Speaker 1: Welcome to the Great Detectives of Old Time Radio from Boise, Idaho.
This is your host, Adam Graham. In a moment, we're
going to bring you this week's episode of Broadways My Beat.
But first I do want to encourage you. If you're
enjoying the podcast, please follow us using your favorite podcast software.
Our listener support and appreciation campaign continues. You can become
one of our ongoing Patreon supporters for as little last
two dollars per month at Patreon dot Great Detectives dot net.
Now from October sixth, nineteen fifty one, here is the
Lowly Nelson murder case.
Speaker 2: Broadways My Beat from Time Square to Columbus Circle with Gaudius,
the most violent, the lonesomest mile in the world.
Speaker 3: Broadways My Beat with Larry Thor as Detective Danny Kober.
Speaker 2: Broadway's glitter is soft, easy on the eye. The glint
of pavements has not yet each its nighttime sene. The
stone is still warm from the touch of twilight, and
the neon has not yet fled into scarlet.
Speaker 4: The voices that screamed against the day are quiet, and
now the walk slower.
Speaker 2: It's the end between time and the day. Is not
yet yielded to Wanton Knight. It's the end of a tier.
Time before the next one scars your cheek. It's your time, kid,
So hold it close. Broadway's clock spins fast, and and
where the dust touches Knight, it walks you through the
arch on Washington Square packed.
Speaker 4: The woman whose fearful eyes are on a child balanced.
Speaker 2: From the edge of a fountain, across a quiet street
and into a brown stone hung with mirrors and crystal,
and death is reflected many times over. The man who
kneels beside it gives you the moment to consider it.
Speaker 4: Then opposite to you.
Speaker 5: Last trist last week, my wife made me buy tickets
to play while I could get with sometime next June.
Speaker 4: She was sold out that far last risks. You got
her past, beautiful Danny, So.
Speaker 5: I never thought I'd stand so.
Speaker 4: Close to her. I said, yeah, yeah, how I got here?
It was phoned in, Danny.
Speaker 6: Anonymous call said.
Speaker 4: Lily Nelson was in trouble. As anonymous, we got to
trace her. By the time you get back to the headquarters,
maybe we found her like this. Yeah, the door was open.
Speaker 5: I walked under all these crystal chandeliers, passed all the
mirrors underlying in front of this one, just like that,
that material.
Speaker 6: It's like a veil, Danny.
Speaker 4: It's no one with her. And I looked through the house.
Speaker 6: She leave nothing, Danny, just the razor blade by her side.
Speaker 4: That's Lily Nelson.
Speaker 5: You got to go to ticket scoppers, begg him to
sell you a ticket over price, just so you can
watch it.
Speaker 4: Where should she kill herself for what?
Speaker 2: And suddenly catch the image of yourself in a ceiling
to floor mirror. The dark gray suit, striped tie, shoe
slightly scuffed and on the floor next to them, blonde hair,
white face, neglichet and slashed wrists. Image of a policeman
at work. Turn your back on it, put a subordinate
from charge, walk out and back at headquarters. Be assured
that other policemen had been at work. The anonymous phone
call had been traced, the collar apprehended, arrested, drop down
town with waiting for you. So flip a switch on
the intercom. Yeah, Danny, bring him in, geno right, Wait
and wonder briefly at the pattern of it. Repeated too often.
Why a beautiful woman the peak of her career must
have the fine edge of a razor to the opening door,
closes your mind to it.
Speaker 4: Here, That'll be all you know, all right. You can
said I wasn't sure, That's why I called. I knocked
the way I always do.
Speaker 7: And she didn't answer, and right away. I can't explain
it that I had a feeling that sat up. That's
the only way I can explain it, the feeling.
Speaker 4: What's your name?
Speaker 8: Columbo?
Speaker 4: Frank Columbu? You see the read? Do I drive her?
Speaker 6: I'm a chauffeur. That's why I think it could be.
Speaker 7: Any other reason why a guy like Nika knock on
her door?
Speaker 4: What do you know about it?
Speaker 7: Just take it easy, Frank, tell me about it. Seven
o'clock I called for her to take as the theater.
She didn't answer.
Speaker 6: My not never happened before.
Speaker 4: I got worried. I called you police. Why didn't you
give your name? Maybe I was being crazy being worried.
Speaker 6: But you don't know.
Speaker 7: You don't know what I shouldn't I worry. You know
what she was, Willie Nelson? I know you know I
drove her, mister. I think I cared about the men
who sat with her made it last.
