Broadway Is My Beat: The Philip Hunt Murder Case 04/21/1951

Summary

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Podcast Summary: Broadway Is My Beat: The Philip Hunt Murder Case

Podcast: Choice Classic Radio Detectives | Old Time Radio
Host: Choice Classic Radio
Episode: Broadway Is My Beat: The Philip Hunt Murder Case (04/21/1951)
Release Date: September 24, 2025

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Main Theme

This episode of “Broadway Is My Beat” thrusts listeners into the heart of gritty, 1950s Manhattan as Detective Danny Clover investigates the suspicious murder of wealthy retiree Philip Hunt. Clover’s search for the killer leads through a haze of party debris, unreliable witnesses, and a second killing, with the case’s roots entangled in family secrets and Broadway’s shifting moods. The episode is a classic example of Golden Age radio noir, blending dark themes with poetic narration and sharp dialogue.

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Key Discussion Points & Plot Breakdown

1. Discovery of Murder (00:51 - 03:46)

• Setting & Mood: Spring dawns on a quiet, littered Broadway, “the gaudiest, the most violent, the lonesomest mile in the world.”
• Crime Scene: Philip Hunt, retired financier, is found shot dead in his Fifth Avenue home after hosting a raucous, disorganized party.
• Early Evidence:
  • A revolver with two shots fired.
  • Signs of a party: empty glasses, cigarette butts, party debris.
  • Guests: Lois Hunt (niece, living in the house) and Tommy Milo (a corporal, unknown to the staff), both found unconscious—“Their drinks were doped.” (E, 03:33)

2. Initial Interrogations (04:27 - 06:17)

• Lois Hunt: At first appears heartbroken, but quickly reveals a flippant, detached attitude toward her uncle’s death.
• Corporal Tommy Milo: Describes having just met Lois the previous night and being swept along to the party.
• Notable Exchange:

  “Uncle Phil? Dead.” (H, 04:38)
  “You took him to the party at your home.” — “There wasn’t a party. We made up as we went along...I took them home because I wanted to celebrate.” (C & H, 05:19-05:29)

3. Tracing Clues and Party Guests (06:40 - 13:39)

• Cigarette Lighter Clue: Traced to Willard Jordan, a local artist.
• Interviews with Willard’s Wife (G, 07:23): Defensive, claims Willard is a “roamer,” not home, nonchalant about his absence.
• Barbara Sullivan (model):
  • Was at the party with Willard.
  • Reveals she left him “sleeping off a Jag under a cold water tap in the shower stall of a Fifth Avenue mansion.” (H, 10:33)

4. Second Murder Discovered (13:02 - 14:28)

• Lois Hunt questioned again:
  • Admits she inherited “most of the estate.”
  • Indifferent about her uncle’s death.
• Willard Jordan Found Dead: His body discovered in the guest house, shot with the same gun as Philip Hunt.

5. Investigation Deepens (15:06 - 20:16)

• Technical Report:
  • 17 people attended the party, based on fingerprint and glass analysis.
  • Both deaths linked by ballistics.
• Interview with Major Woodcock:
  • Hunt’s old friend and beneficiary.
  • Had “quiet brandies” and a chess game with Hunt, regrets not being present in the morning.
  • Notable Quote:

    “Always cheated at the ending... Never finished it. And cried old soldier’s tears.” (F, 17:41-18:50)

6. Shifting Suspicions and Revelations (20:34 - 23:33)

• Lois’ Motive & Witness Testimonies:
  • Lois’ fingerprints found “without a blemish or a smear” on the gun. (E, 22:19)
  • Detective Clover doubts her direct guilt, believes someone is framing her:

    “Somebody doped a drink and pressed her hand against the gun... If Lois had handled the gun to kill both men, she'd have handled it twice.” (C, 22:36)

