September 24, 2025 • 39 mins
Today's Mystery: A terminally ill man is stabbed to death.
Original Radio Broadcast Date: December 1, 1950
Originating from Hollywood
Starring: Larry Thor as Lieutenant Danny Clover; Charles Calvert as Sergeant Gino Tartaglia; Jack Kruschen as Sergeant Muggavan; Lou Merrill; Mary Lansing; Lillian Buyeff; Paul McVeigh; Byron Kane
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Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715
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Give us a call at 208-991-4783
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Join us again tomorrow for another detective drama from the Golden Age of Radio.
Original Radio Broadcast Date: December 1, 1950
Originating from Hollywood
Starring: Larry Thor as Lieutenant Danny Clover; Charles Calvert as Sergeant Gino Tartaglia; Jack Kruschen as Sergeant Muggavan; Lou Merrill; Mary Lansing; Lillian Buyeff; Paul McVeigh; Byron Kane
Support the show monthly at https://patreon.greatdetectives.net
Patreon Supporter of the Day: Mike, Patreon supporter since March 2023
Support the show on a one-time basis at http://support.greatdetectives.net.
Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715
Take the listener survey at http://survey.greatdetectives.net
Give us a call at 208-991-4783
Follow us on Instagram at http://instagram.com/greatdetectives
Follow us on Twitter @radiodetectives
Join us again tomorrow for another detective drama from the Golden Age of Radio.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:28):
Welcome to the Great Detectives of Old Time Radio from
voice Adahol. This is your host, Adam Graham. In a moment,
we are going to be bringing 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
(00:49):
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In addition, you can become one of our ongoing Patreon
supporters for as little ass two dollars for a month.
Just go to Patreon dot Great Detectives dot net now.
(01:13):
From December one, nineteen fifty, here is the Kenneth Mitchell
murder case.
Speaker 2 (01:30):
Broadways maybe from Times Square to Columbus Pickles. The gaudiest,
the most violent, the lonesomest mile in the world, Broadways
might be with Larry Thora's Detectives Nanny Clover. It glitters
(02:02):
on Broadway, a glimpse of pavements, the brilliance of steel,
the scarlet neon. It glitters, then shatters against the black
of winter's winds. Then the shrapnel of color screams winds
through the darkness, and you run through it. Yeah, the
fragments close to be pierced by the splintered edge of beauty.
Will they ride the wind? You look at your hands
(02:23):
that have reached in the shadows, find they hold a sigh,
the stain of a tear. Broadway observes you. Broadway laughs,
You pretend it never happens. Then, warmed by the touch
of the afternoon sun, Broadway relent offers you its token
of regret. The man lying with a knife in his
(02:45):
back in an apartment on West fifty six, lately furnished
with death and another man touching things, flitting things, replacing
him quietly. Even when he talks, he is quiet so
that the dead may hear.
Speaker 3 (02:57):
The car came while you were at to lunch, Danny,
I couldn't find you. They told me to take it,
and there.
Speaker 2 (03:01):
Was the mugamm Jnneth Mitchell rented this place about three
days ago.
Speaker 3 (03:06):
Super told me he was a very quiet man.
Speaker 2 (03:08):
Model Tennant.
Speaker 4 (03:08):
Wished he had more like and find Anovan your boyman
to the quiet man. Some books, a few magazines that
two suits of clothes, the one he's wearing another in
the closet three shirts. When I came in, the radio
was playing some classical music.
Speaker 2 (03:24):
I turned it off and nothing else. Yeah, something else?
Speaker 3 (03:27):
Come on, I'll show you in the next room then,
Miss Danny, this lady, Miss Ruth Corey, come in.
Speaker 2 (03:40):
You were here when Detective Magaphone arrived, Miss Corey.
Speaker 5 (03:43):
Yes, I called the police. I waited. I didn't want
Kenneth to be alone.
Speaker 3 (03:48):
Miss Corey told me she found him like that last
night when she came.
Speaker 2 (03:51):
To visit him for the time. Last night, Miss Corey, I.
Speaker 6 (03:54):
Was to come back to Kennid at eight we were
going for a walk.
Speaker 5 (03:57):
I was late. How fifteen twenty minutes? I know, because
I didn't.
Speaker 6 (04:02):
Want to be late.
Speaker 3 (04:03):
That's right, Danny, kids wantn't you stop?
Speaker 6 (04:05):
At eight twenty? Must have shattered when he self.
Speaker 2 (04:07):
And you found him like that's the way he is
in the front room.
Speaker 6 (04:10):
Yes, I'm not. Kenneth didn't answer.
Speaker 5 (04:15):
Sometimes Kenneth fell asleep, just like that, sleep would.
Speaker 6 (04:18):
Come over him. I never woke in. I wait, just
look at him and wait.
Speaker 2 (04:25):
Do you have a key?
Speaker 6 (04:26):
No, the door was open and I walked in.
Speaker 5 (04:28):
I've done it before.
Speaker 2 (04:29):
Didn't call anyone, ask for help. No, I had you
wait so long as Greys Cory. I asked you something,
Why did you wait so long to call us?
Speaker 5 (04:39):
Because I loved him, because I wanted him to myself
for as long as it.
Speaker 6 (04:46):
Because we never had very much.
Speaker 2 (04:48):
Time for an instant time for that restared at each other.
Because I'm all in touch with far away sounds, sudden recognition,
the girl, her eyes feverish, her cheeks too red, the
languid movement of her hands, the quality of sickness that
was forever part of Ruth Carey in the news sounds.
(05:13):
The men from headquarters who were the statisticians of violent deaths.
I went into the next room and nodded to them,
told Maugaman to get a doctor from Miss Carey. Then
I left. Inquire into the manner and cause of dying
of a man named Kenneth Mitchell. Consult this record in
that come up with facts. Kenneth Mitchell lived on West
(05:34):
eighty six feet. Kenneth Mitchell had a wife. Go there,
Just tell.
Speaker 7 (05:38):
Me one thing, mister Kolbert. I want you to tell
me the truth. I don't want you to spare me.
I have to know we had a life together Kenneth
and NS Mitchell. Much of one I made myself suffer
with Kenneth.
Speaker 6 (05:51):
I thought that way we could be closer now that
the dang you got to tell me? Was that pain?
Speaker 7 (05:58):
No, I don't think so, no pain, I said, they
would be. I've read about it. You're see in most
cases they think.
Speaker 2 (06:05):
Well, understand what you're talking about.
Speaker 7 (06:07):
Death of my husband.
Speaker 2 (06:08):
That's right. He was stabbed at death, you said, I said,
I was a little police.
Speaker 7 (06:14):
He told me Kenneth was dead.
Speaker 6 (06:15):
I didn't hear what else.
Speaker 2 (06:17):
Stabbed it in an apartment on was fifty sixty.
Speaker 6 (06:20):
Dead, Kenneth no more done. They didn't know that.
Speaker 2 (06:28):
Finally, you expected Kenneth to die.
Speaker 6 (06:31):
I wanted to be there.
Speaker 7 (06:32):
I made him a promise that I would be near him,
and the doctor told me he didn't have a chance.
I told Kenneth when the time came, I'd be with him.
Speaker 2 (06:41):
The husband was that sick dying, And the.
Speaker 7 (06:44):
Doctor called me and told me he left the sanitarium
or sanitary the lungs the sanitarium on the river.
Speaker 6 (06:49):
Kenneth used to watch the river, and I'd got to
visit him. We sit on the porch.
Speaker 7 (06:54):
Knew he used to love watching the river because he
never talked to me.
Speaker 6 (06:58):
Tried saying things.
Speaker 8 (07:00):
After a while, I just sat there until the nurse
came told me to go.
Speaker 2 (07:04):
He said, your husband left the sanitarium, walked out.
Speaker 9 (07:07):
Can you imagine him doing anything.
Speaker 6 (07:09):
Like that to me? Somebody was sick. He didn't know
what he was doing here.
Speaker 2 (07:15):
She didn't know your husband was murdered.
Speaker 6 (07:18):
I should have been there, cheated me a bit.
Speaker 2 (07:20):
Now, a girl named Ruth Corey.
Speaker 6 (07:22):
No, no, I don't think so.
Speaker 7 (07:24):
Where she lived, yes, ned, I would have helped told
him it was all right, not to be frightened.
Speaker 6 (07:34):
Cheated me.
Speaker 2 (07:38):
I couldn't get through to her anymore. When I asked
where she was at eight twenty last night, she said
she didn't know. If she really didn't know. Walking around
the neighborhood, she supposed she always did that at night.
I thank her, but she didn't hear me. So I
left her to her own particular brand of Greek h
(08:02):
more lake work than the sanitarium on the East River.
Walked softly behind a red lipped nurse whose footsteps set
up an echo down the long corridor. He got ushered
into a small office and introduced to doctor Nestor, who
lights a cigarette from the one he's just finished.
Speaker 10 (08:17):
And no cigarette companies asked me which brand I smoke?
Speaker 2 (08:20):
Do you careful?
