Broadway's My Beat: The Harold Clark Murder Case (EP4782)

Summary

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The Great Detectives of Old Time Radio

Broadway's My Beat: The Harold Clark Murder Case (EP4782)

Podcast Host: Adam Graham
Original Airdate of Drama: October 27, 1950
Podcast Release: August 20, 2025

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Episode Overview

In this episode, Adam Graham presents and discusses a classic episode of "Broadway's My Beat" entitled "The Harold Clark Murder Case." Detective Danny Clover investigates the shooting of Harold Clark in a typical New York apartment building, unraveling a tangled web of jealousy, mistaken identity, and calculated murder. The plot twists through mistaken assumptions, complicated relationships, and finally hinges on an act of calculated manipulation. Adam Graham wraps up with his signature commentary and listener feedback.

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Key Discussion Points & Insights

1. The Initial Murder Scene (03:12–06:27)

• Setting: Detective Danny Clover arrives at the El Royale apartments to investigate a shooting.

• Victim: Harold Clark, married, no children, shot in the chest.

• Suspect: Lloyd Ramey, a tenant, reportedly fired two shots through his door and fled via the fire escape.

  “Name is Harold Clark. Lives apartment 2C. Married, no children. Dead from 238 slugs in his chest. That's who he is.”
  — Mugavan (04:02)

• Clark’s Wife: Mrs. Clark reacts with cynicism, referencing her frequent reading of detective magazines. She claims she was in Ramey's apartment borrowing tea bags for her husband when the shooting occurred. Her account is tinged with bitterness, hinting at underlying marital discord.

  “I must have stayed more than 10 seconds because my husband got panicky and came after me. He knocked on the door. Mr. Ramey didn't even answer. He pulled out a gun and shot.”
  — Mrs. Clark (05:47)

2. Following the Suspect – Identity and Motive (06:27–11:05)

• Trail to Ramey: Mugavan uncovers that Ramey rented his apartment through the Wilkins Rental Agency, under suspicious circumstances—paying for a year in advance and using a borrowed letterhead from a tattoo parlor (08:14–09:45).

• Tattoo Parlor Lead: Clover encounters Berky Siegmuller, owner of the tattoo shop, who recalls Ramey only as a fleeting customer asking for stationery.

  “That's a new one. Did an admiral once, but never a murderer. Okay, button up your shirt, sailor boy.”
  — Berky Siegmuller (10:41)

3. Second Murder by Poison (13:44–18:24)

• Mrs. Clark's Tip: She spots a man who frequently visited Ramey's apartment and leads Clover to him at a hotel restaurant. Clover sits with the man—Henry Gaynor—who suddenly dies at the table, apparently drunk but actually poisoned.

  “[Gaynor] just lumped to the floor. I knelt over him, felt for a pulse. There wasn't any. He was dead.”
  — Danny Clover (14:31)

• Autopsy: The medical examiner confirms a cliché poison was used and administered via drink. (17:03)

• Victim’s Identity: Gaynor is found to be a fairly affluent man with a “package of orange lifesavers” in his pocket. No immediate other clues are found.

4. Investigating the Victim’s World (18:53–22:11)

• Roommate Interview: Tommy Lawrence, Gaynor’s roommate, reveals disliking him, and offers up Frank Muir (Gaynor’s friend) as a lead. Clover questions Muir, who shares that he once passed Mrs. Clark (the victim's widow) along to Gaynor as a potential love interest and relays a violent encounter with Clark.

  “You see that plaster cast up there on the mantelpiece? That's courtesy of irate husband, Mr. Clark. He found me once with his missus... He clobbered me, broke my arm. Care to autograph it, Mr. Clover?”
  — Frank Muir (22:11)

5. The Suspect’s True Identity Revealed (22:44–24:24)

• Twist: Mugavan uncovers that ‘Lloyd Ramey’ is actually “George Harvey,” a wanted killer linked to several out-of-state murders by ballistics evidence.