7. Final Interrogation and Killer Revealed (24:00 - 27:53)

• Critical Evidence:
  • A book Lois claimed to be reading was found not by her and Tommy, but by her uncle’s bedside—indicating she moved it after killing him.
  • Clover deduces Lois feigned passing out, drugged Tommy, murdered her uncle, staged her own overdose, and later killed Willard to cover her tracks.
• Confrontation and Confession:

  “You come to tell me you don’t think that.” (H, 25:19)

  • Lois unravels emotionally, attempting suicide, but is stopped by Clover.
  • Her final, chilling acceptance:

    “I don’t think my friends would have been sorry, Mr. Clover. I really don’t.” (H, 27:53)

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Notable Quotes & Memorable Moments

• On Broadway’s atmosphere:

  “Broadway, From Times Square to Columbus Circle—the gaudiest, the most violent, the lonesomest mile in the world.” (C, 00:51)

• Clover on the press after a murder:

  “The statement for the noon editions. The jolly farewells over the dead...Gotta compete with the comics, kid.” (C, 03:46)

• Major Woodcock’s reflection:

  “Dead men can hear things like that, you know. Pleases them.” (F, 19:16)

• Clover’s confrontation of Lois:

  “That was an oversight, Lois. You carried it up to your uncle’s room.” (C, 25:43)

• Lois’ bitter admission:

  “I don’t think my friends would have been sorry, Mr. Clover. I really don’t.” (H, 27:53)

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Timestamps for Key Segments

• Crime Scene & Initial Discovery: 01:06 – 03:46
• First Interrogation of Lois & Tommy: 04:27 – 06:17
• Tracing Willard Jordan: 06:40 – 09:08
• Interview with Barbara Sullivan: 09:50 – 12:16
• Willard Jordan’s Body Found: 13:33 – 14:28
• Major Woodcock Interview: 17:18 – 20:16
• Fingerprints & Suspicions: 22:04 – 23:33
• Final Confrontation, Killer Revealed: 24:02 – 27:53

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Overall Tone & Style

True to its noir roots, the episode is suffused with poetic narration, brooding atmosphere, and dialogue that moves quickly between the playful and the fatalistic. While unraveling the double murder, Detective Clover’s voice is world-weary but relentless, weaving philosophy about the city with each clue he pursues.

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Conclusion

“The Philip Hunt Murder Case” is a tightly structured tale of betrayal, greed, and emotional detachment, set against the evocative backdrop of postwar Broadway. Detective Clover’s determined detective work and emotional insight ultimately reveal the truth hiding in plain sight—making this a classic and satisfying outing for vintage radio sleuth fans.

Transcript

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[D]

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].

[C]

Broadway's My Beat From Times Square to Columbus Circle. The gaudiest, the most violent, the lonesomest mile in the world.

[D]

Broadway's my beat. With Larry Thor as detective Danny Clover.

[C]

In springtime's early morning. Broadway depends upon the mood you're in now. The seesaw of color is gone. The riot of night sounds is stilled. And the revelers have found their sleep. There's nothing here but litter and mist. The beginning. Sunlight. But it's the start of an April day. That's something. You walk into it. And there's something else. The man standing against the lamppost, staring, hands locked in back of him and last night's newspaper trapped against his leg. Walk past him quickly, kid. It's better to start the day with a cup of coffee. I didn't have time for coffee. The call came while I was pouring the cream. The call with a code number that said homicide, that said an address on fifth Avenue that said get there and get there and get ushered into a room and into the presence of a man who uses words instead of numbers in describing death.

[E]

There's a gun that did it. Danny. Revolver. Two shots missing from the chamber. One killed him over there on the bed. We're still looking for the other slug.

[C]

Who is he?

[E]

Magomen Philip Hunt. Securities investments. Retired about two years ago to try to enjoy himself, the maid said.

[F]

The maid called it in.

[C]

What else?

[E]

Funny. Let's go. I'll show you. It's down the hall. Big party here last night, Danny? Glasses. Scotch, bourbon, gin, cigarette butts. Gold tip, cork tip, lipstick tip. Oh, this too.

