December 10, 2025 • 38 mins
Today's Mystery: A fourteen-year-old is the first of a series of women brutally murdered by the same person.
Original Radio Broadcast Date: June 23, 1951
Originating from Hollywood
Starring: Larry Thor as Lieutenant Danny Clover; Charles Calvert as Sergeant Gino Tartaglia; Jack Kruschen as Sergeant Muggavan; Joseph Kearns; Martha Wentworth; Harry Bartell; Charles Davis
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Join us again tomorrow for another detective drama from the Golden Age of Radio.
Original Radio Broadcast Date: June 23, 1951
Originating from Hollywood
Starring: Larry Thor as Lieutenant Danny Clover; Charles Calvert as Sergeant Gino Tartaglia; Jack Kruschen as Sergeant Muggavan; Joseph Kearns; Martha Wentworth; Harry Bartell; Charles Davis
Support the show monthly at https://patreon.greatdetectives.net
Patreon Supporter of the Day: Jim and Rachel, Patreon supporters since March 2016.
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
Become one of our friends on Facebook.
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 Boise, Idaho.
This is your host, Adam Graham. In a moment, we're
going to bring you this week's episode of Broadways My Beat.
But first you if you are enjoying the podcast to
please follow us using your favorite podcast software. Today's program
(00:52):
is brought to you in part by the financial support
of our listeners. You can support the show on a
one time basis using the zell app to boks thirteen
at Great Detectives dot net, and also become one of
our ongoing Patreon supporters for his little last two dollars
per month at Patreon dot Great Detectives dot net, and
(01:13):
I want to go ahead and welcome our latest Patreon supporters.
I want to thank Jerome and Kayleen, who both came
on board supporting the podcast at the Shawmus level of
four dollars or more per month, and also Dolly supporting
the podcast at the rookie level of two dollars or
(01:34):
more per month. Again, thank you so much for your support.
Speaker 2 (01:38):
Well.
Speaker 1 (01:39):
Now, from June twenty third, nineteen fifty one, here is
the Ruth Lawson murder case.
Speaker 3 (01:47):
We delay the start of our scheduled program to bring
you a bulletin from CBS News Washington. The State Department
has issued a statement in responds to the proposal by
Jacob Malick, the Soviet delegate to the United Nations, for
a ceasefire in Korea. The State Department said that if
Malix's proposal is more than propaganda, adequate means for discussion
(02:08):
and end to the conflict are available. The State Department said,
we are ready to play our part. This bulletin has
come to you from CBS News. We now resume our
regular program.
Speaker 2 (02:30):
Broadway's My Beat from Climesquur to Columbus Circle, the gaudiest,
the most violent, the lonesomest mile in the world.
Speaker 3 (02:45):
Broadway is My Beat with Larry Thor as Detective Danny Clover.
Speaker 2 (03:03):
The nighttime starts at the river before it closes over Broadway.
A wind drifts in with the moistened shadows, flings them
into the street, flattens them against the gutter, picks a
man waiting for a bus and wraps darkness around him.
And a light comes on, and another, and down the street.
There where the crowd has gathered against the traffic signal
high above the mo neon sputters flames, the spectaculars dance.
(03:26):
Somebody runs into the street and yells come on, and
everybody does. Night has come to Broadway. And where I
was there was a wind the built in when the
thing composed of poor ventilation, tears, shed and unshed and
bottled chemicals. It was the basic ingredient of the city Morgue.
(03:47):
Though not to be found on blueprints of bills of specifications,
it is something new to the man walking beside me.
This place, this place, just take it, mister Larson.
Speaker 4 (04:01):
I'll tell you something. I guess it'll sound funny. I've
read about places like this, and I've closed my mind
to what I read. I guess I never wanted to
visualize anything.
Speaker 2 (04:14):
Right here, mister Larson. What was your daughter wearing?
Speaker 4 (04:19):
Missus Larson wrote it down for me. You see, I
wasn't home when our daughter, when Ruth, went to the movie,
So Missus Larson, Ruth was wearing a skirt and blouse,
think Bobby socks and saddle shoes. I guess you want
to know this too. She was five feet one, she
was fourteen in May. She had brown hair and brown eyes.
(04:41):
And I want you to know, mister Clover, I guess
all fathers feel the same way.
Speaker 2 (04:45):
My Ruth was well.
Speaker 4 (04:47):
Our friend said, she was a remarkable child. She's going
We're going to send it to under that sheet.
Speaker 2 (04:55):
This girl was found in a vacant lot between your
home and the theater. Your wife mentioned when she called,
how I mean, look, you know it fractured skull.
Speaker 5 (05:08):
I have to lug Donna.
Speaker 2 (05:09):
Yes, if it's your daughter.
Speaker 5 (05:13):
Ruth's a nice girl.
Speaker 4 (05:16):
She started to go to parties with boys, and she
always gets home by eleven o'clock. She's going to be
a dancer. When people come to the house, she dances
for them. You see, as I as I told you before.
Speaker 5 (05:30):
Ruth, Ruthie, Oh Ruthie, Who did it?
Speaker 2 (05:42):
What? Monster?
Speaker 5 (05:44):
Who did it to you?
Speaker 2 (05:45):
Who?
Speaker 6 (05:46):
Who?
Speaker 2 (05:53):
The fury took over the man trembling with the shivering
or that scurried from wall to wall and raged the wound,
the death of his child across his heart, torn inside
his throat, the helpless, futile rage of the animal loose
small range of understanding has been kicked, beaten, thrown against
the barbed wall of violence. Not once, not once more,
did he look at his child. Now, Try only to
(06:16):
wipe out the memory, Try to strangle it long ago.
Laughter and sobs that the child had let echo through it. Finally,
the collapse the heap and the concrete floor, and you
call quietly to the officer on duty to help you
lift them and carry him to a place where he
can sleep away the fury of his dead. Then back
(06:41):
to your office and close the door on it. Stand
at the window, watching the squalls of the nighttime wash
against it, beat against it, and then stare at the walls.
Then hear the door opened for him to let it
all in again.
Speaker 7 (06:58):
Daddy, Danny, what do you want doctor Sinski's report? He
was busy on another. He asked me to bring it
to you, so.
Speaker 2 (07:07):
Leave it on my desk, all right, you're not gonna
look at it, Danny. Why I know what's in it?
Speaker 7 (07:17):
I thought I did too, to like glance it over
on the way to your office. You'd better take a
look at it.
Speaker 2 (07:21):
You're so eager. I don't want to spoil it for you.
Tell me about it, Muggavin, Dan, you tell me I'm Muggavin.
We've had other kids, now, this one's no different that all, Muggavin.
Speaker 7 (07:30):
That's what I've been trying to tell you. This one
is different. Just what you saw when you first found her.
That's what's in the report. Beaten skull, fractioned with the
butt of a gun. Nothing else.
Speaker 2 (07:41):
Then give me a motive, Give me another motive. Why
I have fourteen year old child? Should Clover speaking.
Speaker 8 (07:53):
Sagian Tartaglia at this end? Homicide Danny. Woman in the
backyard of house in eighteen forty five West eleven named
Murray upstairs wants you on it. Shall I tell him
you're agreeable, Danny.
Speaker 2 (08:04):
Tell him, I'm bring me a motor Mugaman upstairs wants
me to run an errand she's over here, mister Clover,
right here, dead beaten. I'd say her scull had infractured.
(08:30):
Mister Murray, I don't understand it. I just don't understand it.
Tell me what happened.
Speaker 9 (08:37):
We were sitting in the library. A knock came on
the back door. I wanted to answer it, but Beetrice said,
I look so comfortable. There was just you too in
the library, you and your wife and sis. Sis my
sister Claudia. She can't hear anything.
Speaker 2 (08:52):
She's deaf. She never goes out of the house. I
take care of her. Well, who's in the house with her. Now,
who's playing that organ? Oh? Sis? Play? I see? Go ahead.
Speaker 9 (09:02):
Well, there was this knock on the door, and Beatrice
went to the door, and I heard it talking to someone,
at least I think I did. I want you to know,
I'm not sure about that.
Speaker 2 (09:14):
I kept reading.
Speaker 9 (09:15):
That's all Sis was practicing.
Speaker 2 (09:17):
Didn't your wife? Screamed? Didn't you hear anything?
Speaker 6 (09:19):
Oh?
Speaker 2 (09:19):
No, no, no, I didn't. I I happened to look
up my book.
Speaker 9 (09:22):
A little later after she went to the back door.
Speaker 2 (09:25):
How much later, Well, I don't know. I looked up
and she still wasn't there. She hadn't come back yet
from answering that knock on the door. That's right.
Speaker 9 (09:35):
So I went out back. The back door was still open,
but there wasn't anybody there. I called to her, and
then I started toward the alley and I stumbled. I
stumbled over Beatrice lying, then what did you do?
Speaker 2 (09:52):
Well?
Speaker 9 (09:52):
I called the police and then I told Sis.
