Broadway Is My Beat: The Alex Raymond Murder Case 11/17/1951

Summary

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Podcast Summary: "Broadway Is My Beat: The Alex Raymond Murder Case (11/17/1951)"

Podcast: Choice Classic Radio Detectives | Old Time Radio
Host: Choice Classic Radio
Episode Featured: Broadway Is My Beat – "The Alex Raymond Murder Case"
Original Air Date: November 17, 1951
Summary Date: January 21, 2026

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Episode Overview

This atmospheric detective drama follows Detective Danny Clover as he investigates the murder of Alex Raymond, a toy manufacturer, on Broadway. What begins as an open-and-shut case of an embittered ex-employee shooting his former boss widens into a much more complex web of jealousy, betrayal, and greed. Through smoky dialogue, biting noir wit, and melancholy cityscapes, the story walks the lonely, violent beat of Broadway.

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Key Discussion Points & Insights

1. The Murder and Initial Investigation (00:00–06:00)

• Detective Danny Clover receives word of a shooting; Alex Raymond, mortally wounded, manages to identify his killer as Stanley Lawson, a former designer at Raymond’s company.
• Clover arrives at the scene, only to hear Raymond’s dying accusation:

  "Stanley. Stanley Lawson. A little nothing… He killed me, little Captain. He killed me." (01:24)

• Lawson’s wife, Mrs. Lawson, when questioned, is shockingly calm about her husband’s alleged crime, hinting at his bitterness over being fired after 15 years of loyal work: "Stanley has been working for them for 15 years… They fired him yesterday. Without a gold watch, without a pat on the back. Just the pink slip. What does a plugger do after plugging in a pattern for 15 years? Stanley killed." (05:19)

2. The Suspects’ Motives and Interpersonal Tensions (06:00–11:00)

• Clover seeks out Edwin Harper, Raymond’s business partner and the next likely target according to Mrs. Lawson. Harper expresses fear, contempt for Lawson, and justifies firing him: "We get rid of people all the time. We don’t expect to get killed for it."
• Reports of Lawson sightings come in from various locations; police are trying to track him down.
• Harper receives a threatening call from Lawson, who demands money, reinforcing the idea that he’s on the run and possibly desperate.

3. The Confrontation – Tenement Stakeout and Misplaced Blame (11:00–14:00)

• A trap is set for Lawson, culminating in a shootout at an abandoned tenement. A police officer (Detective Kenny) is shot.
• Clover pursues and apprehends Lawson, who protests his innocence in his dying breath:

  "You… You made a mistake. I didn’t kill… I didn’t kill anybody. All of it… mistake?" (11:38)

• Post-shootout, Mrs. Lawson’s stoic reaction to her husband’s condition and to the situation at large is poignant and chilling:

  "You said you were sure. Only that Stanley shot a police officer. What about Alex Raymond?"
  "Probably… but everything is a mistake. Everything always is. Look at him. A man, a life. Look what’s become of it." (14:01)

4. Piecing Together the Evidence – An Unraveling Case (14:00–21:00)

• Detective Clover’s colleague brings updates: the murder weapon could not be found at first, and eventually, when found, it surprisingly contains only Raymond’s fingerprints—raising doubts about the original story.
• Clover visits Raymond’s girlfriend, Grace Gilroy. She reveals a crucial detail: Lawson designed the successful XK20 rocket toy, but the partners dismissed and cheated him, manufacturing it secretly to amass riches:

  "Lawson was quite a designer… brought in the first model of the XK20 last June. Made it on his own time. Alex and Edwin Harper looked at it and said it was just nothing. But… the buyer ordered a thousand gross on the spot. They showed it to buyers, had it manufactured out of town, never told Lawson about it." (19:09)

5. The Final Confrontation and the Twist (21:00–26:34)

• With the physical and testimonial evidence, Clover brings Harper to Mrs. Lawson’s apartment and unravels the truth: Raymond’s dying accusation was a lie, Harper exploited it, and it was Harper who shot Raymond and later killed the officer—framing Lawson to eliminate competition and secure the XK20’s profits.
• Clover to Harper:

