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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 Broadway's My Beat.

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But first I want to encourage you, if you're enjoying

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this program, to using your favorite podcast software. And today's

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program is brought you in part by the financial support

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of our listeners. You can support the show on a

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one time basis by using the Zell app to box

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thirteen at Great Detectives dot net and become one of

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our ongoing Patreon supporters for as little as two dollars

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per month. Just go to Patreon dot Great Detectives dot net.

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But now, from December fifteenth, nineteen fifty one, here is

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the Lucille Baker murder Case.

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Speaker 2: Broadways My Beach from Times Square to Columbus Circle, the gaudiest,

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the most violent, the lonesomest mile in the world.

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Speaker 3: Broadways My Beach with Larry Thor as Detective Danny Clover.

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Speaker 2: From Somewhere Beyond the Threshold of Neon, the Happy Holidays,

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Beckoned a Broadway and the Wilderness of Plastic and Chrome

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dons its ribbons of tinsel, garlands of evergreen are hung

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against the shriek of subways, and behind plate glass puppets

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with shrewd mechanisms perform their frenetic dance. The metallic music

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flows out of the horns of loudspeakers, the women walk

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slow sway gently to its holiday rhythms, and everywhere the

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image of gayety is reflected in spangles that whirl on

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winter's wind. So paint the grin the crossia mouth, kid,

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it's the merry time, And somewhere within it a phone call,

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a drunken voice that pleads you into a desolate, wind

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glittered street, into a tenement scarred with shadows, into a

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room also desolate. A man sprawled on the floor in drunkenness,

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his arm flung toward the woman who lies away from him,

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his fingers reaching trying to touch her dead face. And

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the other man, who clings to ear lapel, has waited

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there only so he could tell you about it.

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Speaker 4: That proves I had nothing to do with it, doesn't it?

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Speaker 2: I called it in.

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Speaker 4: I waited here for you, me along with those two,

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just so as I could tell you about it. Pruse,

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Bob Robert Colker. I got a wife and a good name.

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I don't want to get mixed up in this mister woman.

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That's Missus Baker, Charlie's wife. Boys, that boy got a

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hangover waiting for him when he comes to Imagine you

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and Charlie, you enjoying yourself. You get invited in for

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a little night cap. You walk in and there's Missus

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Baker lying on the floor, head hold twisted like that. Yeah, yeah,

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that's how I figured it too. When we walked in,

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saw I said, look, Charlie boy, look at your missus,

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and Charlie kind of yelped like a dog or something.

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Tried to make it to her, but he passed out

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on the way. I never touched the mister, honest, I didn't.

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Speaker 2: You and Baker were up together, then you came home.

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Speaker 4: Yeah, but now like you think we were to the

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office party, Charle and me. We got a joining desks,

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big deal office party, booze and paper cups, dance alone

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with the stennel you've been wanting to touch all year,

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and take child boy home and look, mister, okay, if

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I go home now, I've done everything could be expected.

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Speaker 2: Oh yeah, why, mister Culker, tell her you won't be

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home for a while and wait. Then watch the barrier

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of faces form at the doorway, the same faces that

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gather always when sudden death is done. Face is tempered

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only by the quality of shirts, neckpies and hairdoes quality

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this time tenement fraid And in a while the medical

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examiner the nod toward the dead. The black santchell opened,

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and the steath is sculpted. Hears no heartbeat, the official

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pronouncement that a woman named Lucille Baker, age about thirty two,

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marry no children, have been strangled to death, and the

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other nod to the two men who had been found

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with her. Take them along, get out, go and back

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to the office, and give orders to interview everyone at

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the party. Turn mister Baker over to the officer whose

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extracurricular duty includes the sobering of suspects. Question mister Culker again.

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His story sticks. Then a door opens and a very

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sober man walks in.

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Speaker 5: I believe they just told me. I don't put it.

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What are you doing, himp hop.

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Speaker 4: I just told him what happened.

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Speaker 6: I told him we came back to you here.

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Speaker 2: You wait outside, mister Coulker.

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Speaker 4: Sure, sure, whatever you say, just take it easy.

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Speaker 1: Chilie boy.

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Speaker 2: Sit on, mister Baker, your wife is dead. See, I

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want you to try to tell me just what happened

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to me.

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Speaker 5: The office party. I went there.

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Speaker 7: I was having a fine Yes, I was having a

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wonderful time. Look, it was the end of the day.

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And at first I wanted to go home, but they

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wouldn't let me. They said, look at all this three booths,

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lap it up and forget it, and now.

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Speaker 2: Go on.

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Speaker 7: But I tried to call lu seal three or foot times.

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I don't know how many times till I was having

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a good time not to wait up for me, But

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Lyne was always busy.

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Speaker 2: What else do you remember?

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Speaker 7: Bob said, come on, let's go home when we got there.

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The last thing I remember Lucille lying there. It's saying

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to myself, just like this, I am drunk. You think

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you see all sorts of things when you're drunk, and

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this is one of them.

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Speaker 5: Listen, not Lucial, I'm.

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Speaker 8: Not even home now.

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Speaker 2: I wake up and the room shorn suddenly of everything

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but a man sobbing. And this is only one in

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the long array of grieving that has been displayed you

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over the last years. The grief, the love dead, sometimes

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with laughter of strange texture, the silence, sometimes anguished, bitter,

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and sometimes this like this man's, and always the walking

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away from it, and release him and his friend Bob

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Colker go home, sleep, and next morning back to the

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tenement where a woman had been strangled. Ask questions through

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inch open doors, and the children of the tenement shrivel

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away from you as if you were a cold wind.

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The doors that are never opened to you, the furtive

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whispers and scurrying behind them, the giggles, and finally, at

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the mention of the dead Missus Baker's name, a woman

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who begins a weeping suitable for police callers. Invite you in, Oh.

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Speaker 9: That poor poor creature taken from us, like that joke,

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like that cast away. Please won't you come in? I'm

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Ruthie Alexander. Let's just shut the door, shall we. My

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neighbor's curious, nosy, so pathetically nosy. May I get you

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something hot, chocolate tea, something with a bite too.

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Speaker 2: No, thank you? You knew, missus Baker.

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Speaker 9: I knew Lucille better. How awful to be a man

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and have to suffer weeping women?

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Speaker 2: You were saying you knew, Missus Baker, well better.

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Speaker 9: Than she knew herself. The promises life offered that girl.