Speaker 2 (09:56):
What had happened. You speak sign language?
Speaker 9 (09:58):
Yes, I learned when I was very young so that
I could speak with Sis. She's been with me all
the time.
Speaker 2 (10:05):
How long have you been married?
Speaker 9 (10:06):
Fourteen years?
Speaker 2 (10:07):
Why? What's that got to do? Happily, of course, happily.
Do you have any children?
Speaker 9 (10:13):
No, No, that's something Beatrice and I agreed on. Sis
needs taken care of. And Beatrice is always so busy, busy,
busy doing what clubs and auxiliaries. You know, she was
well liked, got things done, She was admired.
Speaker 2 (10:26):
And well liked. Then who would want to kill her?
Nobody would want to kill Beatrice. Nobody's to marry.
Speaker 9 (10:31):
She was a middle aged woman, mister Clover. Everybody she
knew was her friend. She did charity work. People came
with troubles, anybody, she'd help them. Why would anybody want
to kill her? What motive would he have? What motive,
mister Clover?
Speaker 2 (10:48):
It was there again? What motive? A fourteen year old girl,
the loved child of a quiet and nameless family until
a killer had taken the button of a gun and
beaten their name and their dead child's name into the
newspapers that choked the trash been supplied for the purpose
by the Department of Sanitation. What motive for that? And
for missus Beatrice Murray, admired, liked, charitable, a woman to
(11:12):
whom the trouble came, A childless woman who sat in
the evening and sewed together the patchwork of her day
while her husband read and his sister released the music.
She couldn't hear what motive for that brutal death? Because
you find no answer? Share it with, doctor Sinski asked
the question of him. Burden the gentle doctor with it.
Speaker 7 (11:29):
You put me a question, Danny, that is not strictly
in my department or in my education mind.
Speaker 2 (11:34):
If I abum another cigarette, oh here, hope, so thanks.
You've been with us a long time, doctor, Some of
it must have rubbed.
Speaker 7 (11:45):
Off, Danny. Ideal only in known quantities. You boys bring
me the wounds, you find, I washed them, bandaged them.
You bring me the dead. I perform autopsies, known quantities, Danny,
like I know, like I know my name. Your name
that dismisses he was murdered by the butt of the
same gun that hammered away the life of the child rule.
Speaker 2 (12:04):
Why tell me why I'll go out and buy my
own pack of cigarettes.
Speaker 7 (12:09):
If I had gold, you could have it, Danny, No
strings to it. No for the question you ask, go
consult a specialist, a man who puts the microscope of
his training to the emotion.
Speaker 2 (12:22):
The department psychiatrist.
Speaker 7 (12:24):
Yes to him, perhaps he will agree with me. And
I'm only an amateur, a dabbler. Minds you, Danny, that
this violence, this ugly bestial violence, has been committed by
what is called a paranoid.
Speaker 2 (12:36):
I've read about them, had them screaming in my office
and dream up hates against themselves that for this.
Speaker 7 (12:42):
Day kill an animal, the child.
Speaker 2 (12:45):
Woman.
Speaker 7 (12:46):
Excuse me, Danny, come in, Please.
Speaker 8 (12:50):
Are looking for me, you know, yeah, Danny Fresh homicide
Alley on West tenth Buckerman's got a squad Collum.
Speaker 2 (12:56):
Let me finish my cigarette, hunt Taglio. Sure, Danny, sure,
if you want it's finished. A woman, Danny, Yeah, put
(13:20):
your flash on her? Where's that music coming from apartment upstairs? Danny,
the back of her head? It's uh huh, keep your
flash still. We've seen it.
Speaker 7 (13:36):
Two times already in a short space, and this makes three.
Speaker 2 (13:44):
It made three. The woman staring into the beam of
the flash like mugumun held close to her face, staring
in the final disbelief that this had happened to her
in this place, in this time. She lay in awkwardness
for dress, disarranged her hand where it had frozen, trying
to stray from the wisp of blood clotted hair under
her black straw hat. The alley wind found the white
(14:05):
lace at her throat, riffled it, and the murdered woman
made three.
Speaker 3 (14:19):
You are listening to Broadways My Beat. Written by Morton
Fine and David Friedkin, with Larry Thora as Detective Danny Clover.
The Peggy Lee Show bowed in over most of these
same CBS stations last Sunday night. Folks who heard it
will be back tomorrow for more of Peggy's charm, Peggy's vocals,
Peggy's previews of coming popular musical events. Enjoy The Peggy
Lee Show for lighthearted summer listening at the stars address.
Speaker 2 (14:51):
The night music of summer spills in the Broadway from
the scarred throats of the loudspeakers hanging over the record shops,
and this summer's kids in the office sho older cottons
and the transparent California sports shirts squeeze each other into
the doorways and lap it up. And then someone shrills
a new diversion in a new shop window on a
new corner, and Broadway's youth rebops on down to it.
(15:13):
It's an old ceremony on Broadway that's dancing in the streets,
in the sweating barker with a fistful of passes to
happy upstairs lands, just the pricely amusement tax kid, that's
all too. A girl in the swimsuit, lying on the
billboard beach, never aging but old, and the touch of
summer's night on your eyelids. That's familiar too. It's all
(15:35):
happened to you before, and where I was, where muggivn was.
It had happened before too, to a fourteen year old
girl named Ruth, to missus Beeters Murray. And now to
the woman lying dead in an alley, not feeling the
touch of the man who had first timidly and then
(15:55):
with effort, twisted the purse out of her hand.
Speaker 7 (16:02):
She was holding on it with so tight Danny, open
it so tight. Yeah, killed the same way as the
other two, wouldn't you say.
Speaker 2 (16:12):
Danny, Uh huh.
Speaker 7 (16:13):
Maybe a fair city is being honored with a mad killer,
maybe sick man with a grudge against the women, even
if they're a kid, much like it.
Speaker 2 (16:22):
How long does it take to go through the purse?
Speaker 7 (16:24):
Mogavin just sorting the unnecessary stuff, Danny tissues compact change purse,
Bobby pins just sell slip for let's see I hold
of flashy minute, Danny, Yeah, I for China were tortoise
shelled cone with silver edgy.
Speaker 2 (16:41):
That's all. No identification.
Speaker 7 (16:43):
Well I haven't tried this inside flap yet, Denny. Yeah,
here it is a new social Security card made out
to hold it again. Alma Russell forty two, twelve sixth Avenue.
That's around eighth Street, Danny.
Speaker 2 (16:58):
Maybe she was on her way home, took the sally
and cuts through the sixth killer knew she took it,
sometimes waited for here, slucked her, made sure she was
Dad got a confession, Danny. It puzzles me. You alone
in the world.
Speaker 7 (17:11):
Three of them dead, that girl, that woman with her husband,
and the sister plays the order.
Speaker 2 (17:18):
No, this one. I could understand it if, if what.
There wasn't a mark on.
Speaker 7 (17:23):
Him, Danny, other than the beating from the gun, but
not a mark.
Speaker 2 (17:26):
When this girl's young, about twenty five, I'd say.
Speaker 7 (17:30):
Pretty, neat, clean and bet she was attractive.
Speaker 2 (17:35):
Sweet. What do you build them?
Speaker 10 (17:36):
Um?
Speaker 2 (17:37):
We've had him before, Danny.
Speaker 7 (17:38):
The guys who waiting all he's go to moving picture houses,
talk to little girls in the vacant lot. This kind
we've had before, and in a way I could understand it.
Speaker 2 (17:47):
But the killer who you said he was sick. Doctor
Sinsky called him a paranoid. Whatever they call him, it
scares me. Sick.
Speaker 7 (17:55):
I got her niece lives three blocks from me with
my brother.
Speaker 2 (17:59):
She's funny. You're trying to talk about her like the
girl's father did, and go call him.
Speaker 5 (18:09):
I thought that it could happen.
Speaker 2 (18:10):
To call him. I'll wait for you. And in a
little while the young woman who had hugged death in
an alley was attended to by gentle people, which is
the miracle of violent death in a great city. The
in turn, the stranger in the white jacket knelt beside
(18:31):
her and shook his head and thought a thought that
included both of them. And an ambulance driver looked at
her and hit his lip when he put her on
the stretcher. Then the alley was no longer remarkable. It
resolved back under itself, play of refuse, mewings, and the
short cut home. It was the end of something or
(18:54):
another for me. It was the end of the day. Home.
Now in bed, adjust the mind not to dream. This
can be done by a policeman assigned a homicide. Sleep
the night through and wake and have the coffee, and
read the paper and get to work. Going out of
(19:17):
the address on tenth Street because a girl named Alma
Russell once lived there. Ring the bell, just your mind
again to the fact that you're going to talk about
the murder of a young woman at eight thirty in
the morning.
Speaker 11 (19:28):
You from the police?
Speaker 2 (19:29):
Yes, I am, I'll come in.