  "You got a new toy on the market that’s going to make you a lot of money. A toy that Lawson brought to you. Get him out of the way and all that money was yours. No strings, Mr. Harper." (25:41)

• Mrs. Lawson, gun in hand, nearly takes violent revenge, but ultimately, Harper confesses:

  Harper: "All right, all right. I confess to you. I did it. I did everything he said. But don’t… don’t kill me." (26:06)

6. Thematic Closure and Noir Reflections (27:01–End)

• The episode closes with a classic Broadway’s My Beat reflection on justice, ambiguity, and the city’s lonely violence:

  "Broadway Sleeping now. The people of the chasm have gone home. Only the sleepwalkers are there. And the dream seekers, the shadow dwellers. It’s limbo time on the sodden dance. The derelicts, the huggers. Close of nothing. It’s Broadway, the gaudiest, the most violent, the lonesomest mile in the world."

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Notable Quotes and Moments

• Opening Noir Monologue:

  "The November morning sifts down over Broadway… The solitude is clear and present, whispering again its desolate invitation. And the derelicts of morning run from it…" (00:30)

• Mrs. Lawson’s Chilling Resignation:

  "That he’s made one of them dead will give you some idea of how important my husband was to the concern." (04:35)

• Harper’s Ruthless Practicality:

  "A designer who can’t design anymore, who needs it? I gotta live, too. You got weight, you throw it away." (06:26)

• Detective Kenny’s Fate:

  "Danny… Kenny… Detective Kenny. He’s dead." (16:37)

• The Pivotal Twist:

  "I got a little piece of news for you, Harper. Lawson didn’t kill your partner. You’re crazy. You were there. Yeah, I know. But Lawson didn’t kill—none of everything I’ve got fits together. He didn’t kill." (24:20)

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Key Timestamps for Important Segments

• Raymond’s dying words & accusation: 01:24–02:31
• Mrs. Lawson’s explanation: 04:03–06:00
• Confronting Harper & setting the trap: 06:00–11:00
• Shootout & Lawson’s denial: 11:38–13:08
• Fingerprints reveal the twist: 20:07–22:32
• Harper’s exposure and confession: 24:20–26:16

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Tone & Language

The episode is defined by hardboiled, poetic narration, world-weary dialogue, and sharp noir cynicism. Danny Clover’s narration frames the case as another of Broadway’s lonely tragedies, where human ambition collides with betrayal in the gray light of November.

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Summary Verdict

This is a masterful slice of classic radio noir, notable for its twist ending, psychological realism, and evocative city atmosphere. The story moves from what appears to be a simple case of workplace revenge to a tangled web of double-cross and corporate greed, with Detective Clover’s moral doubts and Mrs. Lawson’s resignation lending emotional weight. It’s a sterling example of old-time radio detective storytelling.

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Transcript

[A]

Welcome to Choice Classic Radio, where we bring to you the greatest old time radio shows like us on Facebook, subscribe to us on YouTube and thank you for [e-mail]. Broadway's my beat. From Times Square to Columbus Circle, the gaudiest, the most violent, the lonesomest mild in the world. Broadway is my beat. With larry thor as detective danny clover. The November morning sifts down over Broadway. And for a time the swarm stands bewildered, stares at its empty hands. The solitude begins to shape itself once more out of November's winds, out of the silent, colorless neon, out of mists blaring upward from manholes. And finally, the solitude is clear and present, whispering again its desolate invitation. And the derelicts of morning run from it, beat open a door, plead for refuge, find it in a time clock. It's another day, kid. All yours. And at headquarters, do the things of the morning. Brush the night, dust off the unfinished report. Wad up the paper cup with the dregs of cold coffee, toss it in the wastebasket. Tear a page off a calendar. A shooting. Danny, phone in. Man says he's shot, wants to talk. Here's the address. Take it from the sergeant. Go to the address. Find the man standing propped against the wall of the apartment, one hand in a fist pressed hard against his chest, pushing back the fragment of life that was still inside him, and watch it seep through his fingers. You took. You. You took your time. Let me help you off. Don't touch me. Don't touch it. Just stay. Stay. Listen. Who shot you? Stanley. Stanley Lawson. A little nothing worked for me. I put the bread in his mouth. Stanton. He killed me, little Captain. He killed me. The ambulance will be here in a minute.