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Although Lucille wasn't pretty, mind you, not in the real

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sense of the word. But she had her qualities hidden

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kind of sly. It intrigued you.

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Speaker 10: Men.

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Speaker 2: You're saying that she nothing of the sort.

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Speaker 9: Why Lucille, the poor, unimaginative creature, And I say, the

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summer and I was a best friend, mind you, and

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have the right. Lucille backed away from men. I honestly

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think they frightened her.

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Speaker 2: She was married to a husband who loved them.

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Speaker 8: Of course he did.

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Speaker 9: Of course he did. Why shouldn't he. She could have

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even had a man like Teddy Fletcher. Teddy was dying

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for her. Lucille told me all about it. A fellow

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who works at the Dorsey Company, where Lucille's husband worked.

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I told her so many times. A man like that, Lucy,

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they don't grow on bushes. They you know something at Lucille.

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She was a deep one, sly like I said, I wonder,

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I just wonder if she and Teddy? How wonerful of me?

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But when you have a cigarette, at least I'll light

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it for you, draw the first puff.

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Speaker 2: And refuse the kind offer king sized, cock tipped gratis,

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and all give her back her solitude, leave her to

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her tearless sweeping. Now she'd have something really to cry about.

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She'd wasted a cigarette to the officers of the Dorsey

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Novelty Company Incorporated Limited, be greeted'd be given a catalog

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concerning current novelties, be found that because I didn't want it,

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be listened to be ushered, pass the office force and

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slogans about geniuses at work and courtesy and cleanliness and accuracy,

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and be shown to a cubicle. Yeah, mister Fletcher, Yeah,

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what is it. I'm Danny Clover from the police.

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Speaker 6: I'm expecting somebody from down there.

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Speaker 2: Sit down please, thanks. So I'm trying to get some information. No,

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I know, all right, you know, tell me what you know?

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Speaker 6: Just one thing? You think I killed Lucile? Did you

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I was in love with her? Did you kill her?

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I just told you I was in love with her

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for two years. Now. I built my plans around a

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day to day plans. That adds up to be in

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my life, doesn't it. You think I killed her to

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be like kill her myself, wouldn't it?

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Speaker 2: All right? We'll go on the premise you didn't kill her,

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mister Fletcher, tell me about last night. I was at

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the party.

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Speaker 6: Everybody got loaded, not me.

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Speaker 2: You don't drink her and when.

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Speaker 6: It's better to say sober? Last night was such a time.

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Oh why last night Charlie Baker was here, get tanked.

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Last night Lucille Baker was home being lonely.

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Speaker 2: Then you left the party because her husband was here

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and went over to see her. And is that it?

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Speaker 6: It's the way I planned. It didn't work.

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Speaker 2: Gonna tell me why.

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Speaker 6: Yeah, I called Lucille from here during the party a

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lot of times. She said, I am a wife with

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a husband. Stay where you are, admirable huh. A wife

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of had killed her and it killed her.

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Speaker 2: Then you gave up and went home.

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Speaker 6: I needed solace. I found Isabelle by the water cooler. Isabelle,

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Isabelle Mitchell, pal and buddy, sweater and skirt. We smiled

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at each other over paper cups, linked dimes and went

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to her place, drank and did childish things like pin

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the tail of the donkey.

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Speaker 2: Drank, drank, drank your alibi. Huh. I want to talk

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to her.

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Speaker 6: I guess she's still at home getting rid of last

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night's head. She didn't show up today, nice kid?

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Speaker 2: Where does she live?

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Speaker 6: Two rooms on West thirty seventh, nine oh five, apartment too.

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Let mister clover that Hamilton wall clock says noon and

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it's never wrong. I'm going to join me for lunch.

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Speaker 9: Are you?

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Speaker 2: Thanks a lot? And the ride now to West thirty seventh,

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to the block of the Brownstones and the low Rent

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and the corner grocery store, and next to the tailor's

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shop that advertised proudly how it had held the line

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since nineteen fifty. Find the number nine oh five, Walk

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past the door to apartment one, and a few steps

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more to apartment two, apartment of Isabelle Mitchell. Knock and

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get no answer, and open a door. Walk in the

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living room decorated in Rowe house decor, dregs of last

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night's drinks, Coolidge modern and empty, and the kitchen the

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light still burning, the perpetual distance sound in the exposed

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water pipes and strung from them, the girl, the girl

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twisting this way and back slightly, the lifeless girl, the

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murdered girl.

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

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Fine and David Freakin and starring Larry thor as Detective

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Danny Clover. Confidentially, Edgar Bergen has a split personality, and

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it's hard to say whether he's funny or as the

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Harris Bergan or as that saucy figment of his own

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imagination who does the haressing, Chotty McCarthy. We leave it

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to you to figure out between the laughs. Every Sunday

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night on most of these same CBS radio stations, when

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you hear Edgar Bergen and Chotty McCarthy in the days

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before Christmas, Broadway puts on its flashy cloths and the

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flashy smile. Everybody's on his way to con Santa Claus.

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The blonde who walks with you, stops to adjust hernylons

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in front of the jewelry store. The brunette who tells

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you to pick her up for lunch in the langury department,

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the redhead who behaved all year long. And while the

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reindeer dash across the thunder of the spectaculars, the recruits

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from the Bowery shake their little bells and not lovingly

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at tiny tots. Get out the Christmas list, kid, that's

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where your friends have been all year long, and at headquarters,

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consider other things official musings the dying of Lucille Baker,

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a woman strangled, Consider what chain of circumstance led from

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her to the murder of another Isabell Mitchell. Consider and

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be interrupted by a police sergeant named Gino Tartaglia, who

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sometimes had things in his mind.

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Speaker 8: I got a headache, Danny.

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Speaker 2: I'm sorry to hear that. Why don't you take an ask?

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Speaker 8: Condolences are touching, Danny, and I thank you for them. However,

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my symptoms psycho semitic, psychosomatic, a word Missus Tartaglia read

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to me last night from a book. It's the type

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headache which is prone to deep thinkers, so science explained

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to Missus t and she to.

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Speaker 2: Me, you've been thinking deeply.

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Speaker 8: Indeed, he as concerns the current situation and the murder

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of Lucille Baker and the subsequent same of miss isabel Mitchell.

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Oh a theory to wit. Mister Ted Fletcher is a killer.

