of Philo Vance Star starring Jose Ferrer.

[Lane Randall]

In the good Old Summertime in the good old summertime she's your tootsie wootsy in the good old summertime

[Philo Vance]

Happy lane

[Lane Randall]

On a night like this, Vance, no Washington assignment for me. No ridiculous detecting for you.

[Francis Newberry]

I love it.

[Narrator/Announcer]

In all the realm of crime and crime detection, in all the history of murder, mystery, intrigue, the master of them all, Philo Vance. Tonight, the case of strange music. But first, when it's hot and sticky and muggy, you'd probably like nothing better than to whip off your clothes and hop right into a mountain lake or the surf at the seashore. Well, if you can't do that, try the next best thing. A swell tub or shower with thoroughly refreshing Lifebuoy. You'll find that Lifebuoy's grand rich lather is cooling, exhilarating and makes you feel fine. You'll feel extra clean too, because you're Lifebuoy clean. And Lifebuoy in your daily bath means you're safe from Lifebuoy is the only soap that's especially made to stop born. Lifebuoy gives double protection all over protection and lasting protection. Use Lifebuoy and you'll come out of that bath saying, ah, I feel great. Be popular. Use Lifebuoy. Tonight. The case of Strange Music. At the moment, Philo Vance and his friend Lane Randall are driving back to town after a dinner in the country. And Vance says, not a care in the world.

[Francis Newberry]

What then?

[Philo Vance]

Nothing. I just said it's a beautiful night, I've had a good dinner. Curry will have a cold bottle waiting. I haven't a care in the world, darling.

[Lane Randall]

How stuffy. A cold bottle indeed. Where did you pick up that expression?

[Philo Vance]

Well, in a book, if you must know. Certain types of men invariably take their fair ladies back to their apartments for cold bottles and birds? Something like that.

[Lane Randall]

Just what types of men, may I ask?

[Philo Vance]

Amorous ones. Oh, what's the matter? Don't you think I care, Lane?

[Lane Randall]

Really care about your stomach, the way you sound. Oh, Vance, look.

[Philo Vance]

Where?

[Lane Randall]

There. It's a carnival. Oh, and a Ferris wheel.

[Philo Vance]

Oh, Van, I haven't been to a carnival in ages.

[Lane Randall]

And a merry go round. Oh, Vance, let's stop, please.

[Philo Vance]

Idiot.

[Lane Randall]

You'd love it too. You know you would.

[Philo Vance]

Well, come on then. Only remember I was all for that cold bird.

[Lane Randall]

Oh, don't they smell wonderful?

[Philo Vance]

Yes, I know. Boy. Large bag, please, for my. My little girl. Elaine, dear, the car's back. This way, Vance.

[Lane Randall]

A wax museum.

[Philo Vance]

Here we go again. What wax museum?

[Lane Randall]

Right there. See? The bloodiest crimes in history recreated before your very eyes. 25 cents.

[Narrator/Announcer]

Oh, golly, golly.

[Lane Randall]

This we've got to see.

[Philo Vance]

Oh, mister, I wonder if Van Johnson has this trouble.

[Lane Randall]

Two tickets, please. Me and my gentleman, we want to see the bloody crime.

[Philo Vance]

What your gentleman friend wants, Lane, is something.

[Lane Randall]

Oh, don't be unromantic, darling. Come on.

[Philo Vance]

Remember that one, Lane. The Snyder Gray murder case.

[Lane Randall]

Don't they look real?

[Philo Vance]

Oh, here's Dillinger over here. See, he was coming out of a theater in Chicago when they got him.

[Lane Randall]

Oh, and look in this case, Vance, it's a. Oh, Lane, that. That man, he. He's real.

[Philo Vance]

You're a complete idiot. Look, Lane, it's wax, just like all the rest.

[Lane Randall]

Well, it gave me a shock. Funny. For a moment, I could have sworn.

[Philo Vance]

You've had too much pink lemonade, lady. Let's go, shall we?

[Francis Newberry]

Where's the car?

[Philo Vance]

Over to the right. I. Oh, excuse me, please.

[Francis Newberry]

Oh, will you help me, please? My ankle. I've turned my ankle.

[Philo Vance]

She's going to faint. Here, miss.

[Narrator/Announcer]

Here.

[Francis Newberry]

Thank you, I.

[Philo Vance]

Take it easy. Just lean on me a moment.

