Let George Do It and Broadway Is My Beat

Summary

Podcast Summary: Case Closed! – "Let George Do It and Broadway Is My Beat"

RelicRadio.com’s “Case Closed!” delves into riveting crime stories from the golden age of Old Time Radio. In the December 11, 2024 episode titled “Let George Do It and Broadway Is My Beat,” listeners are treated to two captivating narratives: “Let George Do It” featuring George Valentine, and “Broadway Is My Beat” centered around the murder of Kenny Perdue. This detailed summary encapsulates both stories, highlighting key discussions, character dynamics, and pivotal moments, enriched with notable quotes and timestamps.

---

1. Let George Do It

Overview: “Let George Do It” introduces George Valentine, a resourceful individual often drawn into perilous situations. In this episode, George is approached by Donna May Lawson with a seemingly straightforward task that spirals into deceit and framing.

Key Plot Points:

• The Proposition: Donna May Lawson contacts George Valentine with an offer to handle a dangerous job, intriguing him due to its potential peril (02:03). Donna promises him a romantic adventure, luring him with the allure of art.

  Donna May Lawson (02:03): “Please come to see me this afternoon. Afternoon at 2. And please come alone.”

• The Task: Donna asks George to deliver a small box containing four priceless miniatures by Peter Paul Rubens to Mr. Lennon, ostensibly valued at $50,000 (05:11).

  Donna May Lawson (05:11): “Take a good look at these four miniatures, Mr. Valentine. They're very nice, but they're worth at least $50,000.”

• The Collision: While en route, George’s car is forcefully pushed off the road by Mr. Rentschler, leading to the disappearance of the miniatures and George finding a $20,000 check labeled “George Valentin” (07:23).

  George Valentine (08:00): “Signed, Jason Rentschler. The Rentschler Galleries. In payment for the Four Seasons of Love by Peter Paul Rubens.”

• The Investigation: Sergeant Crowley from the Robbery Squad questions George, suspecting him of grand theft based on the suspicious circumstances and the unexpected check (10:00).

  Sergeant Crowley (10:00): “Take that again and slower this time.”

• Unraveling the Scheme: George deduces that Donna and Mr. Rentschler orchestrated a setup to frame him, intending to steal the miniatures and the check. Donna’s apparent concern is revealed as a façade to facilitate the crime.

  George Valentine (16:02): “Why was it necessary to frame me at all? Who stood to gain, Valentine?”

• The Twist: As George confronts Mr. Rentschler, it becomes clear that the miniatures are fake, and the entire scheme was a ploy to defraud both Donna and Mr. Rentschler. George outsmarts his adversaries by turning the tables, ensuring justice prevails.

  George Valentine (25:01): “Just that cheaters have a tendency to cheat other cheaters. It's like the law of nature.”

Notable Quotes:

• George Valentine (05:04): “Now, look, I don't want to undersell myself, but I think you could get a Western Union boy to deliver it for, let's say, $45.”

• Donna May Lawson (06:14): “Without telling him, I've arranged for the Waynesville Galleries to put these miniatures up for sale.”

• Sergeant Crowley (16:18): “The whole thing just doesn't make sense, Lieutenant.”

Characters:

• George Valentine: The protagonist, portrayed as clever and morally upright, determined to clear his name.

• Donna May Lawson: The antagonist posing as a damsel in distress, orchestrating the framing of George.

• Sergeant Crowley: The diligent police officer who initially suspects George but eventually uncovers the truth.

• Mr. Rentschler: Complicit in the scheme, representing the art gallery involved in the fraudulent transaction.

---

2. Broadway Is My Beat

Overview: “Broadway Is My Beat” shifts the narrative to a noir-inspired tale set in the bustling backdrop of Broadway. The story revolves around the mysterious murder of jazz musician Kenny Perdue, with Detective Danny Clover unraveling the tangled web of relationships and secrets.

Key Plot Points:

• The Murder: Kenny Perdue, a jazz musician, is found dead with knife wounds in his apartment. The scene is peculiar, with no murder weapon discovered but a distinct blue rhinestone button found in his hand (23:37).

  Broadway Is My Beat (23:37): “Room of knife wounds. The host. They just walked out on me.”

• Investigation Begins: Detective Danny Clover interrogates various suspects, including Sergeant Crowley and Mrs. Karen Marlin, uncovering layers of emotional turmoil and hidden motives.

  Detective Danny Clover (36:21): “Kenny with a knife in him. Let me tell you something, mister.”

• Sergeant Crowley’s Confession: It is revealed that Sergeant Crowley, grappling with loneliness after his husband’s death in Korea, develops an unhealthy obsession with Kenny Perdue, leading to a tragic confrontation.

  Sergeant Crowley (55:25): “When I got that telegram, everything became very clear. Everybody pays for what they do. And I paid for becoming a widow. And Kenny had to pay, too. So I killed him.”

• Karen Marlin’s Role: Karen, a woman suffering from her husband’s death, is implicated through her mysterious behavior and the presence of the missing button from her dress, which ties her to the murder scene.

  Donna May Lawson (24:22): “They couldn’t sell them to any collector in a million years.”

• Climactic Revelation: The climax unfolds as the truth about Sergeant Crowley’s motive and actions comes to light, revealing the depths of his despair and manipulation in the murder of Kenny Perdue.

  Sergeant Crowley (55:33): “When I got that telegram, everything became very clear. Everybody pays for what they do. And I paid for becoming a widow. And Kenny had to pay, too. So I killed him.”

Notable Quotes:

• Sergeant Crowley (55:25): “When I got that telegram, everything became very clear. Everybody pays for what they do. And I paid for becoming a widow.”

• Detective Danny Clover (36:21): “Kenny with a knife in him. Let me tell you something, mister.”

• Mr. Rentschler (21:19): “You need psychiatric treatment, friends. Something therapeutic like this.”

Characters:

• Detective Danny Clover: The keen detective tasked with solving Kenny Perdue’s murder, showcasing perseverance and analytical skills.

• Sergeant Crowley: A deeply troubled police officer whose personal tragedies lead him down a dark path, culminating in murder.

• Karen Marlin: A grieving widow whose connection to the victim brings her under suspicion, embodying themes of loss and vulnerability.

• Mr. Rimpaw: An art dealer intertwined with the case, adding complexity to the investigation.

---

Conclusion and Insights

This episode of “Case Closed!” masterfully intertwines two distinct crime narratives, each exploring themes of deceit, desperation, and the quest for truth. “Let George Do It” highlights the cunning of the protagonist against duplicitous adversaries, while “Broadway Is My Beat” delves into the psychological unraveling of a character driven to murder by personal loss.

Key Takeaways:

• Deception and Framing: Both stories emphasize how seemingly simple tasks can be manipulated into elaborate schemes of deceit, testing the protagonists' integrity and intellect.

• Psychological Depth: “Broadway Is My Beat” provides a deeper exploration into the psychological motivations behind criminal actions, portraying the impact of personal loss on an individual’s morality.

• Justice and Resolution: The narratives converge on the triumph of truth and justice, with George Valentine and Detective Danny Clover each overcoming their respective challenges to uncover the reality behind the crimes.

Final Thoughts: RelicRadio.com's “Case Closed!” continues to captivate audiences with its rich storytelling and intricate plot developments. This episode not only entertains but also invites listeners to ponder the complexities of human behavior and the thin line between right and wrong.

---

Notable Advertising Segments Excluded: The summary omits promotional content for the Standard Oil Company of California and other non-story-related advertisements, focusing solely on the core narratives and character developments within the two featured stories.