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Murdered the woman whom he loved, Missus Baker, then murdered

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the girl he flirted with, Isabell Mitchell.

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Speaker 2: But Isabelle was his alibi, Geno, why should he murder her?

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Speaker 8: I cut my headache, making it sound reasonable to me, Danny.

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But I think I know why he killed miss Mitchell.

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Speaker 2: Yeah, I can think of a reason too.

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Speaker 8: You mean like that so soon?

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Speaker 2: Well it had figured.

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Speaker 8: Gino, you tell me yours, I'll tell you mine.

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Speaker 2: The way it stands now, Geno, Fletcher can't account for

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his actions of last night. Nobody remembers when he left

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the party. Let's just assume he left with miss Mitchell.

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He took her home and left her.

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Speaker 8: You've been peeking into my brain, Danny.

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Speaker 2: He left her, went to see missus Baker, killed her,

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came back to Miss Mitchell and asked her to be

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his alibi. She refused.

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Speaker 8: Indeed, Danny, indeed.

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Speaker 2: So she was the only one who knew he was

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a killer. She refused to help him. He killed her.

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Speaker 8: Theories make a lot of sense.

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Speaker 2: Don't they maybe have Fletcher picked ups? You know I'm

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going on?

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Speaker 8: Okay, Danny, whey can I reach you if I need you?

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Speaker 2: At that novelty office. Maybe I can find out why

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that happy party had so much murder in it.

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Speaker 11: You're the guy told the girl you're a detective.

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Speaker 2: That's right, show me, show me.

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Speaker 11: Girls get impressed with guys who show them shiny badges.

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Don't bother to read the small print. All they care.

279
00:16:45,279 --> 00:16:48,159
Is it a muscle man with a favored ask you

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00:16:48,279 --> 00:16:51,320
threw with him? Yeah, take back your badge. I produce

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00:16:51,399 --> 00:16:53,879
novelties like that by the cayload. Just that to be

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sure you weren't giving.

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Speaker 2: The girl a fast shuffle some questions. I want to

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ask you, mister Darley, my time.

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Speaker 11: You got around to me. Huh, It just so happens.

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I'm the head man this little enterprise. Maybe the personnel

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didn't get around to telling.

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Speaker 2: They didn't need to. I saw your publicity on the

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wrapping paper.

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00:17:06,440 --> 00:17:09,200
Speaker 11: Yeah, you had a little confab with Ted Fletcher.

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Speaker 2: The girls tell me sorry, it didn't occur to me.

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I need your permission.

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Speaker 11: Oh it's not that, kid, It's just that I got

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a happy enterprise here. You walk in talk murdered talk.

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00:17:16,839 --> 00:17:20,079
It spreads gloom. Everybody gets unhappy until I think of something.

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Speaker 2: The office party the other night, that was one of

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00:17:22,000 --> 00:17:22,559
your thoughts.

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00:17:22,759 --> 00:17:25,599
Speaker 11: Yeah, it was happened to be my birthday. I let

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00:17:25,599 --> 00:17:27,839
it be known in a loud voice, and before long

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00:17:27,839 --> 00:17:30,240
the personnel is pitching dimes into a kiddie. A good

301
00:17:30,359 --> 00:17:32,559
time was had by all. What did you think of

302
00:17:33,279 --> 00:17:36,599
who ted Fletcher personally. I can't stand the guy. Good worker,

303
00:17:36,599 --> 00:17:38,440
but I can't stand him. What do you think of?

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00:17:39,079 --> 00:17:42,640
Speaker 2: Just keep talking Fletcher. Not much to look at.

305
00:17:42,680 --> 00:17:44,640
Speaker 11: But oh, you kid, what he does to the emotions

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00:17:44,680 --> 00:17:46,839
of the ever loving opposite sex. You know what I mean.

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00:17:47,279 --> 00:17:49,039
You got to agree because you got him tabbed for

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00:17:49,079 --> 00:17:49,880
killing Missus Baker.

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Speaker 2: I understand.

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Speaker 11: I tell you it couldn't have happened to a nicer guy.

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00:17:53,160 --> 00:17:55,920
Speaker 2: Charles Baker works for you too. Give me your thoughts

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00:17:55,920 --> 00:17:56,279
on him.

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Speaker 11: Baker's a good boy and knows to the grindstone type.

314
00:17:59,119 --> 00:18:00,880
I got a lot of planning for him, been to

315
00:18:00,960 --> 00:18:03,200
his homemade his impressed the bust type of food. Met

316
00:18:03,200 --> 00:18:05,279
his wife, the former Missus Baker.

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Speaker 2: Yeah, and you have an opinion.

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00:18:07,839 --> 00:18:11,119
Speaker 11: Dull woman playing boring. You know Baker's better off without

319
00:18:11,119 --> 00:18:13,680
her in my opinion, I tell you because yes.

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Speaker 2: And Isabelle Mitchell, who also worked for you, who was

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00:18:16,119 --> 00:18:18,759
also at your birthday party, who was strangled murdered.

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00:18:19,319 --> 00:18:24,119
Speaker 11: Hmm, kind girl had a kind word for everybody, but everybody.

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00:18:24,200 --> 00:18:24,680
Speaker 2: Prove it to me.

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00:18:25,240 --> 00:18:27,200
Speaker 11: Fletcher meets your at the water cooler at my party.

325
00:18:27,240 --> 00:18:29,400
Isabelle give him the kind word, Fletcher takes her home.

326
00:18:29,720 --> 00:18:32,680
That was a busy, busy night for Fletcher, wasn't it game?

327
00:18:32,880 --> 00:18:33,519
Speaker 2: Anything else?

328
00:18:33,599 --> 00:18:36,119
Speaker 11: Mister Dawson Nett cuts it. As far as I'm concerned,

329
00:18:37,200 --> 00:18:39,960
you too, huh. I bet you got loads of things

330
00:18:40,000 --> 00:18:42,960
to do, just like me. So goodbye, h guy.

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Speaker 12: Mister Clover, Yes, is it all right if I just.

332
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Speaker 2: Walk in here and you, of course? Won't you sit down?

333
00:19:03,039 --> 00:19:03,440
Thank you?

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00:19:04,799 --> 00:19:05,680
Speaker 12: I'm Lois Nolan.

335
00:19:06,079 --> 00:19:07,359
Speaker 2: Yeah.