Speaker 11 (08:21):
When?
Speaker 2 (08:21):
Thanks?
Speaker 6 (08:22):
Right?
Speaker 10 (08:26):
Well, now that we've done the civilized things, what brings
the police to see?
Speaker 2 (08:29):
Doctor? Mister? We found a boy murdered several hours ago.
Name is Kenneth Mitchell.
Speaker 10 (08:33):
You're talking literally, of course he was murdered, that's right,
stab And you found out Kenneth was a patient here
and that.
Speaker 2 (08:39):
He walked out of you three days ago. Who's standing, Ruth?
How do you know? Ruth? She was a patient here,
walked out with kenned What happened? Kenneth was married and
so was Ruth Carr. They met here at the sanitarium.
Speaker 10 (08:51):
They were lucky. They had one thing in common. It
would never change. They were both dying.
Speaker 2 (08:56):
They fell in love.
Speaker 10 (08:57):
The fact that they were already married is no concern
of mine. They lived over the small part of their
lives on the outside. Whatever they left there, they left.
Speaker 6 (09:05):
They made that.
Speaker 10 (09:06):
Decision as the doctor. I respected it. I see, try
to understand it. Did Did Ruth kill it?
Speaker 2 (09:14):
We don't know. I'm trying to find out who else
for that motive? Have you seen Ruth's husband? No?
Speaker 10 (09:19):
They live on Park Avenue. I'd have a nurse get
the address. I'd seen mister Corey. He was the part
of Ruth's life. She left outside. Perhaps she was happy.
Speaker 6 (09:29):
She did.
Speaker 2 (09:42):
Look you over, Danny's over. You guys have names. It's
a revelation to me. Loud mouths, loud feet that I
know about. I told you I want to talk to
missus Corey, you too, show you Come on. I'll take
you to Rusie and talk to her. Yes, she is,
(10:02):
talk to her. She's asleep, asleep. Want me to wake
her for you? You with the name, I'll do that
or sleep. Thanks, she got a big heart. Go back
to the other room. We stay here because there are
things I've got to do for Ruth like this, like
cooling her brow with a damn clock. But easy, so
she'll think it's a dream like this. I'll come back.
(10:25):
He said, you wanted to talk to me too. I'm
a busy man running after money. Takes all my time.
You better grab me while you can. A man was
murdered last night. I know Ruth. She told me all
about it, how she sat up to the night with
him him dead. Didn't touch me at all, if I
remember right, I laughed, m I laughed. You can ask Ruth.
(10:47):
You knew a Kouneth Mitchell, sure, but never close enough
to touch him with my hands. He was sick, but
you knew it. M do something for me. Ruth's comb
on the dresser, Give it to me. I want to
comb her head here, thanks blank silk. I'm pure. So
(11:08):
you're going to tell me about Kinneth Mitchell. Sure, see, Ruth,
you see the way she is. Mitchell did this to her.
How she was on her way to getting well because
I bought that for anything she wants, I'd buy for
she was getting well. I tell you when miss Mitchell
tried to kill her all over again, the doctor told
me there was nothing that could be done for her.
Thanks to Mitchell. Mitchell thought he had something in Ruth.
(11:30):
I don't know what. Maybe a sick man likes to
rub a piece of life whenever he can, even from Ruth.
That's what made me laugh when she told me he
was dead. Yeah, that's it, because nothing belongs to me.
Mitchell was murdered last night. You'll tell me where you were.
It took you a long time, didn't it. I was
(11:52):
with my lawyer, go ask I pay him fat to
handle things like this, what lawyer or Gordon Horner twelve,
nineteen sixtieth. He handles my money, he handles my alibis.
Oh shut the door asaff when you go out. Huh,
(12:22):
that's what is it? My name is Danny Clover from
the police. What about it?
Speaker 9 (12:26):
The cap and the V said it's all right if
I packed my car of a night in front of
the house. I've been doing it for a year. Cops
started to talk to each other. Before you're in door,
doll there's a matter with you.
Speaker 2 (12:35):
Are you through talking? Must be news? Your name Horner?
Here it is Walter Corey told me to look.
Speaker 9 (12:41):
Up mister Curry did then why don't you come in.
Speaker 2 (12:45):
In here? Told me? Mister Curry said, so imagine all.
Speaker 9 (12:49):
That turk outside, or it's cold and there's a fire
patient here, and.
Speaker 2 (12:54):
That's what is your job with? Mister Corey there his lawyer.
How long you've been working for him? Is the minute?
Speaker 9 (12:58):
He made a million dollars one one pm at the
Curve Exchange in Wall Street, December twelfth, nineteen thirty.
Speaker 2 (13:05):
Eight, tweet futures.
Speaker 9 (13:07):
I introduced myself and he said you're hired as they
pay your well. I'm going to ford my whims. That's
more than most men can say.
Speaker 2 (13:14):
Would you lie for him? I have, and we'll even
if it concerns murder. And let me think about that
for a moment.
Speaker 9 (13:23):
There's a dot board you can throw dot.
Speaker 2 (13:25):
Let me think, would you like that?
Speaker 9 (13:29):
Would you just rather stare at that interesting dot?
Speaker 2 (13:31):
Get off it on him?
Speaker 9 (13:32):
I asked your question, why wouldn't I give a concerned murder?
Speaker 2 (13:35):
All right? Did you see mister Corey last night?
Speaker 7 (13:38):
I did.
Speaker 9 (13:39):
He told me to meet him at Grand Central and
I did.
Speaker 2 (13:41):
We had about two week.
Speaker 9 (13:41):
We spent about an hour together talking business.
Speaker 2 (13:43):
I timed to meet him.
Speaker 9 (13:44):
Oh, listen to me, mister Clover. I don't know what
you're trying to get out of me, but I know
it was eight twenty. There was a clock in the
window of the store. I set my watch by it
eight two oh eight twenty.
Speaker 2 (13:57):
I guess that's all. Oh, you don't have to leave.
Speaker 9 (13:59):
There's a game I'm make up for the dot for
you didn't show it.
Speaker 5 (14:02):
Huh.
Speaker 2 (14:04):
Oh, well, there's always silent. The lawyer ushered me to
the door, tried to take my hand to shake it.
He never made it. Then the walk in the quiet
streets across sixties to the park, the dark wind sweeping
(14:26):
the autumn leaves, gathering them in the gutters at night,
walk down Park and passed Dorman putting lights and potted trees.
And consider molted at Alibi. Consider why someone needed a
dying man dead his wife, the girl Ruth, her husband
was going to buy life back for toward Grand Central.
Now the intrusion of the sounds of night.
Speaker 9 (14:47):
Metallic creeping of the leaves, the deep cry of steel
hurtling out.
Speaker 2 (14:51):
Of the earth. Then another sound, sound of hair through
flesh grips, and then explodes. It exploded a woman's scream,
and you were listening to Broadways My Beat, written by
(15:28):
Morton Fine and David Friedkin and starring Larry Thor as
Detective Danny Clover. The wind comes up from the river
and twists the headline around an ankle, lifts it up again,
flattened it against the gutter, looked down at it and
(15:49):
stare not at the big one, the smaller one there
almost burned by the cigarette button. Man murdered it, says
lean closer. Kenneth Mitchell stabbed to death. And apartment on
what fifty sixth Street, and the part of it almost charred.
Officer in charge of case shots down, then trug walk on.
Tomorrow is another day. You'll spend it at the foot
(16:11):
of the rainbow. Sure, as far as I was concerned,
I had to consider the officer in charge of the case,
the man who was dropped down me, and the two
men near me trying to help.
Speaker 9 (16:27):
Em in that battle to tag.
Speaker 3 (16:30):
Bobble No, No, not that one, the other one.
Speaker 9 (16:32):
The brown one, Brown Bob Yeah, thank you.
Speaker 3 (16:39):
Hold on to the edge of the table, Danny, go ahead.
Speaker 2 (16:44):
Hold on, Just take it easy.
Speaker 3 (16:46):
Look, Danny, a bullet grate. Just go be thankful that
you can still feel pain.
Speaker 2 (16:51):
Well, just don't hurt him doctor.
Speaker 12 (16:53):
Just hold on, Danny.
Speaker 3 (16:58):
Okay, bandage you have hand me the bandage, you know.
Speaker 2 (17:02):
Bandage you you hurt much, Danny a headache, don't worry
about it. The scalpoon isn't very deep, you.
Speaker 9 (17:10):
Know, Danny.
Speaker 13 (17:11):
This is the same thing that made Mike Strech, the
miracle detective from Philadelphia, bag headed time after time he
got his scalp last days.
Speaker 2 (17:19):
You know my headaches? I told you.
Speaker 3 (17:20):
Does what happened, Danny, I don't know. Someone shot at
me a half inch.
Speaker 13 (17:24):
Slower and you would leave him alone his headache.
Speaker 2 (17:27):
Scissors scissors.
Speaker 3 (17:32):
Okay, doctor, okay, you are a man who has been
a half inch from death in a couple of months.