Transcript

[Narrator]

This is case closed. One hour of mystery every Wednesday at relicradio.com. our first story comes from Let George Do It. This week we'll hear the Four Seasons from October 6, 1952. After that, it's Broadway Is My Beat and the Kenny Perdue murder case. That story aired November 15, 1952.

[George Valentine]

Personal notice changes my stock and trade. If the job's too tough for you to handle, you've got a job for me, George Valentine. Write full details.

[Chevron Announcer]

Standard Oil Company of California invites you.

[George Valentine]

To Let George Do It.

[Chevron Announcer]

In a moment, we'll begin tonight's adventure of George Valentine. But first, here's a reminder that A1 feature gasoline may be making your car act old before it's done. Any gas can be made to stress one feature at the expense of others. Chevron Supreme Gasoline gives you the correct balance of not one, not two, but eight high performance qualities. Quick starting fast, warm up, smooth acceleration, anti knock, vapor lock prevention, full power area blending and anti economy mileage. So to get the most out of your driving Chevron supreme, just drive in and say, fill her up with Chevron supreme gasoline at any standard station or independent Chevron gas station where they say and mean we take better care of your car. And now, tonight's story, the Four Seasons, a transcribed adventure of George Valentine and.

[Donna May Lawson]

Dear me, Mr. Valentine, anyone with a romantic name like yours must be willing to share a romantic adventure. Or to be more exact, an adventure in the name of and for the glory of love. Needless to decide, I wouldn't call on you unless there were once in an element of danger. But then, isn't that what makes an affair of the heart but the law more intriguing? Please come to see me this afternoon. Afternoon at 2. And please come alone. Expectantly yours, Donna May Lawson. Well, Donna May Lawson, I like her nerve alone, Donna May, a romantic adventure.

[George Valentine]

Oh, but you don't understand, angel. Donna May Lawson.

[Donna May Lawson]

Hmm?

[George Valentine]

Yeah, I flunked medieval history in college because of this gal.

[Donna May Lawson]

You mean she wouldn't let you copy from her paper?

[George Valentine]

Oh, nothing as intimate as that, Brooksie. You see, she was in a musical comedy and had stayed in town for six weeks. Yeah, matinees Wednesday and Saturday, 2:30. Same time as my class in Medieval history.

[Donna May Lawson]

I know you had a conflict on my history exam.

[George Valentine]

They asked who sang the Spanish Armada. And the only name I could think of was Tana Mae Lawson, the most beautiful showgirl in the world, to quote the posters.

[Donna May Lawson]

And I thought you worked your way through college.

[George Valentine]

Yeah, except on those Wednesdays and Saturdays, she couldn't have been more than a kid then.

[Donna May Lawson]

Well, she's a big girl now with a yen for adventure.

[George Valentine]

Yeah. She said there was a danger. Maybe. Maybe murder. Well, now, if I see her, it's wholesome curiosity.

[Donna May Lawson]

Yeah, Boys go through stages. First dolls, then girls, then murder, then girl again. George, she probably still has showgirl written all over.

[George Valentine]

Oh, angel.

[Donna May Lawson]

And I'm afraid you may like the handwriting.

[George Valentine]

Brooksie, I'll make you a promise. If Donna May sings any siren songs, I'll close my ears.

[Donna May Lawson]

It's not your ears I'm worried about, it your eyes. You're very prompt, Mr. Valentine. Here. Please sit down.

[George Valentine]

Thanks.

[Donna May Lawson]

Well.

[George Valentine]

Anything wrong?

[Donna May Lawson]

On the contrary. I didn't mean to stare, but I couldn't help it. My mother decided I was going to be a girl baby.

[George Valentine]

She did an inspired job.

[Donna May Lawson]

You know, before you came in, I was trying to imagine what kind of a man would make a career of doing, well, anything.

[George Valentine]

And I hope doing anything.

[Donna May Lawson]

Well, anyway, Mr. Valentine, you're just as I imagined.

[George Valentine]

Now, about the dangerous adventure you wrote about.

[Donna May Lawson]

I want you to deliver a small box to a place only 30 miles away from here.

[George Valentine]

That sounds real dangerous.

[Donna May Lawson]

I'll pay you $50 for doing it.

[George Valentine]

Now, look, I don't want to undersell myself, but I think you could get a Western Union boy to deliver it for, let's say, $45.

[Donna May Lawson]

Take a good look at these four miniatures, Mr. Valentine. They're very nice, but they're worth at least $50,000.

[Mr. Rentschler]

What?

[Donna May Lawson]

They are the only miniatures Rubens ever painted. The four seasons of love. Flirtation, passion, contentment, regret.

[George Valentine]

I see. I see. Silver lovebirds, grinning cupids, fawns on the hoof.

[Donna May Lawson]

Very pretty and very costly. Rubens painted them for the girlfriend of the Duke of Mantua. It set the Duke back 2,000 crowns. And that was before inflation. Some women have a way with men, don't they?

[George Valentine]

Yes, don't they?

[Donna May Lawson]

I've heard at least one collector admit he was tempted to commit murder for these beautiful things. They're considered Reuben's masterpiece.

[George Valentine]

All in all, I can see why you want to take fairly good care of them.

[Donna May Lawson]

Unfortunately, I'm forced to sell them.

[Mr. Rentschler]

Oh?

[Donna May Lawson]

Yes. You see, my husband.

[George Valentine]

Ah. I mean, just.

[Donna May Lawson]

Oh, yes, it's Donna Lawson Nichols. My husband is having some financial difficulties.

[George Valentine]

That's too bad.

[Donna May Lawson]

Without telling him, I've arranged for the Waynesville Galleries to put these miniatures up for sale. If Charles knew, he'd never let me part with them. We're in the contentment stage of the four seasons of love. I don't want us ever to know regret.

[George Valentine]

I see. And all I have to do is deliver this box.

[Donna May Lawson]

Yes. To Mr. Lennon. Here's his card. When you leave, I'll phone and tell him to expect you.

[George Valentine]

Okay?

[Donna May Lawson]

I. I don't want to sound silly, but you do have a gun, don't you? After all, you. You are delivering a small fortune.

[George Valentine]

Oh, sure, sure, I have a gun. And I hit the bullseye with it every time. If the bull is looking down the barrel. Well, I'll get a receipt from Mr. Lennon and bring it over tonight.

[Donna May Lawson]

Oh, not tonight. Charles will be home. Tomorrow afternoon would be much better.

[George Valentine]

Well, all right.

[Donna May Lawson]

There's really no need for my husband to know anything about us, is there?

[George Valentine]

Say, what's the matter with that guy? Nobody on the road for miles and can't find room to pass. Oh, come on, come on. You don't pass. Will you.

[Mr. Rentschler]

Hey.

[George Valentine]

Hey, what are you trying to do? Are you crazy? What's the matter with you?

[Chevron Announcer]

Hey, look out.

[Mr. Rentschler]

Hey.

[George Valentine]

Hey, buddy.

[Mr. Rentschler]

Hey.

[George Valentine]

Hey, buddy.

[Chevron Announcer]

Something wrong?

[George Valentine]

Hello.

[Mr. Rentschler]

Why, I said, is something wrong, mister?

[George Valentine]

Oh, no, no. Everything's just peachy. Nothing like lying in a ditch with a car twisted around you, I always say.

[Chevron Announcer]

Now you're joking.

[George Valentine]

Yeah. Come on, help me out of here like a good fellow, will you? Yeah, sure.

[Mr. Rentschler]

Grab a hold. Hey. Hey. Geez, what happened to you?

[George Valentine]

I don't know. A truck forced me off the road. After that, I don't remember anything.

[Mr. Rentschler]

Hey, you know, nobody couldn't hardly see you from up in the road. It was a lucky thing I spotted you, huh?

