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Speaker 1: Welcome to the Great Detectives of Old Time Radio from Boise, Idaho.

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This is your host, Adam Graham. In a moment, we're

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going to bring you this week's episode of Broadways My Beat.

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But first I do want to encourage you. If you're

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enjoying the podcast, please follow us using your favorite podcast software.

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Our listener support and appreciation campaign continues. You can become

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one of our ongoing Patreon supporters for as little last

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two dollars per month at Patreon dot Great Detectives dot net.

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Now from October sixth, nineteen fifty one, here is the

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Lowly Nelson murder case.

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Speaker 2: Broadways My Beat from Time Square to Columbus Circle with Gaudius,

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the most violent, the lonesomest mile in the world.

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Speaker 3: Broadways My Beat with Larry Thor as Detective Danny Kober.

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Speaker 2: Broadway's glitter is soft, easy on the eye. The glint

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of pavements has not yet each its nighttime sene. The

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stone is still warm from the touch of twilight, and

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the neon has not yet fled into scarlet.

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Speaker 4: The voices that screamed against the day are quiet, and

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now the walk slower.

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Speaker 2: It's the end between time and the day. Is not

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yet yielded to Wanton Knight. It's the end of a tier.

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Time before the next one scars your cheek. It's your time, kid,

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So hold it close. Broadway's clock spins fast, and and

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where the dust touches Knight, it walks you through the

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arch on Washington Square packed.

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Speaker 4: The woman whose fearful eyes are on a child balanced.

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Speaker 2: From the edge of a fountain, across a quiet street

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and into a brown stone hung with mirrors and crystal,

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and death is reflected many times over. The man who

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kneels beside it gives you the moment to consider it.

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Speaker 4: Then opposite to you.

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Speaker 5: Last trist last week, my wife made me buy tickets

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to play while I could get with sometime next June.

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Speaker 4: She was sold out that far last risks. You got

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her past, beautiful Danny, So.

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Speaker 5: I never thought I'd stand so.

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Speaker 4: Close to her. I said, yeah, yeah, how I got here?

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It was phoned in, Danny.

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Speaker 6: Anonymous call said.

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Speaker 4: Lily Nelson was in trouble. As anonymous, we got to

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trace her. By the time you get back to the headquarters,

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maybe we found her like this. Yeah, the door was open.

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Speaker 5: I walked under all these crystal chandeliers, passed all the

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mirrors underlying in front of this one, just like that,

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that material.

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Speaker 6: It's like a veil, Danny.

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Speaker 4: It's no one with her. And I looked through the house.

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Speaker 6: She leave nothing, Danny, just the razor blade by her side.

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Speaker 4: That's Lily Nelson.

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Speaker 5: You got to go to ticket scoppers, begg him to

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sell you a ticket over price, just so you can

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watch it.

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Speaker 4: Where should she kill herself for what?

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Speaker 2: And suddenly catch the image of yourself in a ceiling

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to floor mirror. The dark gray suit, striped tie, shoe

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slightly scuffed and on the floor next to them, blonde hair,

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white face, neglichet and slashed wrists. Image of a policeman

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at work. Turn your back on it, put a subordinate

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from charge, walk out and back at headquarters. Be assured

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that other policemen had been at work. The anonymous phone

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call had been traced, the collar apprehended, arrested, drop down

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town with waiting for you. So flip a switch on

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the intercom. Yeah, Danny, bring him in, geno right, Wait

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and wonder briefly at the pattern of it. Repeated too often.

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Why a beautiful woman the peak of her career must

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have the fine edge of a razor to the opening door,

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closes your mind to it.

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Speaker 4: Here, That'll be all you know, all right. You can

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said I wasn't sure, That's why I called. I knocked

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the way I always do.

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Speaker 7: And she didn't answer, and right away. I can't explain

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it that I had a feeling that sat up. That's

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the only way I can explain it, the feeling.

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Speaker 4: What's your name?

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Speaker 8: Columbo?

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Speaker 4: Frank Columbu? You see the read? Do I drive her?

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Speaker 6: I'm a chauffeur. That's why I think it could be.