  “So we sent [the bullets] to Washington. FBI checked, sent a wire back... One out of a murdered bank clerk of Vincennes, Indiana. The other from a woman shot during a liquor store robbery in St. Louis. Both shootings done by George Harvey.”
  — Mugavan (23:09)

6. Tracking and Arrest (24:51–26:49)

• Tip-off: A man seeking reward money reports Harvey’s location at the Hotel Hobart.

• Confrontation: Police locate and confront Harvey. He’s mortally wounded, but confesses to shooting Harold Clark—not to poisoning Gaynor—and refutes Mrs. Clark’s claim that she was in his apartment.

  “Poison? Never in my life. Henry Gaynor? Never in my life.”
  — George Harvey, a.k.a. Lloyd Ramey (26:29)

7. Exposing the Real Culprit (27:14–29:39)

• Clover’s Revelation: Clover confronts Mrs. Clark, deducing she manipulated her jealous husband into a confrontation with Harvey, fully aware Harvey was dangerous thanks to detective magazines featuring his photo.

• Her Motive: Mrs. Clark is also connected to Gaynor’s poisoning, which she denies until faced with circumstantial evidence and interrogation.

  “You goaded and made him believe you were carrying on with a neighbor across the hall…You sent him over there knowing that trigger happy killer would shoot him as soon as he knocked on the door.”
  — Danny Clover (28:32)

  “You’ve got to understand. My husband was jealous. He spoiled everything. Every man I ever looked at. You know how it was. He ruined everything…”
  — Mrs. Clark (29:02)

8. Closing Thoughts & Adam Graham’s Commentary (31:56–32:48)

• Adam Graham’s Take: Adam critiques the plot’s plausibility, points out the ambiguous legal status of Mrs. Clark’s manipulation, and notes that the poisoning-to-cover-up device feels forced. He finds fault in the lack of direct evidence or a real confession from Mrs. Clark, but enjoys the color of the “Mike Schreck” detective-with-a-forehead-tattoo subplot.

  “This might be one of the more nonsensical plots on this series… It's like we ran out of time and needed a dramatic arrest, whether it made sense or not.”
  — Adam Graham (31:56)

• Listener Feedback: A brief listener comment is read, praising a previous episode.

• Patreon Shout-out: Thanks to Jack, a Patreon supporter at the Detective Sergeant level.

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Notable Quotes

• Mrs. Clark’s Cynicism:
  “If you're going to ask me did I shoot my husband, I'm going to say no, sir, I did not.” (05:34)

• Clover on Broadway:
  “It's the journey to the end. Of all the other streets in the world, this Broadway, you turn a corner and you're there. You walk slowly, you lean your heart against it. Then something explodes in your face…” (03:12)

• Dr. Gordon’s Poisons:
  “This is it, Danny. This is what did it to him. The cliché of poison.” (17:03)

• Danny Clover Confronting Mrs. Clark:
  “You knew your husband was bitterly jealous. You goaded and made him believe you were carrying on with a neighbor across the hall...” (28:32)

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Suggested Timestamps for Key Segments

• Main Story/Drama Begins: 02:41
• Murder Scene & Initial Suspects: 03:12–06:27
• Tattoo Parlor Inquiry: 09:45–11:05
• Poisoning in Restaurant: 13:44–15:12
• Medical Examiner's Report: 17:03–18:24
• Gaynor’s Roommate & Frank Muir: 18:53–22:11
• Identity Reveal of Killer: 22:44–24:24
• Confronting Harvey: 24:51–26:49
• Clover Confronts Mrs. Clark: 27:14–29:39
• Host Commentary: 31:56–32:48

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Tone and Language

• The episode is marked by hard-boiled, poetic New York street narration (“You shop for the kicks, the bargains, and the heartbreak”), acerbic character dialogue, and a running undercurrent of cynicism about relationships and violence.
• Adam Graham maintains his familiar, critical-yet-affectionate tone, mixing analysis with humor and listener engagement.

