Broadway is my Beat: The Joan Gale Murder Case 1/21/1950

Summary

Broadway is my Beat: The Joan Gale Murder Case – Detailed Summary

Hosted by Choice Classic Radio

Release Date: January 15, 2025

Episode Title: Broadway is my Beat: The Joan Gale Murder Case

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Introduction

Broadway is my Beat transports listeners to the vibrant and shadowy streets of Broadway during the Golden Age of Radio. Starring Larry Thor as the astute Detective Danny Clover, this episode delves into the intricate murder case of Joan Gale, intertwining neon-lit drama with classic detective intrigue.

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Setting the Scene

The episode opens amidst the bustling ambiance of Broadway at dawn, with Danny Clover narrating the city's eclectic mix of noise and neon lights. He poetically describes the duality of Broadway, highlighting its allure and underlying darkness:

Danny Clover (00:45): "At 4:00 in the morning Broadway is still the spectacular drowse and the neons yawn... That's how it falls on Broadway, my beat."

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The Crime Unfolds

A distressing burglar alarm from a flower shop sets the stage for the murder investigation. Detective Clover arrives at the scene, where he encounters Roman Meshikov, the flower shop owner, who insists there has been a murder despite the lack of evidence:

Roman Meshikov (02:15): "A girl has been murdered, Mr. Kman. And you're shocked."

Danny Clover (03:00): "You say you don't know this girl? No, no. Can't you do something about her, Mr. Clover?"

Roman’s dramatic pleas and cloaked hostility hint at deeper tensions within the flower shop.

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Investigative Leads

Clover's initial investigation leads him to the Dunhill Apartments, where Joan Gale resided. He interacts with the apartment’s staff, uncovering that Joan had a complex social life:

Danny Clover (05:30): "I talked to a man because the yawning young woman at the desk just yawned and shook her head... He introduced me to Frank Shepard Houseman."

Frank Shepard, a resident, is identified as a key figure connected to Joan. His interactions raise suspicions about his recent behaviors and possible motives.

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Unveiling Suspects

As Danny delves deeper, Sergeant Letaglia provides background on Joan Gale, revealing her past disturbances in Scranton, Pennsylvania, and raising questions about alibis provided by Kapelheim and Roy Austin:

Sergeant Letaglia (07:10): "She had a slight record in Scranton, Pennsylvania for disturbances of the peace."

This information casts doubt on the testimonies of flower shop staff, pushing Clover to develop a theory.

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A Critical Breakthrough

A pivotal moment occurs when Mrs. Amelia Ripley steps into the narrative. She contacts Danny Clover, offering to assist in the investigation:

Mrs. Amelia Ripley (08:57): "They told me you were handling the Joan Gale murder, Mr. Clover. I believe I can help you with it."

Her involvement introduces new layers to the case, suggesting personal connections and hidden motives.

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Confronting the Truth

During an intense interrogation scene, Clover confronts Mrs. Ripley about her husband's involvement with Joan Gale. Through a series of probing questions and strategic manipulation, Clover exposes the intricate web of deceit:

Danny Clover (20:07): "You're a murder suspect."

Mrs. Amelia Ripley (20:18): "Why should I? Why do murderers kill?"

Clover meticulously pieces together the timeline, alibis, and financial transactions, leading to the unraveling of Mrs. Ripley’s facade.

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The Climactic Resolution

The climax unfolds as Roy Austin, entangled in the mystery, meets his demise under suspicious circumstances. Clover's confrontation with Austin exposes the final truths:

Danny Clover (26:21): "Because you're a sinner. Joan Gale was a sinner too, wasn't she, Lord?"

In a dramatic turn, it is revealed that Mrs. Amelia Ripley orchestrated the murders, driven by revenge and intertwined loyalties.

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Conclusion

As dawn breaks over Broadway, Detective Danny Clover reflects on the case, underscoring the city's ever-changing facade:

Danny Clover (25:59): "The night slips over Broadway like a black silk stocking splashed with sequins."

The episode concludes with a poignant narration highlighting the transient nature of Broadway and the enduring quest for truth.

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Notable Quotes with Timestamps

• Detective Danny Clover (00:45): "At 4:00 in the morning Broadway is still the spectacular drowse and the neons yawn... That's how it falls on Broadway, my beat."