[Lane Randall]

Elaine, are you all right?

[Francis Newberry]

Yes, thank you. I didn't mean to faint. I turned my ankle.

[Narrator/Announcer]

Quite all right.

[Philo Vance]

Perhaps we can find a bench of some sort. Francis. Francis, come here.

[Francis Newberry]

I can't, Bertram. My ankle. I've turned my ankle.

[Philo Vance]

Nonsense. Come along. I say. We were getting back.

[Francis Newberry]

I can't. I tell you. I can't walk.

[Narrator/Announcer]

Frances.

[Philo Vance]

I'm afraid the lady is right, sir. She did turn her ankle, and I'll take care of her. Thank you. Give me your arm, Francis. No, I'm certainly not going to carry you all the way back to the house.

[Francis Newberry]

Never mind, Bertram. I'll get there alone.

[Philo Vance]

You little fool. Must you make a scene every time we go out of the house? Give me your arm. That will do, sir.

[Francis Newberry]

If you won't carry me, Bertram, I'm sure this gentleman will.

[Lane Randall]

What?

[Francis Newberry]

Do you mind, dear?

[Philo Vance]

Frances, I warn you.

[Francis Newberry]

Would you mind, Mr. Vance? Mr. Vance, we live just through the field beyond here. Why, Newberry is my name. Mrs. Bertram Newberry. And this is my husband.

[Philo Vance]

How do you do? Frances, I demand that you stop this display and come home. Get away from this man.

[Francis Newberry]

Yeah. Will you, sir? Mr. Vance, really, I can't make it alone.

[Philo Vance]

I'd be delighted. You don't mind, Lane?

[Lane Randall]

Oh, no, Vance. If you like, I'll walk in front of you with trumpets.

[Philo Vance]

And you, Mr. Newbrain.

[Edward Newberry]

Go on, go on.

[Philo Vance]

I warn you, Francis, someday you'll go too far.

[John Markham]

There we are.

[Philo Vance]

Now, we'll just put you down in this porch chair, Mr. Newberry.

[Francis Newberry]

You're so kind, Mr. Vance.

[Lane Randall]

Oh, think nothing of it, Lane.

[Philo Vance]

I'm sorry if your husband was disturbed, Mrs. Newberry. If you like, I'll try to explain that you did turn your ankle.

[Francis Newberry]

Oh, don't bother, please. He's gone in the house now. He'll just sulk for a few hours. Let him.

[John Markham]

I see.

[Francis Newberry]

Could I offer you a drink? You've been so kind.

[Lane Randall]

We should go thence. It's must be quite late.

[Edward Newberry]

It's exactly five minutes to ten.

[Francis Newberry]

Oh, Ed, dear, I didn't know you were on the porch.

[Edward Newberry]

I won't be for long, Aunt Francis. I'm waiting for a program on the radio.

[Lane Randall]

Oh, excuse me.

[Francis Newberry]

This is my nephew, Mr. Newberry. Mr. Vance. Oh, my dear, I'm so sorry. I didn't quite get your name.

[Lane Randall]

Blood.

[Philo Vance]

I beg your pardon, Ms. Randall.

[Lane Randall]

Ms. Randall, how nice.

[Francis Newberry]

On the porch, Tom, I saw Bert

[John Markham]

going to the library.

[Francis Newberry]

Oh, I beg your pardon, Tom, dear. These very nice people carried me home from that horrible carnival.

[Narrator/Announcer]

Courage.

[Philo Vance]

Mrs. Newberry has a turned ankle.

[Narrator/Announcer]

Oh, I see. He made you go, did he, Fran?

[Francis Newberry]

It was easier to humor him. He insisted that we walk down there. His little joke.

[Philo Vance]

I see.

[Francis Newberry]

Oh, I'm so sorry, Mr. Randall. Mr. Randall, Mr. Vance. Mr. Rhinelander.

[Narrator/Announcer]

How do you do?

[Francis Newberry]

Mr. Rhinelander lives on the next estate. Our neighbor.

[Edward Newberry]

Ha, ha.

[Philo Vance]

I didn't see you, Addie.

[Edward Newberry]

Is that so unusual?

[Lane Randall]

Oh, dear, please.

[Narrator/Announcer]

I have my car in the drive. Can I drop you people?

[Philo Vance]

Oh, thank you, no. We're parked just through the field. Ready, Lane?

[Lane Randall]

I am, Vance.