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Speaker 7: Any other reason why a guy like Nika knock on

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her door?

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Speaker 4: What do you know about it?

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Speaker 7: Just take it easy, Frank, tell me about it. Seven

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o'clock I called for her to take as the theater.

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She didn't answer.

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Speaker 6: My not never happened before.

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Speaker 4: I got worried. I called you police. Why didn't you

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give your name? Maybe I was being crazy being worried.

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Speaker 6: But you don't know.

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Speaker 7: You don't know what I shouldn't I worry. You know

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what she was, Willie Nelson? I know you know I

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drove her, mister. I think I cared about the men

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who sat with her made it last.

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Speaker 9: None of them I did.

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Speaker 7: I've seen her cry, Oh seen her cry when she

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was alone, sitting there in the back of the car. Cry,

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I'm the man who's seen Lily Nelson cry.

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Speaker 6: You know what a woman feels for a man when

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she see it.

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Speaker 4: Cry, Yeah, better get him. You know it's gonna happen.

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Speaker 7: One day she find out I wasn't like look at me.

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Speaker 2: And in the moments against his being taken away, listen

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to the man cry out his love.

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Speaker 4: They waited for love, night dream reflected in a rear

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view mirror.

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Speaker 2: Finally it was all spilled out. The words became syllables

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of anguish and lost. Watched the officer take his arm gently,

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lead him to a place where pain is made, articulates,

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give him reason.

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Speaker 4: Noted in files.

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Speaker 2: Ah then gather up the publicized elements that had contrived

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to give life to Lily Nelson, then taken.

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Speaker 4: It from her.

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Speaker 2: Her appearance one night in a mediocre play, the two

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line favorable review, the nurturing of it until it became

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columns and stardom, and at the crest of it, the

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play now running, The Forsaken, starring Lily Nelson, produced by

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Jason Gieber Crane Theater, And remember that Broadway whispered of

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Geever as the star maker, the first to give Lily

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a leading role. Without him, Lily would have remained a

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walk on a spear carrier. Go to the theater, ask

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for him, he told he.

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Speaker 4: Was in his office at the head of the balcony.

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Find him suffering over the Knight's box office report.

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Speaker 2: Someone told you you could see me. They were wrong, Police,

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It's still wrong.

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Speaker 4: Lily Nelson.

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Speaker 2: You came here to tell me about Lily personally out of.

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Speaker 4: Your own mouth.

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Speaker 2: What's the technical praise for the butchering of Lily's risks?

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Tell me i'd want to know. Am eager for crumbs

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of information?

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Speaker 4: Saw am?

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Speaker 2: I that should make it easier for us. You walked

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through my theater and saw the empty seat. That's what

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it is without Lily Rose of emptiness tomorrow. I closed

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the play.

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Speaker 4: Because your box office report shows a loss.

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Speaker 2: You're trying to shame me, police, and it won't work.

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Lily meant money to me and thought ache and laugh.

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I could count on the fingers of my left hand.

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It's all here in the box office report. It sounded

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like a man who was Now you're going to say

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I was in love with him? Now what you're going

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to say?

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Speaker 4: All right, you're in love with her? I know you'd

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be wrong. No, not me, but Lily.

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Speaker 2: All the major male stops from here to Hollywood and

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back maybe, and a few crests and crowns across the

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ocean never met. He didn't touch me that way, the

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emotional climate between it, said Nick Jason Nixon.

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Speaker 4: All Lily was to you was.

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Speaker 2: A punk kid I saw in a play. She had

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something radiant sized to mention death.

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Speaker 4: Who knows what?

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Speaker 2: All I know is I brought it out in her

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once I drank champagne from her slipper. I was so

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pleased with the performance she gave. Then as the slipper

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around to her riscal you gave her all laugh and

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she's dead. Why maybe her current claims are burning lulls?

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Speaker 4: O excuse the cliche? Where would they be?

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Speaker 2: Who the one that gives the columnists daily bread? The

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love of Lily? For the boy who directed her in

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this play, David Knight. The other well, her psychiatrist, doctor

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Kobak of Park Avenue. He's loved by tons of women.