Speaker 11 (19:32):
Here your kitchen, sit down.
Speaker 2 (19:36):
Thanks. What's your name, Danny Clover?
Speaker 11 (19:39):
Mine's Purdon ethel Predon. I'm mine host to the borders.
Had your coffee yt Danny? Uh huh me too? You
won't mind if I try making up his face of mine?
Speaker 10 (19:49):
Do you?
Speaker 11 (19:49):
I say making up because that's the phrase that choosed.
Speaker 2 (19:52):
How is it that you are expecting the police, Missus Purdon, Well, I.
Speaker 11 (19:55):
Read the morning papers, don't I. Alma got killed? Didn't she?
She lived here?
Speaker 2 (19:59):
Didn't she?
Speaker 6 (20:00):
She? So?
Speaker 3 (20:01):
Who should I expect?
Speaker 11 (20:03):
Humphrey bullgot eh? How does the lipstick look, Danny kissable
or otherwise? H otherwise?
Speaker 2 (20:10):
H Look, missus Burdana, I want you to tell me
everything you can about Alma Russell? Sure?
Speaker 11 (20:15):
Sure? Can you reach that mess garat Danny yeah, right
there in the shelf sea. Thanks about Alma? A maid
clean sweeps, does a buck an hour?
Speaker 2 (20:28):
Who'd she worked for?
Speaker 11 (20:30):
She never said quit a job a couple of weeks ago.
I think she got another one just the other day. Well,
I guess that's the best I can do with my
facial equipment. Mirah, Mirah on the wall?
Speaker 10 (20:43):
Eh?
Speaker 2 (20:44):
What else about her?
Speaker 11 (20:46):
I don't know what else? She paid board, kept to
herself with no trouble, didn't talk except to how do
you do? And a very well thank you? Nice table
manners broke her bread and never left much crumbs. Nice girl?
Speaker 2 (20:59):
What about boyfriends?
Speaker 11 (21:01):
None here in my establishment, old ladies? What happens in
the street? I wouldn't know. Help me with my coat?
Speaker 2 (21:08):
Will you?
Speaker 6 (21:08):
Then?
Speaker 2 (21:08):
Are you going someplace?
Speaker 10 (21:09):
We?
Speaker 2 (21:10):
Sure?
Speaker 11 (21:10):
I am.
Speaker 2 (21:10):
I want to look at Alma's room.
Speaker 11 (21:12):
First land and door on your right. You want to
talk to me soon again, Danny.
Speaker 2 (21:16):
Maybe after I look at Alma's room.
Speaker 11 (21:18):
I'll be easy to find your place, your morgue. I'm
going down and cry for Alma Russell. Somebody's got to
cry for her.
Speaker 2 (21:31):
Watch her leave for a session of weeping through messcarot
eye lashes. The pastime the protest against her being bitter
and lonely and unwanted. And enter the dead woman's room,
search it not its primness, handle the modest belongings of
a girl who would wash, dusted, arrange the belongings of
other women in other richer rooms. The pile of old
magazines carefully saved on the closet shelf and on the bedstand,
(21:54):
the new ones, the fan magazines. The romance is truer
than her own because they were printed on slick paper.
The dresser lined with a thin layer of inexpensive underclothes,
the wardrobe of the bargain flowered prints, the starched maid's uniform,
the cloth coat, and the moth proofed bag. That was it,
the sum of al Ma Russell's life. And then back
(22:21):
to headquarters and the concern of Sergeant Gino to Taglia
for your tiredness, for your.
Speaker 8 (22:26):
Paleness, Danny, not that it is mine to medal, But
while you should exhibit yourself to the sunshine more lull
on far rockaway on your day off, Geno, bring cheeks
of ten to your cheeks, bear your pale feet at
the firemen filled rays.
Speaker 2 (22:40):
The pale feet bother you.
Speaker 8 (22:43):
Nothing whatsoever about your personality bothers me, Danny, It's only.
Speaker 2 (22:47):
That you'd feel better if I got sunburned.
Speaker 8 (22:51):
Well, it is the fashion of the season.
Speaker 2 (22:53):
As a rumor, murder is the fashion.
Speaker 8 (22:55):
Yeah, this also three the members of the opposite sex.
Speaker 2 (23:00):
Would be so simple, if only somewhere I could find
where their lives have been touched by one man, by
one killer.
Speaker 8 (23:06):
Danny, don't whip yourself. I put the boys working on it,
like yes, they can't find it either. All they come
up with is a reading on a sales slip. Huh,
the sales slip you found in the purse of the
deceased Alma Russell. It seems the girl bought a teapot
from a place called ivers Pake two hundred dollars for it.
And this makes a mishmash upsets your colleagues in the department.
Speaker 2 (23:30):
Two hundred for a teapot bought by a girl who
makes a buck an hour. Doesn't it upset you?
Speaker 12 (23:52):
Something we can do for you?
Speaker 10 (23:53):
Say?
Speaker 2 (23:54):
Yes, there is, I'm from the police. Good.
Speaker 12 (23:56):
Are we interested in some china ware today?
Speaker 2 (23:59):
Yes? We are. I want you to take a look
at this. This is a sales slip. What is it? It's
for a teapot, one that costs two hundred dollars.
Speaker 12 (24:08):
I don't understand why we're lifting our eyebrowser Of course
it did. A Stratfordshire teapot on the current market is
worth at least there.
Speaker 2 (24:15):
The sales slip was found on a young lady. Young
lady that's been murdered. I see the young lady happened
to have purchased this teapot here. I see her name
was Alma Russell. I see, how does a dollar an
hour mate by a two hundred dollar piece of china.
Speaker 12 (24:29):
By paying two hundred dollars for it? Miss Russell paid
exactly that much?
Speaker 2 (24:34):
Then you remember, miss Russell.
Speaker 12 (24:35):
Oh, indeed, yes, we sold it to ourselves about three
weeks ago. I remember the transaction. Will she'd called the
day before to price the teapot. The next day she
came in with the money about midday on a.
Speaker 2 (24:47):
Thursday, unless it was a day off. She was in uniform.
Didn't it seem strange that a house trader it did?
Speaker 12 (24:55):
I might as well tell you, tell me what the
sales slip says, two hundred dollars. She didn't pay that
for it. She paid one hundred and ninety for it,
a tacks included. We paid the difference that of our
own pocket. In the trade, we are known as a
sucker for hard luck. Stories about teapots and miss Russell
had one.
Speaker 2 (25:13):
You want to tell me about it now or later?
Speaker 12 (25:15):
Miss Russell was dusting the china at the home of
her employer, broke a Stratfordshire teapot, hid the debris, bought
another one before the accident was discovered as a replacement.
Speaker 2 (25:24):
Just one more thing. Did she say who this employer was?
She did not.
Speaker 12 (25:29):
However, However, there are some regular clients of ours who
eat off the stuff, like who the Llewellyns, for example,
the Crandalls, the second and third, the Murray's.
Speaker 2 (25:41):
The West which Murray's on West eleventh? The Paul Murrays.
Are we being helpful? We'll never know how much?
Speaker 9 (26:00):
Yeah, oh oh you mister Clover please come in.
Speaker 2 (26:14):
Thanks, mister Murray.
Speaker 9 (26:17):
You want to talk to me, don't you? This way
down the hall?
Speaker 2 (26:21):
Oh Claudia, that.
Speaker 9 (26:22):
Is sissus practicing. We don't want to disturb.
Speaker 2 (26:25):
Through this door. You hear the library? Now do you
know the man who killed my wife? We know the
kind of man who killed your wife? Yes, a paranoid.
Paranoid a person who's quick to find a reason to kill,
and he doesn't need much of the reason.
Speaker 9 (26:44):
Just cross crazy man. You could say that, but they
tell me a lot of crazies are clever. But why
come to tell me about it. You should be out
looking for the man. I just thought i'd stop by
and let you know how we were progressing. I'm busy,
Oh my hobby model trains. I was assembling this engine.
Speaker 5 (27:03):
It's a diesel.
Speaker 2 (27:05):
Careful work must take a lot of patience.
Speaker 9 (27:08):
Please put it down, it's fragile. I don't allow anyone
to touch it.
Speaker 2 (27:11):
All right, I said, I stopped by to let you
know how we were progressing.
Speaker 9 (27:16):
Come back when you can tell me the killer's name.
And from what I've been reading, you'd better hurry up.
Three killings indiscriminately by the same man, by.
Speaker 2 (27:25):
The same man. The way we figured, mister Murray, is
that the killer was really only interested in killing one person.
He killed the other two to make it look like
what you said, indiscriminate killings.
Speaker 9 (27:36):
I er, I don't understand.
Speaker 2 (27:38):
To make it look like murder without a motive, without plan.
But there was motive.
Speaker 9 (27:43):
What motive for killing a fourteen year old girl. None
part of the plan, and that housemaid none. But that
was the killer's mistake. If he'd killed some one else,
I wouldn't be here now.