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Summary

“Broadway’s My Beat: The Harold Clark Murder Case” stands as a classic example of Golden Age radio detective drama: a tale of jealousy, deception, and manipulation, set against the backdrop of a gritty Manhattan. Through a series of interviews, revelations, and confrontations, Detective Danny Clover pieces together not just a murder, but a coldly executed plot by Mrs. Clark, who choreographs her husband's death and attempts to cover her tracks with a subsequent poisoning.

Adam Graham’s host segment points out the plot’s logical gaps, but also delights in the atmospheric writing and quirky characters, encapsulating the charm—and occasional absurdity—of vintage radio drama.

Listeners are left with an engaging, twisted story and a reminder of why these noir artifacts still intrigue generations of mystery fans.

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Transcript

[A]

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[A]

Sam.

[B]

Welcome to the Great Detectives of Old Time Radio from Boise, Idaho. This is your host, Adam Graham. In a moment, we're going to bring you this week's episode of Broadway's My Beat. But first, I do want to encourage you. If you're enjoying the podcast, please follow us using your favorite podcast software. Today's program is also brought to you in part by the financial support of our listeners. And I want to go ahead and thank Kevin for sending a donation to us via the Zelle app. And you can do that by sending a donation to [e-mail] you can also become one of our ongoing Patreon supporters for as little as $2 per month by going to patreon.comgreatdetectives.net now, from October 27, 1950, here is the Harold Clark murder case.

[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]

It's the journey to the end. Of all the other streets in the world, this Broadway, you turn a corner and you're there. You walk slowly, you lean your heart against it. Then something explodes in your face and you run and you're one of the crowd. You shop for the kicks, the bargains and the heartbreak. And inevitably, you find it. One or the other. Like I did on the street of the tired apartment Houses a street leased on the premise that both parents should work so they can come home, smile bravely at each other, beat their children, then snore. It was 7pm when I walked up to the second floor landing of the El Royale apartments in answer to a call. Detective Mugaban was waiting for me.

[A]

There he is, Danny. On the floor, over by the railing. Uh huh.

[C]

Who is he?

[A]

Why don't you people break it up? Go on, get back to your apartment.

[C]

You read all about it in the paper. Who is he, Mugavan?

[A]

Name is Harold Clark. Lives apartment 2C. Married, no children. Dead from 238 slugs in his chest. That's who he is.

[C]

Who killed him?

[A]

Tenant named Lloyd Ramey had the apartment right here. Two a blasted Mr. Clark right through the door. Two shots connected with both here. See? Two shots right through the door here and here. Uh huh.

[C]

What about Lloyd Ramey?

[A]

Killer? Nothing. He shot Clark and took a fire escape exit through his own room.

[C]

What else? Muggervin. What about the rest of the tenants? Do they know anything about Ramey?

[A]

I asked them. They shake their heads no.

[C]

Okay, ask them some more. You said Clark was married?

[A]

Yeah. His wife is home.

[C]

Thanks. Mrs. Clark? It's the police. Ms. Clark, I've got.

[E]

Please come in. Excuse the way I look.

[C]

Of course, Mrs. Clark.

[E]

What do you want me to say to you? Excuse the way I look? Excuse me? Excuse the way the apartment looks, the way my husband looks lying out there in the hall in his undershirt. What else can I say to you? I'm sorry about it.

[C]

I've got to ask you some questions.

[E]

I know all about that. Here, see? Right here. Detective, did you ever own a gun, suspect? No, sir, I did not. Detective, did you shoot this man, suspect? No, sir, I did not. Just like in these true type detective story magazines. I read them all the time. I know all about what you've got to do.

[C]

All right then. It'll make it a lot easier.

[E]

If you're going to ask me did I shoot my husband, I'm going to say no, sir, I did not.

[C]

We know you didn't.

[E]

Don't be too sure. I was in Lloyd Ramey's apartment when it happened.

[C]

Oh, tell me about it.