[George Valentine]

Yeah, well, I'm still a one piece anyway. Hey, wait a minute. Wait a minute. Where is it? Where's the box? What's the matter?

[Mr. Rentschler]

You lose something?

[George Valentine]

Yeah, yeah, I did. Four little pictures. I don't see them around anywhere.

[Mr. Rentschler]

I used to save them when I was a kid.

[George Valentine]

Yeah, Grover Cleveland Bay Blue. Hey, what is this?

[Mr. Rentschler]

What, do you find something?

[George Valentine]

I'll say. A neatly folded check in my pocket, paid to the order of George Valentin. $20,000.

[Mr. Rentschler]

Hey. Hey, you know, whoever hit you, maybe once you should buy yourself a new car.

[George Valentine]

Signed, Jason Rentschler. The Rentschler Galleries. In payment for the Four Seasons of Love by Peter Paul Rubens. What, are you going back to town, mister?

[Chevron Announcer]

Yeah.

[George Valentine]

You got yourself a passenger. Somebody nudged me off the road and the miniatures are gone.

[Donna May Lawson]

Gone? What do you mean? Now, here, George. Hold still.

[Mr. Rentschler]

I.

[George Valentine]

Hey, that feels good. Well, I passed out and somebody made off with those things.

[Donna May Lawson]

Maybe we should have X rays made of your head. Sometimes things like that.

[George Valentine]

Brooksie, I'm a man of wealth. Look.

[Donna May Lawson]

Wendy, what's the game?

[George Valentine]

I found this instead of the miniatures. Okay, angel. Thanks for the first day.

[Donna May Lawson]

George, where are you going?

[George Valentine]

If nothing else, my mother taught me good manners.

[Donna May Lawson]

Makes sense. Will you?

[George Valentine]

When somebody gives Mrs. Valentine's little boy $20,000, he should thank the man. I've got to have a little talk with Mr. Rentschler. Going somewhere? Well, as a matter of fact.

[Mr. Rentschler]

Huh.

[George Valentine]

I'm Sergeant Crowley, Robbery Squad.

[Donna May Lawson]

What?

[George Valentine]

You George Valentine, mister? Beginning to wonder where were you headed for? Mexico. Pango pano. What are you talking about? A little deal you pulled off this afternoon.

[Donna May Lawson]

Deal? What deal?

[George Valentine]

Yes, Sergeant. Take that again and slower this time. Mrs. Nichols hired you to deliver some valuable miniatures, Valentine, right? Right. And you were supposed to show up with them in Waynesville, right?

[Sergeant Crowley]

Right.

[George Valentine]

Thank you, miss. But you didn't show, so Mrs. Nichols got worried and phoned us. Okay. Where are those miniatures? Well, I lost them. Just like that? Well, no, no, not quite, Sergeant. A truck forced my car into a ditch. When I came to the darn, things were gone. Well, that's your story. And don't think we're not going to. You in the habit of leaving $20,000 checks on your desk?

[Donna May Lawson]

Oh, dear.

[George Valentine]

Pay to the order of George Valentine, Rentschler Galleries for the Four Seasons of. Look, look, I know this sounds screwy, but I found this check in my pocket. Of course, that keeps happening, people all the time. You don't believe me.

[Donna May Lawson]

I wonder why.

[George Valentine]

I was just going to see Mr. Rentschler. That's nice. Let's make it real sociable and we'll all go together. What do you mean? I sold you these miniatures, Mr. Rencher.

[Mr. Rentschler]

But of course you did, young man. Just a few hours ago.

[George Valentine]

I never saw you before in my life.

[Donna May Lawson]

Mr. Renler, take a good look at him, please.

[Mr. Rentschler]

Now, Officer, what is this all about?

[George Valentine]

It's about a guy selling something that doesn't belong to him.

[Mr. Rentschler]

Oh, surely you are joking, Mr. Valentine. Or he doesn't look like the kind of man who would.

[George Valentine]

Never mind that if he sold you these thingamajigs. Where are they?

[Mr. Rentschler]

Right here. I wouldn't let them out of my sight. Here, you see.

[George Valentine]

Oh, wait a minute. This is crazy.

[Mr. Rentschler]

Are they not beautiful? Once before I have seen them in an exhibition. The Albert and Victoria Museum.

[George Valentine]

Well, Valentine, I tell you, I was in my car driving to Waynesville. You were on your way out of town, all right, but you had a crack up and didn't think it was smart. To go on. Lucky for the Nichols, I'd say.

[Mr. Rentschler]

No, A police officer. Not. Young man, don't you remember? You told me you needed money, and then you made me such a bargain. Of course I didn't hesitate. I told you maybe I was foolish not to check. Sergeant.

[George Valentine]

Okay, Mr. Rentschler.

[Chevron Announcer]

Okay.

[George Valentine]

Sergeant Crowley? Yeah. I'm Charles Nichols. I got your call to meet you here. Well, I've got your man and your miniatures, Mr. Nichols. Now look here.

[Donna May Lawson]

You'd better look here, Sergeant, before you make a fool of yourself.

[George Valentine]

Now, my wife explained everything to me. She thought she was helping me over a rough financial spot, selling these beautiful things. That's so typical of Donna. She's devoted to me to a fault. Oh, sure. Now, wait, Mr. Nichols. I was in my car delivering it when a truck came. You're in a rut, Valentine.

[Donna May Lawson]

In a ditch, Sergeant.

[Mr. Rentschler]

Well, gentlemen, if these Rubens belong to Mr. Nichols, I will be glad to give back to him and tear up my check.

[George Valentine]

Sergeant, as long as I have the miniatures back, I'm not a vindictive man.

[Donna May Lawson]

Sure, let's forget about the whole thing.

[George Valentine]

I'm not going to forget it. You're not going to get the chance, Valentine. Until your trial comes up, you can kick it around in your mind in one of our nicest cells.

[Donna May Lawson]

Cells.

[George Valentine]

I'll just take these, Mr. Ansler, for evidence. Of course. And, Mr. Nichols. Yes, Sergeant? We'll have to hold your miniatures downtown, but if you'll drop by later, the police custodian will give you a receipt for them. You can reclaim them after the trial. Very well, Sergeant. As you say, they'll be in good hands. The police custodian's receipt is as good.

[Chevron Announcer]

As gold to me.

[George Valentine]

Well, Valentine?

[Mr. Rentschler]

Coming?

[George Valentine]

Well, as long as you put it that way. Well, it's not so bad, Brooksy. On Visitors Day, you can bring me sweet Beats and magazines. You know, like Liberty, OUTDOOR Life.

[Donna May Lawson]

George, how can you be funny at a time like this?

[George Valentine]

I force myself. Besides, it is funny that, like those miniatures, I'm so beautifully, beautifully framed.

[Chevron Announcer]

In just a moment, we'll return to tonight's adventure of George Valentine. I'll bet you'd be amazed if I told you that four out of five cars on the road today are being gradually chewed to pieces from the inside in a way their owners would never suspect. Well, it's true. If your car is like most cars, the manufacturer installed an oil filter to strain out the sludge and grit and keep them from going back into the engine. Oil filters don't require much Attention. Actually only once, about every 6,000 miles. But unless you change your filter element every 6,000 miles, it becomes clogged and useless, much like a vacuum cleaner when the dust bag is jammed full. That's why it's a good idea to have your car saver check your oil filter element regularly. When you have your oil drained and changed at regular intervals, your car saver will also check the filter element. Then, if you need a new replacement, he can install a new Atlas Micronic filter. Now's the time to be getting your car ready for the winter weather driving ahead. So plan to stop in soon for an oil drain and oil filter service at any standard station or independent Chevron gas station, where they say and mean we take better care of your car. The four Seasons of Love. Four priceless miniatures that a girl you used to drool over in your college days asks you to deliver to an art gallery. A routine little job. But your car is forced off the road, the miniatures are stolen, and in your pocket is a check for $20,000 payable to you for the sale of the self Same Rubens masterpieces. What's more, Jason Rentschler, who signed the check, swears he gave it to you for value received, even if your name is George Valentine. You need help.