336
00:19:07,440 --> 00:19:09,960
Speaker 12: I work at the Dorsey Novelty Company. In the office,

337
00:19:10,680 --> 00:19:14,839
I run an IBM machine time study cards. I don't

338
00:19:14,839 --> 00:19:15,799
guess you noticed.

339
00:19:15,559 --> 00:19:15,920
Speaker 13: Me, did you?

340
00:19:16,400 --> 00:19:18,680
Speaker 2: Seems that I do. I guess you're wearing another dress.

341
00:19:18,799 --> 00:19:20,880
Speaker 12: No, I was wearing this dress. You just didn't notice,

342
00:19:20,920 --> 00:19:21,960
that's all.

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00:19:22,000 --> 00:19:23,160
Speaker 2: Why have you come here, miss Nolan?

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00:19:24,319 --> 00:19:26,279
Speaker 12: I wasn't at the party last night, so your men

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00:19:26,359 --> 00:19:27,240
haven't questioned me.

346
00:19:27,480 --> 00:19:29,319
Speaker 2: I see, And you want to be questioned as that.

347
00:19:29,880 --> 00:19:30,039
Speaker 6: Well.

348
00:19:30,079 --> 00:19:33,720
Speaker 12: I was a friend of Isabelle's. You were, though we

349
00:19:33,799 --> 00:19:38,240
had differences of opinion, as they say about friends boyfriends. Personally,

350
00:19:38,319 --> 00:19:42,319
I like fellows from whom I can better myself. Isabelle

351
00:19:43,640 --> 00:19:46,799
she was not the discriminate type. Life, she once said

352
00:19:46,880 --> 00:19:49,480
was a laugh and a song. Look what it got

353
00:19:49,480 --> 00:19:50,200
her some laugh.

354
00:19:50,440 --> 00:19:52,640
Speaker 2: Yes, well, now, if you'll pardon me some laugh.

355
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Speaker 12: You knew where I just came from, you wouldn't say

356
00:19:55,519 --> 00:19:56,039
some laugh.

357
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Speaker 2: Where did you just come from, Miss Nolan?

358
00:19:58,960 --> 00:20:02,359
Speaker 12: From her uncle's house? In buckets? That's the way he

359
00:20:02,440 --> 00:20:05,880
was crying. He didn't say a word. If you could

360
00:20:05,920 --> 00:20:09,839
have seen his eyes those tears, then he said, Lois,

361
00:20:10,400 --> 00:20:14,240
I cannot cry anymore. Isabel was a good girl, and

362
00:20:14,319 --> 00:20:15,160
now she is gone.

363
00:20:15,400 --> 00:20:16,799
Speaker 2: I didn't know she had a family.

364
00:20:16,960 --> 00:20:19,240
Speaker 12: No one's claiming because that man is a nervous wreck.

365
00:20:19,640 --> 00:20:21,039
After all Isabel did for him.

366
00:20:21,279 --> 00:20:23,319
Speaker 2: Where does her uncle live in Brooklyn?

367
00:20:24,000 --> 00:20:28,200
Speaker 12: Twenty twenty Stockton Street. I hope I have been of

368
00:20:28,240 --> 00:20:30,640
some help. Since Isabel was a dear friend of mine,

369
00:20:31,359 --> 00:20:33,880
I was always broad minded enough to forgive the thing.

370
00:20:33,920 --> 00:20:36,759
Speaker 2: You've been a great help, Miss Nolan. Thank you very much.

371
00:20:41,119 --> 00:20:44,319
And the house in Brooklyn, like all the other houses

372
00:20:44,359 --> 00:20:47,440
in the long file, appealing paint, the sagging porch, the

373
00:20:47,480 --> 00:20:50,480
parlor curtains drawn aside to reveal a Christmas wreath, then

374
00:20:50,599 --> 00:20:52,880
drawn further to permit a clearer view of the man

375
00:20:52,880 --> 00:20:56,480
who walks their quiet street, and, having noted your passing,

376
00:20:56,640 --> 00:20:59,319
open their windows crying to see at whose door you'll knock.

377
00:21:00,079 --> 00:21:02,839
Then in far away voices an answer to friends, relatives,

378
00:21:02,880 --> 00:21:06,599
and neighbors, the voices drained away. Then for a moment,

379
00:21:06,640 --> 00:21:09,480
the stillness is almost complete, except for the wailing of

380
00:21:09,559 --> 00:21:12,759
vessels in the harbor and cry of wind trapped against

381
00:21:12,759 --> 00:21:16,880
street lamps. Then break it, and the man in the

382
00:21:16,920 --> 00:21:21,720
woolen sweater wonders at you with pale eyes, washed away eyes.

383
00:21:22,359 --> 00:21:26,400
Speaker 14: Oh you must be from the mission, I phoned. I

384
00:21:26,440 --> 00:21:28,680
have the magazines all tired and ready there.

385
00:21:28,720 --> 00:21:29,839
Speaker 2: I'm from the police.

386
00:21:31,079 --> 00:21:35,640
Speaker 14: But Isabel, yes, come in. You'll take your death of cord.

387
00:21:37,759 --> 00:21:40,519
I haven't been to claim about it because I didn't

388
00:21:40,519 --> 00:21:43,079
know if it was right. I'm just her uncle. And

389
00:21:43,200 --> 00:21:46,519
Isabel moved away from me over a year ago, and

390
00:21:46,599 --> 00:21:49,640
I thought maybe she'd got someone closer to her.

391
00:21:49,759 --> 00:21:53,799
Speaker 2: That's not why I came. No, then, why well, I

392
00:21:53,799 --> 00:21:55,960
thought maybe you could help us, Maybe you could tell

393
00:21:56,039 --> 00:21:58,519
us things about her, and it'll help us find her murderer.

394
00:21:59,400 --> 00:22:02,519
Speaker 14: Isabel here to live with us when her mother died.

395
00:22:03,279 --> 00:22:07,400
Then my wife died and Isabelle stayed on. It was

396
00:22:07,519 --> 00:22:11,400
nice when she was here, and then she went away.

397
00:22:12,160 --> 00:22:13,400
Speaker 2: Tell me about it, mister Clayton.

398
00:22:13,680 --> 00:22:18,839
Speaker 14: It was nice, gay, exciting young men called Anna, brought

399
00:22:18,880 --> 00:22:22,519
her things, brought me cigars, sat and talked with me

400
00:22:22,559 --> 00:22:26,720
while they waited for her to dress. She was pretty real,

401
00:22:26,799 --> 00:22:28,640
pretty worth waiting for.