[E]

I went across the hall to borrow some tea bags from Mr. Ramey because my husband likes tea. I must have stayed more than 10 seconds because my husband got panicky and came after me. He knocked on the door. Mr. Ramey didn't even answer. He pulled out a gun and shot.

[C]

How well did you know Ramey for.

[E]

Tea bags with my husband. Teabags means I'm not being true blue.

[C]

Your husband was wrong, wasn't he?

[E]

My husband is dead. I guess that's pretty wrong. He knocked on the door and yelled to open it or he'd break it down. And now he's dead because he liked tea.

[A]

Dr. Sinski and the technical boys are here, Danny.

[C]

Oh, good. I'm through here. Tell them to go to work.

[A]

Okay. Now, look, you people, why don't you break it up?

[C]

Why don't you go home to your own apartment? They stood there, the tenants of the El Royale apartment, summoned by the violence, drawn by the clamor of the violent dead, drawn by the cold wind that had touched their throats and led them to the warmth of the spectacle. A child's harsh voice ordered his father to hoist him to his shoulder so he could see, could see better. The father slapped him hard across the mouth. The child wailed and scurried down the corridor, and the father looked after him, his eyes filled with pain and confusion and then emptying of these things, forgetting the child, remembering death. Mugavan had got one thing out of the tenants. The fact that Lloyd Ramey, the murderer, was known to a certain party. The party being the Wilkins Rental agency on West 58th Street. The firms you had to fill out to get an apartment from them, your life was on a piece of paper in a wooden file box. Go ask Mr. Wilkins about Lloyd Ramey. He'll have it in the box. Mr. Wilkins did committed murder, did he?

[A]

That just goes to show you, Mr. Clover, you never know. You never know.

[C]

You found it?

[E]

Mm.

[A]

I found it. It's right here to hand. Man tries his best, Mr. Clover tries to find a select clientele for his clients. Tries to judge a man by his clothes, his shifting eyes, a woman hanging on his arm. Good wrists, bad wrists. Man asks himself, Mr. Wilkins, please. You're eating into my time. Permit me to eat into yours. The things they put on the questionnaire, on the form so often lie. Sheer lies.

[C]

All I want is.

[A]

I know, I know. Information on one of my tenants.

[C]

Whenever you feel up to it, Mr. Wilkins.

[A]

Thank you. According to my files, Lloyd Rame is a man I never set eyes upon.

[C]

But you just told me.

[A]

No, I know, but sometimes in my profession, as it must be in yours, there are extenuating circumstances.

[C]

Like what, Mr. Wilkins?

[A]

Like this letter from Lloyd Ramy.

[C]

Let me see it.

[A]

Patience, patience, Mr. Culver. This letter is an extenuating circumstance because with it came the money for a year's lease on apartment 2A El Royal apartment. We find questionnaires, personal interviews unnecessary when a gentleman has the foresight to.

[C]

What else does it have?

[A]

A few well wrought phrases stating that he, Mr. Lloyd Ramey, had seen our ad in the news, had gone to the apartment, found it suitable to his needs and enclosed fined eight years rent, dated September 3, 1950. From that day forward, we rejected all other applicants.

[C]

Give it to me.

[A]

I must. I suppose he'd part with it. This letterhead, it brought joy into our lives here at the agency. Isn't it joyful? Yes. Berkey Siegmuller. Tattoos and the slogan, what you want where you want it. Joyful, huh?

[E]

I'm back here. Come on back. Hi. Take a chair. I'll be right with you as soon as I finish with this sailor. Now hold still, sailor boy.

[C]

My name's Danny Clover.

[E]

Hiya, Danny. You can look at the patterns on the wall. We're having a special this week on mother, you know. M is for the. O is for.

[C]

I'm from the police.

[E]

I can give you a special on that too. P is for the O is for the. What's the matter with you, sailor boy? Be brave.

[C]

Is your name Berky Siegmuller?