Speaker 2 (27:57):
You you don't.
Speaker 9 (27:59):
Know what you're talking about.
Speaker 2 (28:00):
Aren't you going to ask me why anyone should kill
your wife?
Speaker 3 (28:04):
There was no motive like the other killer had one.
Speaker 2 (28:08):
You had a wife, a wife, didn't want the burden
of an afflicted sister in law. That's only a guess.
Did your wife ever complain about your sister?
Speaker 5 (28:18):
Get out of here.
Speaker 2 (28:19):
You said your wife was a warm and open hearted woman.
She wanted children, didn't she?
Speaker 9 (28:23):
Your presumptuous, your crude, Get out of here.
Speaker 2 (28:26):
You already had a child in your house sis, your sister.
You never let her be anything but a child.
Speaker 9 (28:32):
I don't have to take these insults and put that down.
Speaker 12 (28:36):
Put that train down, crazy crazy, You broke it deliberately.
Speaker 3 (28:41):
All I'd work on you.
Speaker 2 (28:44):
I'll kill you. I'll kill you a broken toy train.
How you're going to convince me you're copp an insanity glee?
You're going to try harder than that, that's right, settle down,
I try cut it out. Murdy, You're no more crazy
than I am. Paranoid would have had reason to kill
(29:09):
that maid at fourteen year old girl, you kill to
cover up your wife's murder. She'll find out what happened.
We'll let her know. Oh, Broadway leaps against the night.
(29:43):
The sound it makes is the crash of life deep
inside the earth, and the hiss of neon, the laugh
that screams. They melt together, the sounds. You get his shock.
There's another sound, the tear broke. But no one listens,
No one hears. It's Broadway, the gaudiest, the most violent,
(30:05):
the lonesomest, myelin the world, Broadway My Beat.
Speaker 3 (30:25):
Broadway's My Beat stars Larry Thoras Detective Danny Clover, with
Charles Calvernes Tataglia and Jack Krushian as Muggavin. The programmers
produced and directed by Elliot Lewis, with musical score composed
and conducted by Alexander Courage. In Tonight's story, Joseph Kerns
was heard as Paul Murray. Featured in the cast were
Charles Davis, Martha Wentworth, and Harry Bartel. Two styles of music,
(30:48):
both tops and Popularity, are heard every Sunday over most
of these same CBS stations Guy Lombardo's Sweetest Music this
side of Him and is One the others the singing
style of Mario Lanzer, New Vocals and Station of the Airways,
Enjoy God Embardo and is Weel Canadians, and the Mario
Lanza Show Tomorrow Night. Stay tuned now for us sing
It Again, which follows immediately over most of these same
(31:10):
CBS stations. Bill Anders speaking, This is CBS where you
meet Adventure with Johnny Wild on Sundays on the Columbia
Broadcasting System.
Speaker 1 (31:33):
Welcome back. I think that Broadways My Beat is a
series that did become better as it went on. There
are subtle ways in which the series has changed. There's,
of course, the rhythm to most episodes of Muga Van
being the one to guide Danny through the crime scene
(31:58):
to some extent, which it does a lot to make
the series feel more like a police show rather than
a PI show. As the series often did it it
didn't quite feel like a police show. I think it
does now, and there have also been some subtle refinements
in Danny Clover's characterization. He's less likely to do something
(32:25):
totally off the rails like beat up a suspect now
of course, he still has very strong feelings about these
cases and can be very affected by his work, which
I think makes him interesting although perhaps a bit unusual.
But there is this sense in which he is not
(32:48):
giving full vent to his rage. In some of the
earlier episodes there would be some punching up some suspects
and some react since that would be really, really over
the top. I think Danny Clover is still the same
character at his core as when Fine and Freakin first
(33:11):
wrote him, but there is a sense in which he
feels a bit more grounded, a bit like he inhabits
the same sort of world that Peopull actually lived in.
Now that's not to say there aren't some trophy things
about broadways, my beat, and some odd things, one of
which we'll kind of get into after the episode. But
(33:35):
there is a sense where I think the drama is
better because it's slightly more believable and realistic. And I
thought that this was a particularly powerful story. Harry Bartell
as the father in this case, gave such a great performance,
first that sense of denial, just then giving way to
(33:59):
total rage as he realized that this actually happened.
Speaker 2 (34:03):
All right.
Speaker 6 (34:04):
Well.
Speaker 1 (34:04):
Listener comments and feedback now and we're gonna go over
to Spotify, where Mechanics sixty six comments. I did not
recognize Peggy Weber because I've mainly heard her play much
older women like Joe Friday's mother, a landlady, etc. Why
didn't Nanny take Mugavin with him to arrest a killer?
(34:25):
I get why she took the picture of the murder,
but this should have only been used as a last resort.
If the brother had no alibi and was about to
be convicted, then she could have said she when she
got home, she had her film developed and saw the murder.
But all that being said, he already had the butler
as an alibi. And that, of course is regarding the
(34:46):
earl loss and murder case. And I think that's a
fair point regarding the question of why he didn't bring Muggavin.
That is one of the really odd tropes of this
series is Danny choosing to confront the killer alone. I mean,
(35:07):
why doesn't he ever bring Mugavin. Ninety plus percent of
the time he chooses to confront the killer on his
own for reasons, And as much as I just talked
about how Danny is a bit more grounded, that is
one of the sillier parts of the program, but it
doesn't interfere with the emotional realism of the program too much,
(35:31):
I think, because it's just part of that suspension of
disbelay you have to accept. Then we have a listener
on YouTube who just posted a very nice thank you
Adam on the Francesca Brown murder case. And then we
turn to our listener survey, where Larry writes love old
radio shows, keep them alive for generations to come. Well,
(35:53):
thank you so much, Larry, and I appreciate you filling
out our listener survey. Well, now it's time to thank
our patreons porters of the day. Want to thank Jim
and Rachel, who are joint Patreon supporter since March twenty sixteen,
currently supporting the podcast at the Shawness level of four
dollars more per month. Thank you so much for your support,
(36:14):
and I will do it for today. If you're enjoying
the podcast, please follow us using your favorite podcast software.
And if you're enjoying the podcast on YouTube, be sure
to lock the video, subscribe to the channel, and mark
the notification bell. All those great things that help YouTube
channels to grow. We'll be back next Wednesday with another
(36:36):
episode of Broadways My Beat, but join us back here
tomorrow for dragon Netwear.
Speaker 10 (36:42):
That's right, I ran one.
Speaker 6 (36:44):
Of those three day one ads over the weekend Friday,
Saturday and Sunday. I thought I'd get more from my
car if I told it myself. I mean, instead of
selling it to a used car lots.
Speaker 10 (36:53):
How many answers did you get on your one? Ed? Well,
just the one way it turned out.
Speaker 6 (36:57):
This man came out and looked at my car first
thing in the morning to pay me exactly what I
was asking for it.
Speaker 10 (37:02):
So I sold it to him. That's just the way
it went. Who was this man, Missus Palmer? Was he
representing some auto company?
Speaker 6 (37:07):
Yes, he said he was. Anyway, he gave his name
to Joseph Newhall. I've got his card inside. Said he
was a buyer for Dan Barton's juice car lot on
South cap Street.
Speaker 10 (37:16):
Nicely dressed man. He made it all seem so honest.
How was the deal arranged?
Speaker 2 (37:19):
Could you tell us?
Speaker 10 (37:20):
I mean transfer the car payment and so for well, he.
Speaker 6 (37:22):
Gave me a check for fifty dollars sort of a
down payment to hold the car for him. Was a
certified company check.
Speaker 10 (37:27):
I see. He told me i'd be back that afternoon with.
Speaker 6 (37:30):
A certified check for the full amount of the car
eight hundred dollars.
Speaker 10 (37:33):
Did he take your car with him then, No, he didn't.
Speaker 6 (37:36):
That's why I had no reason to be suspicious. He
left me the check for fifty dollars and said he'd
be back later with the rest of the money. Said,
in the meantime one of the employees from the used
car lot might be along to pick up the car
to save me the trouble of driving it downtown myself.
Speaker 10 (37:49):
Mm hmm, same mo joe all the way. Yeah, it
looks like that. Well, how did it go after that?
Miss Palmer?
Speaker 6 (37:54):
This worker from the used car lot came to the
house to pick up the car about one o'clock that afternoon,
gave me a check with fum out of the car,
and I gave him the pink slip had a pair
of white coveralls on lettering on the back of them
Dan Barton juice cars. Looked like a typical mechanic or something.
I wasn't the least a bit suspicious.
Speaker 2 (38:12):
How about the buyer, this Joseph Newhall.
Speaker 10 (38:14):
Did he show up later in the day.
Speaker 6 (38:16):
No, he never came back. I've never seen him since.
Haven't seen my car either. I call that Dan Barton
Juice car Lots. The next morning, they told me they
never heard of Joseph Newhall. Just made me a stick officer.