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Lily wasn't one to be left standing out in the rain.

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Something else for you of the pully quiet. Whatever I

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probed out of Lily to make her give a performance,

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the one emotion I couldn't get from her was the

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emotion for self destruction, very definite.

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Speaker 10: Life in here, miss, Thank you.

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Speaker 6: Doctors there cigars in the human door by your arm,

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doctor Colbac And understand the ninety is you see, and

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I entertained friends of mine. You called me away from them.

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Therefore you interrupt.

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Speaker 7: It's a matter of importance, doctor, you see, and he's

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no manage, mainly the stating that you interrupt.

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Speaker 4: So if you will be brief.

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Speaker 2: It's about Lollie Nelson. Yes, you're her doctor, her psychiatrist.

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I want you to tell me about her, about her. Listen, doctor,

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a woman is dead. It looks like suicide. It probably

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is suicide. The reason I'm questioning you is routine police procedure,

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just to satisfy ourselves it was suicide, so we know

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what it was, not to resigned what it was not suicide?

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Speaker 4: How do you know? Yeah, man, Linny.

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Speaker 6: Did not slash Harry. How does one know something?

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Speaker 4: I know? All right? You know? How do you know

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what the police don't know?

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Speaker 6: But you have already paid it. Then I'm a psychiatrist,

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Lily was too much in love with herself.

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Speaker 7: And usually did even a hair on her head. As

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for slashing Harris, if you agree with.

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Speaker 2: Me, ridiculous, I'm not so sure. She was found dead

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in front of a mirror. Wouldn't that fit in with

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what you said?

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Speaker 11: Not?

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Speaker 6: In the contrary, Lenny couldn't bear the shock of seeing herself.

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Speaker 4: She paid. You're telling me she was murdered.

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Speaker 6: Doctor Many that she did not commit to his high Now.

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Speaker 2: If he's in a ministon, a woman like Willie Nelson

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would have a lot of admirers, wouldn't she, dear.

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Speaker 6: Man, They will admire upon admire you. Yeah, man, I'm

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old enough to well a fascic a Lily notes she

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was in love with me. I see, which, of course

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you do not. She loved me as all women love

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their psychiatrists. It was Lily's protection of ourselves for telling.

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Speaker 7: Me her secrets about her secrets.

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Speaker 6: None really fashionable for an actress to have a psychiatrist.

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She was neurotic, mister Clover, to a degree dependent upon

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your tolerance and comprehension, nindly neurotic, I would say, but

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then aren't you I whatever?

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Speaker 4: Now, if you will pardon me, thank you, mister Clover

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and be answered.

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Speaker 2: Out of the library biom and p asked the guests

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who resented alien feet walking through a string port. She

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finally walked through a door and get out. Then one

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more stopped to make so. The other man whose name

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had been told me David Knight. David Knight, director of

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Lily Nelson's Shaw, go to Heim ask him whether he

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thought Lily Nelson committed suicide and human.

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Speaker 4: Okay, what do you want? Police? I I shall not.

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I shall not be the night andale seen on existent pain.

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Speaker 11: And dreaming through the twilight that does not rise.

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Speaker 4: Happily I may remember, and happily.

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Speaker 9: May That was Lily, Lily Nelson. She made that record

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for you, Lily. Mister Knight, who are you?

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Speaker 4: What do you want? I told Japan to police.

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Speaker 12: Since I heard, ever since the news was told me,

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I've been here listening to her.

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Speaker 4: She's talking to me. Listen.

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Speaker 11: Listen to Lily and I Am sid my dear sing

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no sad songs for me sent down and roses at

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my head.

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Speaker 4: Lily Lily, I killed you. I killed you.

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Speaker 11: I'm a murder.

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Speaker 3: You are listening to Broadways My beat written by Morton

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Fine and David Fried and I'm starring Larry Thora's detective

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Danny Clover.