[Francis Newberry]

You must forgive my husband's behavior, Mr. Vance. He has rather strange sense of humor.

[Edward Newberry]

His money went to his head.

[Francis Newberry]

Ed, you mustn't.

[Edward Newberry]

It's true, isn't it?

[Francis Newberry]

He enjoys his little joke, Mr. Vance. Like tonight it amused him to make me dress up just to go to a country carnival. He insisted that I wear an orchid.

[Philo Vance]

It's a very beautiful orchid.

[Francis Newberry]

My husband and I don't go out socially. You see, tonight was his way of showing me a good time.

[Lane Randall]

He got quite a kick out of it.

[Narrator/Announcer]

A friend?

[Francis Newberry]

No, I didn't mind, Tom. Anything to. Oh, but really, this is most discourteous. I shouldn't be talking this way at all.

[Edward Newberry]

Why Not. Is there anybody who doesn't know? Why not put it in the papers, Aunt Fran?

[Narrator/Announcer]

An ad.

[Edward Newberry]

Bertram Newberry spends it on Edward. That will do nicely, I think. Well, I'm going to my room. It's 10 o'.

[Philo Vance]

Clock.

[Edward Newberry]

At least Uncle Bertram won't have to pay for the radio.

[Narrator/Announcer]

It's free.

[Francis Newberry]

Really, I'm so embarrassed. If you'll let me ring for a

[John Markham]

drink, I'll get them France.

[Philo Vance]

No, really, we are going. Take the path down by the river, Mr. Vance. It's a little longer, but it's pleasanter walking. Why, good evening, Bert. I suggest you go now, Mr. Vance. Get out, all of you. Get out of my house, Vance. Right, Lane, this is our exit line. Good night. It was nice to meet you. Well, chummy, aren't they? Come on. He was right about the path by the river. Look at the moon.

[Lane Randall]

Of all the neurotic mixed up. Unbelievable.

[Philo Vance]

Oh, come now, Lane. Don't be so shocked. You've seen family skeletons before.

[Lane Randall]

Never such naked ones. Why, they don't care what they say or who knows it.

[Philo Vance]

Money, darling. It makes you that way sometimes.

[Lane Randall]

Oh.

[Philo Vance]

What's the matter? Blue something.

[Lane Randall]

One of my gloves. My good white ones too.

[Philo Vance]

What do you want me to go back?

[Lane Randall]

Not on your life. Besides, I'm almost sure I dropped it in that wax museum. I remember putting them in my purse in there.

[Philo Vance]

Well, we'll stop it in quiet.

[Lane Randall]

Vance.

[Philo Vance]

Yes?

[Lane Randall]

Am I crazy or do I hear music?

[Philo Vance]

What?

[Lane Randall]

Wait, listen to me.

[Philo Vance]

It's coming from the Newbury house. An organ, isn't it?

[Lane Randall]

Ooh, gives me the shivers. Just listen to it. Strange, strange music. Mournful.

[Philo Vance]

We will be too in a minute. Still want to see about your glove?

[Lane Randall]

If you don't mind, Vance. They're so darn hard to get these days. Isn't it odd?

[Philo Vance]

What?

[Lane Randall]

Meeting people like that will do. Gosh, we had so much fun at this carnival an hour ago. Now it seems almost sordid.

[Philo Vance]

I'll ask about the glove. What was it?

[Lane Randall]

Why, kid.

[Philo Vance]

Okay, kid.

[Lane Randall]

I suppose it is silly to worry about people like that.

[Francis Newberry]

I suppose.

[Lane Randall]

Oh, I don't suppose anything. Have they found it?

[Philo Vance]

No. For 50 cents we can go into the museum and look for ourselves.

[Lane Randall]

But didn't you tell him that we were arguing?

[Philo Vance]

It's easier to buy the ticket than look.

[Narrator/Announcer]

Come on.

[Lane Randall]

Well, it won't be there now. I'm sure. I don't even want to look at the exhibit. Not now.

[Philo Vance]

Snyder and Gray haven't changed any. I'm here's Dillinger.

[Lane Randall]

Look for My gloves, silly. We've seen the exhibit.

[Philo Vance]

It's amazing how they can take wax and. Lane.

[Lane Randall]

Did you find it?

[Philo Vance]

Lane, in that exhibit? That body is real.

[Lane Randall]

Oh, no, you don't. I bit once, darling, but not again.