When the Bobra asks you what that scar is, tell
him that tried to laugh about that.
Speaker 6 (17:42):
Right to be, I'll get it.
Speaker 13 (17:48):
Gosh. Tag on the phone, Danny Clover, he's a no
condition to talk.
Speaker 2 (17:55):
Give me the phones, you know, phone, Nykover speaking.
Speaker 10 (18:02):
I think I can help you on the Kenneth Mitchell case.
He interested.
Speaker 2 (18:05):
I'm interested. I'm ten Lawson.
Speaker 1 (18:06):
I'm your cabinet shop, corner of thirty thirty eight.
Speaker 12 (18:09):
I'll be right down in a minute. I want to
give this cabin about it.
Speaker 10 (18:27):
Always look at it, miss the guy I brought out
the grain. See here and here run hand over the
That's beautiful, Mahogany, responds to my touching it. I mean,
I mean, I like working with wood ever since day fourth.
(18:48):
But I'm me Emmanuel training you, Ted Lawson.
Speaker 2 (18:50):
Yeah.
Speaker 10 (18:51):
Look, I wasn't trying to convince you how good I am.
There's lots of cabinet makers we all.
Speaker 2 (18:54):
I'm from the police dead.
Speaker 6 (18:56):
Oh you got here.
Speaker 2 (18:57):
Fans told us you had something on Kenneth Mitchell's murder.
How do you fit into Ruth?
Speaker 10 (19:02):
Corey is my sister and as she was until she
married it. Hey, you've been hurt, mister. I got a
couch in the back room. It's covered with sawdust. But
I could brush seen Ruth at the sanitarium a couple
of times. I brought her fruit, magazines, things like that.
It was maybe a year ago.
Speaker 2 (19:18):
You haven't seen her since.
Speaker 6 (19:19):
No.
Speaker 10 (19:20):
Corey wouldn't let me, said I upset her left orders.
I couldn't see her. That's why I called you, mister.
Why you got to get her away from that man.
Speaker 6 (19:28):
He'll kill her.
Speaker 2 (19:29):
She hasn't much time, mister. He'll burn it up so fast.
Speaker 10 (19:31):
You've got to take her away from him. You people
can do it that. I got a little house at Seagirt,
a block from the ocean. I lived there alone. I
can take care of Ruth, make it good for him.
Speaker 2 (19:40):
Got to you've got You won't do it, We can't ten.
Speaker 10 (19:46):
I forget it, forget I ever asked you for anything.
Speaker 2 (19:49):
Question. I've got to ask you to hurry up, mister.
I'm busy or wearrior the twenty last night, the time
Ruth fun I don't know.
Speaker 10 (19:56):
I was looking at the dead roller coaches.
Speaker 2 (19:58):
I'm cony.
Speaker 10 (19:58):
Maybe I watched the search forshing the dirt in the beach.
Speaker 2 (20:01):
Maybe I don't know. You knew Kenneth Mitchell.
Speaker 10 (20:03):
No, and I'll tell you something. He kept my sister
from getting well. Makes me feel good.
Speaker 6 (20:08):
He's dead.
Speaker 10 (20:10):
Take it, do something with it, mister. Like I said,
I'm busy.
Speaker 2 (20:28):
It hadn't helped merely out of another suspect. Ted lawson,
brother of Ruth Carey, a man who hated anyone who
could hurt his sister murder has an affinity for love
and hate. Back at headquarters, I checked reports item nothing
on the way about the Florence Mitchell at eight twenty
last night and Sundry other item negative, still in process
of being checked. Then a phone call to the home
(20:49):
of Ruth Carey. She wanted to see me. She wanted
to talk to me, She wanted to explain things to me.
Go there, meet missus Fabry, a nurse assigned to Ruth.
Not when she says it's a good time to talk
with mister Corey. Don't step that. Miss Fabri takes you.
You're a patient, rearranges the billows and smiles.
Speaker 8 (21:06):
Yeah, don't be depressed and refreshing.
Speaker 2 (21:10):
You look a lot better, Miss Cary.
Speaker 5 (21:11):
You don't have to do that, mister Clover, I know
how I look.
Speaker 8 (21:14):
If we don't like talking, Ruth, we don't have to.
Speaker 6 (21:18):
No.
Speaker 5 (21:18):
Please, do you think I killed Kenneth?
Speaker 2 (21:23):
You could have an old prince on the knife blade,
but I.
Speaker 5 (21:26):
Could have read them all. I was waiting for a
long time after he was dead.
Speaker 2 (21:30):
We know.
Speaker 6 (21:32):
The questions you want to ask me.
Speaker 1 (21:33):
I know that.
Speaker 6 (21:34):
Please me.
Speaker 2 (21:36):
I want to tell you this. Kenneth died at eight twenty.
The only one who has an alibie for that time
is your husband, your brother. Yes, he can't tell me
where he was when Kenneth died.
Speaker 6 (21:47):
Ted can't killed Kenneth. Do you think he could?
Speaker 2 (21:52):
Everyone can kill Yes, I know you.
Speaker 6 (21:56):
I love Kenneth.
Speaker 5 (21:58):
We ran away from the Senate Drrian to spend what
time we had left together. We didn't make any dreams
or plans, just to be with each other, spend the
rest of our lives with a love that couldn't.
Speaker 2 (22:10):
Grow old because I knew didn't killed it.
Speaker 6 (22:13):
When I wept seeing him lying there, I wept.
Speaker 5 (22:15):
For myself for the first time in my life. I
was sorry for myself because now I'd be without Kenneth.
Speaker 2 (22:23):
Sorry, miss Cary, you didn't answer.
Speaker 6 (22:25):
Oh killed Kenneth? Did you? No? Oh? I didn't give that. Oh.
Speaker 8 (22:38):
Perhaps we'd better go when I miss Clover shall be no.
Speaker 6 (22:43):
No, please stay here and talk to me. Talk to me.
Say Kenneth's name, saying she's dozed off.
Speaker 2 (22:59):
I'm sorry if I yes.
Speaker 11 (23:02):
Yes, we get tired so easily, we get worried about it.
Speaker 3 (23:25):
It's late, Danny. Why don't you go home? Give into
that head wounded?
Speaker 6 (23:28):
He is?
Speaker 3 (23:29):
I won't tell anybody.
Speaker 2 (23:30):
You checked on the girl's brother, Dad.
Speaker 3 (23:32):
Yeah, he was seen walking the beach of Coney Island,
several people.
Speaker 2 (23:35):
To you're good. Dad couldn't give me an alibi, but
you come up with one for him from several people.
Where do you find people like that?
Speaker 6 (23:42):
And Cooney?
Speaker 3 (23:42):
You can find anything you look for, Danny.
Speaker 2 (23:44):
The philosophy comes with it. Huh.
Speaker 3 (23:46):
The bullet must have touched your angry nerve, Danny. There's
several people with characters who won't give into winter. They
run hot dog stands, finished stands. They put out eagle
lions for customers from.
Speaker 6 (23:56):
Eight until nine.
Speaker 2 (23:57):
They threw out faith for loss, and he looked so hungry.
Speaker 3 (24:00):
Blossom didn't indulge in one tinische one hot dog. But
he was walking the beach at Tony from eight until
maybe nine thirty. The witnesses will be glad to testify.
When he left, they gave up. That's how they remarked
the time, it's still late, just still should go home?
Speaker 2 (24:17):
You through? Yeah, no way, I'm sorry.
Speaker 6 (24:20):
I opened my mouth.
Speaker 2 (24:21):
Ed lawson has an Albi Corey has one. Mitchell's wife,
what about her?
Speaker 3 (24:26):
I got one for her too, Danny. At eight twenty
she was buying cigarettes.
Speaker 2 (24:29):
At the candy Leaves.
Speaker 3 (24:33):
Ruth Corey got a mental block, dwn and give in
to it.
Speaker 2 (24:36):
It was Ruth Corey after all she ever had was Mitchell.
Well she you sorry, Michael, and you know.
Speaker 3 (24:43):
I know, I know a lot of things I don't
care to know. Want me to go place her under
he arrest, Danny, I said, do you want me to go?
Speaker 14 (24:51):
Danny?
Speaker 13 (24:52):
I brought you some hot bullion I cooked up myself,
and the bullion burning in technical hit ah ship it slowly. Anny,
you shouldn't make a ringing in the nagain. And while
you are so sipping, I will go over to the
window and give you a play by played description of
New York at night time.
Speaker 2 (25:08):
Yeah, dept.
Speaker 13 (25:09):
And the icy fingers of Jack Frost.
Speaker 2 (25:11):
New York. What time is it?
Speaker 13 (25:13):
It take twenty, Danny, it take twenty, so right down
on the clock.
Speaker 2 (25:17):
You're crazy later than that? What clock?
Speaker 13 (25:21):
You're the one hanging over there across the street.
Speaker 2 (25:23):
Over at jewelry store.
Speaker 13 (25:25):
What about it?
Speaker 2 (25:26):
Jewel has always set their display clocks to eight twenty.