• Roman Meshikov (02:15): "A girl has been murdered, Mr. Kman. And you're shocked."

• Mrs. Amelia Ripley (08:57): "They told me you were handling the Joan Gale murder, Mr. Clover. I believe I can help you with it."

• Detective Danny Clover (20:07): "You're a murder suspect."

• Mrs. Amelia Ripley (20:18): "Why should I? Why do murderers kill?"

• Detective Danny Clover (26:21): "Because you're a sinner. Joan Gale was a sinner too, wasn't she, Lord?"

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Production Details

Broadway is my Beat: The Joan Gale Murder Case features a stellar cast including Charles Calvert, Irene Tedro, Jerry Hausner, Howard McNear, Edgar Barrier, Herb Vigren, and Jack Crucian. Written by Morton Fine and David Friedkin, the episode boasts a captivating musical score composed by Alexander Courage and conducted by Wilbur Hatch. Production and direction were expertly handled by Elliot Lewis. This enthralling narrative was produced for the United States Armed Forces Radio and Television Service, showcasing the timeless allure of old-time radio detective dramas.

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Closing Remarks

For fans of classic detective stories and old-time radio, Broadway is my Beat: The Joan Gale Murder Case offers a compelling blend of suspense, character depth, and atmospheric storytelling. Detective Danny Clover’s relentless pursuit of truth amidst the glamour and grit of Broadway ensures an engaging listening experience for both longtime enthusiasts and newcomers alike.

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Note: Advertisements and non-content sections from the transcript were excluded to maintain the focus on the narrative.

Transcript

[Danny Clover]