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Speaker 2: When it's October and autumn catches hold, Broadway comes up

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with a miracle. The leaves and red and gold are

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pasted in flight in shop windows. The stuffed squirrels nibble

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at plastic acorns. The mannequins smile their autumn smile and

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emotion compounded of wax and the new mink coat. Minor

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miracles may also be observed. Pink and cheeks, a spring

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of your step, and fresh air. It's a new time

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on Broadway. It's a new season. Open the installment account, Kid.

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The world is yours, and where I was was a

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world compounded on a different stuff, pain and grief, the

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smashed remnants of two lives, and the residue of all

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of it. A man named David Knight, a man who

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said he was a murderer.

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Speaker 4: I killed it, killed it.

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Speaker 2: You held her down and slashed her wrists and watched her.

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Why why you don't know why? Because you loved her,

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and because I loved her, oh lovely, because she loved me,

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she loved me.

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Speaker 4: I wouldn't have her love she killed her? You mean

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you didn't kill her, Yes.

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Speaker 1: I did.

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Speaker 11: It's my faults.

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Speaker 4: He's dead. I don't just see. Don't you understand, No,

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I don't. I suppose I owe it to love her,

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but I couldn't. And you were telling me she committed suicide.

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But it was my fault. She don't you understand that

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I'm a murderer. I'm a killer. I killed Lillie Nelson

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just as surely as if you didn't kill her. Wasn't

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your fault. I'll show you don't be a fool. I

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show you. You've got a gun. Why don't you shoot me?

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That's what you want me to do, is yeah, because

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of what I did to her, I can book here

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for assault yesternight, not for murder.

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Speaker 12: You're okay, it's I'm sorry, forget it.

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Speaker 4: It's funny. Lily's dead. She's dead, all of us sudden.

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I'm in love with and give the boy his release.

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In his own cognizance, watching kneel to the.

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Speaker 2: Floor, gathered up the fragments of poetry, once spoken only

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for him by Lily Nelson, and now only jagged pieces

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of a phonograph record. Watch as he holds them for

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a moment, then flings them into the wastebasket, then leave

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him with it. Then walk the edge of the night

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to a room where a sleep will come to you,

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because it's a long time coming. Fill in the darkness

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with the memory of a girl who lay in death

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before a ceiling high mirror. Enlist the varying opinions of

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her dying. Her chauffeur who was frightened because Lily hadn't

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answered the door. Her producer who found in Lily no

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emotion that would warrant her suicide. Her psychiatrist who thought

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the same but for a different reason. Her director, who

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believe the dead because of a love he wouldn't bestow

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on her. Finally, sleep had entered the room in the morning.

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Back to the office, Back to the paperwork. Annie, come in,

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gin know.

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Speaker 4: I give you.

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Speaker 7: Bless you nice of you to think of me at

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moments like this, not at all me in the midst

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of my blessure, who needs it?

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Speaker 6: Just hand me to those contissue in my breast potio,

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you know.

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Speaker 4: Thank you.

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Speaker 6: Now to the affairs of the day, which.

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Speaker 7: Amount to practically mill this little notes and beloved starve

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the stage was indeed beloved male admirers, the stun the imagination.

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Speaker 6: We knock when we entered Danny Clover's office.

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Speaker 4: Miss that's all right. What can I do for you?

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Speaker 11: I'm Jeanie Cochran. I feel you want to know about me.

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Speaker 4: Oh why?

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Speaker 11: I was a great and true friend of Lillly Nelson.

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Speaker 4: And you wanted to tell me about it? Of course

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I do, all right, miss cochin.

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Speaker 11: It started last year. I came to New York. You see,

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my home is not running. I came to New York

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and I had a grand idea. It was Thanksgiving vacation

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and I was on my high school paper, and I

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thought it would be a grand idea to get an

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interview with Lily.

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Speaker 4: And I did I see them? What happened?

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Speaker 11: Lily was so nice to me when I told her

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about my dramatics and how I was in all my

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school plays. You know what she said?

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Speaker 4: No I don't.

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Speaker 11: She said I had the making of a great actress.

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I didn't believe her, but she was really serious.

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Speaker 4: Oh of course she was.

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Speaker 11: He came up to not running and visited me. Mother

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was flabbergast. Then really started to come up and stay

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almost every weekend. Another sixed up a room so we

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could be alone together while we were working.