Tell him the rast, Mogulin.
Speaker 8 (25:48):
Oh, hello, mister Clover, we came back, didn't.
Speaker 2 (25:52):
I come in?
Speaker 6 (25:53):
Please?
Speaker 2 (25:53):
Do I want to see mister Correy.
Speaker 6 (25:57):
I see this mister Corey.
Speaker 2 (26:01):
I want to see him alone.
Speaker 7 (26:02):
I don't think you, Mitch.
Speaker 2 (26:06):
I'll be right on.
Speaker 15 (26:09):
In other times, when painters tried to paint a scene
of vocal desolation, they chose the desert, eat the barren rocks,
and there would try the picture of man.
Speaker 2 (26:17):
And his great lots to carry. I want to talk
to you.
Speaker 15 (26:22):
But for a modern painter, the most desertate scene would
be a street in almost any of our great cities
on a Sunday afternoon.
Speaker 2 (26:31):
All right, keep your voice down. This is she's sleeping.
I'll cover it so she'll be warm you murdered Kenneth Mitchell.
Mister carry hand me that brush, the hair brush, handed
me my hair. Ruth likes me to brush your hair.
(26:51):
It's RESTful. Sleep, Ruth. Sleep and alibi your lawyer gave you.
It's pretty fortunate, wasn't it. Rude Mitchell was killed at
eight twenty. You met your lawyer sometime after that arrange
an alibi because you thought we couldn't set the exact
time of Kennistaff's sleep, but we did his watch Brooklyn.
You were going to get better, Ruthe. When your lawyer
(27:11):
met you saw a jeweler's clock Saturday twenty, you thought
it was the right time. Your alibi was great, Ruth.
We'll do all the places you wanted to go under
arrest stegory for murder, for attempting to murder me, do
the things you wanted to do. Ruth thought I would
see that clock in the window near Grand Central, but
I was only walking. I'll wait outside for you. If
(27:31):
you won't have to go back to that must little roote,
I will take care of you.
Speaker 6 (27:36):
I've been waiting here in Tocober. I thought you'd call me.
Speaker 2 (27:41):
When did it happen?
Speaker 8 (27:43):
I was with her she died half hour ago.
Speaker 2 (28:05):
Broadways Sleeping Now, the curious avenues of the night are
still only the sleepwalkers are there. Those who lost for
dreams are realities that never come true. The seekers, They're sudden,
the huggers close of nothing. It's Broadway, the most violent,
(28:26):
the lonesomer smile in the world. Broadway My Beat, Broadways
(28:47):
My Beat stars Larry Thors Detective Danny Plover with Charles
Califert as Starteglia. The program is produced and directed by
Elliot Lewis, with musical score composed and conducted by Alexander Courage.
Included in the night's cast were lou Merrow, Mary Sing,
Lillian Bias, Paul McVay, Byron Kine and Jack Prushan.
Speaker 16 (29:13):
Sonight NOTTPN presents You've been listening to some of the
best in radio dramas with Bibber McGee and Molly and
Broadway as My Beat. Join us again Monday evening at
the same time Mine Old Bot WHENPN presents Dragonts and
Escape Welcome Back.
Speaker 1 (31:15):
The motive for the attempt on Danny's life may have
been one of the better ones that we've heard, where
they go after the detective Now it's not particularly plausible.
I mean, Danny would have to just happen to look
at the clock and have that sort of aha, you know,
Sherlock Holmes, or that moment of recognition. But while it
(31:39):
might not be a rational thing to do, I think
that given the killer state of mind, it made perfect sense.
Now the deciding clue was really interesting as well. The
thing about the eight twenty time was not something that
I heard of, but it was something that was favor
(32:00):
for advertisements and for many stores because it gave the
clock a symmetrical look and it didn't obscure the logo
of the manufacturer. But modern ads favor the ten ten
time because it's also submetrical, but it has a more
positive psychological impact and actually it's been found to lead
(32:23):
to increase sales, while having eight twenty appears to have
the clock face frowning, which doesn't actually do anything for sales. Now,
the Internet is confusing as to when this actually went
out of favor, because if you just did a Google search,
you would be told that this was something that only
(32:44):
happened in the nineteen twenties and thirties, but actually dug
further found an article from nineteen eighty seven an actual
article where someone wrote in to ask about this and
attested that he was seeing eight twenty an ass as
all the time, and the response indicated that it was
(33:05):
for the reason of symmetry, and that the ten ten
also served the same purpose and was used just as much. So,
while there were shifts to ten ten for clock faces
in the nineteen fifties, both managed to coexist for some time,
and certainly the writers knew what they were talking about here.
(33:29):
I also enjoyed the scene with Tartaglia and mug Avan together.
The two rarely interact, and to be fair, they kind
of more competed for Danny's attention than anything else, And
you got a contrast between these two very important sergeants.
Mugavin is the pavement beating cop who brings Danny important facts,
(33:53):
while Tartanica often reports what others have found. He also
has this way of drawing Danny into more of these
human interactions. Now, it might seem, looking at it from
that perspective that Tartaglia is a bit of a distracting
(34:14):
comic relief that's keeping Danny from thinking about the case.
But the thing with Danny Clover is I think he
can really get some tunnel vision where he has been
looking at a problem so long that he can't see
beyond what he's seen. He gets stuck, and Tartaglia just
(34:36):
has this way of getting Danny to take a step
back and be able to see something that he hadn't
seen before. So I really appreciated how this episode portrayed
that relationship. Working listener comments and feedeback now and we
go to YouTube where Ryan's comments regarding the Johnny Hill
(34:57):
murder case. I knew it was fanci as as soon
as I heard Howard mcnure. Ah, I appreciate the comment.
The thing with Howard mcneir is he plays a lot
of eccentric murderers, but he also plays a lot of
eccentric and odd people who aren't murderers. So I would
(35:17):
not make a bat based on mcneir showing up though
he has already played a few murderers on this but
I don't think that he was at that her Butterfield
level of always being the killer. And we have a
couple of comments now from Mechanics sixty six regarding the
falcon and we had talked in the episode the case
(35:40):
of the big fix about the end of every car
being a Nash Mechanic sixty six rights, and then AMC
gave us such classic cars like the Fishbowl on wheels
aka the Pacer, the Gremlin, the Hornet, the Concord, the
Matador X and of course the Javelin. Well thanks so much,
appreciate the comment. And he also writes I didn't realize
(36:03):
George Peatree was Da Markham from Filo Vans until I
looked him up and then immediately recognized him. He also
played Charlie wild Private Detective, which I haven't heard of.
This was the first time I've ever heard handled the
adoption papers used as a euphemism. Well, that's one of
those groundbreaking things on the falcon I will say fairly.
(36:26):
Wild is one of those series most people don't talk
about because I don't think anyone has heard it since
it first aired seventy five years ago, unless it's some
clandestine group of old time radio collectors who have all
the really rare programs not in circulation. Charlie Wilder is
(36:48):
best remembered, if anything, as being what wild Root Cream
Oil decided to use as its replacement show for Sam Spade,
Like Okay, We've got the most iconic private detective on radio,
but he's got some The actor's got some political controversy,
(37:09):
the creator's got some political controversy around the suspension about communism.
So I know what we'll replace it with. We will
replace it with a private detective named after the product.
I can't foresee that having a problem. Although Charlie Wilde
did outlive the wild Root sponsorship, it's not particularly remembered
(37:34):
by anybody, but I would be curious to hear how
George Petrie played the role. Certainly did a good job
as the Falcon. Again, thanks so much, always appreciate the comments.
Now it's time to thank our Patreon supporter of the day,
and I want to thank Mike, Patreon supporter since March
twenty twenty three, currently supporting the podcast at the Shawmus
(37:54):
level of four dollars or more per month. Thanks so
much for your support, Mike, and that will do it
for today. If you're enjoying the podcast, please follow us
and 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
(38:14):
My Babe, but join us back here tomorrow for Dragnet, where.
Speaker 14 (38:19):
The mister and Missus was gone out ever sitting the television.
Speaker 17 (38:22):
The three men broke in the side doors.
Speaker 2 (38:24):
That right, Miss Brooks, on.
Speaker 14 (38:25):
The side door, I think. So, I was sitting in
the television boxing. I hear this sound. I turn around
and the three men they're right there in the room
with me. I thought I could scream, but I couldn't.
Speaker 17 (38:35):
But do you remember what the men looked like, Miss Bergstream,
how they were dressed.
Speaker 14 (38:38):
I don't know. I was so much being frightened. One
of them had a jacket on, I think the dark jacket.
Speaker 17 (38:45):
The others I don't know anything else about them that
you noticed.
Speaker 14 (38:48):
They had mess all over their faces. I couldn't see.
I jumped up. I tried to scream, but that was
so much frightened.
Speaker 2 (38:56):
What do they do then, Miss Yeah, They.
Speaker 14 (38:57):
Put the cloth all around my mouth so I couldn't
make noise. Then I tied my hands in my feet
and they put me in the closet. Down there, you
smiled the hoy I was kicking and hitting at them.