[C]

Oh, pocket lighter. Fancy one.

[E]

Give me a light one.

[G]

Thanks.

[E]

Yeah, real fancy. And Evans. Catchy engraving on it.

[C]

From Barnborough to Welland. It'll have to be traced.

[E]

Found it in the bathroom in the shower stove. Doorbell mate will get it in here. Danny Libra.

[C]

Who were they?

[E]

The girl stretched out on the couch is a niece of the dead man. Name's Lois Hunt. The maid said, lives here. Him, the soldier over there on the chair. The maid didn't know him. Never saw him before.

[C]

How about the rest of the people at the party?

[E]

Nothing there yet. Maybe the girl and the corporal will know when they come too. Dr. Sinski gave him a needle.

[C]

A needle? To a couple of drunks? What are you talking about? They're not drunk.

[E]

Their drinks were doped. Yeah. Girl's glass smell. Corporal's the same. Dr. Sinski said. It's fortunate he got here in time.

[C]

Then the gathering together of the police reporters and the press photographers. The statement for the noon editions. The jolly farewells over the dead. And the promise of the mention of your name. The bribe for more detail, more. You know what, Danny? Gotta compete with the comics, kid. And the walking away from it. And in your office, the arrangement and rearrangement on your desk of the clutter that attended Philip Hunt's dying. A cigarette lighter, a gun fired twice. Two glasses stained with death. And a few hours later, the quiet opening of the door. And two kids stand waiting, bewildered, their eyes not touched by the morning light.

[H]

Dr. Sinski said it was all right for you to interrogate us now. He said.

[C]

Oh, come in, Miss Hunt. Corporal. Sit down.

[G]

Thanks.

[C]

You sure you feel all right, Miss Hunt?

[H]

No, no, no, I'm fine. Just a little dazed. I've had other mornings like this. Maybe not quite so sad. Uncle Phil? Dead.

[C]

You, Corporal? I'm fine, Serge, just fine. Ah, he'll be all right. Dr. Sinski's a good man. You two known each other long? Been going together a long time? Yes, sir, a long time. Maybe five or six months. I saw Lois at a USO dance.

[H]

You're lying. Tommy, don't tell a man a lie.

[C]

I know what I'm doing, kid. Just. Just look at me. Maybe you don't, Corporal. You. You, Tommy.

[H]

I only met Tommy last night. He was sitting at a bar, lonely, kind of lost. Made him so attractive. I'm rich. I bought his drinks.

[C]

And you took him to the party at your home.

[H]

There wasn't a party. We made up as we went along. You know, Barha picked up people who said funny things. I took them home because I wanted to celebrate. Tommy, the nice corporal.

[C]

It wasn't a pickup, sir. Lois is a fine girl. She's not.

[H]

Here I am. Tommy, you're sweet.

[C]

Was your uncle at the party, Lois?

[H]

We crashed in on him just as he was getting ready for bed. We all kissed him good night. That's how gay we were. We all kissed my uncle good night.

[C]

That's how you left him going to bed? Yes, sir. Then you rejoined the party? Yes, sir.

[H]

This gun, is that the one that killed my Uncle Phil?

[C]

You know the gun?

[H]

It was given to my Uncle Phil by his employees. They know how he loved guns.

[C]

You know the gun, Corporal? Yes, sir. Lois took it out of the case so I could show the party how. How a soldier uses a gun. Who'd you show your tricks to, Tommy? Who else was a part of it? I don't know, sir. Honest, I.

[H]

How could he know them if I didn't? They were strangers. Funny party strangers. We had fun.

[C]

Yes, sir. Just fun. Then I passed out. And Lois was sitting there already passed out with a book in her lap. She'd been reading poetry to me. And she passed out. And I laughed. I remember.

[I]

Danny, I. Pardon. Pardon me. Danny. They have traced the cigarette lighter from descriptions distributed hither and yon by calm, efficient men on the beach.

