Philo Vance: The Poetic Murder Case 08/24/1948

Summary

Podcast Summary: Choice Classic Radio Detectives — "Philo Vance: The Poetic Murder Case" (08/24/1948)

Main Theme
This episode centers on the brilliant detective Philo Vance as he tackles the sensational case of the “Poetic Murders.” A series of dramatic critics are killed, each found with a mocking poem pinned to their chest. Vance must unravel motives, navigate a tangled web of theater personalities, and see through poetic misdirection to unmask a clever murderer.

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Key Discussion Points & Plot Progression

The Murders and Clues

• Three Critics Targeted:
  • Victims are leading dramatic critics: Robert Carnes, Roger Dakin, and Edward Moore.
  • Each murder scene features a poem pinned with a knife to the victim’s chest.
  • The murders incite public and police scrutiny due to the victims' high profiles.
• Sample Clues (Poems):
  • "He was the leading critic. He always would insist. And that's the reason that I placed him first on my list." [01:24]
  • "As a first rate critic, you did rate high. And the first rate critic is the second to die." [01:38]

Early Investigation & Suspects

• Pressure from Above:
  • Commissioner and District Attorney Markham pressure Sgt. Heath for rapid results (00:37–02:19).
• Philo Vance Enters:
  • Vance is brought in to make sense of the murders and their poetic calling cards, despite Heath’s reluctance (02:44–03:08).
• Suspicions of Personal Motive:
  • Carnes’ connection to Edna Boley (his wife and a dancer) and her former association with racketeer Mike Wilcox becomes a focal point.
  • Wilcox is questioned but denies involvement, showing only concern for Edna [06:05–07:29, 08:08–09:03].

Scene Shifts & the Theater Angle

• Rex Theater Investigations:
  • Vance and secretary Ellen Dearing visit the Rex Theater to examine the critics’ seats (10:04–12:13).
  • They meet Seymour Sibleton (the producer), who describes critics’ seating habits and reveals that Carnes often avoided producers socially [11:24–12:33].
• Discovery of a "Critics’ Trio":
  • Carnes, Dakin, and Moore were a formidable critical team, notorious among producers.

The Murder Pattern Emerges

• "The Third Victim":
  • Markham informs Vance that Moore has also been killed, with another poetic note:
    • "The curtain’s down. Death slams the door. The play thus ends with no encore." [13:49]
• Pattern Explanation:
  • Edna Carnes discloses that Carnes left a note: "if anything happens to me, Roger or Edward will know who did it." [18:34–18:56]
  • Vance deduces the killer targeted all three to silence potential witnesses.

Twist: Theater Tickets & The True Motive

• Longfellow as Red Herring:
  • Wilcox’s poetic underling, Longfellow, is suspected due to his nickname and penchant for quoting poetry, but denies involvement humorously:
    • "This guy’s slightly off the beam. I think he’s living in a dream." [15:40]
• Focus Switches to Sibleton:
  • Vance learns from Ellen that Carnes' original family name was Sibleton—the same as the producer.
  • Sibleton is revealed as Carnes’ brother, with a concealed, regretful family history.

The Confrontation & Resolution

• Vance confronts Sibleton about theater tickets supposedly found at the scene—his reserved "house seats"—tying him to the murders [21:22–22:16].
• Sibleton admits the fraternal tie and confesses to killing Carnes to silence him from revealing dangerous secrets.
• Vance reveals his lie—the tickets were a ruse to extract Sibleton’s confession [24:39–25:04].
• Arrest is made, bringing an end to the poetic murder spree.
• Ellen quips about the poetic nature of justice, Vance recites a closing couplet, and the case is closed (25:11–25:12).

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Notable Quotes & Memorable Moments

Murder Clues & Police Frustration

• Commissioner:
  "Somebody's making a joke out of this department. Killing two dramatic critics and leaving poetry pinned to their chests with a knife." [01:08]
• Sergeant Heath:
  "Poetry and murder. What a combination. Maybe Vance can figure out what it all means." [03:08]

Philo Vance’s Analytical Brilliance

• Vance:
  "Maybe both of them wrote their last notices and their death notices at the same time.” [07:14]
• "Self-preservation is still the primary law of human motivation.” [22:27]

Comic Relief & Red Herrings

• Longfellow (on being accused):
  "This guy’s slightly off the beam. I think he’s living in a dream.” [15:40]