Speaker 2 (39:09):
Had you ever seen any of the men before, Miss
bur never before?
Speaker 17 (39:12):
Do you think you'd know any of the men if
you saw them again.
Speaker 14 (39:15):
I shouldn't be sure one of them, maybe I might
know him.
Speaker 17 (39:18):
Well, what do you mean did?
Speaker 14 (39:20):
It was very quick?
Speaker 1 (39:21):
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, Radio Detectives, and check us out
on Instagram, Instagram, dot com, slash Great Detectives From Boise, Idaho.
This is your host, Adam Graham signing off.
Welcome to the Great Detectives of Old Time Radio from
voice Adahol. This is your host, Adam Graham. In a moment,
we are going to be bringing 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
(00:49):
using your favorite podcast software. Also, today's program is brought
to you in party a one time basis using the
zell ap to box thirteen that Great Detectives dot net.
In addition, you can become one of our ongoing Patreon
supporters for as little ass two dollars for a month.
Just go to Patreon dot Great Detectives dot net now.
(01:13):
From December one, nineteen fifty, here is the Kenneth Mitchell
murder case.
Speaker 2 (01:30):
Broadways maybe from Times Square to Columbus Pickles. The gaudiest,
the most violent, the lonesomest mile in the world, Broadways
might be with Larry Thora's Detectives Nanny Clover. It glitters
(02:02):
on Broadway, a glimpse of pavements, the brilliance of steel,
the scarlet neon. It glitters, then shatters against the black
of winter's winds. Then the shrapnel of color screams winds
through the darkness, and you run through it. Yeah, the
fragments close to be pierced by the splintered edge of beauty.
Will they ride the wind? You look at your hands
(02:23):
that have reached in the shadows, find they hold a sigh,
the stain of a tear. Broadway observes you. Broadway laughs,
You pretend it never happens. Then, warmed by the touch
of the afternoon sun, Broadway relent offers you its token
of regret. The man lying with a knife in his
(02:45):
back in an apartment on West fifty six, lately furnished
with death and another man touching things, flitting things, replacing
him quietly. Even when he talks, he is quiet so
that the dead may hear.
Speaker 3 (02:57):
The car came while you were at to lunch, Danny,
I couldn't find you. They told me to take it,
and there.
Speaker 2 (03:01):
Was the mugamm Jnneth Mitchell rented this place about three
days ago.
Speaker 3 (03:06):
Super told me he was a very quiet man.
Speaker 2 (03:08):
Model Tennant.
Speaker 4 (03:08):
Wished he had more like and find Anovan your boyman
to the quiet man. Some books, a few magazines that
two suits of clothes, the one he's wearing another in
the closet three shirts. When I came in, the radio
was playing some classical music.
Speaker 2 (03:24):
I turned it off and nothing else. Yeah, something else?
Speaker 3 (03:27):
Come on, I'll show you in the next room then,
Miss Danny, this lady, Miss Ruth Corey, come in.
Speaker 2 (03:40):
You were here when Detective Magaphone arrived, Miss Corey.
Speaker 5 (03:43):
Yes, I called the police. I waited. I didn't want
Kenneth to be alone.
Speaker 3 (03:48):
Miss Corey told me she found him like that last
night when she came.
Speaker 2 (03:51):
To visit him for the time. Last night, Miss Corey, I.
Speaker 6 (03:54):
Was to come back to Kennid at eight we were
going for a walk.
Speaker 5 (03:57):
I was late. How fifteen twenty minutes? I know, because
I didn't.
Speaker 6 (04:02):
Want to be late.
Speaker 3 (04:03):
That's right, Danny, kids wantn't you stop?
Speaker 6 (04:05):
At eight twenty? Must have shattered when he self.
Speaker 2 (04:07):
And you found him like that's the way he is
in the front room.
Speaker 6 (04:10):
Yes, I'm not. Kenneth didn't answer.
Speaker 5 (04:15):
Sometimes Kenneth fell asleep, just like that, sleep would.
Speaker 6 (04:18):
Come over him. I never woke in. I wait, just
look at him and wait.
Speaker 2 (04:25):
Do you have a key?
Speaker 6 (04:26):
No, the door was open and I walked in.
Speaker 5 (04:28):
I've done it before.
Speaker 2 (04:29):
Didn't call anyone, ask for help. No, I had you
wait so long as Greys Cory. I asked you something,
Why did you wait so long to call us?
Speaker 5 (04:39):
Because I loved him, because I wanted him to myself
for as long as it.
Speaker 6 (04:46):
Because we never had very much.
Speaker 2 (04:48):
Time for an instant time for that restared at each other.
Because I'm all in touch with far away sounds, sudden recognition,
the girl, her eyes feverish, her cheeks too red, the
languid movement of her hands, the quality of sickness that
was forever part of Ruth Carey in the news sounds.
(05:13):
The men from headquarters who were the statisticians of violent deaths.
I went into the next room and nodded to them,
told Maugaman to get a doctor from Miss Carey. Then
I left. Inquire into the manner and cause of dying
of a man named Kenneth Mitchell. Consult this record in
that come up with facts. Kenneth Mitchell lived on West
(05:34):
eighty six feet. Kenneth Mitchell had a wife. Go there,
Just tell.
Speaker 7 (05:38):
Me one thing, mister Kolbert. I want you to tell
me the truth. I don't want you to spare me.
I have to know we had a life together Kenneth
and NS Mitchell. Much of one I made myself suffer
with Kenneth.
Speaker 6 (05:51):
I thought that way we could be closer now that
the dang you got to tell me? Was that pain?
Speaker 7 (05:58):
No, I don't think so, no pain, I said, they
would be. I've read about it. You're see in most
cases they think.
Speaker 2 (06:05):
Well, understand what you're talking about.
Speaker 7 (06:07):
Death of my husband.
Speaker 2 (06:08):
That's right. He was stabbed at death, you said, I said,
I was a little police.
Speaker 7 (06:14):
He told me Kenneth was dead.
Speaker 6 (06:15):
I didn't hear what else.
Speaker 2 (06:17):
Stabbed it in an apartment on was fifty sixty.
Speaker 6 (06:20):
Dead, Kenneth no more done. They didn't know that.
Speaker 2 (06:28):
Finally, you expected Kenneth to die.
Speaker 6 (06:31):
I wanted to be there.
Speaker 7 (06:32):
I made him a promise that I would be near him,
and the doctor told me he didn't have a chance.
I told Kenneth when the time came, I'd be with him.
Speaker 2 (06:41):
The husband was that sick dying, And the.
Speaker 7 (06:44):
Doctor called me and told me he left the sanitarium
or sanitary the lungs the sanitarium on the river.
Speaker 6 (06:49):
Kenneth used to watch the river, and I'd got to
visit him. We sit on the porch.
Speaker 7 (06:54):
Knew he used to love watching the river because he
never talked to me.
Speaker 6 (06:58):
Tried saying things.
Speaker 8 (07:00):
After a while, I just sat there until the nurse
came told me to go.
Speaker 2 (07:04):
He said, your husband left the sanitarium, walked out.
Speaker 9 (07:07):
Can you imagine him doing anything.
Speaker 6 (07:09):
Like that to me? Somebody was sick. He didn't know
what he was doing here.
Speaker 2 (07:15):
She didn't know your husband was murdered.
Speaker 6 (07:18):
I should have been there, cheated me a bit.
Speaker 2 (07:20):
Now, a girl named Ruth Corey.
Speaker 6 (07:22):
No, no, I don't think so.
Speaker 7 (07:24):
Where she lived, yes, ned, I would have helped told
him it was all right, not to be frightened.
Speaker 6 (07:34):
Cheated me.
Speaker 2 (07:38):
I couldn't get through to her anymore. When I asked
where she was at eight twenty last night, she said
she didn't know. If she really didn't know. Walking around
the neighborhood, she supposed she always did that at night.
I thank her, but she didn't hear me. So I
left her to her own particular brand of Greek h
(08:02):
more lake work than the sanitarium on the East River.
Walked softly behind a red lipped nurse whose footsteps set
up an echo down the long corridor. He got ushered
into a small office and introduced to doctor Nestor, who
lights a cigarette from the one he's just finished.
Speaker 10 (08:17):
And no cigarette companies asked me which brand I smoke?
Speaker 2 (08:20):
Do you careful?
Speaker 11 (08:21):
When?
Speaker 2 (08:21):
Thanks?
Speaker 6 (08:22):
Right?
Speaker 10 (08:26):
Well, now that we've done the civilized things, what brings
the police to see?
Speaker 2 (08:29):
Doctor? Mister? We found a boy murdered several hours ago.
Name is Kenneth Mitchell.
Speaker 10 (08:33):
You're talking literally, of course he was murdered, that's right,
stab And you found out Kenneth was a patient here
and that.
Speaker 2 (08:39):
He walked out of you three days ago. Who's standing, Ruth?