[Philo Vance]

I'm serious. Look. Good Lord, Vance. It's right, Lane. That's Bertram Newberry's body.

[Narrator/Announcer]

Bertram Newberry?

[Philo Vance]

His body.

[Narrator/Announcer]

Part of an exhibit in a wax museum. We'll return in just a moment with more of the Case of Strange Music. But first,

[Lane Randall]

My old friend, the Lifebuoy Foghorn.

[Francis Newberry]

You don't scare me.

[Lane Randall]

I'm taking a lifebuoy bath right now.

[Francis Newberry]

I used to say to myself, what's wrong with me? No dates, no friends. And I couldn't imagine why didn't dream

[Lane Randall]

I had BO oh, what a fool I was.

[Francis Newberry]

But I always feel safe now with lifebuoy in my daily bath.

[Lane Randall]

I just love my bath with life boy.

[Francis Newberry]

Such mild and gentle laughter it really is divine. I just love my bath with life boy. Refreshing it makes me feel fine.

[Lane Randall]

I'll be fresh and dainty no matter where I go.

[Francis Newberry]

Cause my life, boy that really stops be. O you try lifebuoy. It's swell.

[Narrator/Announcer]

And now back to the Adventures of Philo Vance.

[Philo Vance]

You came out fast enough, John. You remember Lane, of course. Lane, the district attorney.

[Francis Newberry]

Of course I do.

[Lane Randall]

How are you, John?

[John Markham]

Well, not too happy, Lane. I just bit a small slam when Vance's call came in. Well, where are they, Vance? Inside.

[Philo Vance]

Well, I suggested they stay in the library as soon as I found a patrolman to remain with the body down at the carnival, Lane and I came back here to the house.

[John Markham]

Who was here?

[Lane Randall]

All of them. Francis, the wife. Ed Newbery. He's a nephew.

[Philo Vance]

And Tom Rhinelander, who is, to put it delicately, interested in Mrs. Newberry.

[John Markham]

I see. Any ideas, Vance?

[Philo Vance]

Oh, I'm full of them, John. Care to hear?

[John Markham]

I would.

[Philo Vance]

Down in the wax museum, we have a body. The body stabbed in the back and placed in an exhibit 15 minutes before it was placed. In that case, that body told us to get the blazers off this porch, which we did. Go on inside. Three people. A wife who was quite obviously put up with a lot from the old

[Lane Randall]

boy and who loves her neighbor, Tricky darling. Thank you.

[Philo Vance]

Number two. A disgruntled nephew who apparently had nothing to do in life but wait for the reading of his uncle's will.

[Edward Newberry]

Money.

[Philo Vance]

Bertram's money. Seems to be Edward's big interest.

[Lane Randall]

And finally, the boy next door.

[John Markham]

He's got money. Incidentally, I know the name.

[Philo Vance]

He's rather Pleasant, John. We had a little talk while you were on your way. Oh, then you questioned him and toured the house.

[Lane Randall]

Vance has been playing detective like mad, John.

[Philo Vance]

Oh, thanks for the playing, Lane.

[John Markham]

Well, Vance, who? What? Why?

[Philo Vance]

Well, frankly, John, I'm not sure. Not sure at all.

[John Markham]

What about the servant?

[Philo Vance]

All accounted for. Uh, let's go in, shall we? Lane and Mrs. Newberry were hitting it off so well earlier this evening. Maybe there's a chance for a beautiful friendship.

[John Markham]

All right, son, what's your story?

[Edward Newberry]

I could write a book.

[John Markham]

Well, you might have to. You admit the knife in your uncle's back belonged to you?

[Edward Newberry]

Look, I went all through this with him.

[Narrator/Announcer]

Sure.

[Edward Newberry]

It's my knife. I use it fishing.

[Philo Vance]

And you left it where, Ed?

[Edward Newberry]

In my room. I told you it was in my fishing box. I saw it there this morning.

[Lane Randall]

May I cut in?

[John Markham]

Sure, Go right ahead.

[Lane Randall]

When you left us on the porch this evening, Ed, you announced that it was 10 o'.

[Francis Newberry]

Clock.

[Lane Randall]

Remember, Van?

[John Markham]

Vividly.

[Lane Randall]

And we found your uncle's body down at the Wax Museum at 10:20. So it's simple. Account for those 20 minutes and you haven't anything to worry about.

[John Markham]

Can you account for them, Son?