[B]

Let me.

[A]

Keep your hands off, okay? I'm dying. And you. All you. You got to do is listen. Alex Raymond. That's me. That's who I was. You get that little nothing. You're here. You get it and you burn. And the words stopped. And briefly, the mouth that moved over nothingness, voicing nothing, moving quickly and fitfully, like quicksilver, till it froze and the shape of it was forever. Because he was dead. And after that, Alex Raymond, objectively, the measuring of his death by instruments, men with cigars. The photographing of it, the recording of it under a heading, files active. And take a piece of the image away with you. A name of killer. Name Stanley Lawson, Employee of Alex Raymond. Consult other records. Make a phone call and come up with an address. Go to it. Yes, My name's Clover. I'm from the police.

[B]

What is it you want?

[A]

I'm looking for Stanley Lawson. The card on your door.

[B]

Stanley Lawson Unmolded Lawson. His wife. Why are you looking for him?

[A]

Suspicion of murder, Mrs. Lawson.

[B]

All right. Come in. In here. Stanley isn't home.

[A]

Where is he?

[B]

If he committed murder, he's probably running or hiding or whatever a new murderer is supposed to do.

[A]

What I do.

[B]

Which one did he kill?

[A]

What do you mean, which one?

[B]

Raymond or Harper?

[A]

A little while ago, a man named Alex Raymond said your husband shot him.

[B]

Then Edwin Harper must be running or hiding, too.

[A]

You mind telling me what you're talking about?

[B]

Raymond and Harper incorporated together. They employed my husband to make them rich in this. My husband was successful. That he's made one of them dead will give you some idea of how important my husband was to the concern.

[A]

You think your husband's going to kill Edwin Harper, too?

[B]

My husband is what is known among educators, among partygoers and among those who conversationally psychoanalyze people as a plugger. The fact that my husband has set his mind to wiping out Raymond and Harper simply means that he had to kill one of them first.

[A]

And none of this surprised Eunice's Lawson.

[B]

Me least of all. I'm his wife. I attend his emotional moments. I know about my husband.

[A]

Would you mind telling me why he killed Alex Raymond?

[B]

No. Nor why he'll kill Harper. Stanley has been working for them for 15 years. A designer of their happy toys for tots. They fired him yesterday. Without a gold watch, without a pat on the back. Just the pink slip. What does a plugger do after plugging in a pattern for 15 years? Stanley killed. You're wasting your time Talking to me, Mr. Clover. I'd find Edwin Harper if I were you. That is, if you feel the necessity of saving his life.

[A]