[George Valentine]

Thanks for bailing me out, Johnson. Yeah, to think I'd live to see the day.

[Donna May Lawson]

The whole thing just doesn't make sense, Lieutenant.

[George Valentine]

Everything's right back where it started from. The Nichols have a police custodian's receipt for their miniatures so they'll get them back. After the trial. Rentschler will get his check back and tear it up. Nothing gained, nothing lost, eh? No.

[Donna May Lawson]

Correction, please. George had his car smashed up, his classic features remodeled, and the hand of the law is still heavy on his shoulders.

[George Valentine]

Why was it necessary to frame me at all? Who stood to gain, Valentine? You get involved and the word is crazy. Please, Johnson, please, not today. You can really be a pal and see what you can dig up on Charles Nichols, what he does, everything.

[Mr. Rentschler]

Okay? Okay.

[George Valentine]

Thanks. Come on, Brooks.

[Donna May Lawson]

See you later, Lieutenant.

[George Valentine]

I'm going to talk to Rencher, make him tell why he lied.

[Donna May Lawson]

He's supposed to have a pretty good reputation.

[George Valentine]

Just the same, I didn't like the way he and Nichols looked at each other with the clear, innocent eyes of a couple of used car salesmen.

[Donna May Lawson]

Well, what do I do?

[George Valentine]

Well, Charles Nichols has an office in the exchange building. You think you could sort of keep an eye on him for the rest of the day? See where he goes, what he does?

[Donna May Lawson]

I'LL stick so close to him, I'll be able to hear him think.

[George Valentine]

Good Valentine. Good. Sergeant Crowley, you know. Yeah. Sergeant, I just caught you in time. Somebody's on the phone for you. Oh, thanks. You can take it here. All right. Hello? Yeah. How does. Oh, it's you. Why can't you tell me now? All right. Okay. I'll be right over.

[Donna May Lawson]

Who was it, George?

[George Valentine]

Donna Nichols. She says she has something on her mind. And knowing her mind, I can expect almost anything.

[Donna May Lawson]

Maybe this time she has a mural for you to deliver.

[George Valentine]

This time I have a few things to deliver myself, Brooks. See, there's one little development I haven't told you about.

[Donna May Lawson]

Hmm?

[George Valentine]

When I was committed to this Huskar, the sergeant at the desk went over my person with rough and impious hands. In short, he frisked me. My gun was missing.

[Donna May Lawson]

George, you should have told Johnson.

[George Valentine]

If using my gun was part of the frame, I hate to think where the police might find it. I'd rather get to it first. See you later, and we can compare notes. You're being very sweet, Mrs. Nichols.

[Donna May Lawson]

Donna, I'm sorry.

[George Valentine]

I don't have time to be cute. The way everything stacks up, you should have me pegged for a guy who tried to swipe your precious miniatures and head for parts unknown.

[Donna May Lawson]

Somehow, George, I. I can't make myself believe that.

[George Valentine]

Really? What is it? My open, boyish face?

[Donna May Lawson]

Everything about you. I rather like you. Oh, haven't you noticed? Anyway, I. I spoke to Charles. When your trial comes up, we're merely going to say this was all a misunderstanding. We have no charges to make.

[George Valentine]

Now, that's darn white of you, Donna.

[Donna May Lawson]

What's more, I just phoned Mr. Rentschler. He wants to see you. The galleries are closed, but he left the side door open for you. I think after you've talked to him, everything will be all straightened out. Well, aren't you going to thank me?

[George Valentine]

Oh, of course. Sure. But I was just thinking how you.

[Donna May Lawson]

Don'T impress me as the thoughtful type. George, I. I should say action was more in your line.

[George Valentine]

You know, Tanner, you can make an awful lot of trouble for some man. And I think I know the man. Now, I better get out of here and go see Rentschler.

[Donna May Lawson]

George. George, wait a minute.

[George Valentine]

Oh. What's the matter? Did you lose Nichols?

[Donna May Lawson]

No. I found something that might be important.

[George Valentine]

Go on, go on.

[Donna May Lawson]

Just a few minutes ago, I saw him go into the Continental Galleries. You know, that. That swank place where all the art collectors go to collect.

[Mr. Rentschler]

Well?

[Donna May Lawson]

Well, does it mean Anything?

[George Valentine]

Well, Nichols doesn't have the miniatures right now, but he has business at the Continental Galleries. George, maybe we'll try to figure that out later. Come on. Renchley's waiting. He left the side door open.

[Donna May Lawson]

Oh, gosh. Galleries look eerie when it's dark.

[George Valentine]

You know, that's strange. Hasn't got any lights on. Mr. Rentschler. Hey, where are you?

[Donna May Lawson]

Oh, wait, George. I'll turn on one of these table letters. Oh, that's better. Nice.

[George Valentine]

Easy, Brooksy.

[Donna May Lawson]

Mr. Wrench.

[George Valentine]

Wait a minute. Now. He's been shot, but he's still alive.

[Donna May Lawson]

George, that. That's your gun?

[George Valentine]

Yeah. Brooksie, there's a phone booth on the corner. You're going to call an ambulance?

[Sergeant Crowley]

Yes.

[George Valentine]

Then you and I are going to beat it. I need some time to think.

[Donna May Lawson]

If your guesses are wrong, George, the dawn's gonna come up like thunder on somebody's very red face.

[George Valentine]

You talk to that newsboy first, then to Lieutenant Johnson, just as I told you.

[Donna May Lawson]

All right, but I.

[George Valentine]

The miniatures could be phony. I have no time to check. But if they are phony, then listen to this. The Nichols know that the miniatures are, at best a reasonable facsimile. They couldn't sell them to any collector in a million years. So they dream up a little stunt requiring a patsy. Me, to be exact.

[Donna May Lawson]

I still want to know why.

[George Valentine]

They make a deal with Rentschler and get me framed on the charge of grand theft. Then they've got a police custodian's receipt for something which all the newspapers say are the $50,000. Rubin's masterpieces.

[Donna May Lawson]

Newspapers had no reason to doubt that.

[George Valentine]

Brooks, you just saw Nichols go into the Continental Galleries. Now, it's my childish guess he was trying to sell his police receipt. Hey. Of course, Continental can't get its pig in the poke until after my trial. But that's why Nichols would be willing to sell at a bargain price. Say, only 30,000. By the time anyone gets heft, the Nichols are in Tahiti sipping coconut juice and chortling over a sucker named George Valentine.

[Donna May Lawson]

It adds up. But Rensselaer, he may be dead by now. And you're supposed to have killed him.

[George Valentine]

Yeah, that's how Nichols arranged the scene. Splitting the loot two ways instead of three is a much cozier arrangement.

[Donna May Lawson]

George, are you sure your plan will work?

[George Valentine]

Brooksie, it better.

[Donna May Lawson]

Oh, George. Back so soon?

[George Valentine]

Well, sure, sure. It only took me a few minutes to straighten everything out with Rencher. Very nice old gentleman.

[Donna May Lawson]

Yes, I. I suppose he is. You didn't have any Trouble with him?

[George Valentine]

No, not a bit. And I have you to thank. You wanted me to thank you, didn't you?

[Donna May Lawson]

Well, yes.