402
00:22:29,119 --> 00:22:30,640
Speaker 2: You remember the men who called on her.

403
00:22:30,680 --> 00:22:32,920
Speaker 14: No, no, just boy. He's nice, open fellow.

404
00:22:33,200 --> 00:22:35,119
Speaker 2: And you haven't seen Isabelle since she left?

405
00:22:35,359 --> 00:22:37,920
Speaker 14: Yes, I didn't say that. I saw her many times,

406
00:22:37,920 --> 00:22:41,119
but only quickly. I'd call her and tell her to

407
00:22:41,119 --> 00:22:46,079
come pick up little things I had for ah, things, presents.

408
00:22:46,359 --> 00:22:49,680
They weren't really from me. They were from this nice

409
00:22:49,720 --> 00:22:52,799
fellow that he must have liked Isabella a whole lot.

410
00:22:54,000 --> 00:22:54,880
You know how I know?

411
00:22:55,799 --> 00:22:59,240
Speaker 10: Tell me well, he'd bring her these things and make

412
00:22:59,319 --> 00:23:02,440
me promise not to tell Isabelle they were from him.

413
00:23:02,480 --> 00:23:06,000
He said he'd tell her when the time came, when

414
00:23:06,039 --> 00:23:11,799
he was ready to And I'd say, Charlie, ain't Charlie, Charlie.

415
00:23:11,400 --> 00:23:17,359
Speaker 14: Baker, nice fella. You know he made me tell Isabelle

416
00:23:17,400 --> 00:23:22,240
I was giving her those things. Look at me, what

417
00:23:22,400 --> 00:23:29,240
would I have to give a girl like Isabelle.

418
00:23:38,160 --> 00:23:40,000
Speaker 7: This is the first time I've been on a place

419
00:23:40,079 --> 00:23:43,599
like this, mister Clover, I've passed the jail many times.

420
00:23:43,400 --> 00:23:46,880
Speaker 2: When these are just the detention sells, mister Baker.

421
00:23:47,160 --> 00:23:51,880
Speaker 5: Detention cells, you mean they're not permanent. You're not sure

422
00:23:51,920 --> 00:23:52,559
about Fletcher.

423
00:23:52,759 --> 00:23:54,920
Speaker 2: Fletcher was picked up as a suspect, and that's still

424
00:23:54,960 --> 00:23:55,519
all he is.

425
00:23:56,400 --> 00:23:57,119
Speaker 5: He's a killer.

426
00:23:57,400 --> 00:23:58,119
Speaker 2: We'll find out.

427
00:24:00,200 --> 00:24:01,759
Speaker 5: I still don't know why I am here.

428
00:24:02,359 --> 00:24:03,960
Speaker 2: I want to put your story together with his.

429
00:24:04,359 --> 00:24:04,960
Speaker 5: How then you'll know.

430
00:24:05,160 --> 00:24:10,599
Speaker 2: Uh, then we'll know. Flat you're sleeping, are.

431
00:24:10,480 --> 00:24:11,720
Speaker 5: The conscience like his?

432
00:24:13,839 --> 00:24:15,720
Speaker 6: Look at him?

433
00:24:15,759 --> 00:24:16,079
Speaker 2: All right?

434
00:24:16,079 --> 00:24:20,759
Speaker 5: Come on, Fletcher, wake up, wake up? Killer on your.

435
00:24:20,599 --> 00:24:26,799
Speaker 2: Feet, brought you a visitor. Fletcher, Hi, jolly, Hi.

436
00:24:26,960 --> 00:24:30,079
Speaker 5: Charlie, Hi Charlie. That's what you gotta say to me,

437
00:24:30,880 --> 00:24:32,440
you my friend, killer?

438
00:24:33,319 --> 00:24:35,079
Speaker 2: Break it up? I said, break it up?

439
00:24:36,440 --> 00:24:40,640
Speaker 5: Yeah? What am I crazy? Dirty? My hands on him?

440
00:24:41,119 --> 00:24:42,880
You know what they got for you? Killer? A chair

441
00:24:43,559 --> 00:24:44,480
and you're gonna.

442
00:24:44,240 --> 00:24:44,680
Speaker 14: Sit in it.

443
00:24:44,799 --> 00:24:47,319
Speaker 2: Fletcher. I told Baker how it was between you and

444
00:24:47,400 --> 00:24:48,279
his wife, Lucilla.

445
00:24:48,680 --> 00:24:51,200
Speaker 6: I'm glad you did. We were going to tell him

446
00:24:51,200 --> 00:24:51,680
we didn't.

447
00:24:51,480 --> 00:24:52,000
Speaker 2: Get a chance.

448
00:24:52,240 --> 00:24:54,359
Speaker 5: Love a boy, kill a boy.

449
00:24:54,640 --> 00:24:55,519
Speaker 2: I didn't kill her.

450
00:24:55,640 --> 00:24:58,559
Speaker 5: Is that what he keeps telling you, mister Clover. That's

451
00:24:58,559 --> 00:24:59,960
why you just keep him in the detent.

452
00:25:00,880 --> 00:25:01,359
Speaker 2: That's right.

453
00:25:01,480 --> 00:25:02,160
Speaker 6: Look Charlie.

454
00:25:02,160 --> 00:25:02,920
Speaker 5: All right, I'm looking.

455
00:25:03,559 --> 00:25:07,119
Speaker 6: You got to understand, Charlie, about Lucille and me. I

456
00:25:07,160 --> 00:25:10,240
loved her, she loved me. If we could have worked

457
00:25:10,240 --> 00:25:11,319
it out, I would have married.

458
00:25:11,279 --> 00:25:13,880
Speaker 5: Loved her, loved Lucille.

459
00:25:14,680 --> 00:25:14,799
Speaker 14: You.

460
00:25:15,039 --> 00:25:17,519
Speaker 6: She wasn't a beautiful woman, Charlie. You know that she

461
00:25:17,680 --> 00:25:21,319
was a gentlewoman talking with a You weren't afraid of

462
00:25:21,319 --> 00:25:22,119
the world anymore.

463
00:25:22,960 --> 00:25:24,839
Speaker 5: Well, Fletcher, if that's what she did to you, that's

464
00:25:24,839 --> 00:25:25,799
what she did to you.