Your message amplified. Ready to share your message with the world? Start your podcast journey with Podbean. Podbean. Podbean. Podbean. Podbean, the AI powered all in one podcast platform. Thousands of businesses and enterprises trust Podbean to launch their podcasts. Launch your podcast on podbean today. My school uses Podbean. My church too. I love it. I really do. 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 mile in the world. Broadway's my beat. With Larry Thor as Detective Danny Clover. Broadway It's a bet you make against the dealers. At night I'm a blood red of neon on the black of the searching wind and the circle spins A whirlpool of gleaming laughter and splintered whispers of shrieking steel and the silence of stone. You pray for a win but it's no good. The red pays off in stained hands and the black with dust in your mouth. That's how it falls on Broadway, my beat. At 4:00 in the morning Broadway is still the spectacular drowse and the neons yawn? The sounds of the city whisper into the darkness and last night's headlines fight a losing battle with the wind. Then it's a burglar alarm from a flower shop but it's tearing its heart out. The cold winking light of the florist sign found her face, then lost it in the shadows then found it again. She sat privily in a wicker chair through which garlands of camellias and shining green leaves had been woven. Her hand had been pricked by the thorn of a rose she held. And when the lights found her eyes again they were mocking and sly. Hey. Hey. What goes down here, huh? Oh, hi, Danny. What makes. I heard a burglar alarm. Someone tripped it on their way out the back door. Oh, and left this dame here to heist rose petals. The Roman Meshikov. Do something for me. Sure, Danny. Want me to book her? Call homicide, tell them there's been a murder. Hi. This is incredible, Mr. Clover. Positively incredible. Wait till the florist association hears of this. I shall be blackballed. A girl has been murdered, Mr. Kman. And you're shocked. Is that all it does to you? Please, Mr. Clover, don't teach me manners. I've been catering to weddings and funerals all my life. Remind me to plant something in your lapel. You say you don't know this girl? No, no. Can't you do something about her, Mr. Clover? Move her or something? Oh, my beautiful blues. You take your filthy hands off those primroses to me, Mr. Cuffle, I'm. Pay attention to me. The primroses will have to fend for themselves. This is an outrage. Making a shambles in my garden all because you can't solve a stinking murder of some burglar of a girl. Don't press me, Kapelheim. I could forget. It says in the book I'm a gentleman. I know nothing about this Mr. Clover. Why? Why don't you? Inquisition. My clerk, he closed the shop. He was here all evening. I've never trusted him. Never. Nice boss you got, huh, Mr. Austin? The feeling mutual. There is mistrust and fright and kindness in all of us, Mr. Clover. Has it not been written in the book? Yeah, yeah. What time did you close the shop, Ms. Dr. Austin? At 11. I always close it for Mr. Kleheim at 11. And this girl? We found her to be a Ms. Joan Gale of the Dunhill Apartments. Does that mean anything to you? Nothing, I'm afraid. If she were a customer, I'd know it. I wait on people and deliver. And I have a good memory. Mr. Clover. This lady was never in our shop. Why should someone bring her here to kill her? That's a wonderful question, Mr. Clover. I wonder you hadn't thought of it before. May I go home now? It hurts me to say this, but no. Your primroses will need you. And so it began. The questions and answers that a cop scribbles into his little black book against such a time when he can set up a file at headquarters labeled Joan Gale, death by murder. The coroner said she was killed by a bullet in her heart. That made me all of a sudden, a philosopher. I had to inquire into what set of circumstances put the bullet there at that time in that place. The next morning, I went to the Dunhill Apartments because Joan Gale's purse said she lived there. I talked to a man because the yawning young woman at the desk just yawned and shook her head, then yawned some more and pointed at a potted palm of the man sitting beside it who I should talk to. Good morning. My name's Danny Clover. That's nice. You got some beef? Maybe see the girl at the desk? I did. She's sleepy. Ah, you're a real quick lad. So, so. That makes me an urban cop. Cop, huh? Well, that makes my name Frank Shepard Houseman. Let's see your buzzer friend. So I can have a genuine feeling about you. Yeah. Here. I did something you don't like. Joan Gale. I want to look at her room. Okay. Come on. She did something bad. Go ahead, shock me. What'd she do bad? She got murdered. Bad as that, huh? Sad. Real sad. And here joint screams at you, don't it? It's too dark to tell. Turn on the lights, Frank. Sure. Better blue lights. What do you know that that means something. She had many friends, Frank. Callers. Tell you the truth about that culvert. Joan Gale never made me look up from the racing form or friends. Neither. I wouldn't know. So no gentleman colors. And I thought I was being clear as crystal. I wouldn't know. Who are you? All right, rummy, outside. You want to give this policeman a bad impression of Dunhill apartment. Wait a. Who's this guy? Refugee from 109 down the hall. He greets the gladsome day with a croc. Yesterday he stumbled into Mrs. Stutman room while she had her hair in a henna. Didn't you, John? Oh, sure, sure. Me tell your friend, Mr. That today you met good old John. That makes you want to fix my tie. Come on. Come on. Good old John boy baby pally outside. Good old Frank boy. I watched old Frank boy push his his face into pali's home in 109. Then Frank boy came back and was the model of a house dick with the economy size helping hand. We searched Joan Gale's apartment. Found a lot of things. Things that pieced together the life of Joan Gale by night and by day. Things that made Frank Boy all happy inside. But there was nothing that added up to her dying in a bed of cut flowers back at headquarters. There were more fragments, more scraps of a woman's life. Sergeant Letaglia offered them to me. This is Joan Gale, Danny. She had a slight record in Scranton, Pennsylvania for disturbances of the peace. For questioning for. You know, Danny. Yeah. The alibis of Kapelheim and his clerk Roy Austin. You had them checked? Oh, yeah, Danny, sure. It's just like this. Mr. Koppelheim and Mr. Austin told you Koppelheim was in the sack. The cloik Roy Austin closed up Kopelheim's flower shop at 11 o'clock. Went home to the knowledge of his landlord. Did not leave the premises till you routed him out of bed to question him at said Koppelheim's flower shop. How do you figure Detector. You know, I'm glad you asked me, Danny, because I got a theory. Now, the way I picture this whole crime. Oh, pardon me. Surely, Danny, go right ahead. Thank you. Danny Clover speaking.

[Mrs. Amelia Ripley]

They told me you were handling the Joan Gale murder, Mr. Clover. I believe I can help you with it.

[Danny Clover]

Who is this?

[Mrs. Amelia Ripley]

Mrs. Amelia Ripley. 1219 Smedley Place in Forest Hills. Mr. Clover, I can expect you immediately.