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Speaker 4: That's funny. I've talked to a lot of people who

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knew miss Nelson. None of them ever mentioned you.

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Speaker 11: We kept it a secret. It was our secret really

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is in mine.

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Speaker 4: What else did she do for you?

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Speaker 11: Every weekend? President? What this one dress I'm wearing? Picnics

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and rides? So many things?

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Speaker 4: Did you ever meet any of her other friends?

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Speaker 11: We had a secret friendship. No, oh's all, isn't mister Koch.

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Speaker 6: Again, I'm not telling you, mister cloy. We just have

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a bad time. As many patients wait upon me.

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Speaker 2: I'm sure they'll understand when you've told them how a

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policeman came to you for help.

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Speaker 6: You are in need of it all, and you use

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your authority.

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Speaker 4: You told me before all of us? Are you?

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Speaker 6: Me, everybody and your trouble year man?

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Speaker 7: People keep things from me. Smile for themselves when I

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leave a room, because there's so much smarter than I am.

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Speaker 6: Dear man, this is no extraordinary ailment to suffer. Well,

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it is ordinary.

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Speaker 4: It bothers me. You smile to yourself when I leave

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a room, Doctor Kovac, I did that to you. I

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asked it for Lily Nelson's secrets.

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Speaker 7: You told me there weren't any even if there had been,

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I have the right as a professional man.

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Speaker 6: Is a manu scapture in your community.

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Speaker 2: To deny them to any of our community has a

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law against people who withhold evidence and murders.

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Speaker 6: Your conclusion, the Indian man, is that really? Let's kick

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it around for a while, shall we.

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Speaker 7: Doctor, I could commit myself to be taken by the law,

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to be prosecuted parrah, and you'd keep your mouth shut.

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Speaker 4: Man.

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Speaker 2: We'll hire our own psychiatrists. They can do every secret

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Lily ever shared with anyone.

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Speaker 6: You treason, dear man, let's call it an all really

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will be remembered. The revolution, Ford, the access at her

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time a burner, I do say, a flame of classic beauty,

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a passion brought to life for men whose life were empty.

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Unpush you wish to destroy this, this memory.

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Speaker 4: We believe she was murdered, and I too. Yeah, man,

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you told me she was loved.

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Speaker 2: Admirers were the legion you said I was not live,

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but lowly we let me gather my thoughts away to.

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Speaker 6: Perhaps this will make it clear. It is true Lily

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was loved, but in her there was no love to return.

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Speaker 4: Go on.

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Speaker 6: Nearly had not the capacity for love. She pretended to

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be her admires with me too. Every particle of love

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that Lily had to give, she gave to the state.

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Every emotion she had was how do I present it

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on the stage?

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Speaker 4: What people? Every passion, every desire, every What was there

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left for Lily to give to another? Nothing? Nothing? Nothing?

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Thank you doctor for what that?

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Speaker 6: You now have motive for the murder, and for this

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you will destroy the image of Lily Nelson. You say

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to me, thank you, I cannot say to you.

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Speaker 4: You are welcome.

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Speaker 6: My other patients great upon me.

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Speaker 12: Mister Clover, Oh well, mister Clover one n.

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Speaker 4: Can I get you something? Bourban Scott. I'm not interrupting something,

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am I? What do you mean? Two drinks over there?

390
00:24:13,440 --> 00:24:18,839
I've been clumsy. No, you're not interrupting. Jenny, Come on in,

391
00:24:22,119 --> 00:24:23,799
it's late, miss Talkland. Don't you have to get back

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to Mount Vernham?

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Speaker 11: No, I call mother. She knows where I am.

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Speaker 4: What are you doing here?

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Speaker 11: I had an idea. I've just told her to mister Knight.

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Speaker 4: He seems to agree with me an idea about what.

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This child's a fine actress. She wants me to work

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with it.

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Speaker 11: After all, Lily taught me so much. Mister Knight's already

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listened to me read he says, I even found that room.

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Speaker 4: She does, mister, that's why you want to work with her.

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The best reason in the world for you. Yeah, I

403
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can create another Lily Nelson with this child.