The Reveal

• Vance to Sibleton:
  "You told me you didn’t know Roger Carnes socially... My secretary found out that Roger Carnes’ real name was Sibleton. Was he a relation?"
• Sibleton:
  "My brother. Older brother. Only I never talked about that. He was nobody to be proud of." [21:30–21:36]
• Vance:
  "That speaks well for your record, but very badly for your manners." (to Longfellow) [16:29]

“Poetic Justice”

• Markham:
  "Well, you’ve done your part and very well, too. From here on in... justice triumphs." [23:47]
• Vance:
  "In this case, wouldn’t you say that it was poetic justice?" [23:54]

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Timestamps for Key Segments

• Case Introduction & Evidence Discussion: 00:37–03:08
• Philo Vance Meets Mike Wilcox: 05:22–07:29
• Vance at the Rex Theater & Critics’ Background: 10:04–12:13
• Discovery of Third Murder: 13:04–13:56
• Longfellow’s Interrogation (Red Herring): 15:21–16:32
• Edna Carnes Reveals Motive: 18:31–19:46
• Sibleton Confronted & Confesses: 21:09–23:34
• Case Wrap-up and Vance’s Trick: 24:23–25:12

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Episode Tone & Style

• Witty, brisk, and character-driven: The episode maintains a lively, urbane tone, full of snappy exchanges and gentle ribbing among police, suspects, and Vance.
• Wordplay, misdirection, and a poetic motif make this a classic "whodunit" with a fitting twist of literary justice.

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Summary

“Philo Vance: The Poetic Murder Case” is a masterful radio mystery where wit and clever deduction unravel a tangled web of jealousy, rivalry, and revenge in the dramatic world of theater critics. Mocking poetry, family secrets, and a signature Vance ruse combine for a satisfying tale of “poetic justice.”

Transcript

[A]

Welcome to Choice Classic Radio where we bring to you the greatest old time radio shows. Like us on Facebook, subscribe to us on YouTube and thank you for [e-mail].

[B]

Sergeant Heath, I tell you, this is ridiculous. Two men murdered. Murdered in the same way. And apparently by the same person. And you say you haven't even a single clue. What kind of a homicide department is this?

[C]

It's a good one, Commissioner. Just give me a little time. These murders were only committed in the past 12 hours.

[B]

But the victims were newspaper men, Heath. Do you understand? Newspaper men. The papers they worked on will needle us for days if we don't get results. I want fast work on this, do you hear me? Fast work and no alibis.

[C]

We're working on it, Commissioner. And the dead men weren't really newspaper men. They were critics. Dramatic critics.

[D]

Same thing.

[B]

Somebody's making a joke out of this department. Killing two dramatic critics and leaving poetry pinned to their chests with a knife.

[D]

Let's see those poems.

[B]

Let's see them.

[C]

Here's the one we found on the first body, Commissioner. The body of Robert Carnes. But it's no clue. Believe me, it's no clue.

[B]

He was the leading critic. He always would insist. And that's the reason that I placed him first on my list. It's going to be an epidemic, that's what it's going to be. Give me the second poem. The one you found on Roger Dakin's body.

[C]

Yes, sir.

[E]

Here you are.

[B]

As a first rate critic, you did rate high. And the first rate critic is the second to die. Oh, take it. Take it, Heath. Take both of these poems and get me the man who wrote them. And get him fast before he murders every critic in the city.

[C]

Are you busy, Mr. Markham? Very busy.

[F]

I mean, the district Attorney is never too busy to talk to the Homicide department. Chief. What is it, Heath?

[C]

Well, it's a commissioner. He's riding me on those critic murders. I can't do miracles. I've checked every clue. There's nothing I've found that's any good to me. Try and tell him that, though.

[F]

Did you ever think of this motive, Heath?

[C]

What's that?

[F]

There was a new play open at the Rex Theater last night. Perhaps both of the critics were going to print bad notices. Perhaps somebody didn't want them.

[C]

You can stop right there, Da. I checked that the first thing. The notices both critics wrote were great. I'm stumped, Da. I don't even know where to look for a killer.

[F]

I see. And you think that perhaps I. I might know someone.

[C]

You mean Philo Vance? Now, listen, Da. I don't want Vance in on this case. He's all I need for me to really blow my top.

[F]

Well, in that case, I won't call him. I thought for a moment that you might have been hinting that I do. But as long as you feel so strongly, why, I wouldn't think of it.