How do you know? Ruth? She was a patient here,
walked out with kenned What happened? Kenneth was married and
so was Ruth Carr. They met here at the sanitarium.
Speaker 10 (08:51):
They were lucky. They had one thing in common. It
would never change. They were both dying.
Speaker 2 (08:56):
They fell in love.
Speaker 10 (08:57):
The fact that they were already married is no concern
of mine. They lived over the small part of their
lives on the outside. Whatever they left there, they left.
Speaker 6 (09:05):
They made that.
Speaker 10 (09:06):
Decision as the doctor. I respected it. I see, try
to understand it. Did Did Ruth kill it?
Speaker 2 (09:14):
We don't know. I'm trying to find out who else
for that motive? Have you seen Ruth's husband? No?
Speaker 10 (09:19):
They live on Park Avenue. I'd have a nurse get
the address. I'd seen mister Corey. He was the part
of Ruth's life. She left outside. Perhaps she was happy.
Speaker 6 (09:29):
She did.
Speaker 2 (09:42):
Look you over, Danny's over. You guys have names. It's
a revelation to me. Loud mouths, loud feet that I
know about. I told you I want to talk to
missus Corey, you too, show you Come on. I'll take
you to Rusie and talk to her. Yes, she is,
(10:02):
talk to her. She's asleep, asleep. Want me to wake
her for you? You with the name, I'll do that
or sleep. Thanks, she got a big heart. Go back
to the other room. We stay here because there are
things I've got to do for Ruth like this, like
cooling her brow with a damn clock. But easy, so
she'll think it's a dream like this. I'll come back.
(10:25):
He said, you wanted to talk to me too. I'm
a busy man running after money. Takes all my time.
You better grab me while you can. A man was
murdered last night. I know Ruth. She told me all
about it, how she sat up to the night with
him him dead. Didn't touch me at all, if I
remember right, I laughed, m I laughed. You can ask Ruth.
(10:47):
You knew a Kouneth Mitchell, sure, but never close enough
to touch him with my hands. He was sick, but
you knew it. M do something for me. Ruth's comb
on the dresser, Give it to me. I want to
comb her head here, thanks blank silk. I'm pure. So
(11:08):
you're going to tell me about Kinneth Mitchell. Sure, see, Ruth,
you see the way she is. Mitchell did this to her.
How she was on her way to getting well because
I bought that for anything she wants, I'd buy for
she was getting well. I tell you when miss Mitchell
tried to kill her all over again, the doctor told
me there was nothing that could be done for her.
Thanks to Mitchell. Mitchell thought he had something in Ruth.
(11:30):
I don't know what. Maybe a sick man likes to
rub a piece of life whenever he can, even from Ruth.
That's what made me laugh when she told me he
was dead. Yeah, that's it, because nothing belongs to me.
Mitchell was murdered last night. You'll tell me where you were.
It took you a long time, didn't it. I was
(11:52):
with my lawyer, go ask I pay him fat to
handle things like this, what lawyer or Gordon Horner twelve,
nineteen sixtieth. He handles my money, he handles my alibis.
Oh shut the door asaff when you go out. Huh,
(12:22):
that's what is it? My name is Danny Clover from
the police. What about it?
Speaker 9 (12:26):
The cap and the V said it's all right if
I packed my car of a night in front of
the house. I've been doing it for a year. Cops
started to talk to each other. Before you're in door,
doll there's a matter with you.
Speaker 2 (12:35):
Are you through talking? Must be news? Your name Horner?
Here it is Walter Corey told me to look.
Speaker 9 (12:41):
Up mister Curry did then why don't you come in.
Speaker 2 (12:45):
In here? Told me? Mister Curry said, so imagine all.
Speaker 9 (12:49):
That turk outside, or it's cold and there's a fire
patient here, and.
Speaker 2 (12:54):
That's what is your job with? Mister Corey there his lawyer.
How long you've been working for him? Is the minute?
Speaker 9 (12:58):
He made a million dollars one one pm at the
Curve Exchange in Wall Street, December twelfth, nineteen thirty.
Speaker 2 (13:05):
Eight, tweet futures.
Speaker 9 (13:07):
I introduced myself and he said you're hired as they
pay your well. I'm going to ford my whims. That's
more than most men can say.
Speaker 2 (13:14):
Would you lie for him? I have, and we'll even
if it concerns murder. And let me think about that
for a moment.
Speaker 9 (13:23):
There's a dot board you can throw dot.
Speaker 2 (13:25):
Let me think, would you like that?
Speaker 9 (13:29):
Would you just rather stare at that interesting dot?
Speaker 2 (13:31):
Get off it on him?
Speaker 9 (13:32):
I asked your question, why wouldn't I give a concerned murder?
Speaker 2 (13:35):
All right? Did you see mister Corey last night?
Speaker 7 (13:38):
I did.
Speaker 9 (13:39):
He told me to meet him at Grand Central and
I did.
Speaker 2 (13:41):
We had about two week.
Speaker 9 (13:41):
We spent about an hour together talking business.
Speaker 2 (13:43):
I timed to meet him.
Speaker 9 (13:44):
Oh, listen to me, mister Clover. I don't know what
you're trying to get out of me, but I know
it was eight twenty. There was a clock in the
window of the store. I set my watch by it
eight two oh eight twenty.
Speaker 2 (13:57):
I guess that's all. Oh, you don't have to leave.
Speaker 9 (13:59):
There's a game I'm make up for the dot for
you didn't show it.
Speaker 5 (14:02):
Huh.
Speaker 2 (14:04):
Oh, well, there's always silent. The lawyer ushered me to
the door, tried to take my hand to shake it.
He never made it. Then the walk in the quiet
streets across sixties to the park, the dark wind sweeping
(14:26):
the autumn leaves, gathering them in the gutters at night,
walk down Park and passed Dorman putting lights and potted trees.
And consider molted at Alibi. Consider why someone needed a
dying man dead his wife, the girl Ruth, her husband
was going to buy life back for toward Grand Central.
Now the intrusion of the sounds of night.
Speaker 9 (14:47):
Metallic creeping of the leaves, the deep cry of steel
hurtling out.
Speaker 2 (14:51):
Of the earth. Then another sound, sound of hair through
flesh grips, and then explodes. It exploded a woman's scream,
and you were listening to Broadways My Beat, written by
(15:28):
Morton Fine and David Friedkin and starring Larry Thor as
Detective Danny Clover. The wind comes up from the river
and twists the headline around an ankle, lifts it up again,
flattened it against the gutter, looked down at it and
(15:49):
stare not at the big one, the smaller one there
almost burned by the cigarette button. Man murdered it, says
lean closer. Kenneth Mitchell stabbed to death. And apartment on
what fifty sixth Street, and the part of it almost charred.
Officer in charge of case shots down, then trug walk on.
Tomorrow is another day. You'll spend it at the foot
(16:11):
of the rainbow. Sure, as far as I was concerned,
I had to consider the officer in charge of the case,
the man who was dropped down me, and the two
men near me trying to help.
Speaker 9 (16:27):
Em in that battle to tag.
Speaker 3 (16:30):
Bobble No, No, not that one, the other one.
Speaker 9 (16:32):
The brown one, Brown Bob Yeah, thank you.
Speaker 3 (16:39):
Hold on to the edge of the table, Danny, go ahead.
Speaker 2 (16:44):
Hold on, Just take it easy.
Speaker 3 (16:46):
Look, Danny, a bullet grate. Just go be thankful that
you can still feel pain.
Speaker 2 (16:51):
Well, just don't hurt him doctor.
Speaker 12 (16:53):
Just hold on, Danny.
Speaker 3 (16:58):
Okay, bandage you have hand me the bandage, you know.
Speaker 2 (17:02):
Bandage you you hurt much, Danny a headache, don't worry
about it. The scalpoon isn't very deep, you.
Speaker 9 (17:10):
Know, Danny.
Speaker 13 (17:11):
This is the same thing that made Mike Strech, the
miracle detective from Philadelphia, bag headed time after time he
got his scalp last days.
Speaker 2 (17:19):
You know my headaches? I told you.
Speaker 3 (17:20):
Does what happened, Danny, I don't know. Someone shot at
me a half inch.
Speaker 13 (17:24):
Slower and you would leave him alone his headache.
Speaker 2 (17:27):
Scissors scissors.
Speaker 3 (17:32):
Okay, doctor, okay, you are a man who has been
a half inch from death in a couple of months.
When the Bobra asks you what that scar is, tell
him that tried to laugh about that.
Speaker 6 (17:42):
Right to be, I'll get it.
Speaker 13 (17:48):
Gosh. Tag on the phone, Danny Clover, he's a no
condition to talk.
Speaker 2 (17:55):
Give me the phones, you know, phone, Nykover speaking.
Speaker 10 (18:02):
I think I can help you on the Kenneth Mitchell case.
He interested.
Speaker 2 (18:05):
I'm interested. I'm ten Lawson.
Speaker 1 (18:06):
I'm your cabinet shop, corner of thirty thirty eight.