And consider for a moment her easy acceptance of the violence that had intruded on her life. The final flourish that put an end to the meaningless pattern that had been hers. Her husband's shown in the way she wraps the tinted portrait of him in the newspaper. Gives it to you, wants it back when you're through with it and you give her the promise. Leave her with it. Then. A murderous description on the wires. The all points bulletin. A woman's toneless voice in prowl car radios. Killer at large. Get it all moving, then go to the man Mrs. Lawson told you about. The other man her husband wants dead. Edwin Harper. Find him in his office at the factory. Watch him nervously caress a toy as he tries to understand it look, you, Alex and me, we built a big thing here. With Christmas coming on, it's going to be bigger than. Alex Raymond is dead. Mr. Harper. I don't know any other way to tell you. Don't kid me, mister. This toy I got here in my hands, our biggest novelty. Alex and me were going to flood all the kids in the country. Why? Without Alex, Stanley Lawson shot him. Killed him in cold blood. Why? Why would a little punk like Stanley do a thing like that? Nobody does things like that. Lawson did. Because you fired him. His wife told me he'd been with you for 15 years. There are jobs, all kinds of jobs for a punk like Stanley. Defense, janitoring, all kinds of jobs. We get rid of people all the time. We don't expect to get killed for it. Why did you get rid of Lawson? He was washed up through, finished, dead. That's why. Mrs. Lawson, who gives a thing for what she said? What'd she tell you, huh? That her Stanley was the brains of our outfit? That he sweat blood and tears for Alex and me. That he was devoted, loyal, 100%. That's what she told you. Something like them. So maybe it's true. Maybe that's how it was. We picked his brain, and then all of a sudden, he don't come up with anything anymore. Look, mister, a designer who can't design anymore, who needs it. I gotta live, too. You got weight, you throw it away. Yeah. You got any ideas where Lawson might go to hide? Any particular place? You mean that punk that murder is on the loose? You haven't got him? No. I thought maybe you could help. Help? It's me you gotta have. Don't it penetrate you? Next he'd want me. We'll take care of it, Mr. Harper. Look, I got no intention of dying. None at all. Not from Stanley, not from anything. It's your responsibility. You understand that? You got it clear. I'm not going to die. What kind of clover, huh? Yeah? I'm Detective Kenny. Oh, sure, sure. Come on in. Yeah, I've got the notation right here on my desk. You've been assigned to me, haven't you? While Detective Mugman is on vacation. That's right, sir. I've got some information for you, Lieutenant, about Stanley Lawson. Rather negative information, if I may say so. Sure, you may say so. Just tell me about it, huh? Yes, sir. All these from Communications. Stanley Lawson was seen going into a Theater on 42nd Street. And at the same time, this other report spotted him on the Staten Island Ferry. There's another one here from the west side Golf Club. There's a man there on the 10th hole who's been teeing off for an hour. All of them are a check, aren't they? These and half a dozen more, sir. Still haven't gotten Stanley Lawson. Well, thank you, Kenny. Yes, sir. Oh, pardon me. Danny Clover speaking. This is Edwin Harvey. He called me. He just called me Lawson. He wants me to meet him to bring money to him. He says he'll kill me if I don't. You're not going to let him kill me. Where are you supposed to meet him? At Tenement Corner, 6th and 9th Avenue at 9:00'. Clock. If you think I'm going there, you're crazy. I'm staying right here. You've got to protect me. Don't worry about a thing. We'll take care of it. Goodbye, Mr. Harper. Kenny, report to me after you've had your dinner. We've got something to take care. Lieutenant Clover. I'm glad you're here, Lieutenant. It's just about time. Nine o'. Clock. Did everything set up, Kenny? Yes, sir. Flights, Pennsylvania. We've got a cordon around the whole block. As far as the stakeout's concerned, we're all ready. Good. It's the tenement across the street, huh? The tenement's unoccupied, sir. Condemned. But a few minutes ago we saw some movement up on the second floor. Anyhow, one of the officers said he saw something move out. I'll take it from here. Hand me the pa. Yes, sir. The spotlight's coming. Yes, sir. Okay, man. Already? Sir? Yeah? Lawson, this is the police. We know you're in there, Lawson. We want you to come out with your hands up. One minute to make up your mind, but we're coming in. Kenny. Can I get you, Officer. Get an ambulance. You. You and you, cover me. I'm going in after him. You just shot an officer, Lawson. Throw away your gun and come on down or you won't get out of here alive. All right, Lawson. Any way you want us. You're not gonna get me. Stop. Lawson. Stop. I told you to stop. Lawson. You. You made a mistake. I didn't kill. I didn't kill anybody.

[B]

All of it.

[A]

Mistake? You are listening to Broadway's My beach, written by Morton Fine and David Friedkin and starring Larry Thor as Detective Danny Clover. The light that curtains Broadway in late November is a thing of gauze, gray stuff that touches autumn with December. It's the time when the shadows come in with the sun. The time of the three coffee breakfast of the sweater and the vest under the coat. But the plucked birds hang high. There are stalks of corn and pumpkin pie behind moist shop windows. It's holiday season, and up and down the furious street, chefs smile. There's no problem for Thursday's blue plate special. Forget the headlines, kid. Everywhere everybody will be eating turkey, it says. But when the new day comes, the light that drifts into a hospital room has another texture because it lies against clean walls and starched curtains before it touches a bed. A bed where a man named Stanley Lawson lay, a murder suspect and his wife considers him.