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Speaker 11: Child, I'm going to learn not to be a child.

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That's why I came.

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Speaker 4: I think you ought to go back to Mount Vernon, Joanney,

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thank you.

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Speaker 2: I think you ought to go back to Mount Vernon

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because what happened to Lily Nelson might.

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Speaker 4: Happen to you.

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00:25:00,440 --> 00:25:02,759
Speaker 2: What do you mean, what happened to Lily murdered by you?

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00:25:03,319 --> 00:25:05,839
I told you that, but I was just, I know, upset.

413
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But you really did murder It really did slash her wrists.

414
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Speaker 11: Oh no, that's not right. And I told me what happened.

415
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He didn't love Lily, so she killed herself.

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Speaker 2: That's the way it was, Jane, not exactly. Lily wasn't

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in love with anybody. Her daughter told me that she

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was in love with one thing, the theater. It was

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her obsession. She didn't have the energy to love anything else.

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I know, Jamie, she had time for you, because in you,

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Lily saw herself a new star another Lily Nelson young fresh.

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It's funny.

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Speaker 4: Huh? What is something's funny?

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Speaker 2: I laugh and I'm laugh Listen, mister Lily Nelson had

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one hundred admirers.

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Speaker 4: You were just one of them. They all tried to

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make love to her and she could never return it.

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She cried about it. There's a man or chauffeur a

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senior week just for that reason.

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Speaker 11: That's right. Lilly told me about that.

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Speaker 4: She loved me. No, you loved her. She couldn't love you.

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You killed her.

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Speaker 11: I want to go home.

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Speaker 4: Don't listen to him, Jenny. And you, Jannie, so much

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like Lily. Your voice, the way you carry yourself, that's

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why you're here with him.

437
00:26:06,039 --> 00:26:06,319
Speaker 6: Jenny.

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Speaker 11: Let me go home tonight.

439
00:26:10,720 --> 00:26:11,319
Speaker 4: I'll come back.

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Speaker 11: I'll come back tomorrow. I promise.

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Speaker 4: Did she teach you that too, Jenny?

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Speaker 11: Please? I promise?

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Speaker 4: Do you hear you? Hear that, mister Clover, the way

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she said it. Let's go, mister Knight. I'll tell you

445
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what's going to happen to you, Jenny? What happened to Lily?

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Listen to me, mister Clover.

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Speaker 8: Do you think the chauffeur was the only man who

448
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saw Lily cry. I saw her cry too before she died.

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She got down on her knees and cried. She said

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she wanted to love me. She said she couldn't love me,

451
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She couldn't love anybody.

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Speaker 4: So she begged me to kill her because she couldn't

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love She begged me, beg that I killed her. Do

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what he says, Janie go home.

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Speaker 2: Broadway is having itself a time. It's cocky and needling

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people a step over the line. It makes a big

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muscle and dares the night time. It's frenzy and big noise,

458
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mostly the.

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Speaker 4: Noise, otherwise you'd hear a heartbreak. It's Broadway, the gaudiest,

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the most violent, the lonesomest mile of the world. Broadway

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My Beat.

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Speaker 3: Broadway's My Beat stars Larry Thor as Detective Danny Clover,

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with Charles Calvert as Tartaglia and Jack Krushan as Muggavan.

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The program was produced and directed by Elliott Lewis, with

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musical score composed and conducted by Alexander Courage. In Tonight's story,

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Paul Freeze was heard as David Knight, Joyce McCluskey as

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Janie Cochrane, Janavello as doctor Kovac, Ed Max as Jason

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Gieber and Clayton Post as Frank Columbo.

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Speaker 4: Bill Anders speaking.

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Speaker 3: Broadway is My beat has come to you through the

471
00:29:23,960 --> 00:29:27,200
worldwide facilities of the United States Armed Forces Radio and

472
00:29:27,400 --> 00:29:28,319
Television Service.

473
00:30:54,240 --> 00:30:59,400
Speaker 1: Welcome back, Well. I liked last week's episode over the calls,

474
00:30:59,519 --> 00:31:02,119
and so I I really do have to praise this one.