Speaker 9: None of them I did.
Speaker 7: I've seen her cry, Oh seen her cry when she
was alone, sitting there in the back of the car. Cry,
I'm the man who's seen Lily Nelson cry.
Speaker 6: You know what a woman feels for a man when
she see it.
Speaker 4: Cry, Yeah, better get him. You know it's gonna happen.
Speaker 7: One day she find out I wasn't like look at me.
Speaker 2: And in the moments against his being taken away, listen
to the man cry out his love.
Speaker 4: They waited for love, night dream reflected in a rear
view mirror.
Speaker 2: Finally it was all spilled out. The words became syllables
of anguish and lost. Watched the officer take his arm gently,
lead him to a place where pain is made, articulates,
give him reason.
Speaker 4: Noted in files.
Speaker 2: Ah then gather up the publicized elements that had contrived
to give life to Lily Nelson, then taken.
Speaker 4: It from her.
Speaker 2: Her appearance one night in a mediocre play, the two
line favorable review, the nurturing of it until it became
columns and stardom, and at the crest of it, the
play now running, The Forsaken, starring Lily Nelson, produced by
Jason Gieber Crane Theater, And remember that Broadway whispered of
Geever as the star maker, the first to give Lily
a leading role. Without him, Lily would have remained a
walk on a spear carrier. Go to the theater, ask
for him, he told he.
Speaker 4: Was in his office at the head of the balcony.
Find him suffering over the Knight's box office report.
Speaker 2: Someone told you you could see me. They were wrong, Police,
It's still wrong.
Speaker 4: Lily Nelson.
Speaker 2: You came here to tell me about Lily personally out of.
Speaker 4: Your own mouth.
Speaker 2: What's the technical praise for the butchering of Lily's risks?
Tell me i'd want to know. Am eager for crumbs
of information?
Speaker 4: Saw am?
Speaker 2: I that should make it easier for us. You walked
through my theater and saw the empty seat. That's what
it is without Lily Rose of emptiness tomorrow. I closed
the play.
Speaker 4: Because your box office report shows a loss.
Speaker 2: You're trying to shame me, police, and it won't work.
Lily meant money to me and thought ache and laugh.
I could count on the fingers of my left hand.
It's all here in the box office report. It sounded
like a man who was Now you're going to say
I was in love with him? Now what you're going
to say?
Speaker 4: All right, you're in love with her? I know you'd
be wrong. No, not me, but Lily.
Speaker 2: All the major male stops from here to Hollywood and
back maybe, and a few crests and crowns across the
ocean never met. He didn't touch me that way, the
emotional climate between it, said Nick Jason Nixon.
Speaker 4: All Lily was to you was.
Speaker 2: A punk kid I saw in a play. She had
something radiant sized to mention death.
Speaker 4: Who knows what?
Speaker 2: All I know is I brought it out in her
once I drank champagne from her slipper. I was so
pleased with the performance she gave. Then as the slipper
around to her riscal you gave her all laugh and
she's dead. Why maybe her current claims are burning lulls?
Speaker 4: O excuse the cliche? Where would they be?
Speaker 2: Who the one that gives the columnists daily bread? The
love of Lily? For the boy who directed her in
this play, David Knight. The other well, her psychiatrist, doctor
Kobak of Park Avenue. He's loved by tons of women.
Lily wasn't one to be left standing out in the rain.
Something else for you of the pully quiet. Whatever I
probed out of Lily to make her give a performance,
the one emotion I couldn't get from her was the
emotion for self destruction, very definite.
Speaker 10: Life in here, miss, Thank you.
Speaker 6: Doctors there cigars in the human door by your arm,
doctor Colbac And understand the ninety is you see, and
I entertained friends of mine. You called me away from them.
Therefore you interrupt.
Speaker 7: It's a matter of importance, doctor, you see, and he's
no manage, mainly the stating that you interrupt.
Speaker 4: So if you will be brief.
Speaker 2: It's about Lollie Nelson. Yes, you're her doctor, her psychiatrist.
I want you to tell me about her, about her. Listen, doctor,
a woman is dead. It looks like suicide. It probably
is suicide. The reason I'm questioning you is routine police procedure,
just to satisfy ourselves it was suicide, so we know
what it was, not to resigned what it was not suicide?
Speaker 4: How do you know? Yeah, man, Linny.
Speaker 6: Did not slash Harry. How does one know something?