[C]

You'll tell me, huh? Sergeant Oteglia.

[I]

Sold by Tiffany's to one Willard Jordan, 2346 East 80. Steady customer. By Tiffany's. Me, I only gaze in their windows on Sundays.

[C]

All right, I'll check it.

[I]

Do that, Danny. And also bid adieu to Ms. Hunt. Our wealthy lawyer has put up bail.

[C]

For her and the corporal.

[I]

No arrangements have been made with the military. Him we can keep. Bail is only for the likes of Ms. Hunt.

[E]

Yeah.

[C]

Take care of things. Be calm and efficient while I'm out at that Anglia.

[G]

I'm very sorry. I'm busy.

[C]

I'm from the police. Does Willard Jordan live here?

[G]

Yes, he does. I'm his wife. What is it?

[C]

Meckman?

[G]

I suppose so. We'll talk here. If you don't mind. I'm getting ready to go out. What is it you want?

[C]

Is your husband home?

[G]

No. You'd better stop in another time. Mr. Clover.

[C]

Where is your husband?

[G]

I don't know. I didn't invite you to go in there. Where do you think you're going?

[C]

Is he your husband?

[G]

Pepe, I told you, if you stand in that mirror once more, I'll scream. Sit down. Sit down and drink your drink. Don't you move. And don't you open your mouth.

[C]

Not your husband, huh? Then who?

[G]

Pepe? You must know Mr. Clover. He's a model for my husband. Willard did him as Narcissus.

[C]

What's Pepe doing here now?

[G]

Waiting. Dropped in to see Willard. Willard's going to paint him for his summer show.

[C]

When's the last time you saw your husband, Mrs. Jordan?

[G]

Early yesterday morning. I handed him his Sketch pad when he walked out of the door. Now you tell me something. Why is it so important for a policeman to talk to my husband?

[C]

He was at a party last night where a murder was committed.

[G]

You think Willard did it? Willard?

[C]

I didn't say that. I just want to talk to him, that's all.

[G]

Willard. Commit a murder. Pepe. Pepe. One more time and out you go.

[C]

Doesn't it worry you that your husband didn't come home last night?

[G]

Why should worry me? What do you mean?

[C]

Willard has not come home like this before.

[G]

Oh. Oh, I see what you mean. Yes. Willard stays away often. He's a roamer. Goes places, talks to strange people. From material to paint. Let's see. Yes. He said he was going to take a model around last night.

[C]

What model? A Pepee.

[G]

Barbara, I think. Yes, Barbara Sullivan. Nice girl. You've seen her in the beer ads. Mr. Clover. She lives close by. I'll tell you where. If she knows where Willard is, phone me. Let me know, will you? Of course you will. The door. I'm trying to get you sleep.

[C]

Open up, Ms. Sullivan. It's the police. Open up.

[H]

This is me in last night's frock. This morning's iPads, trying to sleep away the bags under my eyes so you won't lose a kick when you draw mustaches on me on the billboard.

[C]

Mrs. Jordan told me you might know where her husband is.

[H]

Melissa told you that? Good old Melissa.

[C]

We want Willard for suspicion of murder.

[G]

What?

[C]

You were with him last night with Willard. Where is Willard now?

[H]

Sleeping off a Jag under a cold water tap in the shower stall of a Fifth Avenue mansion.

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[G]

I know.

[H]

I threw him there myself. Everything I do myself.

[C]

He's not there anymore. We peeped.

[H]

Then go look for a man with wet coat and pants. Dry the gutter on 3rd Avenue and 28th. Willard's favorite, his pride and joy.

[C]

That's where you left him.

[H]

I left him in the shower stall.

[G]

I told you that two yawns ago.

[C]

You threw Willard in the shower, Went home. What time did all these good things happen?

[H]

To you, maybe 2, 3, 4 in the morning. I don't remember. Always on my mind was my beauty sleep. I'm vain. Coddle my beauty. Get fat checks for coddling it. So you want Willard for murder. Anyone I know Philip Hunt.