[C]

Oh, what's the use? Call him, Da. Get him to go to work. That's the reason I came up to see you in the first place.

[F]

Really?

[C]

Poetry and murder. What a combination. Maybe Vance can figure out what it all means.

[F]

That's the story, Vance. All of it.

[E]

Definitely.

[F]

Interesting, isn't it?

[E]

I suppose so. Let me see now. The first murdered critic was Robert Carnes. Carnes?

[D]

Carnes.

[E]

Isn't he the one that married Edna Boley, the dancer?

[F]

Some years ago? I believe, Vance. Yes, he's the one.

[E]

And wasn't she being sponsored before her marriage by Mike Wilcox, the racket king?

[F]

Mike did have an interest in her, but he's hardly the poetry type. Vance, don't forget those poems pinned to the chests of the two victims.

[E]

I haven't forgotten them. Markham. There's a wonderful art exhibit at the Madison Galleries this afternoon. I was going to take Ellen and visit there.

[F]

The Madison Gallery visit will be postponed because of my visit here.

[E]

Precisely. I've changed from the Madison to the Rogues Gallery. Markham, I'm going to see our friend Mike Wilcox.

[G]

My maid said you wanted to speak to me.

[H]

Yeah. Lady, I'm Longfellow. I work for Mike Wilcox. He wants to see you.

[G]

Mike sent you here? Why?

[H]

Look, I don't ask the boss questions. I'm glad he got a job. Who else would hire a guy like me? Five foot, nothing, on my tiptoes.

[G]

And they call you Longfellow. Rather quaint, isn't it?

[H]

Yeah, that's everybody's idea of a gag. Are we ready to go, lady?

[G]

Yes, but I don't see what Mike can want with me. After all, my husband has just been killed. It wouldn't do either of us any good if I was seen with Mike.

[H]

Lady, I don't know nothing about that. Mike says to bring you down. I going to bring you down. That's my way of keeping my job. Yeah, and my health.

[I]

If I move here, it'll jump me. Get into my King row and I'm a dead Joe. But if I move in this square, you can't do nothing. So I move in the square. Yeah? Who is it?

[E]

Hello, Mr. Wilcox. I'm Philo. Vance.

[I]

Hi, Vance. You play checkers?

[E]

Yes, but I have no desire to play at the moment. Well, playing checkers with yourself, eh? That's a new one. Who's winning?

[I]

Me. I always win. Well, there's a boy's downstairs, says he wanted to see me. So I says, if he wants to see me, let him come up. So you're up. And what do you want to see me about?

[E]

About the murder of Robert Carnes, the drama critic. The same person also killed another critic. But I'm not quite as interested in the second murder as I am in Carnes death. You used to go with Carnes present wife, didn't you?

[I]

Edna? Sure. What about her?

[E]

Nothing, except that from what I've heard, this Carnes wasn't too kindly an individual. Maybe you resented the way he treated his wife

[I]

and wrote them poems, too.

[E]

No, no, that I doubt very much. When did you last see Mrs. Carnes, Mr. Wilcox?

[I]

Oh, a couple years ago. I figure it'll be a couple of years before I see her again. Well, how's for a game of checkers, Vance? You look smart enough to be able to play checkers.

[E]

Thank you very much, but I'm sorry, I.

[I]

Hold it.

[H]

Yeah, I got it. Boss, we're here.

[I]

Well, in a minute, Longy, I'll buzz you.

[E]

There's nothing you can tell me about Robert Carnes murder, Mr. Wilcox.

[I]

Oh, no, not me. When I read about it, I says to myself, well, somebody must not like the critics. I said, guess maybe that's so, huh?

[E]

Maybe both of them wrote their last notices and their death notices at the same time. Maybe there's some connection between the two.

[I]

It may be. I'm glad it ain't my business to find out. I got time for one game, Vance. Just one game.

[E]

No, I think not. I'd better be moving along. Thanks, Wilcox. Maybe we'll meet again.

[I]

Okay, Longy, you can bring her in now.

[H]

All right, boss.

[I]

Let's see what I do. Move here and he's gonna jump me. And I knock off two of his guys like this. Not bad, not bad, not bad.

[G]

Hello, Mike.

[I]

Hello, beautiful. Come on in.

[H]

Me too, boss.

[I]

No, I don't want you, Longfellow, only Mrs. Carnes.