I can't afford to lose the money I had.
Speaker 10 (38:29):
In that car.
Speaker 3 (38:29):
Yes, ma'am, we understand the same thing's happened to a
dozen people like you around the city.
Speaker 1 (38:34):
I hope you'll be with us then. In the meantime,
send your comments to Box thirteen at Great Detectives dot net,
follow us on Twitter at Radio Detectives, and check us
out on Instagram, Instagram, dot com, slash Great Detectives from
boise Alohol. This is your host, Adam Graham signing off.
Welcome to the Great Detectives of Old Time Radio from Boise, Idaho.
This is your host, Adam Graham. In a moment, we're
going to bring you this week's episode of Broadways My Beat.
But first you if you are enjoying the podcast to
please follow us using your favorite podcast software. Today's program
(00:52):
is brought to you in part by the financial support
of our listeners. You can support the show on a
one time basis using the zell app to boks thirteen
at Great Detectives dot net, and also become one of
our ongoing Patreon supporters for his little last two dollars
per month at Patreon dot Great Detectives dot net, and
(01:13):
I want to go ahead and welcome our latest Patreon supporters.
I want to thank Jerome and Kayleen, who both came
on board supporting the podcast at the Shawmus level of
four dollars or more per month, and also Dolly supporting
the podcast at the rookie level of two dollars or
(01:34):
more per month. Again, thank you so much for your support.
Speaker 2 (01:38):
Well.
Speaker 1 (01:39):
Now, from June twenty third, nineteen fifty one, here is
the Ruth Lawson murder case.
Speaker 3 (01:47):
We delay the start of our scheduled program to bring
you a bulletin from CBS News Washington. The State Department
has issued a statement in responds to the proposal by
Jacob Malick, the Soviet delegate to the United Nations, for
a ceasefire in Korea. The State Department said that if
Malix's proposal is more than propaganda, adequate means for discussion
(02:08):
and end to the conflict are available. The State Department said,
we are ready to play our part. This bulletin has
come to you from CBS News. We now resume our
regular program.
Speaker 2 (02:30):
Broadway's My Beat from Climesquur to Columbus Circle, the gaudiest,
the most violent, the lonesomest mile in the world.
Speaker 3 (02:45):
Broadway is My Beat with Larry Thor as Detective Danny Clover.
Speaker 2 (03:03):
The nighttime starts at the river before it closes over Broadway.
A wind drifts in with the moistened shadows, flings them
into the street, flattens them against the gutter, picks a
man waiting for a bus and wraps darkness around him.
And a light comes on, and another, and down the street.
There where the crowd has gathered against the traffic signal
high above the mo neon sputters flames, the spectaculars dance.
(03:26):
Somebody runs into the street and yells come on, and
everybody does. Night has come to Broadway. And where I
was there was a wind the built in when the
thing composed of poor ventilation, tears, shed and unshed and
bottled chemicals. It was the basic ingredient of the city Morgue.
(03:47):
Though not to be found on blueprints of bills of specifications,
it is something new to the man walking beside me.
This place, this place, just take it, mister Larson.
Speaker 4 (04:01):
I'll tell you something. I guess it'll sound funny. I've
read about places like this, and I've closed my mind
to what I read. I guess I never wanted to
visualize anything.
Speaker 2 (04:14):
Right here, mister Larson. What was your daughter wearing?
Speaker 4 (04:19):
Missus Larson wrote it down for me. You see, I
wasn't home when our daughter, when Ruth, went to the movie,
So Missus Larson, Ruth was wearing a skirt and blouse,
think Bobby socks and saddle shoes. I guess you want
to know this too. She was five feet one, she
was fourteen in May. She had brown hair and brown eyes.
(04:41):
And I want you to know, mister Clover, I guess
all fathers feel the same way.
Speaker 2 (04:45):
My Ruth was well.
Speaker 4 (04:47):
Our friend said, she was a remarkable child. She's going
We're going to send it to under that sheet.
Speaker 2 (04:55):
This girl was found in a vacant lot between your
home and the theater. Your wife mentioned when she called,
how I mean, look, you know it fractured skull.
Speaker 5 (05:08):
I have to lug Donna.
Speaker 2 (05:09):
Yes, if it's your daughter.
Speaker 5 (05:13):
Ruth's a nice girl.
Speaker 4 (05:16):
She started to go to parties with boys, and she
always gets home by eleven o'clock. She's going to be
a dancer. When people come to the house, she dances
for them. You see, as I as I told you before.
Speaker 5 (05:30):
Ruth, Ruthie, Oh Ruthie, Who did it?
Speaker 2 (05:42):
What? Monster?
Speaker 5 (05:44):
Who did it to you?
Speaker 2 (05:45):
Who?
Speaker 6 (05:46):
Who?
Speaker 2 (05:53):
The fury took over the man trembling with the shivering
or that scurried from wall to wall and raged the wound,
the death of his child across his heart, torn inside
his throat, the helpless, futile rage of the animal loose
small range of understanding has been kicked, beaten, thrown against
the barbed wall of violence. Not once, not once more,
did he look at his child. Now, Try only to
(06:16):
wipe out the memory, Try to strangle it long ago.
Laughter and sobs that the child had let echo through it. Finally,
the collapse the heap and the concrete floor, and you
call quietly to the officer on duty to help you
lift them and carry him to a place where he
can sleep away the fury of his dead. Then back
(06:41):
to your office and close the door on it. Stand
at the window, watching the squalls of the nighttime wash
against it, beat against it, and then stare at the walls.
Then hear the door opened for him to let it
all in again.
Speaker 7 (06:58):
Daddy, Danny, what do you want doctor Sinski's report? He
was busy on another. He asked me to bring it
to you, so.
Speaker 2 (07:07):
Leave it on my desk, all right, you're not gonna
look at it, Danny. Why I know what's in it?
Speaker 7 (07:17):
I thought I did too, to like glance it over
on the way to your office. You'd better take a
look at it.
Speaker 2 (07:21):
You're so eager. I don't want to spoil it for you.
Tell me about it, Muggavin, Dan, you tell me I'm Muggavin.
We've had other kids, now, this one's no different that all, Muggavin.
Speaker 7 (07:30):
That's what I've been trying to tell you. This one
is different. Just what you saw when you first found her.
That's what's in the report. Beaten skull, fractioned with the
butt of a gun. Nothing else.
Speaker 2 (07:41):
Then give me a motive, Give me another motive. Why
I have fourteen year old child? Should Clover speaking.
Speaker 8 (07:53):
Sagian Tartaglia at this end? Homicide Danny. Woman in the
backyard of house in eighteen forty five West eleven named
Murray upstairs wants you on it. Shall I tell him
you're agreeable, Danny.
Speaker 2 (08:04):
Tell him, I'm bring me a motor Mugaman upstairs wants
me to run an errand she's over here, mister Clover,
right here, dead beaten. I'd say her scull had infractured.
(08:30):
Mister Murray, I don't understand it. I just don't understand it.
Tell me what happened.
Speaker 9 (08:37):
We were sitting in the library. A knock came on
the back door. I wanted to answer it, but Beetrice said,
I look so comfortable. There was just you too in
the library, you and your wife and sis. Sis my
sister Claudia. She can't hear anything.
Speaker 2 (08:52):
She's deaf. She never goes out of the house. I
take care of her. Well, who's in the house with her. Now,
who's playing that organ? Oh? Sis? Play? I see? Go ahead.
Speaker 9 (09:02):
Well, there was this knock on the door, and Beatrice
went to the door, and I heard it talking to someone,
at least I think I did. I want you to know,
I'm not sure about that.
Speaker 2 (09:14):
I kept reading.
Speaker 9 (09:15):
That's all Sis was practicing.
Speaker 2 (09:17):
Didn't your wife? Screamed? Didn't you hear anything?
Speaker 6 (09:19):
Oh?
Speaker 2 (09:19):
No, no, no, I didn't. I I happened to look
up my book.
Speaker 9 (09:22):
A little later after she went to the back door.
Speaker 2 (09:25):
How much later, Well, I don't know. I looked up
and she still wasn't there. She hadn't come back yet
from answering that knock on the door. That's right.
Speaker 9 (09:35):
So I went out back. The back door was still open,
but there wasn't anybody there. I called to her, and
then I started toward the alley and I stumbled. I
stumbled over Beatrice lying, then what did you do?
Speaker 2 (09:52):
Well?
Speaker 9 (09:52):
I called the police and then I told Sis.
Speaker 2 (09:56):
What had happened. You speak sign language?
Speaker 9 (09:58):
Yes, I learned when I was very young so that
I could speak with Sis. She's been with me all
the time.
Speaker 2 (10:05):
How long have you been married?
Speaker 9 (10:06):
Fourteen years?
Speaker 2 (10:07):
Why? What's that got to do? Happily, of course, happily.
Do you have any children?