[Danny Clover]

Yes, thank you, Mr. Now, as I was saying, Danny, my theory. Keep it on. I. Taglia. I'll come back for it.

[Mrs. Amelia Ripley]

Yes, what is it?

[Danny Clover]

I'm Danny Clover. I'm from the police. A Mrs. Ripley called.

[Mrs. Amelia Ripley]

I'm Mrs. Ripley. Please come in.

[Danny Clover]

Thank you.

[Mrs. Amelia Ripley]

You won't mind. Well, that is, I hope you won't mind if we sit in the kitchen and talk.

[Danny Clover]

Not at all.

[Mrs. Amelia Ripley]

This way. You see, it's the maid's day off and I'm cooking a hollandaise sauce on the stove. Batter in the mix. Master looks about done. It's the sauce that needs attention. Sit here, Mr. Clover.

[Danny Clover]

Thanks. You said something about Joan Gale, Mrs. Ripley?

[Mrs. Amelia Ripley]

I never saw her in my life, Mr. Clover. But I knew her.

[Danny Clover]

I don't understand, but have a cup.

[Mrs. Amelia Ripley]

Of coffee, Mr. Clover. I knew her because my husband knew her.

[Danny Clover]

Oh, I see.

[Mrs. Amelia Ripley]

Of course you don't see. My husband Caesar then comes home to me. He comes home and strokes my hair and calls me wonderful names that I thought he'd forgotten.

[Danny Clover]

And he kisses me.

[Mrs. Amelia Ripley]

Mrs. Ripley, I found out about Joan Gale months ago. I've always known it was a woman, but I just happened to find out her name was Joan Gale.

[Danny Clover]

Why are you telling me?

[Mrs. Amelia Ripley]

Revenge is a funny word to be coming out of a housewives mouth, isn't it? My husband is mixed up with a woman who's been murdered. I wonder whether I'm going to laugh or cry at what he suffers for it. It's important to me to know which I'll do. Pardon me.

[Danny Clover]

Where's your husband now, Mrs. Ripley?

[Mrs. Amelia Ripley]

He called a few minutes ago. He said he was at his place of business, the Ripley Shoe Distributing business on East 37th.

[Danny Clover]

Well, thanks, Mrs. Ripley. I'll talk to him.

[Mrs. Amelia Ripley]

I'll show you to the door, I think. I'm glad I Talked to you, Mr. Clover.

[Danny Clover]

Oh, you did the right thing. Is this your husband? This picture on the bookcase?

[Mrs. Amelia Ripley]

Yes.

[Danny Clover]

Podbean. Your message amplified. Ready to share your message with the world? Start your podcast journey with Podbean. Podbean, the AI powered all in one podcast platform. Thousands of businesses and enterprises trust Podbean to launch their podcasts. Use Podbean to record your podcasts. Use Podbean AI to optimize your podcast. Use Podbean AI to turn your blog into a podcast. Use Podbean to distribute your podcast everywhere. Launch your podcast on Podbean today.

[Mrs. Amelia Ripley]

John. Good old John, he likes to call himself.

[Danny Clover]

Why, Mr. Culver, does he drink?

[Mrs. Amelia Ripley]

Why do you ask? But no, he doesn't drink, I'll say that for him. He doesn't touch a drop. It's Clover. It looks bad for John, doesn't it? It's possible that he killed the girl, isn't it?

[Danny Clover]