475
00:31:02,200 --> 00:31:06,400
I enjoyed it, and I thought it was very well done.

476
00:31:06,960 --> 00:31:12,000
It was a more psychological story, and really this is

477
00:31:12,119 --> 00:31:14,759
one of those cases where at the end of the day,

478
00:31:15,359 --> 00:31:20,359
Danny did not have a case if the guy hadn't confessed,

479
00:31:20,599 --> 00:31:24,079
but the guy's an auto hardened criminal, and there's at

480
00:31:24,240 --> 00:31:27,400
least enough of a level of guilt that Danny's going

481
00:31:27,480 --> 00:31:29,680
to be able to get him to tell the truth.

482
00:31:30,039 --> 00:31:34,400
There were also some really good performances in this. I

483
00:31:34,759 --> 00:31:39,759
love Jane Novello. His character is just so interesting to

484
00:31:39,920 --> 00:31:44,279
listen to and has a unique perspective, a mix of

485
00:31:44,920 --> 00:31:50,119
ethics but also a respect for the persona of who

486
00:31:50,200 --> 00:31:53,319
his patient had been, and his opinions were kind of

487
00:31:53,400 --> 00:31:58,359
reflective of what you would hear from the mental health

488
00:31:58,440 --> 00:32:01,559
profession at the time. Certainly not we would hear today,

489
00:32:01,839 --> 00:32:07,240
but it does capture the view of that era also

490
00:32:07,480 --> 00:32:15,039
found Muggavin's scene interesting because Mugavin is just the matter

491
00:32:15,119 --> 00:32:19,720
of fact professional. This murder affects him in a very

492
00:32:19,880 --> 00:32:23,960
different way, and it's such an interesting scene because Dandy

493
00:32:24,240 --> 00:32:28,200
is trying to lead him back to the facts. I

494
00:32:28,559 --> 00:32:31,960
really just need you to be the guy who gives

495
00:32:32,039 --> 00:32:34,759
me the facts and I'll go brute about it. That's

496
00:32:34,839 --> 00:32:42,839
how this works. But Mugavin having this feeling, this connection,

497
00:32:43,839 --> 00:32:49,160
it actually does illustrate maybe some of the challenges that

498
00:32:49,440 --> 00:32:52,519
she was facing and where are some of her strain

499
00:32:52,720 --> 00:32:57,160
mon have come from. People know of her performances and

500
00:32:57,319 --> 00:33:01,359
her characters, and they assume they know her. They expect

501
00:33:01,519 --> 00:33:07,519
some sort of romantic reciprocal relationship. Now, if it's just

502
00:33:07,720 --> 00:33:12,119
some random stage door do honey, that's one thing. But

503
00:33:12,240 --> 00:33:17,400
as this episode shows, it's not just that powerful men

504
00:33:18,880 --> 00:33:25,880
in her industry who helped make her career also expected

505
00:33:26,160 --> 00:33:31,680
that sort of interest, and all sorts of wealthy men

506
00:33:32,160 --> 00:33:37,279
would go to Broadway shows with fun Broadway shows, and

507
00:33:37,519 --> 00:33:42,519
so incredible amount of pressure that she's under. So while

508
00:33:42,640 --> 00:33:45,680
last week's show was one that I don't think was

509
00:33:46,039 --> 00:33:50,160
actually true to any period that ever happened, this week's

510
00:33:50,240 --> 00:33:54,640
episode I think actually has some relevance to some of

511
00:33:54,720 --> 00:33:57,480
the things that go on in today's world. Now it's

512
00:33:57,680 --> 00:34:00,079
time to think our Patreon supporter of the day, and

513
00:34:00,119 --> 00:34:02,880
I want to go ahead and thank Jeffrey, Patreon supporter

514
00:34:03,079 --> 00:34:08,360
since October twenty twenty three, currently supporting the podcast at

515
00:34:08,440 --> 00:34:11,760
the Detective Sergeant level of seven dollars fourteen cents or

516
00:34:11,800 --> 00:34:15,159
more per month. Thanks so much for your support, Jeffrey,

517
00:34:15,559 --> 00:34:18,639
And that will do it for today. If you're enjoying

518
00:34:18,719 --> 00:34:23,440
the podcast, please follow us using your favorite podcast software

519
00:34:24,119 --> 00:34:26,880
and be sure to rate and review the podcast wherever

520
00:34:26,960 --> 00:34:31,039
you download it from. We'll be back next Wednesday with

521
00:34:31,199 --> 00:34:34,679
another episode of Broadways My Baby, but join us back

522
00:34:34,760 --> 00:34:37,719
here tomorrow for drag netwere.