[B]

Look at him, Mr. Clover, in the state of shock. Isn't that what your doctors call the shock? So clinical? Meaning his mind has rejected him finally.

[A]

Do you expect me to feel sorry for him, Mrs. Lawson?

[B]

Only for yourself. Because you were forced to do what you did. Shoot him. Talk with yourself. Convince yourself you did the only thing possible. My husband can't talk. Who's the happier man?

[A]

I can't answer anything about your husband, Mrs. Lawson. The only thing I know about him for sure is that he shot a police officer. That he did. That tempers all my thinking about him.

[B]

How is the officer?

[A]

Bad. Very bad.

[B]

I'm sorry.

[A]

I know you are.

[B]

Mr. Clover.

[A]

Yes?

[B]

You said you were sure. Only that Stanley shot a police officer. What about Alex Raymond?

[A]

Your husband probably shot him too.

[B]

Probably.

[A]

Before he passed out, your husband said something. He said that everything was a mistake just then.

[B]

But everything is a mistake. Everything always is. Look at him. A man, a life. Look what's become of it.

[A]

The resident says he has a good chance to live, Mrs. Lawson.

[B]

That's fine. May I be alone with him for a while, Mr. Clover? Please.

[A]

Don't look for me anymore. Out the window, Danny. Complete with your lunch. Oh, thanks, Gino. In that shopping bag. All I gave you was 35 cents for a sandwich. Not only did I get your lunch, Danny, but I brought back change. Wait a seat. All right, that's just a delegates. And Danny, all I got to mention is I am here for Danny Clover. I don't even need a number to get weighted on. What's all that stuff, Gino? Your name is magic, Danny. I order you your hot pastrami sandwich. The boys insisted. Isn't enough. Got to have four pies. What? Four pies, Danny. An expression. Meaning you got a free little delicacy from each of the four boys. Ergo four. From Sid, a container cold slaw. From Eddie, a D potato salad with celery seed. From Frank a slice hala and from Wor A fr. What from her, a gaussia pickle slipped into my hand under the table. Eat any? Eaten. Good health. Quite a haul, Sergeant. You're welcome, I'm sure. I also brought along the Gotham you asked I should pick up on my way back upstairs. You're a ball of fire today, Gino. Thank you, I'm sure. And then Gotham number one. The gun with which Stanley Lawson committed murder upon Alex Raymond and did wound Detective Kenny. The boys can't find it? They haven't found it as yet, no. Lawson shoots out of that tenement window, hits Kenny. I going right after him. We can't find his gun. This is a puzzle. Then a fleeing fugitive off courses away the weapon with which he committed mayhem through a window, down a pipe. What else have you got? You know datum number two concerning the deceased, Alex Raymond, which you requested. It seems that Mr. Raymond, as it must to all men, and a girlfriend. Where? A Ms. Grace Gilroy, Daddy. Regent Powers, West 23rd. However, why you need such, I may answer it for you.

[B]

Danny.

[A]

Go ahead. Danny Grover's office. Sergeant Todd. What? No. Yeah, I'll. I'll tell him. Tell me what? Gino? Give me a minute. Danny Kenny. Detective Kenny. He's dead. And watch Gino turn, walk quickly out of the room. Go searching for some empty place where the quick sorrow can't be seen in the herd. And in a little while, look out the window, see him hatless, without a coat, wandering the sidewalk, wandering the autumn wind. Go to him, hand him his coat. Walk with him, try to ease it for him. Explain it to him to yourself. The stairs of the passers by tell you you're not doing real good. Then the brief time of being alone with it. The time it takes to get to 23rd street, to the Regent Towers, to a girl named Grace Gilron. For her instant in your life, let go of it.

[B]

You're a policeman. What won't they think up next?

[A]

I want to talk to you, Ms. Gilvern. About Alex.

[B]

Alex Raymond? He's dead, you know. Dead and gone.

[A]

You want to talk about it here in the hall?

[B]

Oh, glad you thought of it first. Come on in. Come in, come in. That chimpsy divan over there, you'll look good on that.