Speaker 9 (10:13):
No, No, that's something Beatrice and I agreed on. Sis
needs taken care of. And Beatrice is always so busy, busy,
busy doing what clubs and auxiliaries. You know, she was
well liked, got things done, She was admired.
Speaker 2 (10:26):
And well liked. Then who would want to kill her?
Nobody would want to kill Beatrice. Nobody's to marry.
Speaker 9 (10:31):
She was a middle aged woman, mister Clover. Everybody she
knew was her friend. She did charity work. People came
with troubles, anybody, she'd help them. Why would anybody want
to kill her? What motive would he have? What motive,
mister Clover?
Speaker 2 (10:48):
It was there again? What motive? A fourteen year old girl,
the loved child of a quiet and nameless family until
a killer had taken the button of a gun and
beaten their name and their dead child's name into the
newspapers that choked the trash been supplied for the purpose
by the Department of Sanitation. What motive for that? And
for missus Beatrice Murray, admired, liked, charitable, a woman to
(11:12):
whom the trouble came, A childless woman who sat in
the evening and sewed together the patchwork of her day
while her husband read and his sister released the music.
She couldn't hear what motive for that brutal death? Because
you find no answer? Share it with, doctor Sinski asked
the question of him. Burden the gentle doctor with it.
Speaker 7 (11:29):
You put me a question, Danny, that is not strictly
in my department or in my education mind.
Speaker 2 (11:34):
If I abum another cigarette, oh here, hope, so thanks.
You've been with us a long time, doctor, Some of
it must have rubbed.
Speaker 7 (11:45):
Off, Danny. Ideal only in known quantities. You boys bring
me the wounds, you find, I washed them, bandaged them.
You bring me the dead. I perform autopsies, known quantities, Danny,
like I know, like I know my name. Your name
that dismisses he was murdered by the butt of the
same gun that hammered away the life of the child rule.
Speaker 2 (12:04):
Why tell me why I'll go out and buy my
own pack of cigarettes.
Speaker 7 (12:09):
If I had gold, you could have it, Danny, No
strings to it. No for the question you ask, go
consult a specialist, a man who puts the microscope of
his training to the emotion.
Speaker 2 (12:22):
The department psychiatrist.
Speaker 7 (12:24):
Yes to him, perhaps he will agree with me. And
I'm only an amateur, a dabbler. Minds you, Danny, that
this violence, this ugly bestial violence, has been committed by
what is called a paranoid.
Speaker 2 (12:36):
I've read about them, had them screaming in my office
and dream up hates against themselves that for this.
Speaker 7 (12:42):
Day kill an animal, the child.
Speaker 2 (12:45):
Woman.
Speaker 7 (12:46):
Excuse me, Danny, come in, Please.
Speaker 8 (12:50):
Are looking for me, you know, yeah, Danny Fresh homicide
Alley on West tenth Buckerman's got a squad Collum.
Speaker 2 (12:56):
Let me finish my cigarette, hunt Taglio. Sure, Danny, sure,
if you want it's finished. A woman, Danny, Yeah, put
(13:20):
your flash on her? Where's that music coming from apartment upstairs? Danny,
the back of her head? It's uh huh, keep your
flash still. We've seen it.
Speaker 7 (13:36):
Two times already in a short space, and this makes three.
Speaker 2 (13:44):
It made three. The woman staring into the beam of
the flash like mugumun held close to her face, staring
in the final disbelief that this had happened to her
in this place, in this time. She lay in awkwardness
for dress, disarranged her hand where it had frozen, trying
to stray from the wisp of blood clotted hair under
her black straw hat. The alley wind found the white
(14:05):
lace at her throat, riffled it, and the murdered woman
made three.
Speaker 3 (14:19):
You are listening to Broadways My Beat. Written by Morton
Fine and David Friedkin, with Larry Thora as Detective Danny Clover.
The Peggy Lee Show bowed in over most of these
same CBS stations last Sunday night. Folks who heard it
will be back tomorrow for more of Peggy's charm, Peggy's vocals,
Peggy's previews of coming popular musical events. Enjoy The Peggy
Lee Show for lighthearted summer listening at the stars address.
Speaker 2 (14:51):
The night music of summer spills in the Broadway from
the scarred throats of the loudspeakers hanging over the record shops,
and this summer's kids in the office sho older cottons
and the transparent California sports shirts squeeze each other into
the doorways and lap it up. And then someone shrills
a new diversion in a new shop window on a
new corner, and Broadway's youth rebops on down to it.
(15:13):
It's an old ceremony on Broadway that's dancing in the streets,
in the sweating barker with a fistful of passes to
happy upstairs lands, just the pricely amusement tax kid, that's
all too. A girl in the swimsuit, lying on the
billboard beach, never aging but old, and the touch of
summer's night on your eyelids. That's familiar too. It's all
(15:35):
happened to you before, and where I was, where muggivn was.
It had happened before too, to a fourteen year old
girl named Ruth, to missus Beeters Murray. And now to
the woman lying dead in an alley, not feeling the
touch of the man who had first timidly and then
(15:55):
with effort, twisted the purse out of her hand.
Speaker 7 (16:02):
She was holding on it with so tight Danny, open
it so tight. Yeah, killed the same way as the
other two, wouldn't you say.
Speaker 2 (16:12):
Danny, Uh huh.
Speaker 7 (16:13):
Maybe a fair city is being honored with a mad killer,
maybe sick man with a grudge against the women, even
if they're a kid, much like it.
Speaker 2 (16:22):
How long does it take to go through the purse?
Speaker 7 (16:24):
Mogavin just sorting the unnecessary stuff, Danny tissues compact change purse,
Bobby pins just sell slip for let's see I hold
of flashy minute, Danny, Yeah, I for China were tortoise
shelled cone with silver edgy.
Speaker 2 (16:41):
That's all. No identification.
Speaker 7 (16:43):
Well I haven't tried this inside flap yet, Denny. Yeah,
here it is a new social Security card made out
to hold it again. Alma Russell forty two, twelve sixth Avenue.
That's around eighth Street, Danny.
Speaker 2 (16:58):
Maybe she was on her way home, took the sally
and cuts through the sixth killer knew she took it,
sometimes waited for here, slucked her, made sure she was
Dad got a confession, Danny. It puzzles me. You alone
in the world.
Speaker 7 (17:11):
Three of them dead, that girl, that woman with her husband,
and the sister plays the order.
Speaker 2 (17:18):
No, this one. I could understand it if, if what.
There wasn't a mark on.
Speaker 7 (17:23):
Him, Danny, other than the beating from the gun, but
not a mark.
Speaker 2 (17:26):
When this girl's young, about twenty five, I'd say.
Speaker 7 (17:30):
Pretty, neat, clean and bet she was attractive.
Speaker 2 (17:35):
Sweet. What do you build them?
Speaker 10 (17:36):
Um?
Speaker 2 (17:37):
We've had him before, Danny.
Speaker 7 (17:38):
The guys who waiting all he's go to moving picture houses,
talk to little girls in the vacant lot. This kind
we've had before, and in a way I could understand it.
Speaker 2 (17:47):
But the killer who you said he was sick. Doctor
Sinsky called him a paranoid. Whatever they call him, it
scares me. Sick.
Speaker 7 (17:55):
I got her niece lives three blocks from me with
my brother.
Speaker 2 (17:59):
She's funny. You're trying to talk about her like the
girl's father did, and go call him.
Speaker 5 (18:09):
I thought that it could happen.
Speaker 2 (18:10):
To call him. I'll wait for you. And in a
little while the young woman who had hugged death in
an alley was attended to by gentle people, which is
the miracle of violent death in a great city. The
in turn, the stranger in the white jacket knelt beside
(18:31):
her and shook his head and thought a thought that
included both of them. And an ambulance driver looked at
her and hit his lip when he put her on
the stretcher. Then the alley was no longer remarkable. It
resolved back under itself, play of refuse, mewings, and the
short cut home. It was the end of something or
(18:54):
another for me. It was the end of the day. Home.
Now in bed, adjust the mind not to dream. This
can be done by a policeman assigned a homicide. Sleep
the night through and wake and have the coffee, and
read the paper and get to work. Going out of
(19:17):
the address on tenth Street because a girl named Alma
Russell once lived there. Ring the bell, just your mind
again to the fact that you're going to talk about
the murder of a young woman at eight thirty in
the morning.
Speaker 11 (19:28):
You from the police?
Speaker 2 (19:29):
Yes, I am, I'll come in.
Speaker 11 (19:32):
Here your kitchen, sit down.
Speaker 2 (19:36):
Thanks. What's your name, Danny Clover?
Speaker 11 (19:39):
Mine's Purdon ethel Predon. I'm mine host to the borders.
Had your coffee yt Danny? Uh huh me too? You
won't mind if I try making up his face of mine?
Speaker 10 (19:49):
Do you?
Speaker 11 (19:49):
I say making up because that's the phrase that choosed.
Speaker 2 (19:52):
How is it that you are expecting the police, Missus Purdon, Well, I.