[H]

Okay, I'll be out here with the boys.

[G]

It's been a long time, hasn't it, Mike?

[I]

Too long, beautiful. I had to talk to you. I'm sorry I had to send a Longfellow for you, but I couldn't go up to your place while with the cops and all hanging around. Maybe Even tapping the phones.

[G]

I understand, Mike. How have things been with you?

[D]

Never better.

[I]

We gotta talk about you. When I heard about your husband getting knocked off, I says to myself, that dirty rat figured to get it. I've kept pretty good track how he was breaking you down. Beautiful. You knead something, Dough, a mouthpiece, anything at all.

[G]

You think that I.

[I]

Me? I ain't the thinking type, baby. I just got the same yen for you that I always had. And nobody's gonna push you around. Ever.

[G]

I don't need anything, Mike. But thanks. Thanks just the same. Mike, it wasn't you who had Robert. You didn't.

[I]

Just relax, baby, relax. I'm not even interested in who knocked your husband off. So I'll make a deal with you, huh? You don't ask me any questions. I don't ask you nothing.

[J]

Mr. Vance's office. Ms. Deering speaking.

[E]

Ellen, this is Vance.

[J]

Oh, where have you been, Mr. Vance? People have been calling right and left.

[E]

I don't want to know anything about calls right now. Listen, Ellen, get your hat. We're going to the theater.

[J]

Theater? At 5 o'clock in the afternoon? What's happening there at this time?

[E]

Nothing very much, unless I can make something happen. The Rex Theatre in half an hour. I'll be waiting.

[J]

I don't mind going to a theater when nothing's on the stage bands. But must we wait in the lobby? And why did you bring me down here, please?

[E]

Because this is as good a place as any to start working on those poetic murders. Oh, let me think a moment. A new play opened here last night. Robert Carnes and the other critics were here. No question about that. Both of the murdered critics, Robert Carnes and Roger Dakins, left and wrote excellent reviews of the show.

[J]

Well, that stops the suggestion. I was going to make stops it just like that.

[E]

If it were that simple, Ellen Markham would never have called me in. I want to get a look at the seats the critics sat in. That might mean something. Hello there, Vance Simpleton. How are you, Simpleton? Well, I hear you have a hit.

[D]

It's the finest play I've ever produced. Trying to buy some tickets?

[E]

Not at the moment. Ms. Dearing, may I present Mr. Stibbleton?

[J]

How do you do, Ms.

[G]

Sibling?

[D]

How do, Ms. Dearing?

[E]

Silverton, I'd like to go into the theatre for a moment, if you don't mind.

[D]

I don't mind, I guess. Vance, I just don't understand.

[E]

I'm working on the murder of those two critics. I just want to look at their seats. They were both Here last night?

[D]

Yes, they were. I don't know what you expect to find, but come on in. I'll get the door.

[I]

There.

[E]

Thank you. Go ahead, Ellen.

[J]

Thank you. Which way, mister?

[B]

Straight ahead and down the middle.

[E]

An empty theater's an imposing sight, don't you think, Ellen?

[J]

It is, I suppose, but not for a producer who thinks he has a hit. Then It's a catastrophe.

[D]

Ms. Dearing is right.

[B]

Well, I won't have that worry.

[D]

Not with this show. Ride down this aisle.

[E]

Right. By the way, it seems to me that I recall Robert Carnes panning your last show, Simpleton.

[D]

Oh, he wasn't the only one. You see, we have every critic in town here on opening nights. From newspapers, magazines, trade papers. And practically every one of them took a crack at that last epic of mine.

[E]

Including Roger Dakins.

[D]

Well, every time Carnes pans anything, Dakins does too. Or rather, dead, poor fellow. In fact, the trio of Carnes, Dakins and Moore was something every producer had nightmares about. Well, here we are, Vance.

[J]

Oh, good seats. Who's Moore?

[E]

Edward Moore. He's on the Chronicle.

[J]

Oh, yes.

[E]

He and Carnes and Dakins liked practically nothing this season. So this seat on the aisle was Robert Carnes, eh, Simpleton?

[D]

That's right. Dakins sat next to him and Moore next to Dakin.

[E]

Mm. Here are all the seats in these few rows reserved for the press on opening nights.

[B]

Oh, all of them except the first

[D]

five seats in row E. Those are mine for every performance. We call them house seats. They're for me and my personal friends.