Speaker 12 (18:09):
I'll be right down in a minute. I want to
give this cabin about it.
Speaker 10 (18:27):
Always look at it, miss the guy I brought out
the grain. See here and here run hand over the
That's beautiful, Mahogany, responds to my touching it. I mean,
I mean, I like working with wood ever since day fourth.
(18:48):
But I'm me Emmanuel training you, Ted Lawson.
Speaker 2 (18:50):
Yeah.
Speaker 10 (18:51):
Look, I wasn't trying to convince you how good I am.
There's lots of cabinet makers we all.
Speaker 2 (18:54):
I'm from the police dead.
Speaker 6 (18:56):
Oh you got here.
Speaker 2 (18:57):
Fans told us you had something on Kenneth Mitchell's murder.
How do you fit into Ruth?
Speaker 10 (19:02):
Corey is my sister and as she was until she
married it. Hey, you've been hurt, mister. I got a
couch in the back room. It's covered with sawdust. But
I could brush seen Ruth at the sanitarium a couple
of times. I brought her fruit, magazines, things like that.
It was maybe a year ago.
Speaker 2 (19:18):
You haven't seen her since.
Speaker 6 (19:19):
No.
Speaker 10 (19:20):
Corey wouldn't let me, said I upset her left orders.
I couldn't see her. That's why I called you, mister.
Why you got to get her away from that man.
Speaker 6 (19:28):
He'll kill her.
Speaker 2 (19:29):
She hasn't much time, mister. He'll burn it up so fast.
Speaker 10 (19:31):
You've got to take her away from him. You people
can do it that. I got a little house at Seagirt,
a block from the ocean. I lived there alone. I
can take care of Ruth, make it good for him.
Speaker 2 (19:40):
Got to you've got You won't do it, We can't ten.
Speaker 10 (19:46):
I forget it, forget I ever asked you for anything.
Speaker 2 (19:49):
Question. I've got to ask you to hurry up, mister.
I'm busy or wearrior the twenty last night, the time
Ruth fun I don't know.
Speaker 10 (19:56):
I was looking at the dead roller coaches.
Speaker 2 (19:58):
I'm cony.
Speaker 10 (19:58):
Maybe I watched the search forshing the dirt in the beach.
Speaker 2 (20:01):
Maybe I don't know. You knew Kenneth Mitchell.
Speaker 10 (20:03):
No, and I'll tell you something. He kept my sister
from getting well. Makes me feel good.
Speaker 6 (20:08):
He's dead.
Speaker 10 (20:10):
Take it, do something with it, mister. Like I said,
I'm busy.
Speaker 2 (20:28):
It hadn't helped merely out of another suspect. Ted lawson,
brother of Ruth Carey, a man who hated anyone who
could hurt his sister murder has an affinity for love
and hate. Back at headquarters, I checked reports item nothing
on the way about the Florence Mitchell at eight twenty
last night and Sundry other item negative, still in process
of being checked. Then a phone call to the home
(20:49):
of Ruth Carey. She wanted to see me. She wanted
to talk to me, She wanted to explain things to me.
Go there, meet missus Fabry, a nurse assigned to Ruth.
Not when she says it's a good time to talk
with mister Corey. Don't step that. Miss Fabri takes you.
You're a patient, rearranges the billows and smiles.
Speaker 8 (21:06):
Yeah, don't be depressed and refreshing.
Speaker 2 (21:10):
You look a lot better, Miss Cary.
Speaker 5 (21:11):
You don't have to do that, mister Clover, I know
how I look.
Speaker 8 (21:14):
If we don't like talking, Ruth, we don't have to.
Speaker 6 (21:18):
No.
Speaker 5 (21:18):
Please, do you think I killed Kenneth?
Speaker 2 (21:23):
You could have an old prince on the knife blade,
but I.
Speaker 5 (21:26):
Could have read them all. I was waiting for a
long time after he was dead.
Speaker 2 (21:30):
We know.
Speaker 6 (21:32):
The questions you want to ask me.
Speaker 1 (21:33):
I know that.
Speaker 6 (21:34):
Please me.
Speaker 2 (21:36):
I want to tell you this. Kenneth died at eight twenty.
The only one who has an alibie for that time
is your husband, your brother. Yes, he can't tell me
where he was when Kenneth died.
Speaker 6 (21:47):
Ted can't killed Kenneth. Do you think he could?
Speaker 2 (21:52):
Everyone can kill Yes, I know you.
Speaker 6 (21:56):
I love Kenneth.
Speaker 5 (21:58):
We ran away from the Senate Drrian to spend what
time we had left together. We didn't make any dreams
or plans, just to be with each other, spend the
rest of our lives with a love that couldn't.
Speaker 2 (22:10):
Grow old because I knew didn't killed it.
Speaker 6 (22:13):
When I wept seeing him lying there, I wept.
Speaker 5 (22:15):
For myself for the first time in my life. I
was sorry for myself because now I'd be without Kenneth.
Speaker 2 (22:23):
Sorry, miss Cary, you didn't answer.
Speaker 6 (22:25):
Oh killed Kenneth? Did you? No? Oh? I didn't give that. Oh.
Speaker 8 (22:38):
Perhaps we'd better go when I miss Clover shall be no.
Speaker 6 (22:43):
No, please stay here and talk to me. Talk to me.
Say Kenneth's name, saying she's dozed off.
Speaker 2 (22:59):
I'm sorry if I yes.
Speaker 11 (23:02):
Yes, we get tired so easily, we get worried about it.
Speaker 3 (23:25):
It's late, Danny. Why don't you go home? Give into
that head wounded?
Speaker 6 (23:28):
He is?
Speaker 3 (23:29):
I won't tell anybody.
Speaker 2 (23:30):
You checked on the girl's brother, Dad.
Speaker 3 (23:32):
Yeah, he was seen walking the beach of Coney Island,
several people.
Speaker 2 (23:35):
To you're good. Dad couldn't give me an alibi, but
you come up with one for him from several people.
Where do you find people like that?
Speaker 6 (23:42):
And Cooney?
Speaker 3 (23:42):
You can find anything you look for, Danny.
Speaker 2 (23:44):
The philosophy comes with it. Huh.
Speaker 3 (23:46):
The bullet must have touched your angry nerve, Danny. There's
several people with characters who won't give into winter. They
run hot dog stands, finished stands. They put out eagle
lions for customers from.
Speaker 6 (23:56):
Eight until nine.
Speaker 2 (23:57):
They threw out faith for loss, and he looked so hungry.
Speaker 3 (24:00):
Blossom didn't indulge in one tinische one hot dog. But
he was walking the beach at Tony from eight until
maybe nine thirty. The witnesses will be glad to testify.
When he left, they gave up. That's how they remarked
the time, it's still late, just still should go home?
Speaker 2 (24:17):
You through? Yeah, no way, I'm sorry.
Speaker 6 (24:20):
I opened my mouth.
Speaker 2 (24:21):
Ed lawson has an Albi Corey has one. Mitchell's wife,
what about her?
Speaker 3 (24:26):
I got one for her too, Danny. At eight twenty
she was buying cigarettes.
Speaker 2 (24:29):
At the candy Leaves.
Speaker 3 (24:33):
Ruth Corey got a mental block, dwn and give in
to it.
Speaker 2 (24:36):
It was Ruth Corey after all she ever had was Mitchell.
Well she you sorry, Michael, and you know.
Speaker 3 (24:43):
I know, I know a lot of things I don't
care to know. Want me to go place her under
he arrest, Danny, I said, do you want me to go?
Speaker 14 (24:51):
Danny?
Speaker 13 (24:52):
I brought you some hot bullion I cooked up myself,
and the bullion burning in technical hit ah ship it slowly. Anny,
you shouldn't make a ringing in the nagain. And while
you are so sipping, I will go over to the
window and give you a play by played description of
New York at night time.
Speaker 2 (25:08):
Yeah, dept.
Speaker 13 (25:09):
And the icy fingers of Jack Frost.
Speaker 2 (25:11):
New York. What time is it?
Speaker 13 (25:13):
It take twenty, Danny, it take twenty, so right down
on the clock.
Speaker 2 (25:17):
You're crazy later than that? What clock?
Speaker 13 (25:21):
You're the one hanging over there across the street.
Speaker 2 (25:23):
Over at jewelry store.
Speaker 13 (25:25):
What about it?
Speaker 2 (25:26):
Jewel has always set their display clocks to eight twenty.
Tell him the rast, Mogulin.
Speaker 8 (25:48):
Oh, hello, mister Clover, we came back, didn't.
Speaker 2 (25:52):
I come in?
Speaker 6 (25:53):
Please?
Speaker 2 (25:53):
Do I want to see mister Correy.
Speaker 6 (25:57):
I see this mister Corey.
Speaker 2 (26:01):
I want to see him alone.
Speaker 7 (26:02):
I don't think you, Mitch.
Speaker 2 (26:06):
I'll be right on.
Speaker 15 (26:09):
In other times, when painters tried to paint a scene
of vocal desolation, they chose the desert, eat the barren rocks,
and there would try the picture of man.