Speaker 4: I know? All right? You know? How do you know
what the police don't know?
Speaker 6: But you have already paid it. Then I'm a psychiatrist,
Lily was too much in love with herself.
Speaker 7: And usually did even a hair on her head. As
for slashing Harris, if you agree with.
Speaker 2: Me, ridiculous, I'm not so sure. She was found dead
in front of a mirror. Wouldn't that fit in with
what you said?
Speaker 11: Not?
Speaker 6: In the contrary, Lenny couldn't bear the shock of seeing herself.
Speaker 4: She paid. You're telling me she was murdered.
Speaker 6: Doctor Many that she did not commit to his high Now.
Speaker 2: If he's in a ministon, a woman like Willie Nelson
would have a lot of admirers, wouldn't she, dear.
Speaker 6: Man, They will admire upon admire you. Yeah, man, I'm
old enough to well a fascic a Lily notes she
was in love with me. I see, which, of course
you do not. She loved me as all women love
their psychiatrists. It was Lily's protection of ourselves for telling.
Speaker 7: Me her secrets about her secrets.
Speaker 6: None really fashionable for an actress to have a psychiatrist.
She was neurotic, mister Clover, to a degree dependent upon
your tolerance and comprehension, nindly neurotic, I would say, but
then aren't you I whatever?
Speaker 4: Now, if you will pardon me, thank you, mister Clover
and be answered.
Speaker 2: Out of the library biom and p asked the guests
who resented alien feet walking through a string port. She
finally walked through a door and get out. Then one
more stopped to make so. The other man whose name
had been told me David Knight. David Knight, director of
Lily Nelson's Shaw, go to Heim ask him whether he
thought Lily Nelson committed suicide and human.
Speaker 4: Okay, what do you want? Police? I I shall not.
I shall not be the night andale seen on existent pain.
Speaker 11: And dreaming through the twilight that does not rise.
Speaker 4: Happily I may remember, and happily.
Speaker 9: May That was Lily, Lily Nelson. She made that record
for you, Lily. Mister Knight, who are you?
Speaker 4: What do you want? I told Japan to police.
Speaker 12: Since I heard, ever since the news was told me,
I've been here listening to her.
Speaker 4: She's talking to me. Listen.
Speaker 11: Listen to Lily and I Am sid my dear sing
no sad songs for me sent down and roses at
my head.
Speaker 4: Lily Lily, I killed you. I killed you.
Speaker 11: I'm a murder.
Speaker 3: You are listening to Broadways My beat written by Morton
Fine and David Fried and I'm starring Larry Thora's detective
Danny Clover.
Speaker 2: When it's October and autumn catches hold, Broadway comes up
with a miracle. The leaves and red and gold are
pasted in flight in shop windows. The stuffed squirrels nibble
at plastic acorns. The mannequins smile their autumn smile and
emotion compounded of wax and the new mink coat. Minor
miracles may also be observed. Pink and cheeks, a spring
of your step, and fresh air. It's a new time
on Broadway. It's a new season. Open the installment account, Kid.
The world is yours, and where I was was a
world compounded on a different stuff, pain and grief, the
smashed remnants of two lives, and the residue of all
of it. A man named David Knight, a man who
said he was a murderer.
Speaker 4: I killed it, killed it.
Speaker 2: You held her down and slashed her wrists and watched her.
Why why you don't know why? Because you loved her,
and because I loved her, oh lovely, because she loved me,
she loved me.
Speaker 4: I wouldn't have her love she killed her? You mean
you didn't kill her, Yes.
Speaker 1: I did.
Speaker 11: It's my faults.
Speaker 4: He's dead. I don't just see. Don't you understand, No,
I don't. I suppose I owe it to love her,
but I couldn't. And you were telling me she committed suicide.
But it was my fault. She don't you understand that
I'm a murderer. I'm a killer. I killed Lillie Nelson
just as surely as if you didn't kill her. Wasn't
your fault. I'll show you don't be a fool. I
show you. You've got a gun. Why don't you shoot me?
That's what you want me to do, is yeah, because
of what I did to her, I can book here
for assault yesternight, not for murder.
Speaker 12: You're okay, it's I'm sorry, forget it.
Speaker 4: It's funny. Lily's dead. She's dead, all of us sudden.
I'm in love with and give the boy his release.
In his own cognizance, watching kneel to the.