[C]

You were in his house last night.

[H]

That's where I was. That's where that pale little rich girl took us. Wish I'd known. Maybe I could have wheedled the old man into using me in his advertise.

[C]

That's all it means to you? A man's murder. Are wanting Willard for it? Maybe.

[H]

Come to me with a Hollywood contract, mister, and I'll show you what things can mean to me. I'll change overnight for you.

[C]

I'll live for it. Keep posing for beer, Ms. Sullivan. Just so I'll know you're around.

[H]

I'll do it. Good. Because I'll keep it in mind. You'll be staring at me through shop windows by now. It's iPad time again.

[C]

So a half day had gone by and I had nothing. The technical division had something, though, and they gave it to me. There'd been about 17 people at the party last night at the home of Philip Hunt. 17 people? According to the kind of drinks dregs in the bottom of liquor glasses and fingerprints. Maybe nine men and eight women. So far I had talked to three of the 17. Result shrugs and bleary answers. Result? Nothing. Back now to the home of Philip Hunt and talk to his niece again outside. This time in the small garden. Sit in a wrought iron chair and watch Lois hunt take her three o'. Clock scotch and soda.

[H]

Sure you won't have one, Mr. Clover?

[C]

No, thanks. Listen to me, Lois. All I want you to do is try to remember who else was here last night. Somebody who had a motive for killing your uncle.

[H]

I had a motive. Money. I inherit most of the estate. How? Soldier boy. Tommy. Nice kid. I'm going to visit him tomorrow.

[C]

You mean you just picked these people up and brought them home?

[H]

Oh, sure. Grab bag. You never know.

[J]

Ms. Lors.

[H]

In the guest house. What's the matter, Francis? I was cleaning. Please, please.

[J]

Look.

[C]

The guest house was just across the garden and up a few steps. The place was neat as a pin. Starched linen curtains, maple chairs and three shag throw rugs placed at interesting angles. On the one that stretched diagonally across the floor was a man. I knelt beside him, away from the blood stain that had spilled from the bullet wound in his chest. His coat was still moist and it was spread open. There was a label on the inside pocket. Tailored, it said, by Jensen's mills, expressly for Mr. Willard Jordan. And Mr. Willard Jordan was dead.

[D]

You are listening to Broadway's My Beat, written by Morton Fine and David Friedkin and starring Larry Thor as Detective Danny Clover. With the kids of the Beverly Hills Beavers to the right of him and those two curious revenue agents to the left of him. Jack Benny meets Plenty of Trouble this Sunday night on cbs. Be listening, Be laughing with the Jack Benny show tomorrow night. And be with us too, for the fun with Eve arden as our Ms. Brooks on most of these same CBS stations.

[C]

The long winter is dead on Broadway and the street mourns its dying without a tear. What's to weep, kid? The dawn banging on the radiators, tearing sleep into pieces On a cold morning, standing on the street corner in the night wind trying to thumb through the racing form with hundred percent wool mittens. And the girls so bundled up you can see their face. That's to weep. Give me the springtime kid. In the springtime things, Bud and Blossom, the girls, the neon flowers, the field of golden daisies on the Translux. Look at it now, kid. Artist dead in Fifth Avenue guest house. Police sift murder clues Search link with death of Philip Hunt millionaire. Ever smell posies like that, kid? Spring's come to Broadway. Give up to it. And at police headquarters, that's just what Sergeant Dattaglia did. He gave up to it.

[I]

Ah, Danny. The missus has been slipping the sulfur with the molasses into my pizzas lately. It's that time of the year again. Ah, goody.

[C]

Tastes good, that one.

[I]

The way Mrs. Tartaglia makes a pizza, Danny, no harm could come to it, no matter what felony she commits to it. Which reminds me, when you coming to partake of a springtime pizza?

[C]

Soon, Gino. Soon as I can.

[I]

A promise. Goody. I have also by mail, so invited Lady Jane Pugh, the ne' er do well lady detective from London town.