[Edward Newberry]

I. I was listening to the radio.

[Philo Vance]

Alone?

[Edward Newberry]

In my room.

[Philo Vance]

I was alone. That's not a very good accounting, boy.

[John Markham]

Look here.

[Philo Vance]

That will do.

[John Markham]

Send in Mr. Rhinelander, please. And don't leave this house. I'll warn you again. Tough, isn't it? His knife, his money, when Newbury dies. That's a familiar story then.

[Lane Randall]

But the fingerprints on the knife were not a man's. The sergeant was sure of that.

[John Markham]

Easy enough. Ed got Francis to handle the knife, then preserved her prints by using a handkerchief. A very old trick.

[Philo Vance]

Then they are her prints, John.

[John Markham]

He checked. They're hers, all right. They match with everything in a room.

[Francis Newberry]

In my room.

[John Markham]

Oh, come in, come in. I didn't hear you.

[Francis Newberry]

Thank you. It's after midnight. I was just wondering, is it entirely

[Lane Randall]

out of order if I have some

[John Markham]

food prepared out here, Mrs. Newberry?

[Philo Vance]

Oh, John, how's that? An excellent idea. Food.

[Edward Newberry]

By all means.

[Philo Vance]

See to it, Mr. Newberry. I'm starved.

[Lane Randall]

Why that.

[Philo Vance]

And ask Mr. Rhinelander to come in, please.

[Francis Newberry]

Thank you very much, Mr. Vance. I'll have sandwiches and coffee brought in.

[Narrator/Announcer]

Ed said you wanted to.

[Philo Vance]

Oh, fan, dear.

[Francis Newberry]

It's all right, Tom.

[Lane Randall]

It's all right.

[John Markham]

Come in, Mr. Rhinelander. Come right in.

[Philo Vance]

Thank you.

[John Markham]

Now, this is going to be abrupt, I'm afraid, but quite to the point. You are in love with Mrs. Newbery?

[Narrator/Announcer]

Very much, Mr. Markham, are you shocked?

[John Markham]

Why, no.

[Narrator/Announcer]

I'm the cad who loves another man's wife, I suppose.

[Philo Vance]

But Bert.

[Narrator/Announcer]

Bert wasn't the man not to Francis.

[Philo Vance]

He go right on talking. Mr. Rhinelander. I just want to. Oh, silly way to make sandwiches, Mrs. Newberry. Crouched against the door. Come in.

[Francis Newberry]

There isn't anything to say, is there? I was listening.

[Lane Randall]

If you ask me, I think there's a lot to say.

[Philo Vance]

Do you, Lane?

[Lane Randall]

What? You can ask questions all you want to, Vance. You know who did it, and so do I.

[John Markham]

You're a forgetting motive, you know. Edward had that right, Vance.

[Philo Vance]

Oh, money's a good one, John. Always was.

[Lane Randall]

Motive, my foot. This woman hated her husband. Yes, and she loves him. It's obvious you've told them, Tom.

[Narrator/Announcer]

Why not?

[Lane Randall]

If that isn't motive, what is? And as for the crime, her own fingerprints are on the knife in her husband's back.

[Philo Vance]

There is something to that, Mrs. Newbridge.

[Francis Newberry]

I told you my husband brought me the knife this afternoon. I was cutting flowers with it.

[Lane Randall]

That's just plain silly. There are dozens of garden shears in the tool house, Vance, and I saw them. Why go way up to Edward's room into his fishing box and use that particular knife?

[Francis Newberry]

I don't know, I tell you.

[John Markham]

Well, the boy could have brought it to her, you know. Oh, Heath, Send him in, will you? Might as well have the whole group.

[Philo Vance]

You made a nice try, Lane, but you slipped up on one detail. Frances couldn't have gotten the body into that exhibit case, not with her twisted ankle.

[Lane Randall]

Ankle? See this book on the table, Frances? Catch. See? A very neat catch, Mrs. Newberry. And you were pretty quick on your twisted foot, too, Blaine.

[John Markham]

You've done it, Vance. She's remarkable.

[Philo Vance]

Well, Vance, where were you between 10 and 1020, Frances?

[Lane Randall]

Oh, Vance, I was playing the organization.

[Francis Newberry]

You said yourself, Mr. Vance. You heard me when you were walking back to your car.

[John Markham]

Did you, Vance?

[Francis Newberry]

Yes, we. We did.