Speaker 2: Floor, gathered up the fragments of poetry, once spoken only
for him by Lily Nelson, and now only jagged pieces
of a phonograph record. Watch as he holds them for
a moment, then flings them into the wastebasket, then leave
him with it. Then walk the edge of the night
to a room where a sleep will come to you,
because it's a long time coming. Fill in the darkness
with the memory of a girl who lay in death
before a ceiling high mirror. Enlist the varying opinions of
her dying. Her chauffeur who was frightened because Lily hadn't
answered the door. Her producer who found in Lily no
emotion that would warrant her suicide. Her psychiatrist who thought
the same but for a different reason. Her director, who
believe the dead because of a love he wouldn't bestow
on her. Finally, sleep had entered the room in the morning.
Back to the office, Back to the paperwork. Annie, come in,
gin know.
Speaker 4: I give you.
Speaker 7: Bless you nice of you to think of me at
moments like this, not at all me in the midst
of my blessure, who needs it?
Speaker 6: Just hand me to those contissue in my breast potio,
you know.
Speaker 4: Thank you.
Speaker 6: Now to the affairs of the day, which.
Speaker 7: Amount to practically mill this little notes and beloved starve
the stage was indeed beloved male admirers, the stun the imagination.
Speaker 6: We knock when we entered Danny Clover's office.
Speaker 4: Miss that's all right. What can I do for you?
Speaker 11: I'm Jeanie Cochran. I feel you want to know about me.
Speaker 4: Oh why?
Speaker 11: I was a great and true friend of Lillly Nelson.
Speaker 4: And you wanted to tell me about it? Of course
I do, all right, miss cochin.
Speaker 11: It started last year. I came to New York. You see,
my home is not running. I came to New York
and I had a grand idea. It was Thanksgiving vacation
and I was on my high school paper, and I
thought it would be a grand idea to get an
interview with Lily.
Speaker 4: And I did I see them? What happened?
Speaker 11: Lily was so nice to me when I told her
about my dramatics and how I was in all my
school plays. You know what she said?
Speaker 4: No I don't.
Speaker 11: She said I had the making of a great actress.
I didn't believe her, but she was really serious.
Speaker 4: Oh of course she was.
Speaker 11: He came up to not running and visited me. Mother
was flabbergast. Then really started to come up and stay
almost every weekend. Another sixed up a room so we
could be alone together while we were working.
Speaker 4: That's funny. I've talked to a lot of people who
knew miss Nelson. None of them ever mentioned you.
Speaker 11: We kept it a secret. It was our secret really
is in mine.
Speaker 4: What else did she do for you?
Speaker 11: Every weekend? President? What this one dress I'm wearing? Picnics
and rides? So many things?
Speaker 4: Did you ever meet any of her other friends?
Speaker 11: We had a secret friendship. No, oh's all, isn't mister Koch.
Speaker 6: Again, I'm not telling you, mister cloy. We just have
a bad time. As many patients wait upon me.
Speaker 2: I'm sure they'll understand when you've told them how a
policeman came to you for help.
Speaker 6: You are in need of it all, and you use
your authority.
Speaker 4: You told me before all of us? Are you?
Speaker 6: Me, everybody and your trouble year man?
Speaker 7: People keep things from me. Smile for themselves when I
leave a room, because there's so much smarter than I am.
Speaker 6: Dear man, this is no extraordinary ailment to suffer. Well,
it is ordinary.
Speaker 4: It bothers me. You smile to yourself when I leave
a room, Doctor Kovac, I did that to you. I
asked it for Lily Nelson's secrets.
Speaker 7: You told me there weren't any even if there had been,
I have the right as a professional man.
Speaker 6: Is a manu scapture in your community.
Speaker 2: To deny them to any of our community has a
law against people who withhold evidence and murders.
Speaker 6: Your conclusion, the Indian man, is that really? Let's kick
it around for a while, shall we.
Speaker 7: Doctor, I could commit myself to be taken by the law,
to be prosecuted parrah, and you'd keep your mouth shut.
Speaker 4: Man.
Speaker 2: We'll hire our own psychiatrists. They can do every secret
Lily ever shared with anyone.
Speaker 6: You treason, dear man, let's call it an all really
will be remembered. The revolution, Ford, the access at her
time a burner, I do say, a flame of classic beauty,
a passion brought to life for men whose life were empty.
Unpush you wish to destroy this, this memory.
Speaker 4: We believe she was murdered, and I too. Yeah, man,
you told me she was loved.