[E]

You certainly give away a lot of seats on opening night, Simpleton.

[J]

It must be worth it. Look at all the great publicity he gets.

[D]

When the show is good, that is.

[E]

Yes, Simpleton. How well did you know Carnes?

[D]

Oh, not very. He made sure of that. He made it a rule never to socialize with producers. Claimed it might influence his judgment.

[E]

Not bad reasoning. I've just been thinking of something. I wonder if Edward Moore would be at his newspaper at about this time.

[J]

Moore, the third member of the critics trio?

[E]

Yes. Think so, Simpleton?

[D]

I haven't the slightest idea. We could go back to my office and call if you like.

[E]

Yes, I think I.

[F]

That you, Vance?

[J]

What? Mr. Markham?

[E]

I'm here, Markham. Right down the center aisle.

[F]

Right with you in just a few seconds.

[E]

Right. Do you know Mr. Markham, simpleton?

[D]

District attorney? I know him socially, of course.

[F]

Hello, Vance, Ellen.

[E]

Hello, Markham.

[J]

Hello, Mr. Markham.

[F]

Oh, hello, simpleton.

[D]

Hello, Mr. Markham. Nice to see you again.

[E]

What's going on, Markham? You just interrupted a Pilgrimage to the telephone. I thought I'd try to get a lead on the two poetic murders from Edward Moore.

[F]

Stop right here.

[B]

Then.

[F]

Vance Moore was found dead this afternoon with a knife in his heart and one of those silly poems pinned to his chest.

[E]

Oh, no.

[F]

He has been dead for quite some time. I'm glad you left word that you'd be here, Vance. I knew you wanted to be kept informed, so I came down myself.

[D]

More dead, too. Vance, what is all this?

[E]

Frankly, I don't know. What was written on the third note, Markham, I'll read it to you.

[F]

The curtain's down. Death slams the door. The play thus ends with no encore. Vance, what's happening in this city of ours?

[J]

You know what's happening in this city. A murderer is going to town.

[F]

This is District Attorney Markham. Three of this city's leading dramatic critics have been murdered. And all three had bits of poetry pinned to their chests. When found, the poems have proved no clue at all to any of us, including Philo Vance, who has discovered only that the wife of Robert Carnes, first of the critics to die, was the former girlfriend of Mike Wilcox. Racketeer. Sergeant Heath, however, has picked up a character named Longfellow, diminutive stooge for Wilcox. And Vance and I are waiting for him in my office.

[E]

To be very practical about these murders, Markham, we're not doing very well.

[F]

We might be doing wonderfully when Heath gets here. He's picked up that hired hand of Mike Wilcox's, you know.

[E]

I hope he hasn't.

[F]

Huh?

[E]

Oh, not that I begrudge Heath the glory of tracking down our murderer. It's just that this is the first case I've worked on this long without even denting. I'd hate for it to turn out so simple after all that.

[F]

I wouldn't hate it at all. Vance, with due respect to your great admiration for the unusual in crime, it's the ordinary criminal that makes the work of a district attorney easier.

[E]

I know what you mean. I guess I was being a bit self centered.

[C]

All right, go on, get in there.

[H]

Yeah, you don't have to push. I'm getting.

[C]

And get in that chair. Sit down and don't get up until I tell you to.

[H]

You sure are tough around this place. Stop or y' all yawn right in your face.

[C]

Sit down and shut up. Well, here he is, Da. The guy that knifed those three critics. His name is Longfellow.

[F]

Really? Why'd you do it, Longfellow?

[H]

This guy's slightly off the beam. I think he's living In a dream.

[C]

Get this, Da. He worked for Mike Wilcox. Everybody knows what a torch Mike was carrying for hitting a bully when she married Robert Carnes. And Carnes was pretty tough on the gal. Everybody knows that too. So Mike sent Longfellow to bump Carnes.

[F]

Really?

[C]

Sure. Listen to ye. They call this punk Longfellow. Everybody thinks they do that as a gag on account of he's so small. Only I find out they do it cause he's spouting poetry all the time.

[E]

Yes, don't you get it?

[C]

Spoutin poetry. Those notes on the dead bodies. Poetry. This mug wanted everybody in the mob to know he knocked off Carnes and the other two. So he put poems on em. Simple.