[Philo Vance]

And you, Mr. Rhinelander, where were you?

[Narrator/Announcer]

I was with Frances. I was here in this room listening to her play.

[John Markham]

I see.

[Philo Vance]

Oh, John. Yes, Vance?

[Edward Newberry]

I'm supposed to come in.

[Philo Vance]

By all means, Ed. You're just in time for a concert. You remember what you played earlier this evening, Mrs. Newberry?

[Francis Newberry]

Yes, I do. It's horrible music. Bertram wrote it years ago, and he made me play it over and over again some nights for hours.

[Philo Vance]

Play it now, will you, please?

[Francis Newberry]

No.

[John Markham]

Why, please, Mrs. Newbery.

[Francis Newberry]

I'd be glad to. It has no name. It's. It just sounds like this.

[Philo Vance]

You play well, Mrs. Newbury. You're quite sure this is the music you played tonight?

[Francis Newberry]

I told you.

[Philo Vance]

That will do, thank you. Now, if you'll excuse me, I should like to offer a musical selection.

[Lane Randall]

Thanks you.

[Philo Vance]

It's quite easy on this organ lane. You see, it's equipped for automatic player roles. Here's one I picked up about the house this morning.

[Francis Newberry]

What have you got?

[Peloton Pilates Announcer]

Listen, Mrs. Newberry, welcome to your Peloton Pilates era. Built on precision, backed by results and trusted by over 2 million members. Experience instructors with true Pilates expertise. Offering classes for every level from foundational to powerfully challenging. Choose from 10 to 45 minute sessions with little to no equipment, anytime, anywhere. And with the cross training swivel screen, you can move seamlessly from cardio to mat press. Pilates. Small moves, big impact. Find out [e-mail] Pilates.

[Edward Newberry]

There we are.

[Philo Vance]

Just snap this little switch and listen for yourself. Why?

[Francis Newberry]

No. No, it can't be. Dance.

[Lane Randall]

It's the same music.

[Philo Vance]

Oh, sure, Lane, of course, but.

[Lane Randall]

Turn it off, please.

[Francis Newberry]

Turn it off. Bertram wrote that music. He made me play it over and over. I hate it.

[John Markham]

I hate it. And you still say you played that piece after that? Mrs. Newberry, I did.

[Francis Newberry]

I swear I did. Bert insisted. I played it over and over to humor him.

[Philo Vance]

Better do better than that, Francis. I found the role in your desk drawer upstairs.

[Narrator/Announcer]

No, you're lying.

[Lane Randall]

But you. Now we're getting somewhere. Turned ankle.

[John Markham]

Thanks. Will you?

[Philo Vance]

Gladly, John. As the detective would say, I'll unravel the whole thing.

[Narrator/Announcer]

Edward.

[John Markham]

Me?

[Edward Newberry]

Alison here.

[John Markham]

I told you, motive every time.

[Philo Vance]

Go on, quickly. Edward. You said you listened to a radio program, something called. What did you say again?

[Edward Newberry]

The tenor voiced killer. He's on every week.

[Philo Vance]

Strenuous, to say the least. Who done it, Edward? What? Wasn't that the phrase in tonight's program? Who done it?

[Edward Newberry]

Why, Butler Stebbins name was he.

[Philo Vance]

He.

[Edward Newberry]

He poisoned the guy with a secret formula made out of ink.

[Philo Vance]

Good boy. That takes care of you, Edward. Sit down.

[John Markham]

Just how did it take care of him then?

[Philo Vance]

I called the studio, John. The butler did it. All right. Edward was listening to that program. All 15 minutes of it.

[Lane Randall]

All right, so it's not Edward. Let's get back to these two.

[Narrator/Announcer]

Right.

[Philo Vance]

Lane. You weren't playing that organ, you know, Francis. Matter of fact, you were in your room packing, Mr. Van. Just as you, Tom, were at your house doing the same thing. Your grips, incidentally, are still in the trunk of your car outside. I looked.

[Lane Randall]

I.

[John Markham]

Packing for what?

[Philo Vance]

Reno, I should think. Wasn't that why you Turned your Uncle Francis. You and Tom had planned to leave tonight for some time. Bert's little joke of attending the carnival almost ruined your plan.

[Narrator/Announcer]

It's not true, I tell you.

[Francis Newberry]

It's no use, Tom. He'll only find out. We might as well tell him the truth now. At last.