465
00:25:25,920 --> 00:25:28,039
Speaker 2: Didn't she do that to you? Baker? You were pretty

466
00:25:28,039 --> 00:25:29,119
broken up when she died.

467
00:25:29,160 --> 00:25:32,079
Speaker 5: Did you ever have a wife who was murdered, mister Clover? No,

468
00:25:33,799 --> 00:25:37,599
then don't tell me how that should feel. You and

469
00:25:37,680 --> 00:25:38,640
my wife are fletch.

470
00:25:38,839 --> 00:25:40,680
Speaker 6: I didn't kill her. I swear I didn't kill her.

471
00:25:40,720 --> 00:25:43,640
Speaker 7: Childe Yeah, sure, sure, sure. What happened last night, Fletcher?

472
00:25:43,680 --> 00:25:45,799
Lucille wave you goodbye and you let your emotions run

473
00:25:45,839 --> 00:25:48,319
away with you. It was all over and you couldn't

474
00:25:48,319 --> 00:25:49,960
remember a thing. So you say you didn't kill her?

475
00:25:50,039 --> 00:25:51,319
Speaker 2: Is that what happened, mister Fletcher?

476
00:25:51,400 --> 00:25:53,200
Speaker 6: I told you what happened. Get him out of here.

477
00:25:53,240 --> 00:25:55,599
Speaker 2: Just a few more things about a girl who worked

478
00:25:55,599 --> 00:25:57,720
at your office. Also murdered Isabelle Mitchell.

479
00:25:57,799 --> 00:26:00,000
Speaker 5: You had your hands full last night, didn't you.

480
00:26:00,160 --> 00:26:00,440
Speaker 2: Killer?

481
00:26:00,519 --> 00:26:01,839
Speaker 6: I asked you get him out of here.

482
00:26:01,880 --> 00:26:05,000
Speaker 2: No, I want him to hear something. There's another way

483
00:26:05,000 --> 00:26:08,640
this thing adds up. You could have killed your wife, Baker.

484
00:26:10,000 --> 00:26:13,480
Speaker 5: What are you talking about? Those is the party. Everybody

485
00:26:13,519 --> 00:26:14,799
knows that, everybody will watch for me.

486
00:26:14,839 --> 00:26:16,640
Speaker 2: I don't know a party like that, people coming in

487
00:26:16,680 --> 00:26:18,480
and out, nobody remembers much about anything.

488
00:26:18,519 --> 00:26:20,119
Speaker 5: You building something, mister Kloby.

489
00:26:20,880 --> 00:26:23,319
Speaker 2: You could have left the party long enough to kill

490
00:26:23,319 --> 00:26:25,559
your wife, then go back to it. No one would

491
00:26:25,559 --> 00:26:27,960
have known the difference. Then play drunk, have a friend,

492
00:26:28,000 --> 00:26:29,960
take your home, find your wife dead.

493
00:26:31,279 --> 00:26:34,079
Speaker 6: Have a seat, Charlie, you might as well as cats.

494
00:26:34,079 --> 00:26:35,240
Take a little while to get used to me.

495
00:26:35,400 --> 00:26:35,599
Speaker 4: Listen.

496
00:26:36,079 --> 00:26:39,119
Speaker 2: Then early the next morning, cry on my shoulder. Be released,

497
00:26:39,119 --> 00:26:41,799
go around to Isabel's place and whispered, who were the

498
00:26:41,839 --> 00:26:43,519
happy news about your wife's being dead?

499
00:26:43,559 --> 00:26:44,920
Speaker 5: You're crazy? Why would I go to her?

500
00:26:45,079 --> 00:26:48,279
Speaker 2: Because you were crazy about her? Crazy about her?

501
00:26:49,039 --> 00:26:49,519
Speaker 5: Isabelle?

502
00:26:52,599 --> 00:26:54,519
Speaker 6: Isabel?

503
00:26:54,720 --> 00:26:55,680
Speaker 5: What are you laughing at?

504
00:26:55,920 --> 00:26:59,640
Speaker 2: He's right, Fletcher, You shouldn't laugh. Mister Baker was crazy

505
00:26:59,640 --> 00:27:01,559
about it. Isabel gave her present. What are you talking

506
00:27:01,559 --> 00:27:04,519
about on the sly. Isabel didn't even know where they

507
00:27:04,519 --> 00:27:07,160
came from. After you've gotten rid of your wife, you

508
00:27:07,200 --> 00:27:09,920
could tell her how Baker, but she wouldn't have any

509
00:27:09,960 --> 00:27:11,680
part of you. You killed her.

510
00:27:15,240 --> 00:27:21,359
Speaker 6: Love with Isabel her a girl like that, Oh Charlie,

511
00:27:21,400 --> 00:27:25,119
you stupid man, A girl like that when you had

512
00:27:25,160 --> 00:27:25,799
your own wife.

513
00:27:25,799 --> 00:27:27,400
Speaker 2: Shut up, shut up up.

514
00:27:29,079 --> 00:27:32,240
Speaker 5: Isabel was sweetened, she was wonderful. You know how. I

515
00:27:32,279 --> 00:27:35,160
know she wouldn't look at me because I was married.

516
00:27:35,599 --> 00:27:37,240
That's the kind of a girl she was. She was good.

517
00:27:38,000 --> 00:27:39,680
I killed my wife for her, and she took pity

518
00:27:39,720 --> 00:27:39,880
on me.

519
00:27:39,960 --> 00:27:41,799
Speaker 2: She was good, but she still wouldn't look at you.

520
00:27:41,880 --> 00:27:42,599
So you killed her.

521
00:27:42,680 --> 00:27:45,880
Speaker 7: Yeah, yeah, that's right. I had no more to live for.

522
00:27:46,519 --> 00:27:49,319
Why should she go on living? Why should somebody else

523
00:27:49,359 --> 00:27:51,640
have her? Who else would have done for her what

524
00:27:51,680 --> 00:27:52,640
I did for nobody?

525
00:27:52,680 --> 00:27:53,079
Speaker 6: Trust me?

526
00:27:55,960 --> 00:28:16,359
Speaker 13: But she didn't want me. She had to die.

527
00:28:20,559 --> 00:28:24,480
Speaker 2: It's an enchanted island, this broadway, or a desert of dust.