[C]

She's coming.

[I]

She has not as yet replied with her RSVP on an English caper, no doubt.

[C]

What else?

[I]

I will notify you, Danny, when she accepts.

[C]

You do that, Jim.

[I]

Now, firstly and to the forefront, the boys in technical have deduced that the bullet that killed Willard Jordan artist sprang from the same gun that did likewise to fill upon him.

[C]

Thanks for telling me.

[I]

I thought you would relish it. Secondly, and in the background, Major Robert E. Woodcock retired.

[C]

Try me again, Gino. I haven't had my sulphur and molasses.

[I]

Major Robert E. Woodcock, retired. Partook of breakfast every Morning of his retirement with the late deceased Philip Hunt. A fact established by Sergeant Mug while questioning the housemate every morning.

[C]

Huh? That's interesting, Gino. Only a stab in the dark, but if a fellow wanted to talk to this Major Woodcock, he would go to the Union Club.

[I]

Where the retired major resides, naturally.

[C]

Naturally. Major. Major Woodcock. Wake up, Major. Wake up.

[F]

It never ends. It never ends.

[C]

Major.

[F]

I'm awake, young man. Awake. Recurrent dream, you know. Never ends. Always cut off when it gets interesting. Always cheated at the ending.

[C]

I'm from the police, Major.

[F]

And old police pussyfoot, boy. You're from the police. Be proud of it. Nothing to be ashamed of.

[C]

Walk on tiger's feet about Philip Hunt, my friend.

[F]

My old friend. Chaperone of Mamozel. Around Paris in the old army days. Together, Phil and I. Many sunny days to remember. You want to know if I was with Phil the night he died?

[C]

Were you?

[F]

Dropped in for brandy. Came chess. A lot of young people took me in tow. Made me act a major with a boy, a young corporal who was there. I'm afraid it was a rather pathetic entertainment.

[C]

Then you got away from them?

[F]

They were happy to dismiss me. Shunted me upstairs to old Phil. We had our quiet brandies, our endless chess game. Never finished it. And cried old soldier's tears. And so to bed.

[C]

You didn't come back for breakfast.

[F]

Oh, you know about that, do you? Had breakfast with Phil every morning since our discharge. In the library. 7am Pleasant. Then we'd putter around in the garden. Pleasant. A ritual.

[C]

But you didn't come back that morning. Why?

[F]

Too tired. Overslept. Over. Branded. I wish I had come back.

[C]

Why?

[F]

Bid Phil a good journey. Dead men can hear things like that, you know. Pleases them. There was another reason. I wish I'd have come back.

[C]

What? To console Lois and thought of that?

[F]

No. To thank Phil for including me in his will. Left me quite a sum. Ginormous sum. Quite an overpayment for my work in his garden. But you knew about that.

[C]

No, I didn't.

[F]

Makes me a suspect, though.

[C]

It does.

[F]

That should be interesting. When do you ask me about Willard Jordan? The artist, Right now. Painted my portrait, Willard did. There it is, hanging in back of me. Major Robert E. Woodcock. Retired. Leaning against a field piece. Classic clap trap. But I've grown rather fond of it. That's all there is of me now. Me and it.

[C]

I can always reach you here, Major.

[F]

Phil's gone. Where else would I go?

[G]

It doesn't matter to you that I'm a Widow now, does it? You have to ask me questions.

[C]

That's right, Mrs. Jordan.

[G]

I won't answer them. I don't have to answer them. Please get out and let me alone.

[C]

You told me you weren't at Lois Hunt's house last night.

[G]

What?

[C]

You heard what I said.

[G]

All right, I was at Lois Hunt's house last night.

[C]

I know.

[G]

It was a terrible party.

[C]

Pepe take you to the party?

[G]

Pepe never goes to parties. He spills things on people's rugs. I went along.

[C]

Did Lois pick you up at a bar?

[G]

I never go to bars.