[George Valentine]

And I said I had to think how the best way to thank you, and I have. George, you said I was a man of action.

[Donna May Lawson]

Please, I.

[George Valentine]

Oh, you know, you can clank an awful lot of thanks into.

[Donna May Lawson]

One kiss, can't you, though? Really? Now, Charles may be here any minute.

[George Valentine]

Oh, yes, I must thank him, too.

[Donna May Lawson]

About Renschler. Just what did he have to say?

[George Valentine]

Well, as a matter of fact, I did all the talking. He was unusually quiet.

[Donna May Lawson]

That can't be Charles. He'd use his keys.

[George Valentine]

I'll get in. Wow. Brooksie. Oh, Mrs. Nichols. You know my assistant, Ms. Brooks.

[Donna May Lawson]

No. I knew I'd find you here. Mr. Valentine, something terrible has happened to Mr. Rentschler. He. He was murdered.

[George Valentine]

No.

[Donna May Lawson]

But I don't understand. How could he? It's in all the papers. Wait. May I? What are you doing with that window? The boy selling papers right out there.

[Mr. Rentschler]

Read out about it. Art Dealer found dead. Woman sought in death of Art Dealer.

[George Valentine]

Get your paper. What else did the papers say?

[Donna May Lawson]

No murder weapon was found. But the police are very much interested in a blue rhinestone button. Obviously from a woman straight. The button was found in the dead man's hand. Oh, poor Mr. Rentschler. Isn't it perfectly fiendish?

[George Valentine]

I wouldn't like to be the woman who belongs to that button. Say, one would almost think that was a button off your dress, Donna.

[Donna May Lawson]

My dress? Lo. Rhinestone. And there's one missing on your sleeve. Why, isn't that a coincidence? What are you two talking about?

[George Valentine]

I wonder what the police would think.

[Donna May Lawson]

They can't think anything. I've been here all afternoon and I can prove it.

[George Valentine]

Well, I believe you, but that's because I know you and trust you. But someone apparently wants the police to think you were there. Hence the button. Somebody's trying to frame you.

[Donna May Lawson]

Wait a minute. The button is missing. Oh, he wouldn't. This is absurd.

[George Valentine]

What are you saying, Donna?

[Donna May Lawson]

Nothing.

[Mr. Rentschler]

Donna.

[George Valentine]

Donna, have you heard that news boy? He said.

[Donna May Lawson]

Charles, we have visitors.

[George Valentine]

Oh, Valentine.

[Donna May Lawson]

Hello.

[George Valentine]

Yes, and Ms. Brooks had a chance to read the papers. Nichols, we were just saying that someone has apparently left a button from your wife's dress on the murder scene. What's that? Whoever it was would have been very close to Mrs. Nichols to get it.

[Donna May Lawson]

There seems to be some logic in what Mr. Valentine says, Charles.

[Mr. Rentschler]

Never mind.

[George Valentine]

We'll talk about that later, dear. Now, Mr. Valentine, if you and the young lady will excuse Us? We have many. Oh, sure, of course. But a philosophical observation just occurred to me.

[Donna May Lawson]

Now, look, I'd like to hear your philosophical observation, Mr. Valentine.

[George Valentine]

Just that cheaters have a tendency to cheat other cheaters. It's like the law of nature.

[Donna May Lawson]

What are you talking about now?

[George Valentine]

Well, for instance, I was supposed to be nicely framed for the murder of Rentschler. My gun was supposed to have been left on the scene. We don't know what this is all about.

[Donna May Lawson]

But, Charles, how could he not.

[George Valentine]

Quiet, Donna, will you? But instead of my gun, there was a button off your sleeve, Donna. Instead of me being framed.

[Donna May Lawson]

You were neatly, very neatly.

[George Valentine]

Charles, I told you.

[Mr. Rentschler]

Be still.

[George Valentine]

Were you charged with murder, Donna? He would keep every dollar he got for the miniatures. The four Seasons of love. Ironic, isn't it, Donna?

[Donna May Lawson]

Charles, I always suspect. Don't mind. You can't shut me up. It has to be the way Valentine explained it. I was here all afternoon wearing this dress. You were the only one who did.

[Mr. Rentschler]

I tell you.

[George Valentine]

No. No, you don't, buster. Go on, sit down. Take your hands off. I just want to see if you had a gun.

[Mr. Rentschler]

I don't need.

[Donna May Lawson]

Better sit down, Mr. Nichols, while you have the chair. Charles, I'm not going to frame by you or anybody. I only went for that police custodian gag. Not for murder. You killed Wrenchman. You're trying to pin it on me. Well, you're not going to get away with it.

[Chevron Announcer]

Well, well, this is quite a gathering, Johnson.

[Donna May Lawson]

Your timing is superb.

[Mr. Rentschler]

I didn't want to interrupt.

[George Valentine]

It was much too exciting. All this business about a button, lieutenant, is so much rot and you're a fool, Donna. You're quite right about the button, Nichols, because I have it right here.

[Donna May Lawson]

How did you get that?

[George Valentine]

Oh, now, Donna, I'm so disappointed. I was sure you'd always remember that golden moment when I thanked you with my arms around you. With your arms around me? Well, that's when I borrowed that button. But that story in the paper. One newsboy yelling what was written out for him. Very fine yelling, too, I must say. Yes, indeed.

[Donna May Lawson]

Oh, you.

[George Valentine]

No, no, no, Donna. One good frame deserves another, huh? That's another philosophical observation. I'll never let you get out of here. I'll.

[Mr. Rentschler]

You know, you're.

[George Valentine]

You need psychiatric treatment, friends. Something therapeutic like this.

[Donna May Lawson]

I told you, you'd better sit down, Mr. Nichols. Now, see, it's too late.

[Chevron Announcer]

Here's more proof that heavy duty RPM motor oil cuts wear in automobile engines. Using heavy duty RPM, an engine in the northwest went over 130,000 miles, yet showed less than half as much cylinder wear in that time as previous oils did. In 75,000 miles, heavy duty RPM reduced wear and greatly increased the time between overhauls. It kept the engine exceptionally clean and cut wear rate to a minimum. So get the oil that gives top protection for your car. Get heavy duty RPM motor oil at any independent Chevron gas station or standard station where they say and mean we take better care of your car.

[George Valentine]

You know, I was talking to the commissioner the other day, said I, chief, why bother having a homicide squad when one man like George Ballinfire. Okay, Johnson. Okay, okay. So I was a sucker for a college memory. Forget it.

[Donna May Lawson]

Renschler will recover. The miniatures were phony and the Nichols will suffer. Endurance. Vile.

[George Valentine]

Crime doesn't fake. Oh, brother. When a police lieutenant comes up with an epigram, that's a sure sign the case is closed.

[Donna May Lawson]

But George.

[George Valentine]

Yeah?

[Donna May Lawson]

Are you sure you didn't enjoy that kiss? After all, you didn't have to kiss her twice.

[George Valentine]

Brooksie, this suspicious nature of yours is going to make you a problem for the man you marry. Yeah. I bet if your husband came home at 4 o'clock in the morning making a perfume and with lipstick on his collar, you'd start asking questions.

[Sergeant Crowley]

Why?

[Donna May Lawson]

I do no such thing.

[George Valentine]

What do you know? You wouldn't.

[Sergeant Crowley]

No.

[Donna May Lawson]

I'd add to his hat size with a rolling pin.

[George Valentine]

Spoken just like Mrs. Johnson. Take plenty of time to think up an epigram for that valentine tonight.

[Chevron Announcer]

Tonight's transcribed adventure of George Valentine has been brought to you by Standard Oil Company of California on behalf of independent Chevron gas stations and Standard stations throughout the West. Robert Daley has starred as George with Virginia Greg as Brooksie.