528
00:28:25,640 --> 00:28:28,960
Look at it, and it's a magician's pitch with golden

529
00:28:28,960 --> 00:28:33,240
mirrors and fountains that plume with jewels. Then you blink,

530
00:28:33,880 --> 00:28:38,400
it all dissolves. It's a crumbling wall. Corroded with pain.

531
00:28:40,079 --> 00:28:46,200
It's Broadway, the gaudiest, the most violent, the lonesomest mile

532
00:28:46,279 --> 00:28:51,200
in the world, Broadway My Beat.

533
00:29:06,960 --> 00:29:11,119
Speaker 3: Broadway's My Beat stars Larry Thor as Detective Danny Clover,

534
00:29:11,400 --> 00:29:15,240
with Charles Calford as Tartaglia and Jack Krushan as Muggovin.

535
00:29:15,759 --> 00:29:18,799
The program was produced and directed by Elliot Lewis, with

536
00:29:18,960 --> 00:29:23,039
musical score composed and conducted by Alexander Courage. Featured in

537
00:29:23,079 --> 00:29:27,640
tonight's cast were William Conrad, Harry Bartel, Peggy Weber, Lou Merrill,

538
00:29:27,759 --> 00:29:36,240
and Herb Butterfield. All the best fun making from Arthur

539
00:29:36,279 --> 00:29:39,960
Godfrey's daytime shows on CBS Radio. That's what you hear

540
00:29:40,000 --> 00:29:42,799
every Sunday afternoon on most of these stations when King

541
00:29:42,880 --> 00:29:46,759
Arthur Godfrey and his Roundtable hold court. Here tomorrow afternoon.

542
00:29:47,039 --> 00:29:49,799
And remember to enjoy King Arthur Godfrey and his Roundtable

543
00:29:49,880 --> 00:29:56,359
every Sunday afternoon on CBS Radio. Bill Anders speaking, and

544
00:29:56,480 --> 00:29:59,599
remember those lovable rascals Amos and Andy are here every

545
00:29:59,640 --> 00:30:14,480
Sunday day on the CBS Radio network.

546
00:30:53,559 --> 00:30:58,359
Speaker 1: Welcome back, well Uh solo performance from William Conrand. I

547
00:30:58,400 --> 00:31:03,480
think this might be our first time hearing Conrad on

548
00:31:03,559 --> 00:31:06,640
Broadways My Beat. I don't think he's been on before,

549
00:31:07,079 --> 00:31:11,079
particularly compared to others like Butterfield and Near who are

550
00:31:11,119 --> 00:31:14,640
on frequently, but he always does well with this top

551
00:31:14,880 --> 00:31:18,240
of character. One thing I was thinking as I was

552
00:31:18,400 --> 00:31:23,279
listening to the episode is that it's interesting how they

553
00:31:23,400 --> 00:31:28,119
try to make this really connect with the audience as

554
00:31:28,720 --> 00:31:33,160
real or true in a way despite some of the

555
00:31:33,480 --> 00:31:38,839
over the top situations. It is really through keeping the

556
00:31:38,880 --> 00:31:43,759
show grounded in time, and this is somewhat unique a

557
00:31:43,960 --> 00:31:49,160
degree to which Broadways My Beat pretty much follows the

558
00:31:49,359 --> 00:31:55,319
calendar of the listeners very consistently week after week. Generally,

559
00:31:56,000 --> 00:31:59,200
if in an old time radio program you're going to

560
00:31:59,519 --> 00:32:04,319
reference Christmas preparations, but this isn't a Christmas episode, and

561
00:32:04,359 --> 00:32:08,799
it's not your last episode before Christmas, you're just gonna

562
00:32:08,920 --> 00:32:12,039
kind of nod to it, make a comment about Christmas

563
00:32:12,119 --> 00:32:16,279
presents or something, and move on. But really, each week,

564
00:32:17,200 --> 00:32:22,440
the narration does this job of establishing the atmosphere as

565
00:32:22,559 --> 00:32:27,799
this is something that is happening right now this particular case,

566
00:32:28,440 --> 00:32:31,519
to bring it home to the audience. It's very different

567
00:32:31,720 --> 00:32:39,119
from Dragnet, where episodes can essentially happen at any time

568
00:32:39,440 --> 00:32:44,640
of the year. Now, while Dragnet did a regular Christmas

569
00:32:44,720 --> 00:32:49,400
episode each year, there are quite a few episodes that

570
00:32:49,559 --> 00:32:53,480
were set at Christmas when a crime occurred, where it's

571
00:32:53,599 --> 00:32:56,720
not in any sense of the word, a Christmas episode,

572
00:32:56,960 --> 00:33:00,519
And when you get dates, they can essentially be any

573
00:33:00,640 --> 00:33:03,839
time of the year. Now, I think that doesn't create

574
00:33:04,000 --> 00:33:07,319
problems for dragging that for a couple of reasons. First,

575
00:33:07,799 --> 00:33:11,880
it is telling a true case, It's not necessarily following

576
00:33:12,240 --> 00:33:17,160
a calendar. Events can take several months. It's also helped

577
00:33:17,160 --> 00:33:22,359
by the fact that I think, particularly to people outside

578
00:33:22,559 --> 00:33:27,680
of Los Angeles, it seems like a place with less

579
00:33:27,880 --> 00:33:33,400
changes in weather at least you know, seasonal changes, so

580
00:33:33,640 --> 00:33:36,559
no matter what time of year it is, you're not

581
00:33:36,759 --> 00:33:40,680
going to be dealing with snow for example. And other

582
00:33:40,799 --> 00:33:46,359
programs are often somewhat silent when it comes to weather

583
00:33:47,039 --> 00:33:51,400
or seasons unless it's relevant to the plot or perhaps

584
00:33:51,440 --> 00:33:57,279
to establishing atmosphere in a particular episode. You could pretty

585
00:33:57,359 --> 00:33:59,960
much put most of them at any time of the year,

586
00:34:00,599 --> 00:34:05,039
unless you're imagining big amounts of snow on the ground.