[Philo Vance]

You were planning to leave your husband tonight?

[Francis Newberry]

Yes, I was. I did make that roll for the organ myself. I was going to put it on while Bert was listening upstairs and then leave with Tom.

[John Markham]

You made a roll for an organ? A complicated thing like that.

[Lane Randall]

It's not hard, John. If you know the keyboard, you can work out just which holes in the paper will make each note play. It takes patience, but it can be done.

[Francis Newberry]

I had a great deal of patience.

[Lane Randall]

And courage, I'd say. Right, Vance?

[Philo Vance]

Go on, Lane.

[Lane Randall]

It's obvious. Bertram found out about their plan and they killed him.

[John Markham]

That's good enough for me.

[Philo Vance]

But not for me, John. Frances didn't kill her husband. No, and neither did Rhinelander. You thought she did, though, didn't you, Tom? Otherwise you wouldn't have lied to save her. You wouldn't have pretended you'd heard her play the organ at the time of Bert's death.

[John Markham]

Now, see here, Vance. If Edward didn't do it. Now you say these two didn't do it?

[Lane Randall]

Yes, Vance. In case you've forgotten, the man is dead. Who killed him?

[Philo Vance]

My moment. Hey, Lane. Well, suppose we all walk down to that wax museum, shall we? And I promise, when we get there, I'll tell you who did the job.

[John Markham]

All right, Vance. It's all your show. Go ahead.

[Philo Vance]

Thank you, John. Now then, here's the original exhibit. As Lane and I saw it first this evening. Lippy the knifer, that's that figure in wax against the wall there was standing just where he is now. His victim, also a wax dummy, was on the floor, just as you see Bertram's body Now.

[Francis Newberry]

I can't look.

[Philo Vance]

I'm afraid you must, Mrs. Newbury.

[Lane Randall]

Really, Vance, we know all this. Someone simply took the wax victim out of the exhibit and put Bertram's body in.

[Philo Vance]

Right. Lane. Look at Bertram's body, John. Face down, knife in the back.

[John Markham]

I see that.

[Philo Vance]

Now look at Lippy here against the wall. A body made of wax, but strong as steel. These dummies are steel, you know, with a wax coat. Oh, Lane.

[Francis Newberry]

Yes?

[Philo Vance]

Pull on the bizan, will you?

[Lane Randall]

Pull hard, sperm. All right. And the dummy's tied to the wall.

[Philo Vance]

Tied with your fish line. Incidentally, Edward.

[Edward Newberry]

What?

[Philo Vance]

Oh, this was carefully planned, Edward. Very carefully planned.

[John Markham]

By whom?

[Philo Vance]

Then in a moment, John. Now, we'll take the knife from Bertram's body like this.

[Narrator/Announcer]

It's all right, dearest.

[Philo Vance]

And place the knife in the dummy's hand. So notice, John, the handle pushes firmly against the hand with the blade pointing out.

[John Markham]

I see that.

[Philo Vance]

Now we roll up the dummy sleeve, pull down this rather intricate finger.

[Narrator/Announcer]

Spring what, Vance?

[Lane Randall]

What on earth is that?

[Philo Vance]

A spring, Lane. See, we set the knife against it. Draw this fine piece of thread out here like this. Follow me, John. What now? Oh, Edward. Yes? Will you help me a moment, please? Sure. I want to lift Bertram's body into a standing position. That's it. Slowly, please.

[Narrator/Announcer]

Yes, Mr. Vance. Is this necessary?

[John Markham]

I mean it.

[Philo Vance]

It's quite necessary, Tom. Observe, John. Bertram is now standing directly in front of the dummy. And the point of the knife is directly at his back in the exact spot where it entered his body.

[John Markham]

Go on, then.

[Philo Vance]

Now, we take the thread attached to the spring, place it in Bertram's hand, give it a slight full stop, and Bertram is stabbed in the back. You can put the body down now, Edward.

[Edward Newberry]

Yes, sir.

[Lane Randall]

But, Vance, that spring, the thread, all that. Who did it?

[Francis Newberry]

Who in the world?

[John Markham]

Well, Vance?

[Philo Vance]

No one. John Bertram Newberry killed himself.

[Narrator/Announcer]

What?