It not only was possible. From where I stood, it looked like a sure thing. The picture of the John Ripley on the bookcase was the same good old drunken John who had tried to tie my tie in Joan Gale's apartment. The same drunken John drank. His wife said I had to ask him about a little thing like that. About a lot of little things. Ripley. Ripley. No. Oh, no. The shoeboxes of the Ripley Shoe Distributing business lay in a crazy, wanton pattern around the body of John Ripley. On his face was a loose, embarrassed grin, as if he were ashamed of his clumsiness, ashamed of not knowing how to handle shoeboxes, ashamed of his torn coat, his torn body, of the blood that crowded through the bullet hole in his chest. Now there was nothing to ask of good old John. Nothing. Nothing at all. You are listening to Broadway's My Beat, starring Larry Thor as Detective Danny Clover. Broadway is a place that can get happy about a lot of things. A wrestler from Argentina who walks on his hands and wrestles with his feet. The honeymoon of Tess True Heart. And a couple of murders served piping hot for dinner readings. It's the diet Broadway likes. It's a fine way to get fat. My part of it was serving up a few crumbs to the gentleman in the press room. An arrest is expected momentarily. I told them and dared them to make six paragraphs out of that. They did, and it came out saying the police had no idea who the killer was. Or as Sergeant Titaglia phrased it, Danny, I don't have no idea who the killer is. The last time I talked to you, Tataglia, you said you had a theory about who killed Joan Gale and Mr. Ripley. Danny, I got a confession to make. Confession, huh? You killed him. Ah, no, Danny, I had a theory and I put it down on paper and added and subtracted. And the answer comes out that they killed each other. Only they died 12 hours apart. That's interesting. How did you arrive at that? Well, you see, Danny, you got company. Danny, I've got to see you right away, Mr. Poe. Oh, come in. Roy Austin, isn't it? Have a chair, Mr. Austin. Thank you. Thank you very much. Danny. I don't go to Taglia, Mr. Austin. He's the clerk at Capel's flower shop. Hi, mister. How do you do? What can I do for you, Mr. Austin? I want you police to protect me. I. Yes, I demand it. Why? Are you afraid of something? You would be too. Here, read this. It was slipped under my door at my rooming house. Huh. Dear Roy Austin. Make no plans, Mr. Austin, because you will die within a day. Who'd want to write you a note like this? You know. Of course I don't. That's your job, Mr. Clover. Doesn't that note tell you something? Not much, except that whoever wrote it tried to disguise his handwriting. That's pretty obvious. Well, that may be, but it doesn't make me any the less frightened. Mr. Austin, the Department will give you all the protection you need. How? One of our men will follow you wherever you go and we'll. That's not enough. I refuse to leave this building until you apprehend whoever wrote that note. Mr. Austin. I refuse to leave this building. Okay, okay. Lock him up to take me. Sure, Danny, sure. Hey, Mr. Austin. You play canasta Idiots Delight. Oh, new game, huh? Well, maybe you can teach me. Where you going, Danny? To the Dunhill Apartments. There's a house detector there I gotta see. Maybe he can teach. What's the idea of busting in comrade for this? You can get your face slapped. Comrade? Turn around, Frank. I've got a complaint. I said turn your merry go round chair around. The man with the buzzer. No offense, Clover. It's just I don't like things sneaking up behind my back. Complaints? Yeah, big complaint. You? I'm a cooperative kind of louse, Clover, but not that cooperative. Explain it to me first. First tell me how Mrs. Shepherd's little boy has been naughty. Maybe you ought to stand up when I talk to you, Frank. My words won't have so far to go. Sure, sure, anything you say, Mr. Clover. See, I'm standing. Think you're gonna wrap my knuckles with a ruler, did you? That little play you staged. John Ripley. Four star Frank. I liked it. Yeah, it was real sincere. Good old John. Play act's a fine drunk. On cue too. You don't say. And all the time I thought good old John was crock to the ears. He wasn't drunk, huh? Why did you throw him the cue, Frank boy? You've been working too hard, Detective. Why did you do that, Frank boy? Why did you tell Ripley I was a cop before he needed to know? Why did you tell him to act drunk? So it could look like a big boozy mistake is coming into Joe and Gail's apartment. You need a place to lay your head. Detect. Answer me, Frank boy. Answer me, then answer. You were crowding me. Thanks, Frank boy. I was praying for the van. That's enough. That's enough. You didn't ask my question, Frank. You saw a chance for blackmail, didn't you? Big, fat blackmail. I told you Joan Gale had been murdered. You knew John Ripley was her boy, so you arranged the act. Did he pay off before he was murdered, Frank? Because you were so nice to him? Ripley murdered? News to you, Frank? Crossed my heart. Hope to die. I didn't know about it. Had nothing to do with it. What you had to do with Frank. Tell me about that. It was like you say. Ripley was slipping me a little gratuity all along because he didn't want nobody to know about the Gail thing. When she was killed, the price went up for gratuities. That's all. Did you get it? Yeah. From his wife. He didn't have it with him that night you was here? He called his wife. She paid me off, took him home. Don't tease me, Frank boy. I swear it. I swear it on a stack. She took him home. Last time I saw Ripley, his wife was scratching his eyes out and he was crying. On my honor. Danny. Yeah? Get up off the floor, Frank. I want you to look nice for the boys at headquarters. Frank didn't look nice for the boys at headquarters. A guy like that could spend three hours with a barber, then dress in custom tailored clothes and still he wouldn't look nice. Before I left headquarters, I looked in on the canasta game between Titaglia and Roy Austin. Then took a ride out to the housewife, Mrs. Ripley. I couldn't make up my mind whether to be sorry for her. I wasn't sure whether she had anything to be sorry about.