523
00:34:37,800 --> 00:34:40,079
Speaker 4: Mark when they're going to post the body sometime today?

524
00:34:40,079 --> 00:34:42,079
We're going to have the results first thing tomorrow morning.

525
00:34:47,599 --> 00:34:50,159
Speaker 11: Miss Harmon, I think she's a lot better than OUs

526
00:34:50,280 --> 00:34:53,920
Egeant Robert. The officers would like to talk to you

527
00:34:53,960 --> 00:34:55,960
a few minutes if you feel up to it, all right,

528
00:34:57,239 --> 00:34:59,360
who killed my mother? Have you found out? Not?

529
00:34:59,519 --> 00:35:02,039
Speaker 4: Jef, And we think you might be able to help herself.

530
00:35:02,119 --> 00:35:04,280
Speaker 11: It's so hard to believe. I just saw her this morning.

531
00:35:04,400 --> 00:35:06,199
Speaker 4: She was all right, then, well you try to take

532
00:35:06,199 --> 00:35:08,679
it easy where brother will make it as brief as possible. Now,

533
00:35:08,800 --> 00:35:10,280
you and your mother are the only people living at

534
00:35:10,320 --> 00:35:12,519
your house. No one else, No me and my mother,

535
00:35:12,639 --> 00:35:12,960
that's all.

536
00:35:13,679 --> 00:35:15,760
Speaker 11: My father used to live with us. He doesn't anymore.

537
00:35:16,000 --> 00:35:18,039
Speaker 4: And how long has it been since your father left?

538
00:35:18,199 --> 00:35:20,480
Speaker 11: I'm not sure about five years. I think he and

539
00:35:20,599 --> 00:35:22,280
Mama didn't get along and got divorced.

540
00:35:23,000 --> 00:35:24,519
Speaker 4: Do you see your father told her anymore?

541
00:35:24,519 --> 00:35:26,320
Speaker 5: I mean, does he ever come to your house to busy?

542
00:35:26,519 --> 00:35:28,360
Speaker 11: He did once, it was about a year ago. I

543
00:35:28,480 --> 00:35:31,920
think wasn't much good, and my mother argued all the

544
00:35:32,000 --> 00:35:34,760
time he was there, and he left. He hasn't been

545
00:35:34,800 --> 00:35:35,320
back since.

546
00:35:35,599 --> 00:35:37,320
Speaker 4: Has he been in contact at all with your mother?

547
00:35:37,440 --> 00:35:39,159
You know? Does he write her letters? Call her on

548
00:35:39,239 --> 00:35:39,599
the phone?

549
00:35:40,800 --> 00:35:42,400
Speaker 11: The last time was when he came to her house.

550
00:35:42,440 --> 00:35:45,480
I haven't heard anything about him since. I don't even

551
00:35:45,519 --> 00:35:46,039
know where he is.

552
00:35:46,079 --> 00:35:48,199
Speaker 4: I don't care. I guess I heard.

553
00:35:48,760 --> 00:35:51,039
Speaker 1: I hope you'll be with us then in the meantime.

554
00:35:51,400 --> 00:35:56,159
Send your comments to Box thirteen at Great Detectives dot net,

555
00:35:56,840 --> 00:36:00,480
follow us on Twitter at Radio Detectives, and check us

556
00:36:00,519 --> 00:36:07,159
out on Instagram, Instagram, dot com. Slash Great detectives from Boise, Idaho.

557
00:36:07,480 --> 00:36:10,239
This is your host, Adam Graham, sogn and off