Speaker 11 (19:55):
Read the morning papers, don't I. Alma got killed? Didn't she?
She lived here?
Speaker 2 (19:59):
Didn't she?
Speaker 6 (20:00):
She? So?
Speaker 3 (20:01):
Who should I expect?
Speaker 11 (20:03):
Humphrey bullgot eh? How does the lipstick look, Danny kissable
or otherwise? H otherwise?
Speaker 2 (20:10):
H Look, missus Burdana, I want you to tell me
everything you can about Alma Russell? Sure?
Speaker 11 (20:15):
Sure? Can you reach that mess garat Danny yeah, right
there in the shelf sea. Thanks about Alma? A maid
clean sweeps, does a buck an hour?
Speaker 2 (20:28):
Who'd she worked for?
Speaker 11 (20:30):
She never said quit a job a couple of weeks ago.
I think she got another one just the other day. Well,
I guess that's the best I can do with my
facial equipment. Mirah, Mirah on the wall?
Speaker 10 (20:43):
Eh?
Speaker 2 (20:44):
What else about her?
Speaker 11 (20:46):
I don't know what else? She paid board, kept to
herself with no trouble, didn't talk except to how do
you do? And a very well thank you? Nice table
manners broke her bread and never left much crumbs. Nice girl?
Speaker 2 (20:59):
What about boyfriends?
Speaker 11 (21:01):
None here in my establishment, old ladies? What happens in
the street? I wouldn't know. Help me with my coat?
Speaker 2 (21:08):
Will you?
Speaker 6 (21:08):
Then?
Speaker 2 (21:08):
Are you going someplace?
Speaker 10 (21:09):
We?
Speaker 2 (21:10):
Sure?
Speaker 11 (21:10):
I am.
Speaker 2 (21:10):
I want to look at Alma's room.
Speaker 11 (21:12):
First land and door on your right. You want to
talk to me soon again, Danny.
Speaker 2 (21:16):
Maybe after I look at Alma's room.
Speaker 11 (21:18):
I'll be easy to find your place, your morgue. I'm
going down and cry for Alma Russell. Somebody's got to
cry for her.
Speaker 2 (21:31):
Watch her leave for a session of weeping through messcarot
eye lashes. The pastime the protest against her being bitter
and lonely and unwanted. And enter the dead woman's room,
search it not its primness, handle the modest belongings of
a girl who would wash, dusted, arrange the belongings of
other women in other richer rooms. The pile of old
magazines carefully saved on the closet shelf and on the bedstand,
(21:54):
the new ones, the fan magazines. The romance is truer
than her own because they were printed on slick paper.
The dresser lined with a thin layer of inexpensive underclothes,
the wardrobe of the bargain flowered prints, the starched maid's uniform,
the cloth coat, and the moth proofed bag. That was it,
the sum of al Ma Russell's life. And then back
(22:21):
to headquarters and the concern of Sergeant Gino to Taglia
for your tiredness, for your.
Speaker 8 (22:26):
Paleness, Danny, not that it is mine to medal, But
while you should exhibit yourself to the sunshine more lull
on far rockaway on your day off, Geno, bring cheeks
of ten to your cheeks, bear your pale feet at
the firemen filled rays.
Speaker 2 (22:40):
The pale feet bother you.
Speaker 8 (22:43):
Nothing whatsoever about your personality bothers me, Danny, It's only.
Speaker 2 (22:47):
That you'd feel better if I got sunburned.
Speaker 8 (22:51):
Well, it is the fashion of the season.
Speaker 2 (22:53):
As a rumor, murder is the fashion.
Speaker 8 (22:55):
Yeah, this also three the members of the opposite sex.
Speaker 2 (23:00):
Would be so simple, if only somewhere I could find
where their lives have been touched by one man, by
one killer.
Speaker 8 (23:06):
Danny, don't whip yourself. I put the boys working on it,
like yes, they can't find it either. All they come
up with is a reading on a sales slip. Huh,
the sales slip you found in the purse of the
deceased Alma Russell. It seems the girl bought a teapot
from a place called ivers Pake two hundred dollars for it.
And this makes a mishmash upsets your colleagues in the department.
Speaker 2 (23:30):
Two hundred for a teapot bought by a girl who
makes a buck an hour. Doesn't it upset you?
Speaker 12 (23:52):
Something we can do for you?
Speaker 10 (23:53):
Say?
Speaker 2 (23:54):
Yes, there is, I'm from the police. Good.
Speaker 12 (23:56):
Are we interested in some china ware today?
Speaker 2 (23:59):
Yes? We are. I want you to take a look
at this. This is a sales slip. What is it? It's
for a teapot, one that costs two hundred dollars.
Speaker 12 (24:08):
I don't understand why we're lifting our eyebrowser Of course
it did. A Stratfordshire teapot on the current market is
worth at least there.
Speaker 2 (24:15):
The sales slip was found on a young lady. Young
lady that's been murdered. I see the young lady happened
to have purchased this teapot here. I see her name
was Alma Russell. I see, how does a dollar an
hour mate by a two hundred dollar piece of china.
Speaker 12 (24:29):
By paying two hundred dollars for it? Miss Russell paid
exactly that much?
Speaker 2 (24:34):
Then you remember, miss Russell.
Speaker 12 (24:35):
Oh, indeed, yes, we sold it to ourselves about three
weeks ago. I remember the transaction. Will she'd called the
day before to price the teapot. The next day she
came in with the money about midday on a.
Speaker 2 (24:47):
Thursday, unless it was a day off. She was in uniform.
Didn't it seem strange that a house trader it did?
Speaker 12 (24:55):
I might as well tell you, tell me what the
sales slip says, two hundred dollars. She didn't pay that
for it. She paid one hundred and ninety for it,
a tacks included. We paid the difference that of our
own pocket. In the trade, we are known as a
sucker for hard luck. Stories about teapots and miss Russell
had one.
Speaker 2 (25:13):
You want to tell me about it now or later?
Speaker 12 (25:15):
Miss Russell was dusting the china at the home of
her employer, broke a Stratfordshire teapot, hid the debris, bought
another one before the accident was discovered as a replacement.
Speaker 2 (25:24):
Just one more thing. Did she say who this employer was?
She did not.
Speaker 12 (25:29):
However, However, there are some regular clients of ours who
eat off the stuff, like who the Llewellyns, for example,
the Crandalls, the second and third, the Murray's.
Speaker 2 (25:41):
The West which Murray's on West eleventh? The Paul Murrays.
Are we being helpful? We'll never know how much?
Speaker 9 (26:00):
Yeah, oh oh you mister Clover please come in.
Speaker 2 (26:14):
Thanks, mister Murray.
Speaker 9 (26:17):
You want to talk to me, don't you? This way
down the hall?
Speaker 2 (26:21):
Oh Claudia, that.
Speaker 9 (26:22):
Is sissus practicing. We don't want to disturb.
Speaker 2 (26:25):
Through this door. You hear the library? Now do you
know the man who killed my wife? We know the
kind of man who killed your wife? Yes, a paranoid.
Paranoid a person who's quick to find a reason to kill,
and he doesn't need much of the reason.
Speaker 9 (26:44):
Just cross crazy man. You could say that, but they
tell me a lot of crazies are clever. But why
come to tell me about it. You should be out
looking for the man. I just thought i'd stop by
and let you know how we were progressing. I'm busy,
Oh my hobby model trains. I was assembling this engine.
Speaker 5 (27:03):
It's a diesel.
Speaker 2 (27:05):
Careful work must take a lot of patience.
Speaker 9 (27:08):
Please put it down, it's fragile. I don't allow anyone
to touch it.
Speaker 2 (27:11):
All right, I said, I stopped by to let you
know how we were progressing.
Speaker 9 (27:16):
Come back when you can tell me the killer's name.
And from what I've been reading, you'd better hurry up.
Three killings indiscriminately by the same man, by.
Speaker 2 (27:25):
The same man. The way we figured, mister Murray, is
that the killer was really only interested in killing one person.
He killed the other two to make it look like
what you said, indiscriminate killings.
Speaker 9 (27:36):
I er, I don't understand.
Speaker 2 (27:38):
To make it look like murder without a motive, without plan.
But there was motive.
Speaker 9 (27:43):
What motive for killing a fourteen year old girl. None
part of the plan, and that housemaid none. But that
was the killer's mistake. If he'd killed some one else,
I wouldn't be here now.
Speaker 2 (27:57):
You you don't.
Speaker 9 (27:59):
Know what you're talking about.
Speaker 2 (28:00):
Aren't you going to ask me why anyone should kill
your wife?
Speaker 3 (28:04):
There was no motive like the other killer had one.
Speaker 2 (28:08):
You had a wife, a wife, didn't want the burden
of an afflicted sister in law. That's only a guess.
Did your wife ever complain about your sister?
Speaker 5 (28:18):
Get out of here.