[George Valentine]

Let George do it is written by.

[Chevron Announcer]

David Versus and directed by Kenneth Webb. Ken Christie was heard as Lt. Johnson, Lee Patrick as Donna, Harry Bartel as Nichols, Larry Dobkin as Rentschler and Joe Duvall as Crowley. Music by Gaylord Carter. Your announcer, John Heaston. Listen again next week, same time, same station to Let George Do It. Let George do it is heard overseas through the worldwide facilities of the Armed Forces Radio Service. This is the Mutual Don Lee Broadcasting System.

[Mr. Rentschler]

Broadway's my beach From Times Square to Columbus Circle. The gaudiest, the most violent, the lonesomest mile in the world. Broadway's My Beat with Larry Thor as Detective Danny Clover. November night holds for another instance Then slips out of Broadway's embrace Picks up its whisperings, its promises its shadows drifts the street to the place of its dying and this November night will never be again, never will be touched again. But the feel of it remembered somewhere in it. The sudden laugh of a woman and the quick spasm dancing in a diamond throw. And for the diary, for the memory book, what's left of it. The tracery of frost on pavement. The lurch, a subway, the sobbing room. Sleep it off. Forget it. It never happened. And in another place, downtown west toward river, toward end of night, another quality room where a party had been. Litter of bottles, a cigarette, crushed, branded in the bare floor. Room where a man lay dead on velvet draped beds. Room of knife wounds. The host. They just walked out on me. Thought he could have gone on and on and on. I begged him. I got on my knees, not again. Just split it away. They're drunk and lonesome and sad. I'm just about everything there is. Tell me about it. Tell me how a man was murdered at your party, Mr. Rimpaw. Real beautiful party. I just sent out the word. Maybe the music gets in your way, huh, Mr. Rimpaw? Now maybe you can tell me, huh? I told you. They walk out on me, leave me with nothing but to sleep. So I go to my dolly and who's in it? This boy. This fellow. I try to push him over the other side of the bed and make room. I don't have his strength. He's heavy. He's dead. Come to me like a flash. That's why I called you. I gotta have some sleep, Mr. Man. You know him. When he isn't dead, he blows a horn. Musician. Kenny Perdue. Poor old Kenny Perdue. Kenny. Kenny boy, you shouldn't have died in my bed. You shouldn't do things. Get away from him. Well, I didn't mean to scold. I just. I don't know what. What was I doing? You know where he lived? Live room. Room. I was 18. Hanley Apartments, where I called him to make up a party. Who was at your party, Mr. Rimpaw? Him. Kenny. Who else? Loads, loads. Girls. Boys. Girls. Kenny gave the word and they blew in from off the avenue. I don't know who else. Did this man come in with anyone? He come alone? I don't know. Honest. I gotta get some sleep. Hey, look, party isn't over. They're coming back. Hey, hey, looky, looky, look. Hey, party time. Forget it, mister. Come on in, boys. Then the men whose trade it was to walk through strange doorways made their entrance. The men from Technical Standard Operating procedure varied as to the size of the room and the location of the body. Death measured on A steel tape noted as a symbol, photographed to the best of equipment. Result, Kenny Purdue's dying, recorded precisely in space. So leave there, up the flight of stairs again and home again and bed again, three hours of it. Then up again and coffee against the rest of the sleep that didn't happen. Call headquarters, give my routine for the morning and go now to the address of the dead man. Morning. You the cop? That's right. So enter. Please do. I got a call from your shop a few hours ago telling me Kenny quit phone. Told me to stick around for a caller. That's you, huh? Name's Danny Clover. Ray Brady. You lived here with Mr. Perdue. You, sir? Five months running. No more. Gotta get me another. Tell me something about your roommate. Well, Blew a horn. Not great, not bad. Reefed up. He was at his best, which was just about. Pretty good marijuana, huh? Said reefed up, didn't I? What about you? I play the vibes. Oh, you mean about. Listen, my daddy caught me with corn silk wrapped up in the Chicago Tribune when I was 10. A week later, when I could move, I took an oath. I smoked nothing, with or without printing on it. Who killed your roommate? I don't know. He was at a party last night at the apartment of a man named Harry Rimpaw. Were you there last night? I played an engagement, a wedding job. Lasted till 4am at Chance's Hall. You can check me. I was up to my neck. And K did kiss you till 4. Got home just when the phone rang telling me to stay put because Kenny'd quit. Did you know any of his friends? I can give you a name. Might be some help. All right. A. Mildred. You know how Mildreds are. This was a Mildred named Daniels. Lived up West 60th. You can check the directory. What about her? He phoned me once from there. Asked me to deliver to him there his horn. And that's all, huh? I caught a look at this type Mildred. What Kenny wanted a horn for, I'll never figure Now. You got it all. Cause for me, that's all.

[Sergeant Crowley]

Kenny with a knife in him. Let me tell you something, mister.

[Mr. Rentschler]

What?

[Sergeant Crowley]

The way I wanted Kenny lots of times. Thought about it, dreamed about it even now.

[Mr. Rentschler]

Go on, Ms. Daniels, now.

[Sergeant Crowley]

I don't know. Make a wish. Comes true all of a sudden you don't know.

[Mr. Rentschler]

It's all mixed up. How you felt about Kenny Purdue, Is that it?

[Sergeant Crowley]

Kenny heel blouse. Trumpet blower.

[Donna May Lawson]

Be careful.

[Sergeant Crowley]

Olympia used to say to me, it's a fact.

[Mr. Rentschler]

Imagine you're true.

[Sergeant Crowley]

No. For days and days I Could go on about that boy. You don't want to listen, I'll find someone else. I'll hit me a bar and I'll pick me an innocent bystander. And I'll tell him what it was with Kenny. Bend his ear about Kenny.

[Mr. Rentschler]

Did you go with him to the party last night?

[Sergeant Crowley]

Party?

[Mr. Rentschler]

The one last night. The one where he was killed.

[Sergeant Crowley]

Must have been a blast of party.

[Mr. Rentschler]

Were you with him?

[Sergeant Crowley]

No. Other parties, though.

[Mr. Rentschler]

When?

[Sergeant Crowley]

You know how I met him. You know when I first saw the boy? It was a jazz joint on 52nd. I went there with a fella. I don't even remember the fella. I danced with him. Danced right by Kenny and his horn. Talked to myself. But the boy on the bandstand noted that's what you need for the dance.

[Mr. Rentschler]

How long ago was that?

[Sergeant Crowley]

7, 8 months. Kenny received my message. Mental telepathy called it after that a blast. Four month blast. Four months to the day. Then I did a good deed. I helped the girl cross the street. Took into the club where Kenny was playing. Party over. Never was with Kenny again. Let me tell you, mister, it's been a long, long morning after.

[Mr. Rentschler]

Who's the girl?

[Sergeant Crowley]

Down the street, around the corner, two houses. Karen Marlin.

[Mr. Rentschler]

And you introduced her to Kenny. And then she and Kenny.

[Sergeant Crowley]

Yeah. And you know what? I'm happy about it. I'm glad for the girl. A man like Kenny happened in her life. Every girl deserves a Kenny Perdue somewhere in her life. It's a thing to fall back on when she's by herself. Well.

[Mr. Rentschler]

Well, what?

[Sergeant Crowley]

I mean, that's all just army.