[C]

Then you were following your husband.

[G]

So what? So what?

[C]

It's. You're right, Mrs. Jones.

[G]

Of course it is. I was. His wife just tagged along just in case Willard got into trouble with that brewery poster, that's all. Saw Willard go into the house, waited a while, then I went in too.

[C]

Willard got into trouble, Mrs. Jordan. Where were you?

[G]

Well.

[C]

Well, what?

[G]

A girl has to be sociable at a party. Anybody knows that.

[C]

Somebody gave you a drink.

[G]

Never did get to see Willard.

[C]

And you must have gotten to know some of the people.

[G]

Just names like Nicky and John and Bobby. Honestly, I don't remember a lot. Honestly.

[E]

Can I see you, Danny?

[C]

Oh, sure. Mugavan. Come on in. What have you got?

[E]

Got a report here from the fingerprint department. You know what's strange, Danny?

[C]

The gun's got the prints of 17 people on it.

[E]

Well, maybe it did have once. Not anymore. Wiped clean.

[C]

What's the drama for Muggerman? Why don't you just say it didn't have any prints on it?

[E]

Because it has prints on it. The most beautiful set of prints as possible. The entire hand of Lois Hunt. Here's a Photostat without a blemish or a smear. Killer Lois Hunt, huh?

[C]

You think so?

[E]

I'm asking you, Danny.

[C]

No, I don't think so. Somebody doped a drink and pressed her hand against the gun. If Lois had handled the gun to kill both men, she'd have handled it twice. Then there would have been two sets of prints, not one. Yeah.

[E]

Killer tried to plant a frame, huh?

[C]

I don't know. Maybe. What else?

[E]

Nothing. Just these photographs of the Hunt mansion. Interiors, exteriors. Six of the people who were at the party last night are outside. You want me to bring them in?

[C]

Yeah, one at a time. Wait a minute. Back you might. Have you talked to that corporal lately?

[E]

A couple of times. Sticks to his story. Passed out right after the girl did.

[C]

She'd been reading to him. Isn't that what he said?

[E]

Poetry, even. Told me the name of the book. Sonnets from.

[C]

Look at this picture mug of him. Library where the kids were found. Dope boy sitting here, girl there. See any book near them? Now look at this one. Picture of Hunt dead in his bedroom. Squint Mugavan. What's the name of the book?

[E]

Sonnets from the Portuguese. You don't have to talk to those people now, do you, Danny?

[G]

Miss Lois is upstairs in her room. I'll tell her you're here.

[C]

Take me to her, please.

[G]

This way.

[C]

What time did you find Ms. Lois and that soldier in the library, Francis?

[G]

About a quarter after six. I told that other policeman that.

[C]

Quarter after six. Isn't that pretty early?

[G]

Sure it's early. I do it every morning. Clean up in the library so Mr. Hunt and that major could have their breakfast.

[C]

Saw Ms. Lois and the soldier passed out and went to tell Mr. Hunt. You saw Mr. Hunt dead and called the police.

[G]

I told that other policeman that too. Miss Lois.

[H]

What is it, policeman? Hello, Mr. Clover. Come on in. That'll be all, Francis. Well. Come to tell me something about that soldier boy, that Tommy Milo? I'm going to try to do everything I can for him. You want a drink?

[C]

That gun that killed your uncle and Willard Jordan had your prints on it.

[H]

Aren't you warm? I am. Just a second. The casement open? It's much more pleasant, don't you think? Now, what did you say?

[C]

The gun had your prints on it.

[H]

Didn'T it have everyone's? We all handled the gun. Why just my prints?

[C]

Because you wiped off everybody's prints and put your own on it.

[H]

I must have been loaded. Why did I do that?

[C]

Make me think what I thought that you'd been framed and someone had put the gun in your hand when you'd passed out.

[H]

You come to tell me you don't think that.

[C]

What were you reading to Tommy when that dope drink caught up with you?