[Mrs. Amelia Ripley]

I suppose you expected to see me in tears, Mr. Clover.

[Danny Clover]

I wasn't sure. Just how do you feel about your husband's death?

[Mrs. Amelia Ripley]

Relieved, I think. Clean.

[Danny Clover]

If you've got any conscience about lying to policemen, you gotta feel some remorse, too. And you lied. You didn't tell me about paying blackmail and bringing your husband home.

[Mrs. Amelia Ripley]

I didn't tell you, so I didn't lie.

[Danny Clover]

We can group it under the General heading. Maybe this will do something to you, Mrs. Ripley. You're in a lot of trouble. How?

[Mrs. Amelia Ripley]

How am I in trouble?

[Danny Clover]

You're a murder suspect. Oh, you'd be surprised, Mrs. Ripley. We've had other coffee drinkers murder people. Even a file on murderers who made fine hollandaise sauces.

[Mrs. Amelia Ripley]

Why should I?

[Danny Clover]

Why do murderers kill? You had the motive. Joan Gale, because she got along so well with your husband. Your husband because he got along so well with Joan Gale.

[Mrs. Amelia Ripley]

Mr. Clover, listen to me.

[Danny Clover]

All right, Mr. Clover.

[Mrs. Amelia Ripley]

I first suspected my husband when he made an unnecessary trip to Scranton.

[Danny Clover]

Scranton, huh?

[Mrs. Amelia Ripley]

Yes. John's business interested me. I knew all about it. So I knew he didn't have to go to Scranton on business.

[Danny Clover]

Go on.

[Mrs. Amelia Ripley]

When he came back, he suddenly started to send me flowers. Just like that. Flowers several times a week. That way I knew exactly when he saw Joan by the flowers.

[Danny Clover]

Flowers, huh? I suddenly make a stab in the dark. Flowers from Kapelheim?

[Mrs. Amelia Ripley]

Yes. Yes, that's right. Then when my husband was in trouble at the hotel, I went there and did what you said I did simply because once I married John.

[Danny Clover]

You did that?

[Mrs. Amelia Ripley]

Then I brought him home. He told me everything that happened between Joan Gale and himself. Everything?

[Danny Clover]

Uh huh.

[Mrs. Amelia Ripley]

Then he left. Then I called you. I called you because there was the matter of my self respect.

[Danny Clover]

You're telling me you didn't shoot either one?

[Mrs. Amelia Ripley]

I didn't.

[Danny Clover]

There's a grocery store in the corner, Mrs. Ripley. You can go that far so you can get your coffee. I'm going where there's flowers. There might be an unfilled order there. Maybe you'll get some. Heavens have brought me in a torment, Mr. Clover. My heart bleeds for you, Kapelheim. Put those prattles down and talk. Ah, it's no good. You've upset me so. Coming out. Corsage just massacred. How long have you had John Ripley for a costume? John Ripley? The Shoebox murder. Keys. Oh, yeah. See? That is a thrilling man. How long was he your customer? He began coming in about the time that clerk of mine started working for me. Roy Austin? Yeah. They got along famously, those two. Always whispering about something or other. Then Mr. Ripley would place a very big order. I didn't really mind. They're whispering behind my back. When did Roy Austin come to work for you? Why, Mr. Kirby, why do you ask? Is he in trouble? I told you I didn't trust him. Don't drool at the mouth couple. I'm just answering my question. When did Austin come to work? It was about Three weeks ago he came to me with a letter of recommendation from some queasy little shop in Scranton. I took the chance anyhow because I needed help so desperately. Scranton? Do you have a letter? Yes, yes, of course I have. Wait a minute. I'll find it here.