[Mr. Rentschler]

And outside now into the afternoon streets. It's coming home from school time in the city. Red cheeks and scraped knee time. And duck the forward passes of the boy who takes his football to school. And dodge the boy who doesn't see him because he's carrying her books home today. And the girl who skips the length of the block without touching a line in the pavement around the corner, down two houses and the address you're looking for. The Name Karen Marlin. Mrs. In parenthesis. Under apartment four. Down the corridor, rug runner, thick and flower pattern doorways, newly varnished. And at the end of it in the hallway, a woman. And the thing that she's nailing to the door below the metal number four. A shroud. It's done now. The shroud's hung.

[Sergeant Crowley]

Dead. Dead.

[Mr. Rentschler]

Dead.

[George Valentine]

Stop.

[Mr. Rentschler]

Stop it. Shrouds hung. You can see that.

[Donna May Lawson]

Dead because of me.

[Sergeant Crowley]

Because.

[Donna May Lawson]

Let me.

[Sergeant Crowley]

No, don't touch me.

[Donna May Lawson]

Let me.

[Sergeant Crowley]

I always Knew I'd do this. Hang a shroud for him.

[Mr. Rentschler]

Listen.

[Sergeant Crowley]

Wait. I'll be happy to speak with you later when I'm finished.

[Mr. Rentschler]

You are listening to Broadway's My Beat, written by Morton Fine and David Fren, and starring Larry Thor as Detective Danny Clover. When evening comes to Broadway it sifts through speckled light before it scatters the street and the beginning shadows dance before they're blown away into corners and November amber crowd gathers the tribe of twilight the dawn roar that coils upon itself before it floods the chill darkness Walk it and the puffs of music from winking doorways Brush against you and swirl of bright laughter and perfume Touches your lips, pulls at your memory Walk it, watch it change to night wind and drift away. And in the place where I was where evening comes sooner than any place Headquarters was the evening elf, Sergeant Dinosau Taglia. Danny. Hmm? What is it, John? Pardon me, Danny. Just go right on. Well, just that a very funny thing happened yesterday at the Feats. At the where? The Feats. Charlie Foote was there, and Barry Foote and all the little feet. Seems like Charlie was having trouble with his shoes. And Mary said, why don't you put doctor Shoals for foot pads on the foot? And the feet stamped their feet and laughed and. Charlie. Please, Gino. Later, huh? Tomorrow morning, maybe. Sometimes you're hard to reach, Danny. Well, to the workaday world. Shall we? Thank you. According to the report from Dr. Sinski, Mrs. Karen Marlin is under medical observation at her home. So far, not a clear word except babbling.

[George Valentine]

Have we gotten?

[Mr. Rentschler]

However, some letters were found from Korea, from her husband. Anything in the letters? Letters of a soldier to a wife that he loves. That's all. Last one dated two weeks ago. That's about interruptions. Interruptions? Oh, well. Danny Clover? Speaking. My Name's Paul Russell, Mr. Clover. Yes. My sister is Karen Marlott. She's sick. Every half hour the police call and want to know whether she can be spoken with. Why? Well, I'll be happy to tell you, Mr. Russell. Where can I find you? At my home. 1214 West 16th. I know it's late, but would you mind coming right away, Mr. Clover? Right away. And you think what you told me means if my sister had anything to do with killing that. I didn't say she had anything to do with anything, Mr. Russell. I'm merely telling you she knew Kenny Purdue, a jazz musician. What would my sister have to do with a murdered jazz musician? Before he was murdered, she knew him. Listen, my sister wouldn't be within nine blocks of a tramp like that.

[George Valentine]

What would she want with her?

[Mr. Rentschler]

Do you know whether your sister ever smoked marijuana? My sister is a kid who used to come up here and listen to my records. The stuff that's on now. For instance, my wife and I would have her and her husband over to. What about him? Mickey? Her husband? Yeah. Dead. I didn't know. What do you think that shrouds on her door for? Why do you think she's lying there? When did her husband die? Telegram yesterday morning. Killed in action. I'm sorry. I didn't know. Why do you think she went out of her mind? How long has her husband been away from her? Nearly a year, I guess. What about Karen? What? What has she been doing? Well. What? She used to come over here for dinner quite often. Listen to music like before Mickey went away. I used to. I mean recently. Movies, I guess a lot. Lonesome kid after all. You better face it, Mr. Russell. From what we've been able to find out, she was running around with Kenny. Liar. Listen, you don't know what you're talking about. Karen's a good kid and decent. What's the matter? I found her in an alley once. Drunk. But she was lonesome. I remember when I used to drink before I was married. Got so lonely, I. Tell me about the time she was drunk. Man called me and said she was in the alley. I saw her. What man? From the club. He said quincy Club, Uptown, 143rd Street. Karen was backfit in the alley. But look. Yeah. That was the only time. You believe me, don't you? Karen's a real good girl. So she got drunk once. What does that mean? And leave. The man who was brother to violence leaving and uptown now to where night spilled and washes and rages against crag of tenements, lagoons of darkness. The area way littered with refuse and the quick phosphorescent gleam of neon on the back of some scurrying thing. Past the scarred doorways, past the street corner, clusters of laughter that filled on your approach began to bubble again as you moved away north 243rd and between bright Avenue and Night river. The doorway. The Quincy Club. A key club for members only for holders of the key. So show the badge, devoted the temporary membership and walk into it. The whole place empty. And the man who lets you in trails his hand on your sleeve. You see police around a quiet place, wall to wall feeling the floor. But I got his quiet. Who are you? Flex F L I X Flix. That's all the beginning, the middle, the very end. That's all you need to get to me, Flakes. You own this place. Live it. I live it. Will you look around at it? Tasting it with your eyes? Any part of it's yours if you want. Just this. Kenny Perdue. Can I tell you, you'll understand? Tell me. They had a funeral dance. When we heard he died, Members took a vote. It's unanimous. There was a way to handle it. You come here often? What's often? It's one thing we don't allow through our door. Police time. That's each member's own secret. How long he's been here, when he's been here. How many times he's walked through that door. Only he knew. He brought a girl here once. More than once. Took her a while to get with it, but finally she understood. Quietly. She was founder of the club. Karen Marlin. Sure. One night she was up there, right in the middle of the dance floor, very alone, did alone kind of thing. Kenny took out his horn and made a music he never made before. I bet. Never since, either, Ken. High class members. Only once. Only once she got loud, drunk. Found a phone number on it, called it in a little while. She wasn't here. Next day, they closed the joint. Left me the only active member to listen to my records alone. Another question, Blix. Were you at the party where Kenny got a knife, Son? Tommy, I told you. Please. Yes. Always I live. Why do I need to go to somebody else's party? This is where I live and die nightly. Here. Have fun. Danny. Oh, come in. Dr. Sinski. Hey. Your thoughts, your stillness. I have no wish to intrude there. Come in. I'm tired, Danny. I'm beat up, Fused up. Oh, look, no, don't worry about it, Danny. A matter of chemistry. Biological, emotional. What's on your mind, Doctor? That girl, that sick, anguished girl. Karen Marlon. Karen Marlon. Only this far from a child, is she, Dan? Yeah. She's a murder suspect. You never get with it, do you, Doctor? No. And you? You see her? How is she? Better. She talked with me and with Dr. Lorenzo, a young psychiatrist. And she made sense. Her own kind. You want to tell me about it? Well, Lorenz can give you the technical verbiage guilt transfer and guilt acceptance. Once I eavesdropped on such terminology. Patience, Danny. Patience. The girl confessed to murder. What? Yeah, she did. Without tears now, without hysterics. She told Dr. Lorenz and me. She told us she killed her. She confessed to the murder of Kenny Perdue. And you Took his murder, Danny, to her husband's. To the murder of that boy in Korea. This is what she confessed to. Doctor sent her fault. She said her husband's death was by her own hands. She said she. She was a killer, she said. A murderous. And on her cheek, no tears. And her pulse, even quiet. Yeah. Danny, give me a squad car. Gino, tell Mugavin to meet me downstairs.