Speaker 2 (26:17):
And his great lots to carry. I want to talk
to you.
Speaker 15 (26:22):
But for a modern painter, the most desertate scene would
be a street in almost any of our great cities
on a Sunday afternoon.
Speaker 2 (26:31):
All right, keep your voice down. This is she's sleeping.
I'll cover it so she'll be warm you murdered Kenneth Mitchell.
Mister carry hand me that brush, the hair brush, handed
me my hair. Ruth likes me to brush your hair.
(26:51):
It's RESTful. Sleep, Ruth. Sleep and alibi your lawyer gave you.
It's pretty fortunate, wasn't it. Rude Mitchell was killed at
eight twenty. You met your lawyer sometime after that arrange
an alibi because you thought we couldn't set the exact
time of Kennistaff's sleep, but we did his watch Brooklyn.
You were going to get better, Ruthe. When your lawyer
(27:11):
met you saw a jeweler's clock Saturday twenty, you thought
it was the right time. Your alibi was great, Ruth.
We'll do all the places you wanted to go under
arrest stegory for murder, for attempting to murder me, do
the things you wanted to do. Ruth thought I would
see that clock in the window near Grand Central, but
I was only walking. I'll wait outside for you. If
(27:31):
you won't have to go back to that must little roote,
I will take care of you.
Speaker 6 (27:36):
I've been waiting here in Tocober. I thought you'd call me.
Speaker 2 (27:41):
When did it happen?
Speaker 8 (27:43):
I was with her she died half hour ago.
Speaker 2 (28:05):
Broadways Sleeping Now, the curious avenues of the night are
still only the sleepwalkers are there. Those who lost for
dreams are realities that never come true. The seekers, They're sudden,
the huggers close of nothing. It's Broadway, the most violent,
(28:26):
the lonesomer smile in the world. Broadway My Beat, Broadways
(28:47):
My Beat stars Larry Thors Detective Danny Plover with Charles
Califert as Starteglia. The program is produced and directed by
Elliot Lewis, with musical score composed and conducted by Alexander Courage.
Included in the night's cast were lou Merrow, Mary Sing,
Lillian Bias, Paul McVay, Byron Kine and Jack Prushan.
Speaker 16 (29:13):
Sonight NOTTPN presents You've been listening to some of the
best in radio dramas with Bibber McGee and Molly and
Broadway as My Beat. Join us again Monday evening at
the same time Mine Old Bot WHENPN presents Dragonts and
Escape Welcome Back.
Speaker 1 (31:15):
The motive for the attempt on Danny's life may have
been one of the better ones that we've heard, where
they go after the detective Now it's not particularly plausible.
I mean, Danny would have to just happen to look
at the clock and have that sort of aha, you know,
Sherlock Holmes, or that moment of recognition. But while it
(31:39):
might not be a rational thing to do, I think
that given the killer state of mind, it made perfect sense.
Now the deciding clue was really interesting as well. The
thing about the eight twenty time was not something that
I heard of, but it was something that was favor
(32:00):
for advertisements and for many stores because it gave the
clock a symmetrical look and it didn't obscure the logo
of the manufacturer. But modern ads favor the ten ten
time because it's also submetrical, but it has a more
positive psychological impact and actually it's been found to lead
(32:23):
to increase sales, while having eight twenty appears to have
the clock face frowning, which doesn't actually do anything for sales. Now,
the Internet is confusing as to when this actually went
out of favor, because if you just did a Google search,
you would be told that this was something that only
(32:44):
happened in the nineteen twenties and thirties, but actually dug
further found an article from nineteen eighty seven an actual
article where someone wrote in to ask about this and
attested that he was seeing eight twenty an ass as
all the time, and the response indicated that it was
(33:05):
for the reason of symmetry, and that the ten ten
also served the same purpose and was used just as much. So,
while there were shifts to ten ten for clock faces
in the nineteen fifties, both managed to coexist for some time,
and certainly the writers knew what they were talking about here.
(33:29):
I also enjoyed the scene with Tartaglia and mug Avan together.
The two rarely interact, and to be fair, they kind
of more competed for Danny's attention than anything else, And
you got a contrast between these two very important sergeants.
Mugavin is the pavement beating cop who brings Danny important facts,
(33:53):
while Tartanica often reports what others have found. He also
has this way of drawing Danny into more of these
human interactions. Now, it might seem, looking at it from
that perspective that Tartaglia is a bit of a distracting
(34:14):
comic relief that's keeping Danny from thinking about the case.
But the thing with Danny Clover is I think he
can really get some tunnel vision where he has been
looking at a problem so long that he can't see
beyond what he's seen. He gets stuck, and Tartaglia just
(34:36):
has this way of getting Danny to take a step
back and be able to see something that he hadn't
seen before. So I really appreciated how this episode portrayed
that relationship. Working listener comments and feedeback now and we
go to YouTube where Ryan's comments regarding the Johnny Hill
(34:57):
murder case. I knew it was fanci as as soon
as I heard Howard mcnure. Ah, I appreciate the comment.
The thing with Howard mcneir is he plays a lot
of eccentric murderers, but he also plays a lot of
eccentric and odd people who aren't murderers. So I would
(35:17):
not make a bat based on mcneir showing up though
he has already played a few murderers on this but
I don't think that he was at that her Butterfield
level of always being the killer. And we have a
couple of comments now from Mechanics sixty six regarding the
falcon and we had talked in the episode the case
(35:40):
of the big fix about the end of every car
being a Nash Mechanic sixty six rights, and then AMC
gave us such classic cars like the Fishbowl on wheels
aka the Pacer, the Gremlin, the Hornet, the Concord, the
Matador X and of course the Javelin. Well thanks so much,
appreciate the comment. And he also writes I didn't realize
(36:03):
George Peatree was Da Markham from Filo Vans until I
looked him up and then immediately recognized him. He also
played Charlie wild Private Detective, which I haven't heard of.
This was the first time I've ever heard handled the
adoption papers used as a euphemism. Well, that's one of
those groundbreaking things on the falcon I will say fairly.
(36:26):
Wild is one of those series most people don't talk
about because I don't think anyone has heard it since
it first aired seventy five years ago, unless it's some
clandestine group of old time radio collectors who have all
the really rare programs not in circulation. Charlie Wilder is
(36:48):
best remembered, if anything, as being what wild Root Cream
Oil decided to use as its replacement show for Sam Spade,
Like Okay, We've got the most iconic private detective on radio,
but he's got some The actor's got some political controversy,
(37:09):
the creator's got some political controversy around the suspension about communism.
So I know what we'll replace it with. We will
replace it with a private detective named after the product.
I can't foresee that having a problem. Although Charlie Wilde
did outlive the wild Root sponsorship, it's not particularly remembered
(37:34):
by anybody, but I would be curious to hear how
George Petrie played the role. Certainly did a good job
as the Falcon. Again, thanks so much, always appreciate the comments.
Now it's time to thank our Patreon supporter of the day,
and I want to thank Mike, Patreon supporter since March
twenty twenty three, currently supporting the podcast at the Shawmus
(37:54):
level of four dollars or more per month. Thanks so
much for your support, Mike, and that will do it
for today. If you're enjoying the podcast, please follow us
and 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
(38:14):
My Babe, but join us back here tomorrow for Dragnet, where.
Speaker 14 (38:19):
The mister and Missus was gone out ever sitting the television.
Speaker 17 (38:22):
The three men broke in the side doors.
Speaker 2 (38:24):
That right, Miss Brooks, on.
Speaker 14 (38:25):
The side door, I think. So, I was sitting in
the television boxing. I hear this sound. I turn around
and the three men they're right there in the room
with me. I thought I could scream, but I couldn't.
Speaker 17 (38:35):
But do you remember what the men looked like, Miss Bergstream,
how they were dressed.
Speaker 14 (38:38):
I don't know. I was so much being frightened. One
of them had a jacket on, I think the dark jacket.
Speaker 17 (38:45):
The others I don't know anything else about them that
you noticed.
Speaker 14 (38:48):
They had mess all over their faces. I couldn't see.
I jumped up. I tried to scream, but that was
so much frightened.
Speaker 2 (38:56):
What do they do then, Miss Yeah, They.
Speaker 14 (38:57):
Put the cloth all around my mouth so I couldn't
make noise. Then I tied my hands in my feet
and they put me in the closet. Down there, you
smiled the hoy I was kicking and hitting at them.
Speaker 2 (39:09):
Had you ever seen any of the men before, Miss
bur never before?
Speaker 17 (39:12):
Do you think you'd know any of the men if
you saw them again.
Speaker 14 (39:15):
I shouldn't be sure one of them, maybe I might
know him.
Speaker 17 (39:18):
Well, what do you mean did?
Speaker 14 (39:20):
It was very quick?
Speaker 1 (39:21):
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, Radio Detectives, and check us out
on Instagram, Instagram, dot com, slash Great Detectives From Boise, Idaho.
This is your host, Adam Graham signing off.
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