[E]

Yeah. Hey, you ain't got that tattoo look in your eye. You don't want to get tattooed, do you?

[C]

I want some information.

[E]

Look, sailor boy, if you don't hold still, you're gonna have the strangest looking mermaid on your chest in the navy. The kind of information you want, Danny.

[C]

A man came in here about four weeks ago and used your stationery here. Stationary from your place.

[E]

Oh, yeah, I recall the request. Man dropped in for a touch up job of a coiled rattlesnake. And he asked me for a sheet of paper. When I was done, I gave it to him. You got the one I gave him in your hand.

[C]

Had you ever seen the man before?

[A]

No.

[E]

What's he done?

[C]

Murder.

[E]

That's a new one. Did an admiral once, but never a murderer. Okay, button up your shirt, sailor boy.

[C]

Have you any idea where I can find this man?

[E]

There's no use you asking me any more questions, Danny, because I couldn't give you any more answers. Just tattoos, that's all I give.

[F]

Danny. Danny, it is I. You're ever faithful.

[C]

Hello, Gino.

[F]

Likewise, I'm sure. Well, you seem lost, Danny.

[A]

Huh?

[F]

Lost in some reverie into which perhaps it is implied that I intrude my face.

[C]

It's all right, you can stay.

[F]

Thank you. Well, you sure it's all right? What's eating you, Danny? The rumor is making its way through the nooks and crannies of police headquarters that you have lately visited a tattoo parlor.

[C]

Rumor is right, Danny.

[F]

You have not gone and indulged yourself in some mad whim or other. You have not.

[C]

You don't approve, Gino.

[F]

Well, it is not for me to approve or not to approve, Danny. It is only that in a like circumstance, Mike Schreck, the bald headed miracle detective from Philadelphia. His tattoo, you guessed it, in the middle of his forehead, the tattoo of a snow crystal imprinted there by a high lama hailing from Tibet. Mike Schreck has regretted this indiscretion all his life.

[C]

So.

[F]

So? Well, I don't want this same thing to happen to you.

[A]

This regret.

[F]

Danny, I won't breathe a word if you.

[C]

I know I can trust you, sergeant. Now, in the matter of Lloyd Ramey. You have something for me, Gino?

[F]

In the matter of Lloyd ra.

[E]

Oh.

[F]

Oh, yeah. In the matter of Lloyd Ramey, the usual standard operating procedure. All points bulletins, terminals watched and relays. Nothing. Hey, you can't just barge in here. Lady, you have.

[C]

It's all right, you know. You want to see me, Ms. Clark?

[E]

Not particularly. I only thought that if you were cracking your skull over the murder of my husband, maybe I could help.

[C]

Sit down, Ms. Clark.

[E]

There isn't time to be la di da with me, Mr. Clover. If you want to capture him, you better hurry. He was just beginning the soup course when I spotted him.

[C]

Lloyd Ramey? Where?

[E]

Don't panic yourself, Mr. Clover. Not Lloyd Ramey, but a man who was often a caller at the apartment of Lloyd Ramey. Ramey was such a secretive type, I took mental notes on his callers.

[C]

Where is this man?

[E]

Beginning a meal at the Hotel Adams. I dropped in there myself for a bite. While waiting for a table, I spotted him who could eat. I ran quick to you with a hot clue clutch tight in my little hand. You want it?

[C]

You'll point him out to me, won't you, Mrs. Clark?

[E]

Why else do you think I missed my dinner? There he is, Mr. Clover.

[C]

Which one?

[E]

There, near the back of the room. Man sitting at the small table against the wall.

[C]

You wait here. Mind if I sit down, mister?

[A]

Oh, sit down. Have a drink. Quiet. Sanad. Sir.

[C]

Thanks. I'm from the police.

[A]

Why don't you bring a lady, too? I see. You come with the lady. Go back and get the lady. I'm not feeling so good. But who needs it to talk with a lady?

[C]

Lady, you're sick.