[H]

Listen to him rave. Hey, D. Are you gonna let this flat foot pin a bum rap on me? I never killed nobody. I never used a knife in my life.

[E]

That speaks well for your record, but very badly for your manners.

[C]

Never mind, Vance Longfellow. I don't. Oh, leaving, Vance?

[E]

I'm afraid I must tear myself away. I have an appointment with a very charming young lady. Ms. Edna Carnes. Maybe you have the murderer, Sergeant Heath, and if so, you can keep him. But I have an appointment, and it's quite necessary that I keep it.

[I]

Yeah, Come in.

[E]

Well, Wilcox. Surprised to find you here.

[I]

You don't look at Vance. Don't mind me. I'm just playing some solitaire.

[E]

I understood that Mrs. Edna Carnes lived here. You're putting the red queen on a red king.

[I]

Don't kibitz, Vance. Sit down and play some gin if you want, but don't kibitz. How about a game of gin?

[E]

I'd just assume. Not right now, thanks.

[I]

Ah, come on. I gotta play with somebody always. It's solitaire. I can't find nobody to play with.

[E]

Maybe your friends wouldn't like what happened to them if they were to win.

[I]

Okay, Vance, if that's the way you want it. What are you doing here?

[E]

Paying a call on Mrs. Carnes. Where is she?

[I]

She ain't home. She wouldn't want to see you even if she was home. Got you on. I'll take that. You could leave anytime now, Vance. It'd be all right with me.

[J]

Yeah, hello, is Mr. Farlow Vance there, please?

[I]

Yeah, he's here. For you, Vance.

[E]

Thank you very much. Hello, Vance.

[J]

Ellen. I called Markham and he told me where you were. Hop right back here, Vance. I'm the double.

[E]

I'm sorry, Ellen. I'll be detained here for a while. I'm waiting for Mrs. Carnes to return. Home?

[J]

She's not going to return home, Vance. She's here. Right here in your office. And she's going to wait here until you get back.

[E]

Go ahead, Mrs. Carnes. Tell me anything you think might help.

[G]

Mr. Vance, has it bothered you at all that there were two other critics murdered right after my husband was killed?

[E]

Quite a bit, Mrs. Carnes. Frankly, I haven't the slightest idea why.

[G]

I have. My husband's best friends were Roger Dakins and Edward Moore. The night he was murdered, I found a note in the library reading, if anything happens to me, Roger or Edward will know who did it.

[E]

And you destroyed that note?

[G]

Yes. I didn't want the police to question them. The murderer did me a favor, Mr. Vance. You don't know what a life I've led with my husband. He was impossible, completely impossible. If he hadn't threatened me, I'd have left him years ago.

[E]

I see. Well, this is very interesting, Mrs. Carnes. Your husband probably told his murderer that it would do him no good to kill him because his two friends would go to the police. There was nothing for the killer to do then but wipe out Dagins and Moore.

[G]

I know that now.

[E]

Well, Mrs. Carnes, your actions have certainly confused us. I understood the pleasant front your husband put up in public was just a mask, but I.

[G]

Everything about him was either cruel or false. From the name Robert Carnes to the brilliant words he let drop carelessly. Even though he'd spent half the night thinking them up. Oh, I couldn't stand him. I just couldn't.

[E]

I was thinking that when I made the appointment to see you, I thought maybe you'd killed him.

[I]

Me?

[G]

But I came down here to tell you all this. Doesn't that clear me? I couldn't see you at the apartment. Mike was there, so I came down to your office. That must clear me.

[E]

Not necessarily, Mrs. Carnes. You might have given me some information just to throw me off. However, I'm not going to detain you. You may leave if you like, Miss Dearing.

[J]

Yes, Mr. Vance.

[E]

Mrs. Carnes is leaving.

[G]

I'm sorry you think the way you do, Mr. Vance. I assure you I came down to see you with only one purpose.

[E]

Thank you for coming, Mrs. Carnes. We'll meet again. Goodbye.

[J]

This way, Mrs. Carnes, please.

[G]

Thank you. Goodbye, Mr. Vance.

[E]

Goodbye. Don't go, Ms. Deering.

[J]

Goodbye, Mrs. Carnes. Yes, Vance, what is it?

[E]

We're finally making progress, Ellen. I know now why all three critics were murdered and that there will be no more killings. At least by the same murderer.

[J]

Well, that's good news to any prospective victims. What else is up?