587
00:34:05,319 --> 00:34:10,960
And the case works with Broadways my beat, it seems

588
00:34:11,000 --> 00:34:13,800
to be a decision that what they're going to try

589
00:34:13,840 --> 00:34:17,679
to communicate to the audience is that this doesn't happen

590
00:34:17,719 --> 00:34:22,760
in some nice sort of stage. The setting of Broadways

591
00:34:22,840 --> 00:34:26,440
my Beat has a setting that's not some neat stage

592
00:34:26,639 --> 00:34:30,519
for a mystery to play out. It is a real

593
00:34:31,000 --> 00:34:36,880
living location with cycles and seasons and quirks that moves

594
00:34:37,320 --> 00:34:40,880
just like the place you live. So it's a very

595
00:34:40,920 --> 00:34:45,559
interesting approach and just to my mind, I can't think

596
00:34:45,840 --> 00:34:49,400
of many other shows that quite do it this way.

597
00:34:50,119 --> 00:34:53,159
All right, well, now it's time to think. Our Patreon

598
00:34:53,239 --> 00:34:57,719
supporter of the day. Thank you to Sergey, Patreon supporter

599
00:34:57,920 --> 00:35:02,440
since May twenty twenty, currently supporting the podcast at the

600
00:35:02,880 --> 00:35:05,880
shawmus level of four dollars or more per month. Thanks

601
00:35:05,920 --> 00:35:09,800
so much for your support, Surgey. That will do it

602
00:35:09,880 --> 00:35:13,559
for today. If you're enjoying the podcast, please follow us

603
00:35:13,840 --> 00:35:18,559
using your favorite podcast software and be sure to rate

604
00:35:18,599 --> 00:35:22,320
and review the podcast wherever you download it from. We

605
00:35:22,400 --> 00:35:27,239
will be back next Wednesday with another episode of Broadways

606
00:35:27,360 --> 00:35:32,559
My Beat. Join us back here tomorrow for dragnetwhere let.

607
00:35:32,519 --> 00:35:34,639
Speaker 2: Us check in you. Yeah, I'm back work.

608
00:35:34,679 --> 00:35:35,119
Speaker 9: I find this.

609
00:35:35,280 --> 00:35:37,519
Speaker 15: Would you please explain what this is about? Why you

610
00:35:37,639 --> 00:35:40,039
brought me down here? We think you know what I don't.

611
00:35:40,079 --> 00:35:42,360
I haven't any idea take me away from my store

612
00:35:42,400 --> 00:35:44,400
on a busy day. You put a police guard on it,

613
00:35:44,480 --> 00:35:46,559
you insist on bringing me down here. What's it all about?

614
00:35:46,599 --> 00:35:48,840
Speaker 2: Tell me know you tell us, mister Gravey, tell you

615
00:35:48,840 --> 00:35:51,440
about what jewel robbery nine months ago? That hold up?

616
00:35:51,559 --> 00:35:52,199
What hold up?

617
00:35:52,199 --> 00:35:54,679
Speaker 15: My store hasn't been talking about your friend Thomas Ashley?

618
00:35:55,039 --> 00:35:57,320
Speaker 2: Ashley, what about him? I think you remember it nine

619
00:35:57,320 --> 00:35:59,199
months ago, parking lot back of the building down on

620
00:35:59,239 --> 00:35:59,719
Poy Street.

621
00:36:00,119 --> 00:36:03,400
Speaker 15: Oh sure, some hold up man slugged him, stole his cases, samples.

622
00:36:03,440 --> 00:36:06,559
I remember it now. Before Tom he've made a big haul,

623
00:36:06,639 --> 00:36:09,239
didn't he on set diamonds twenty thousand dollars worth? I

624
00:36:09,280 --> 00:36:11,599
remember it now. I don't think Tom's gotten over it yet.

625
00:36:12,159 --> 00:36:14,199
It was a jewelry salesman for the same company at

626
00:36:14,199 --> 00:36:16,559
the time, you know, same company Tom was working for him. Yeah,

627
00:36:17,400 --> 00:36:19,280
some of the big bosses thought Tom had a hand

628
00:36:19,320 --> 00:36:21,079
in it. I figured it was a put up job.

629
00:36:21,239 --> 00:36:24,280
Nothing was further from the truth. So sure I know Tom.

630
00:36:24,320 --> 00:36:26,559
He's a close friend of mine. He wouldn't be mixed

631
00:36:26,599 --> 00:36:28,679
up in a deal like that. Tom and I worked

632
00:36:28,679 --> 00:36:30,480
out of the same office for years, We've had him

633
00:36:30,480 --> 00:36:33,239
over the house for dinner. We've even been on vacations together.

634
00:36:33,280 --> 00:36:34,880
It's one of the most honest men I know. We're

635
00:36:34,920 --> 00:36:35,639
sure of all the sun.

636
00:36:36,000 --> 00:36:38,480
Speaker 2: Of course, I'm sure that isn't why you called me

637
00:36:38,519 --> 00:36:38,960
down here?

638
00:36:39,039 --> 00:36:39,159
Speaker 12: Is it?

639
00:36:39,280 --> 00:36:41,360
Speaker 2: You don't think Tom had anything to do with it robbery?

640
00:36:41,400 --> 00:36:42,960
Did you? You don't think he was in on it?

641
00:36:43,000 --> 00:36:44,159
He had nothing to do with it. I think you

642
00:36:44,199 --> 00:36:45,119
know that as well as we do.

643
00:36:45,320 --> 00:36:47,119
Speaker 15: When why am I here? There's nothing I can tell

644
00:36:47,119 --> 00:36:49,320
you about the hold up? Only what I heard from Tom,

645
00:36:49,400 --> 00:36:50,760
what I read in the note. You can tell us

646
00:36:50,800 --> 00:36:53,079
a lot more, Garvey. We didn't bring here just past

647
00:36:53,079 --> 00:36:55,679
time a day Tom was slug and his sample cases

648
00:36:55,719 --> 00:36:58,119
stones were taken. That's all I can kill a liar, mister.

649
00:36:58,320 --> 00:37:00,079
Speaker 2: What you engineered? The whole thing? We know it, and

650
00:37:00,159 --> 00:37:00,519
so do you.

651
00:37:00,920 --> 00:37:03,159
Speaker 1: I hope you'll be with us then in the meantime.

652
00:37:03,400 --> 00:37:07,960
Send your comments to Box thirteen at Great Detectives dot NN,

653
00:37:08,559 --> 00:37:11,880
follow us on Twitter at Radio Detectives, and check us

654
00:37:11,920 --> 00:37:18,320
out on Instagram, Instagram, dot com slash Great Detectives from Boise, Idaho.

655
00:37:18,639 --> 00:37:21,400
This is your host, Adam Graham signing off