[A]

Alex Raymond. Just about him.

[B]

I've heard how you punched a bullet hole in his killer. What more can a man ask for?

[A]

There's some things I need to know.

[B]

About me? About me with Alex.

[A]

He ever talked to you about his factory? About the people who work for him?

[B]

You mean the boy who put it to Alex you mean Stanley Lawson, don't.

[A]

You know that's right.

[B]

Killer, murderer. Pale little man like him. The things that go on inside these pale little men. Surprises a girl.

[A]

What did Raymond tell you about him?

[B]

Just enough to bring up the yawns.

[A]

How?

[B]

Lawson was quite a designer.

[A]

Then why did they fire him?

[B]

Beats me, too. Especially after that XK20.

[A]

The XK20? What's that?

[B]

The secret weapon of the Raymond and Harper Company. A toy rocket ship. Zoom. Spitz flame Beats Happy. You'll see him with the millions on the Christmas counters.

[A]

Lawson designed it. And they fired him for that?

[B]

You know, now that you mention it, it makes me wonder.

[A]

About what?

[B]

It goes to be a surprise to Lawson. He brought in the first model of the XK20 last June. Made it on his own time. Alex and Edwin Harper looked at it and said it was just nothing. But you know what?

[A]

Just tell me, huh?

[B]

They showed it to a buyer anyhow. The buyer ordered a thousand gross on the spot. So did a half dozen other buyers.

[A]

They didn't tell Lawson about it.

[B]

In fact, just to make it more of a surprise for Lawson, they had the toy manufactured by a subcontractor out of town. I tell you something else. Alex whispered he might make a million out of that XK20. A million XK20s murders. Confused as a girl like me.

[A]

Hey, Danny. Danny, wait for me. What's on your mind, Gino? Here. Exhibit A. All wrapped up, ready to go. Oh, they found the gun, huh? Where? Wedge between some debris and an old tire in the backyard of the tenement. Well, Lawson undoubtedly flung it. How come it wasn't found sooner? Why ask me? I wasn't there. I don't know. Do something for me, Gino. What? Go upstairs and get the fingerprints of everybody connected with this case. Then take the prints and the gun down to Gordon in Technical. Tell Gordon I'll be there in a half hour. Okay, Danny. Well, Danny Clover. I make you that happy, Gordon? Look, Gordon, a little while ago, Sergeant came down here with his grubby fist, aglow with things for Gordon for me to take care of for you, because I'm the only one who can. A gun and a few sets of fingerprints. You know my advice to you? So help me, Gordon, Very sickly threats from such a big man. My advice to you, Lieutenant, is to keep your mouth open in amazement and let your jaw hang there. I've got a goodie for you. Okay? What is it? The prince on the gun. You know whose those are, Lieutenant Lawson? A dead man. Alex Raymond, the man who fell Dead in your arms yesterday afternoon. You kidding? If I was kidding, you'd be laughing. But your jaw is hanging the way I said it would. Raymond, A man who died yesterday afternoon also left his prince on a gun that killed an officer who died last night. Very tricky, isn't it? Look, Mr. Close, you picked me up at my place and I came along with you without question. Don't you think it's time you told me what this is all about? The last apartment in this corridor is the home of Stanley Lawson, the man who used to be your toy designer. I see. What do you expect me to do? Look at it. Feel sorry for the people inside? Just his wife. The only one inside. You'd better brief me on what I'm supposed to say to a woman whose husband killed my partner. Murdered an officer of the law. It'll come to you.

[B]

Good evening, Mr. Clover.

[A]

Ms. Lawson, this is Mr. Harper.

[B]

Please come in. My husband talks about you often.

[A]

Mr. Harper, I want you to know how sorry I am about what's happened.

[B]

You're sorry? You really are?

[A]

Of course I am. That's strange, Mrs. Lawson. I was brought here for what reason, I don't.

[B]

Strange. Because my husband always said you were a shrewd businessman. He never told me you were a liar.