[E]

Mrs. Carnes just let drop something I didn't know.

[G]

Oh?

[E]

She said that Robert Carnes was not his right name. He probably had it changed legally years ago. Find out what his name used to be, Ellen. I've got a hunch it's going to lead to something very important. You don't mind my dropping into your office at the, do you, Mr. Silbert?

[D]

Not at all, Vance. I'm glad to be of service. You want to see the show tonight, I can let you have my house seats.

[E]

Some other time, perhaps, but not tonight, Mr. Sibelton.

[D]

All right.

[E]

You told me you didn't know Roger Carnes socially.

[D]

That's right. I didn't.

[E]

Well, this is very strange then. You have an odd name. Sibilton. Very unusual, I suppose.

[D]

That's right.

[E]

My secretary found out that Roger Carnes real name was Sibylton. Was he a relation?

[D]

My brother. Older brother. Only I never talked about that. He was nobody to be proud of.

[E]

So I've heard from a number of sources. What did he have on you, Mr. Sibylton? Must have been something very important for you to have killed him to keep him quiet.

[D]

You think I killed him?

[E]

Not exactly. I know you did. You see these two tickets for your theater, Mr. Sibelton? They were dropped at the scene of your brother's murder and they prove I killed him.

[B]

Now, Vance.

[E]

Oh, but they do. You see, these tickets are house seats. Your house seats. The ones that are reserved for you. You told me about them in the theater yesterday, remember? First five seats in row E. That's what these are for.

[I]

Let me have them.

[E]

There's a gun in that drawer, I presume.

[D]

Not anymore, there isn't.

[B]

It's in my hand.

[D]

I'm sorry about this, Vance.

[E]

I liked you well enough to put that gun away.

[D]

Hardly.

[E]

I don't blame you. Self preservation is still the primary law of human motivation. By the way, I know why you killed Dakins and Moore. But why did you kill your brother?

[D]

Why did Cain kill Abel? My brother and I had an argument. A terrible argument. He was about to write a magazine article telling a lot of things about me that are best forgotten. They happened years ago, before we came to this country. Robert called me up to taunt me about it, and I warned him not to write it.

[E]

That's another form of self preservation. I rather thought it was something like that. Your poetry idea was very brilliant, Simpleton. You knew about Mike Wilcox and your brother's wife, didn't you?

[D]

Of course Everybody knew that.

[E]

You also knew Wilcox had a little accomplice with a rather odd name of Longfellow. One occasion was addicted to poetry. You thought the police would go to Wilcox and look no further than his hireling Longfellow.

[D]

You know, I've got to kill you, Vance. Kill you now.

[E]

No poetry.

[D]

No poetry.

[E]

I'm sorry. I rather relished the wedding of the muse and murder. Markham Heath. You can come in now.

[C]

All right, drop that gun. Drop it fast. Come on in, boys.

[B]

You heard the police outside all the time. I ought to.

[E]

You ought to drop that gun. For one thing. Simpleton. Sergeant Heath doesn't like to be kept waiting.

[C]

All right, get him outside, boys.

[B]

He got his gun. Let him go.

[E]

Hello, Markham.

[F]

Vance. Well, you've done your part and very well, too. From here on in, I'll take it and make certain, as the book has it, that justice triumphs.

[E]

Do that, Markham. In this case, wouldn't you say that it was poetic justice?

[J]

Well, Vance, since you've wound up the poetic murder case, don't you think we ought to close up shop for the day?

[E]

Not especially, Ellen. You know, there still is the possibility that Markham might call.

[J]

At this hour? It's late, you know.

[E]

At last reports, murderers warrant keeping, Officer.

[J]

I understand. The only thing I don't understand is how a murderer as clever as the Silverton could have been careless enough to drop a pair of theater tickets at the scene of the first murder.

[E]

Oh, he didn't drop any tickets.

[J]

Well, you told me that's how he started talking.

[E]

I told him I found the tickets, Ellen. In fact, I even waved a couple of tickets in front of his face. Only they were opera tickets that I'd gotten for us for next week.

[J]

Why, Vance, you and the truth are becoming slight strangers of late.

[E]

When you're trying to trap a murderer, Ellen, Any means is fair in my opinion. By the way, I've just composed a little couplet. Like to hear it?

[J]

Definitely.

[E]

Very well, then. The last chapter's written. The last words, my friend, are the poetic murder case is over. We've come to the end.