[Mrs. Amelia Ripley]

Ah, yes, you did.

[Danny Clover]

Here you are. I've seen this handwriting before. Where's your phone couple? It's right here in the county. It's a business phone, Mr. Clover. Yeah. All right. I owe you a nickel. Yeah, well, all right. Not too long, Danny Clover. Keep Austin happy. Tartaglia. I'm coming up to talk to him. Oh, you can't do that, Danny. I'm not here. I finally persuaded him it was safe. He should go home. What? Sure, Danny, sure. I talked him into he should go home. Took a lot of my most clever ruses, but I finally convinced him. As soon as you call headquarters. Danny, what's up? Maybe a guy who asked protection of the police. Mugavin. Just to throw the police off balance, huh? Maybe a killer. Let's go. This corner house. Hey, Danny, look. Guy just don't jump off the fires. Hey, that's him. Argument. Come on. In the alley. Drop. Oh, I'll fire it over his head. Austin. Austin, stop. Hey, he ain't playing. Here he goes, Danny. Turn in the amp. Damn avenue. Yeah, we gotta catch him, Muggleman. We can't shoot in this crowd. Hey, hey, look, Danny. Into the building. He's running in there. I see him. In here, I believe. Beg your pardon, lady. Did a man just come in here? Man and the gray sweater in him.

[Mrs. Amelia Ripley]

Through that door on the other side of the platform.

[Danny Clover]

Thanks. Stay here, Mugman. Don't let him get out this way. Yeah, Daddy. Sure. Austin. I'm up here, Mr. Clover. Somewhere here in the darkness. Think you can find me before I kill you? His voice plunged down at me, down through the shadows, down the long flight of stairs. Roy was in darkness. That was the advantage he had. Every other step I took was lit up by the screaming light of a big electric sign flashing Revival tonight. It shouted through the window. Revival tonight. Still alive, Mr. Clover. I'm still alive. Only one piece, Mr. Clover. For how long, Roy?

[Mrs. Amelia Ripley]

What's the matter, Mr. Clover?

[Danny Clover]

I'll pull it out of chicken. Cause it'll do you no good. Come down, Roy. My gun's empty. Come to me, Mr. Clover. Up these stairs. Come to me. Pray, Mr.

[Mrs. Amelia Ripley]

Clothes.

[Danny Clover]

Pray for salvation. Because I'm going to hasten your death with this gun. Because you're a sinner. Joan Gale was A sinner too, wasn't she, Lord? Yes. Yes, she was. She was my wife, Stratton. Did you know that? No. Yes, she was. She was good. Until Satan came for her. That would be John Ripley. Satan. He took her away from me. And then he came back and he told me where she was. Because he knew I would kill her. Because I am just. And the wages of sin are death. And you killed Ripley. Satan. And now you, Mr. Clover. But you must accept death with innocence. Like the lamb. Throw your gun on the floor, Mr. Clover. Yeah. Yeah, I'll do that. Roy. Here, Roy. When I got to him, he was dead. His body lay crumpled and broken at the bottom of the stairwell. On his face, the last drop of ecstasy. The ecstasy he'd reserved for his own dying. When they came for him, it was still there, but frozen now. Different now. Like some leering mask of evil. The night slips over Broadway like a black silk stocking splashed with sequins. And Broadway is as flashy as a showgirl on an after theater date. But it'll be daytime in a few hours and Broadway will wear a sleazy house dress and stand on street corners screaming day or night. It wears any face you look for. It's Broadway. My Feet. Broadway's My Beat. Stars Larry Thor as Detective Danny Clover and is written by Morton Fine and David Friedkin. The musical score was composed by Alexander Courage and conducted by Wilbur Hatch. And the program was produced and directed by Elliot Lewis. The cast tonight included Charles Calvert, Irene Tedro, Jerry Hausner, Howard McNear, Edgar Barrier, Herb Vigren and Jack Crucian. This is the United States Armed Forces Radio and Television Service.