Speaker 2 (28:19):
You said your wife was a warm and open hearted woman.
She wanted children, didn't she?
Speaker 9 (28:23):
Your presumptuous, your crude, Get out of here.
Speaker 2 (28:26):
You already had a child in your house sis, your sister.
You never let her be anything but a child.
Speaker 9 (28:32):
I don't have to take these insults and put that down.
Speaker 12 (28:36):
Put that train down, crazy crazy, You broke it deliberately.
Speaker 3 (28:41):
All I'd work on you.
Speaker 2 (28:44):
I'll kill you. I'll kill you a broken toy train.
How you're going to convince me you're copp an insanity glee?
You're going to try harder than that, that's right, settle down,
I try cut it out. Murdy, You're no more crazy
than I am. Paranoid would have had reason to kill
(29:09):
that maid at fourteen year old girl, you kill to
cover up your wife's murder. She'll find out what happened.
We'll let her know. Oh, Broadway leaps against the night.
(29:43):
The sound it makes is the crash of life deep
inside the earth, and the hiss of neon, the laugh
that screams. They melt together, the sounds. You get his shock.
There's another sound, the tear broke. But no one listens,
No one hears. It's Broadway, the gaudiest, the most violent,
(30:05):
the lonesomest, myelin the world, Broadway My Beat.
Speaker 3 (30:25):
Broadway's My Beat stars Larry Thoras Detective Danny Clover, with
Charles Calvernes Tataglia and Jack Krushian as Muggavin. The programmers
produced and directed by Elliot Lewis, with musical score composed
and conducted by Alexander Courage. In Tonight's story, Joseph Kerns
was heard as Paul Murray. Featured in the cast were
Charles Davis, Martha Wentworth, and Harry Bartel. Two styles of music,
(30:48):
both tops and Popularity, are heard every Sunday over most
of these same CBS stations Guy Lombardo's Sweetest Music this
side of Him and is One the others the singing
style of Mario Lanzer, New Vocals and Station of the Airways,
Enjoy God Embardo and is Weel Canadians, and the Mario
Lanza Show Tomorrow Night. Stay tuned now for us sing
It Again, which follows immediately over most of these same
(31:10):
CBS stations. Bill Anders speaking, This is CBS where you
meet Adventure with Johnny Wild on Sundays on the Columbia
Broadcasting System.
Speaker 1 (31:33):
Welcome back. I think that Broadways My Beat is a
series that did become better as it went on. There
are subtle ways in which the series has changed. There's,
of course, the rhythm to most episodes of Muga Van
being the one to guide Danny through the crime scene
(31:58):
to some extent, which it does a lot to make
the series feel more like a police show rather than
a PI show. As the series often did it it
didn't quite feel like a police show. I think it
does now, and there have also been some subtle refinements
in Danny Clover's characterization. He's less likely to do something
(32:25):
totally off the rails like beat up a suspect now
of course, he still has very strong feelings about these
cases and can be very affected by his work, which
I think makes him interesting although perhaps a bit unusual.
But there is this sense in which he is not
(32:48):
giving full vent to his rage. In some of the
earlier episodes there would be some punching up some suspects
and some react since that would be really, really over
the top. I think Danny Clover is still the same
character at his core as when Fine and Freakin first
(33:11):
wrote him, but there is a sense in which he
feels a bit more grounded, a bit like he inhabits
the same sort of world that Peopull actually lived in.
Now that's not to say there aren't some trophy things
about broadways, my beat, and some odd things, one of
which we'll kind of get into after the episode. But
(33:35):
there is a sense where I think the drama is
better because it's slightly more believable and realistic. And I
thought that this was a particularly powerful story. Harry Bartell
as the father in this case, gave such a great performance,
first that sense of denial, just then giving way to
(33:59):
total rage as he realized that this actually happened.
Speaker 2 (34:03):
All right.
Speaker 6 (34:04):
Well.
Speaker 1 (34:04):
Listener comments and feedback now and we're gonna go over
to Spotify, where Mechanics sixty six comments. I did not
recognize Peggy Weber because I've mainly heard her play much
older women like Joe Friday's mother, a landlady, etc. Why
didn't Nanny take Mugavin with him to arrest a killer?
(34:25):
I get why she took the picture of the murder,
but this should have only been used as a last resort.
If the brother had no alibi and was about to
be convicted, then she could have said she when she
got home, she had her film developed and saw the murder.
But all that being said, he already had the butler
as an alibi. And that, of course is regarding the
(34:46):
earl loss and murder case. And I think that's a
fair point regarding the question of why he didn't bring Muggavin.
That is one of the really odd tropes of this
series is Danny choosing to confront the killer alone. I mean,
(35:07):
why doesn't he ever bring Mugavin. Ninety plus percent of
the time he chooses to confront the killer on his
own for reasons, And as much as I just talked
about how Danny is a bit more grounded, that is
one of the sillier parts of the program, but it
doesn't interfere with the emotional realism of the program too much,
(35:31):
I think, because it's just part of that suspension of
disbelay you have to accept. Then we have a listener
on YouTube who just posted a very nice thank you
Adam on the Francesca Brown murder case. And then we
turn to our listener survey, where Larry writes love old
radio shows, keep them alive for generations to come. Well,
(35:53):
thank you so much, Larry, and I appreciate you filling
out our listener survey. Well, now it's time to thank
our patreons porters of the day. Want to thank Jim
and Rachel, who are joint Patreon supporter since March twenty sixteen,
currently supporting the podcast at the Shawness level of four
dollars more per month. Thank you so much for your support,
(36:14):
and I will do it for today. If you're enjoying
the podcast, please follow us using your favorite podcast software.
And if you're enjoying the podcast on YouTube, be sure
to lock the video, subscribe to the channel, and mark
the notification bell. All those great things that help YouTube
channels to grow. We'll be back next Wednesday with another
(36:36):
episode of Broadways My Beat, but join us back here
tomorrow for dragon Netwear.
Speaker 10 (36:42):
That's right, I ran one.
Speaker 6 (36:44):
Of those three day one ads over the weekend Friday,
Saturday and Sunday. I thought I'd get more from my
car if I told it myself. I mean, instead of
selling it to a used car lots.
Speaker 10 (36:53):
How many answers did you get on your one? Ed? Well,
just the one way it turned out.
Speaker 6 (36:57):
This man came out and looked at my car first
thing in the morning to pay me exactly what I
was asking for it.
Speaker 10 (37:02):
So I sold it to him. That's just the way
it went. Who was this man, Missus Palmer? Was he
representing some auto company?
Speaker 6 (37:07):
Yes, he said he was. Anyway, he gave his name
to Joseph Newhall. I've got his card inside. Said he
was a buyer for Dan Barton's juice car lot on
South cap Street.
Speaker 10 (37:16):
Nicely dressed man. He made it all seem so honest.
How was the deal arranged?
Speaker 2 (37:19):
Could you tell us?
Speaker 10 (37:20):
I mean transfer the car payment and so for well, he.
Speaker 6 (37:22):
Gave me a check for fifty dollars sort of a
down payment to hold the car for him. Was a
certified company check.
Speaker 10 (37:27):
I see. He told me i'd be back that afternoon with.
Speaker 6 (37:30):
A certified check for the full amount of the car
eight hundred dollars.
Speaker 10 (37:33):
Did he take your car with him then, No, he didn't.
Speaker 6 (37:36):
That's why I had no reason to be suspicious. He
left me the check for fifty dollars and said he'd
be back later with the rest of the money. Said,
in the meantime one of the employees from the used
car lot might be along to pick up the car
to save me the trouble of driving it downtown myself.
Speaker 10 (37:49):
Mm hmm, same mo joe all the way. Yeah, it
looks like that. Well, how did it go after that?
Miss Palmer?
Speaker 6 (37:54):
This worker from the used car lot came to the
house to pick up the car about one o'clock that afternoon,
gave me a check with fum out of the car,
and I gave him the pink slip had a pair
of white coveralls on lettering on the back of them
Dan Barton juice cars. Looked like a typical mechanic or something.
I wasn't the least a bit suspicious.
Speaker 2 (38:12):
How about the buyer, this Joseph Newhall.
Speaker 10 (38:14):
Did he show up later in the day.
Speaker 6 (38:16):
No, he never came back. I've never seen him since.
Haven't seen my car either. I call that Dan Barton
Juice car Lots. The next morning, they told me they
never heard of Joseph Newhall. Just made me a stick officer.
I can't afford to lose the money I had.
Speaker 10 (38:29):
In that car.
Speaker 3 (38:29):
Yes, ma'am, we understand the same thing's happened to a
dozen people like you around the city.
Speaker 1 (38:34):
I hope you'll be with us then. In the meantime,
send your comments to Box thirteen at Great Detectives dot net,
follow us on Twitter at Radio Detectives, and check us
out on Instagram, Instagram, dot com, slash Great Detectives from
boise Alohol. This is your host, Adam Graham signing off.
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