[Sergeant Crowley]

Yes, what is it?

[Mr. Rentschler]

Don't you remember me, Mrs. Marlon?

[Sergeant Crowley]

No. Please go away. I. I'm not feeling well.

[Mr. Rentschler]

We're from the police, Mrs. Marlon. We want to talk to you.

[Sergeant Crowley]

What about?

[Mr. Rentschler]

Let's go inside.

[Sergeant Crowley]

All right. But you'll do me a favor, won't you?

[Mr. Rentschler]

What?

[Sergeant Crowley]

Don't stay long. I. I'm not feeling well.

[Mr. Rentschler]

Yeah, you said.

[Sergeant Crowley]

If you don't believe me, you ask your own doctor.

[Mr. Rentschler]

He told us you were a lot better, Mrs. Marlin.

[Sergeant Crowley]

I'll never be better. Not after what's happened.

[Mr. Rentschler]

What's happened?

[Sergeant Crowley]

I've lost my husband.

[Mr. Rentschler]

I'm sorry.

[Sergeant Crowley]

He was a soldier killed in Korea.

[Mr. Rentschler]

Had you been married long?

[Sergeant Crowley]

Almost two years.

[Mr. Rentschler]

Well, that's not very long. Hardly enough time to get to know your husband. I only tell you that, Mrs. Marlon, because I'm a man who's been married.

[Sergeant Crowley]

Who cares how long you've been married? You don't know what we had, my husband and I. You don't know what we had in that year before he left.

[Mr. Rentschler]

That's one of the reasons why we're here. We. We want to know why. Because we need to fill in some things about you.

[Sergeant Crowley]

Well, why am I so important?

[Mr. Rentschler]

Because a man's dead.

[Sergeant Crowley]

I told you he was my husband.

[Mr. Rentschler]

You loved him very much, didn't you?

[Sergeant Crowley]

You don't know. You don't know.

[Mr. Rentschler]

He had a wonderful year with him, and now he's gone.

[Sergeant Crowley]

Well, how could you know how wonderful it was?

[Donna May Lawson]

It was.

[Sergeant Crowley]

The secret things we had.

[Mr. Rentschler]

The walks around the city.

[Sergeant Crowley]

Yes.

[Mr. Rentschler]

Nickel ferry rides.

[Sergeant Crowley]

Yes. Always late at night. And seeing the things that no one else sees. And feeling them.

[Mr. Rentschler]

Yeah. Yeah. My wife and I had the same thing. 15 years. Mr. Marlin.

[Sergeant Crowley]

What?

[Mr. Rentschler]

What happened to all these things?

[Sergeant Crowley]

What do you mean?

[Mr. Rentschler]

Your husband had to go away. What happened to the memories of all these things?

[Sergeant Crowley]

It's funny.

[Mr. Rentschler]

What is?

[Sergeant Crowley]

Thinking about all those things. I save them. I don't remember them. For a while I did.

[Mr. Rentschler]

And then you got real lonely, huh, Mrs. Marlin?

[Sergeant Crowley]

For a while, I'd even go to the same places I used to go as my husband. But I don't know.

[Mr. Rentschler]

Just lonely, huh?

[Sergeant Crowley]

Yes. Yes, it was.

[Mr. Rentschler]

Then what did you do?

[Sergeant Crowley]

I used to go to my brother's house and be with him and his wife and listen to music. It was terrible.

[Mr. Rentschler]

Uh huh. Yeah. It's real rough for a girl to have to do be with a family while her husband's in the army. In the last ball, when I was away, my wife had to stay home and knit. When I came home, she was wearing glasses. I never forgave myself.

[Sergeant Crowley]

What do you want of me?

[Mr. Rentschler]

We're just trying to understand you, Mrs. Marlon. Why a girl like you should forget the important things so quickly. Did marijuana help you to remember or forget? Did a man like Kenny Perdue help?

[Sergeant Crowley]

No, you don't understand.

[Mr. Rentschler]

We understand Real good, Mrs. Marlin. You'd be surprised to know how good we understand.

[Sergeant Crowley]

Kenny. Kenny, we.

[Mr. Rentschler]

What was it?

[Sergeant Crowley]

Someone I knew. When I got lonesome, he was there. When I felt I was going to start to cry. Suddenly Kenny was. He was always there.

[Mr. Rentschler]

Did you like him?

[Sergeant Crowley]

No.

[Mr. Rentschler]

Then you hated him. Is that.

[Sergeant Crowley]

No, that isn't it. I don't know. Sometimes I hated him.

[Mr. Rentschler]

I guess when you walk up from the binge, huh? I got news for you, Mrs. Marlin. You had it yourself.

[Sergeant Crowley]

Yes, I did.

[Mr. Rentschler]

Let's talk about the day before yesterday, Mrs. Marlon. The day you got the wire, Your husband was dead.

[Sergeant Crowley]

Yes. I wept. And I got a shroud and I nailed it to the door.

[Mr. Rentschler]

That's not quite right. You hung the shroud yesterday. You got the wire the day before, and that's when you went to a party with Kenny Perdue. That wire must have hit you real hard. Read that. Your husband's dead. Put on the dancing pumps, Light up and celebrate.

[Sergeant Crowley]

I told you. All of a sudden, Kenny was there.

[Mr. Rentschler]

So you didn't cry. I want to tell you something else, Mrs. Marlin. The first time I saw you was yesterday. You were hanging the shroud and you were hysterical. And you were saying that somebody was dead because of you. You were talking about your husband, weren't you? You must have been, because the shroud was for him. You blamed your husband's death on yourself, didn't you? For the kind of life you were leading. The kind of life you were having with Kenny Perdue. The good times, the bad times that were good. Yes. The strange places, the strange people.

[Sergeant Crowley]

Yes. I wanted to behave myself, but he wouldn't let me. He made me go to these places.

[Mr. Rentschler]

And you liked him?

[Sergeant Crowley]

Yes. My husband died. It was my fault because of what I did. If I'd stayed home, it wouldn't have happened.

[Mr. Rentschler]

Your fault and Kenny's fault.

[Sergeant Crowley]

Yes, of course it was. He made me do those things.

[Mr. Rentschler]

So you see what you see.

[Sergeant Crowley]

When I got that telegram, everything became very clear. Everybody pays for what they do. And I paid for becoming a widow. And Kenny had to pay, too. So I killed him. You understand, don't you?

[Mr. Rentschler]

Broadway's sleeping now and the street people have gone home. Only the sleepwalkers are there the dream seekers, the shadow dwellers. It's limbo time when the derelicts dance to no music and the Sodom hard close nothing at all. It's Broadway, the gaudiest, the most violent, the lonesomest smile in the world. Broadway My Beat Broadway's My Beat stars Larry Thor as Detective Danny Clover with Charles Calvert as Taraglia and Jack Crucian as Mugavan. The program is produced and directed by Elliot Lewis with musical score composed and conducted by Alexander Courage. In tonight's story, Sammy Hill was heard as Karen. Featured in the cast were Whitfield Connor, Shot At Lawrence, Paul Freeze and Jerry Hausner. Bill Anders speaking.

[Narrator]

That's Case Closed for this week. There's more from Let George Do It. Broadway is My Beat this podcast and all of the others@ Relic Radio.com you'll find our shout Cast stream there as as well. Lots to listen to, all made possible by your support. If you'd like to help out, visit donate. Relicradio.com or click on one of the links on the website. Your support makes all of this possible. Thank you to those who have thanks for joining me this week. I'll be back next Wednesday with another hour of Case Closed.