Speaker 2: Admirers were the legion you said I was not live,
but lowly we let me gather my thoughts away to.
Speaker 6: Perhaps this will make it clear. It is true Lily
was loved, but in her there was no love to return.
Speaker 4: Go on.
Speaker 6: Nearly had not the capacity for love. She pretended to
be her admires with me too. Every particle of love
that Lily had to give, she gave to the state.
Every emotion she had was how do I present it
on the stage?
Speaker 4: What people? Every passion, every desire, every What was there
left for Lily to give to another? Nothing? Nothing? Nothing?
Thank you doctor for what that?
Speaker 6: You now have motive for the murder, and for this
you will destroy the image of Lily Nelson. You say
to me, thank you, I cannot say to you.
Speaker 4: You are welcome.
Speaker 6: My other patients great upon me.
Speaker 12: Mister Clover, Oh well, mister Clover one n.
Speaker 4: Can I get you something? Bourban Scott. I'm not interrupting something,
am I? What do you mean? Two drinks over there?
I've been clumsy. No, you're not interrupting. Jenny, Come on in,
it's late, miss Talkland. Don't you have to get back
to Mount Vernham?
Speaker 11: No, I call mother. She knows where I am.
Speaker 4: What are you doing here?
Speaker 11: I had an idea. I've just told her to mister Knight.
Speaker 4: He seems to agree with me an idea about what.
This child's a fine actress. She wants me to work
with it.
Speaker 11: After all, Lily taught me so much. Mister Knight's already
listened to me read he says, I even found that room.
Speaker 4: She does, mister, that's why you want to work with her.
The best reason in the world for you. Yeah, I
can create another Lily Nelson with this child.
Speaker 11: Child, I'm going to learn not to be a child.
That's why I came.
Speaker 4: I think you ought to go back to Mount Vernon, Joanney,
thank you.
Speaker 2: I think you ought to go back to Mount Vernon
because what happened to Lily Nelson might.
Speaker 4: Happen to you.
Speaker 2: What do you mean, what happened to Lily murdered by you?
I told you that, but I was just, I know, upset.
But you really did murder It really did slash her wrists.
Speaker 11: Oh no, that's not right. And I told me what happened.
He didn't love Lily, so she killed herself.
Speaker 2: That's the way it was, Jane, not exactly. Lily wasn't
in love with anybody. Her daughter told me that she
was in love with one thing, the theater. It was
her obsession. She didn't have the energy to love anything else.
I know, Jamie, she had time for you, because in you,
Lily saw herself a new star another Lily Nelson young fresh.
It's funny.
Speaker 4: Huh? What is something's funny?
Speaker 2: I laugh and I'm laugh Listen, mister Lily Nelson had
one hundred admirers.
Speaker 4: You were just one of them. They all tried to
make love to her and she could never return it.
She cried about it. There's a man or chauffeur a
senior week just for that reason.
Speaker 11: That's right. Lilly told me about that.
Speaker 4: She loved me. No, you loved her. She couldn't love you.
You killed her.
Speaker 11: I want to go home.
Speaker 4: Don't listen to him, Jenny. And you, Jannie, so much
like Lily. Your voice, the way you carry yourself, that's
why you're here with him.
Speaker 6: Jenny.
Speaker 11: Let me go home tonight.
Speaker 4: I'll come back.
Speaker 11: I'll come back tomorrow. I promise.
Speaker 4: Did she teach you that too, Jenny?
Speaker 11: Please? I promise?
Speaker 4: Do you hear you? Hear that, mister Clover, the way
she said it. Let's go, mister Knight. I'll tell you
what's going to happen to you, Jenny? What happened to Lily?
Listen to me, mister Clover.
Speaker 8: Do you think the chauffeur was the only man who
saw Lily cry. I saw her cry too before she died.
She got down on her knees and cried. She said
she wanted to love me. She said she couldn't love me,
She couldn't love anybody.
Speaker 4: So she begged me to kill her because she couldn't
love She begged me, beg that I killed her. Do
what he says, Janie go home.
Speaker 2: Broadway is having itself a time. It's cocky and needling
people a step over the line. It makes a big
muscle and dares the night time. It's frenzy and big noise,
mostly the.
Speaker 4: Noise, otherwise you'd hear a heartbreak. It's Broadway, the gaudiest,
the most violent, the lonesomest mile of the world. Broadway
My Beat.
Speaker 3: Broadway's My Beat stars Larry Thor as Detective Danny Clover,
with Charles Calvert as Tartaglia and Jack Krushan as Muggavan.