[A]

Look, Clover, what is all this? You said you were sorry about what happened and Mrs. Lawson called you a liar. The fact, Mrs. Lawson, that you're the wife of a murderer makes anything you say pretty unimportant.

[B]

Mr. Kloger.

[A]

Yes?

[B]

I talked to my husband about an hour ago.

[A]

I know. That's why we've come here. If you two want to chat, you'll mind if I leave. We mind.

[B]

You know all about it.

[A]

Mr. Kroger, the police stenographer who was in the hospital room when you spoke with your husband, showed me the transcript.

[B]

Do you believe what my husband told me?

[A]

Yes. Is. Is your husband going to live?

[B]

I don't know. What about you, Mr. Harper?

[A]

What?

[B]

What about him, Mr. Clover?

[A]

He's here, isn't he? Suppose you just take me back where you got me, Mr. Clover. Just who do you think you are? Cover. I wanted you to meet Mrs. Lawson. I wanted you to see her home. Go ahead, look around. This is the home, Mr. Harper. This is a place where two people made their lives. You never know what comes out of these homes, do you? I got a little piece of news for you, Harper. Lawson didn't kill your partner. You're crazy. You were there. Yeah, I know. But Lawson didn't kill none of everything. I'VE got fits together. He didn't kill. Calm now. Calm. Calm. Lawson went to Alex. Raymond pleaded for his job, Demanded his job because he was frantic. Because he'd given you and Raymond 15 years of his life. We paid him well.

[B]

Thank you very much, Mr. Harper.

[A]

Demanded his job. Raymond pulled a gun and told him to get out. Lawson wouldn't. Raymond threatened him. There was a fight. The gun went off. Raymond had shot himself in the struggle. Lawson fled. But Raymond told you. I know. He told me. Lawson had shot him. It was Raymond's revenge for dying. The alleged killer had fled. We made only a cursory search for the murder weapon. This is ridiculous. I'm getting out of here.

[B]

If you move, Mr. Harper, I'll find something to kill you with.

[A]

I'll take care of him, Mrs. What do you mean, you take care of me? What have I got to do with all this? Lawson called you, told you what had happened, asked you to meet him, begged for your help, demanded money to leave town. I told you that would hold. Except for one thing. A gun with Raymond's prints on it, not Lawson's, because he never held the gun. Never held a gun? He killed a policeman with it, didn't he? No. After the phone call, you went to Raymond's apartment, found the gun that Raymond had hidden away to make it appear that Lawson was a murderer. Then you went to the tenement, hid. Why? Why should I do that? I'll get to that. You hid in that tenement during the stakeout. When I called up to Lawson, it was you fired those shots killed the policeman. You wore gloves so that Raymond's print would still be on the gun. Now I'll tell you why you did all this, if you can. Whatever I am, this is why you did it. Raymond was dead. You got a new toy on the market that's going to make you a lot of money. A toy that Lawson brought to you. Get him out of the way and all that money was yours.

[B]

No strings, Mr. Harper.

[A]

No. Give me that gun, Mrs. Lawson.

[B]

Don't try to take it away from me. You understand about me, Mr. Clover. You know what I do.

[A]

Yes. Yes, I know.

[B]

Pray for something, Mr. Harper.

[A]

All right. All right. I confess to you. I did it. I did everything he said. But don't. Don't kill me.

[B]

Is that what you call a prayer?

[A]

It's Clover. Don't let her do it. Please. Please. Talk to her. Tell her. Tell her I don't want to die. He won't listen to me. She'll kill me. She'll kill me. This is what you wanted, isn't it, Mrs. Law?

[B]

Yes, and it's enough. Take him out of here.

[A]

Broadway Sleeping now. The people of the chasm have gone home. Only the sleepwalkers are there. And the dream seekers, the shadow dwellers. It's limbo time on the sodden dance. The derelicts, the huggers. Close of nothing. It's Broadway, the goddess, the most violent, the lonesomest mile in the world. Broadway, My Beat. Tonight on at the End presents. You've been listening to some of the best in radio drama with Fiber McGee and Molly and Broadway is My Beat. Join us again Monday evening at the same time, 9:05, when Fen presents Dragnet and Escape.