[H]

Some sonnets, I think. Everybody else had left, so I thought sonnets were just the thing. Corny, huh?

[C]

You were reading the sonnets and all of a sudden you felt dizzy and you went to sleep. Is that what happened?

[H]

Exactly. I told you.

[C]

But the book wasn't there when we found you, Lois.

[H]

What? Where was it?

[C]

On the night table next to your uncle.

[H]

But I was drugged. How would it get there?

[C]

You put it there. That was an oversight, Lois. You carried it up to your uncle's room.

[H]

But I was drugged. You know that. The doctor knows that I was drugged.

[C]

Later you put on an act for Tommy, pretended to pass Out. Waited for the drug you'd put in his drink to work on him. Then you got up, killed your uncle, came back, then drugged your own drink.

[H]

Don't tell me what I did. If I'd done that, I would have died. The doctor said that drug was deadly. Your own doctor.

[C]

You didn't have anything to worry about. Frances, your maid, always cleaned up the library at 6 o'. Clock. You knew she'd yell for help. Now, tell me about Willard Jordan Lewis.

[H]

Don't talk to me like that. Don't tell me what to do.

[C]

Willard Jordan came back, didn't he? He was looking for his cigarette lighter.

[H]

You know everything.

[C]

You and Uncle Phil came back and saw Tommy lying there alone. Then you appeared. You had a gun in your hand. You're so smart, you walked Willard to the guest house, killed him because you had to.

[H]

Smart. Uncle was smart. Told me what to do, why I had to do it.

[C]

It wasn't just the money you had that your uncle gave you everything you wanted.

[H]

Like I was a little girl. Like I didn't know my own mind. Just the way you're talking to me.

[C]

Let's go, Lois.

[H]

No.

[J]

No, no.

[C]

Come on.

[H]

No, I won't go.

[G]

I'm gonna kill myself.

[C]

Get away from that window, Lois.

[J]

I'm gonna do it. I'm gonna jump. I don't care. I'm gonna jump.

[C]

Listen to me.

[J]

Don't you come near me. I'm gonna die. You'll be sorry. All of you. But when I'm lying down there, you'll be sorry. My friends will come and they'll look at me and they'll be sorry. They'll be.

[C]

When I grabbed her, she didn't struggle, just shrieked over and over. When I let her out of the room, she was still shrieking. And all of a sudden she stopped. Then she looked at me, bewildered at first, then smiling an etiquette smile that a girl gives a man after a pleasant dance. Then she touched my cheek. She spoke.

[H]

I don't think my friends would have been sorry, Mr. Clover. I really don't.

[C]

On Broadway, the fury of the night races against the time of day. Dawn. It needs those hours to prove itself. The mob, the grinning faces, the voice that whispers. But hurry, time's at your heels and the night lasts only so long. It's Broadway. The gaudiest, the most violent the lonesomest mile in the world. Broadway, My beat.

[D]

Broadway's my beat. Stars Larry Thor as Detective Danny Clover. With Charles Calvert as Tartaglia and Jack Crucian as Mugavan. The program was produced and directed by Elliot Lewis, with musical score composed and conducted by Alexander Courage. In tonight's cast, Kathy Lewis was heard as Lois Hunt, Lee Millar as Tommy Milo, Peggy Weber as Melissa Jordan, Michael Ann Barrett as Barbara Sullivan and Russell Simpson as Major Woodcock. Our defense program today calls for sacrifices, but the better we produce, the fewer those sacrifices will be. To do this most effectively, we must all work together toward top productivity. The free booklet, the Miracle of America, gives the story of the American system and of the benefits which increased productivity through teamwork has brought to all of us. Write Box 10, Times Square Station, New York City, for your free booklet, the Miracle of America. Remember, the better we produce, the stronger we grow. Stay tuned now for Sing It Again, which follows immediately over most of these same CBS stations. Joe Walters speaking. This is cbs, where you laugh at Jack Benny every Sunday night. The Columbia Broadcasting.