[Philo Vance]

What? He had time, Lane. We took the long way back here from the house, remember? While we did, Bertram came down here alone, got into this exhibit and committed suicide. The end of a plan he'd worked on a long, long time. But I, I. Bertram was ill. Ill in mind and body, I'd say. When he discovered or guessed that Francis was leaving him, he planned it that way. Got a fingerprints on the knife and then used the spring mechanism and the dummy to plunge the knife into his own body. That way, Francis, he hoped you'd die for the crime.

[Francis Newberry]

Good Lord.

[Narrator/Announcer]

I was to be the accomplice.

[Philo Vance]

Exactly, Tom. Bert reasoned that the police would be sure Francis couldn't have carried him down here, especially with a turned ankle. You are to be accused of doing that for her, Vance.

[Lane Randall]

Well, Lane, what were the customers in this place doing while Bert was playing poke the circle with the dummies?

[Philo Vance]

See that curtain? It's used when they are changing the exhibits. Oh, pull it down if you like, Lane. With that cold bird in the bottle, it might not be bad at.

[Narrator/Announcer]

We'll return in just a moment to tell you about next week's adventure. But first,

[John Markham]

they say there's a manpower shortage.

[Edward Newberry]

Huh?

[John Markham]

Hasn't affected me. Girls still give me the brush off like they always have.

[Narrator/Announcer]

That's because you're not careful. Not careful?

[John Markham]

What do you mean?

[Narrator/Announcer]

This sound should tell you. Say, have I got in hot weather especially. Use Lifebuoy in your daily bath. It stops.

[Edward Newberry]

Bo.

[Narrator/Announcer]

Lifebuoy's protection is double protection first all over head to toe protection second protection that's lasting. Lifebuoy is the only soap that's especially made to stop the ill. So why take chances when it's so easy and pleasant? To make sure that you're safe from offending. There's no better summertime habit Than wonderfully refreshing life buoy.

[John Markham]

Say, I'm heading for a Lifebuoy bath right now.

[Narrator/Announcer]

I'm singing in the bathtub.

[Philo Vance]

Singing for joy.

[John Markham]

Living the life of my boy.

[Philo Vance]

Can't help singing.

[John Markham]

Cause I know that life boy really stops.

[Edward Newberry]

Be.

[Narrator/Announcer]

Be popular. Use life.

[Philo Vance]

Bo.

[Narrator/Announcer]

The script for tonight's program was adapted for radio by Bob Shaw. From the characterization Originally created by S.S. van Dyne. Philo Vance is played by the brilliant young star of Broadway, Jose Ferrer Lane Randall is played by Francis Robinson. And this is Don Hancock inviting you to be with us again next week at this same time when you'll hear.

[Edward Newberry]

You know, Ms. Randall, you do have green eyes. Lovely, clear green eyes.

[Lane Randall]

Get away from me.

[Edward Newberry]

I like green eyes. You know, at night sometimes I dream about them.

[Philo Vance]

Hundreds of them.

[Edward Newberry]

Lovely, clear eyes, all green.

[Lane Randall]

No. Put down that knife.

[Edward Newberry]

Green and cold and lovely lay not lame.

[Narrator/Announcer]

A mad killer, the amazing atomic bomb. And the strangest motive in the history of crime. You'll want to hear the case of the green eye next week when Lifebuoy again presents the adventures of Milo Vance. Every pound of used fats that's turned in means fewer American casualties. Because used fats go into vital munitions that help shorten the war. Used fats are essential to the manufacture of paints, fabrics and soap, too. Ladies, everyone knows how tough it is to get meat. But the government has announced we will get 10% more of it this month. This is our chance to save more used kitchen fats. So keep on doing your part. Remember, American men in the Pacific are counting on you. For an easier wash day. Get Rinseo. You'll whistle while you wash because Rinseau gives you a wash. That's Rinso White Rino Bright. Yes, Reno White Rino Bright. And tune in Rinso show, starring Duninger, the master mentalist. Every Friday night, thrills, music and plenty of excitement. See your local paper for time and station. This is the National Broadcasting Company.

[Peloton Pilates Announcer]

Welcome to your Peloton Pilates era. Built on precision, backed by results and trusted by over 2 million members. Experienced instructors with true Pilates expertise, offering classes for every level from foundational to powerfully challenging. Choose from 10 to 45 minute sessions with little to no equipment, anytime, anywhere, and with the cross training swivel screen, you can move seamlessly from cardio to mat press. Pilates Small Moves, Big Impact Find out [e-mail] Pilates.