The program was produced and directed by Elliott Lewis, with
musical score composed and conducted by Alexander Courage. In Tonight's story,
Paul Freeze was heard as David Knight, Joyce McCluskey as
Janie Cochrane, Janavello as doctor Kovac, Ed Max as Jason
Gieber and Clayton Post as Frank Columbo.
Speaker 4: Bill Anders speaking.
Speaker 3: Broadway is My beat has come to you through the
worldwide facilities of the United States Armed Forces Radio and
Television Service.
Speaker 1: Welcome back, Well. I liked last week's episode over the calls,
and so I I really do have to praise this one.
I enjoyed it, and I thought it was very well done.
It was a more psychological story, and really this is
one of those cases where at the end of the day,
Danny did not have a case if the guy hadn't confessed,
but the guy's an auto hardened criminal, and there's at
least enough of a level of guilt that Danny's going
to be able to get him to tell the truth.
There were also some really good performances in this. I
love Jane Novello. His character is just so interesting to
listen to and has a unique perspective, a mix of
ethics but also a respect for the persona of who
his patient had been, and his opinions were kind of
reflective of what you would hear from the mental health
profession at the time. Certainly not we would hear today,
but it does capture the view of that era also
found Muggavin's scene interesting because Mugavin is just the matter
of fact professional. This murder affects him in a very
different way, and it's such an interesting scene because Dandy
is trying to lead him back to the facts. I
really just need you to be the guy who gives
me the facts and I'll go brute about it. That's
how this works. But Mugavin having this feeling, this connection,
it actually does illustrate maybe some of the challenges that
she was facing and where are some of her strain
mon have come from. People know of her performances and
her characters, and they assume they know her. They expect
some sort of romantic reciprocal relationship. Now, if it's just
some random stage door do honey, that's one thing. But
as this episode shows, it's not just that powerful men
in her industry who helped make her career also expected
that sort of interest, and all sorts of wealthy men
would go to Broadway shows with fun Broadway shows, and
so incredible amount of pressure that she's under. So while
last week's show was one that I don't think was
actually true to any period that ever happened, this week's
episode I think actually has some relevance to some of
the things that go on in today's world. Now it's
time to think our Patreon supporter of the day, and
I want to go ahead and thank Jeffrey, Patreon supporter
since October twenty twenty three, currently supporting the podcast at
the Detective Sergeant level of seven dollars fourteen cents or
more per month. Thanks so much for your support, Jeffrey,
And that will do it for today. If you're enjoying
the podcast, please follow us using your favorite podcast software
and be sure to rate and review the podcast wherever
you download it from. We'll be back next Wednesday with
another episode of Broadways My Baby, but join us back
here tomorrow for drag netwere.
Speaker 4: Mark when they're going to post the body sometime today?
We're going to have the results first thing tomorrow morning.
Speaker 11: Miss Harmon, I think she's a lot better than OUs
Egeant Robert. The officers would like to talk to you
a few minutes if you feel up to it, all right,
who killed my mother? Have you found out? Not?
Speaker 4: Jef, And we think you might be able to help herself.
Speaker 11: It's so hard to believe. I just saw her this morning.
Speaker 4: She was all right, then, well you try to take
it easy where brother will make it as brief as possible. Now,
you and your mother are the only people living at
your house. No one else, No me and my mother,
that's all.
Speaker 11: My father used to live with us. He doesn't anymore.
Speaker 4: And how long has it been since your father left?
Speaker 11: I'm not sure about five years. I think he and
Mama didn't get along and got divorced.
Speaker 4: Do you see your father told her anymore?
Speaker 5: I mean, does he ever come to your house to busy?
Speaker 11: He did once, it was about a year ago. I
think wasn't much good, and my mother argued all the
time he was there, and he left. He hasn't been
back since.
Speaker 4: Has he been in contact at all with your mother?
You know? Does he write her letters? Call her on
the phone?
Speaker 11: The last time was when he came to her house.
I haven't heard anything about him since. I don't even
know where he is.
Speaker 4: I don't care. I guess I heard.
Speaker 1: I hope you'll be with us then in the meantime.
Send your comments to Box thirteen at Great Detectives dot net,
follow us on Twitter at Radio Detectives, and check us
out on Instagram, Instagram, dot com. Slash Great detectives from Boise, Idaho.
This is your host, Adam Graham, sogn and off