[A]

Sick drunk. Sick drunk. Go.

[G]

Go get the.

[A]

Get the lady.

[C]

Hey, we'd better get you to. I lifted his head up from the table and his eyes were open, open and staring. Not reacting to anything in the world and his part of it, the mater d hurrying over, the polite music, the finger bowls and the demitasse and the filets, none of it registered. He just lumped to the floor. I knelt over him, felt for a pulse. There wasn't any. He 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. This Sunday, Frank Sinatra joins Arthur Godfrey and the other fine entertainers and programs to be heard on CBS in the afternoons. His new show is called meet frank Sinatra and you'll hear members of Frank's studio audience being interviewed by the voice and telling him their favorite songs. At their request, Frank either will sing the song himself or play a famous record. Meet Frank Sinatra, who bring you a sure fire entertainment for a whole hour starting this Sunday afternoon on most of these same CBS stations.

[C]

Broadway is generous in many ways. It offers you for free its own private set of values. For instance, the essence of a man's life, his worth. Measure it in terms of darkness and light. Big man, big Mazda, bulb shining bright, so many yards of neon hissing his name into the screaming night. Little man, his proper share of darkness, a spectacular with burned out bulbs sighing into nothing. Harold Clark, the man shot down because he had pounded on a door. That was a little man. The man at a dinner table who hadn't recognized the feel of death, who thought he was only drunk. Also a little man as witness. How discreetly the management tried to hide his dying from the diners. Hardly worth Broadway's notice, hardly worth interrupting the choice of a pastry. But at police headquarters, he found his importance under a microscope in a test tube. A hooded light bulb shining down on his death, giving its shape, shining down on the white coated figure who ran it through his face, analyzed it.

[G]

This is it, Danny. This is what did it to him. The cliche of poison.

[C]

It bores you, huh, Gordon?

[G]

If you ask me, Danny, I'll tell you, such an unoriginal poison, cheap, common, it can be boring.

[C]

How was it administered?

[G]

I've been waiting for you to ask me.

[C]

Get off it, Gordon.

[G]

Well, you surprised me, Danny. I should have thought it was normal routine that you asked questions at the hotel bar. He was slipped into his drink. I have proof positive you didn't ask questions.

[C]

It makes you any happier. Yeah, I did. The bartender couldn't remember him. Couldn't remember anybody. That's why he's worked this so long, he said, because he couldn't remember faces.

[G]

Tough. That makes it tough on you, doesn't it, Danny? You think Lloyd Ramey did our fellow in?

[C]

What else have you got, Gordon?

[G]

It's all over there in that pile. Help you some. You do it, Gordon, because you're a lieutenant still. All right, I'll do it for you, Lieutenant. His clothes, tailored. His wallet, alligator. His driving license wrapped in cellophane. It says he had brown eyes, was 5 11, age 36. It says he lived at 2354. He's 47. That his name was Henry Gaynor. You can stop me anytime, Lieutenant.

[C]

Nothing else?

[G]

Nothing except this package of orange lifesavers. Have one then. Go on, have one. I've analyzed them. They're harmless.

[C]

RNG Goodbye, Gordon.

[G]

Not at all. Lloyd Rainey, Lieutenant. How are you doing on that one? You're very welcome, Lieutenant.

[A]

Hello there. Good morning.

[C]

Hello. My name's Danny Clover.

[A]

Let's come in, chat inside. There. Now, isn't this better? Sit down. Try that chair over there. The flowered creton.

[C]

Thanks. I started to say I was from the police.

[A]

What? I don't understand.

[C]

There's nothing to understand. Police, that's who I work for.

[A]

But why do you want to see me?

[C]

By the way, who are you?

[A]

Tommy Lawrence.

[C]

You live here with Henry Gaynor?

[A]

I did live here with Henry Gaynor. He's dead. I read about it in the late editions. Oh. Oh, that's why Henry's dead and you're the police and you've come here. Oh, that's why.

[C]

That's why. Tell me about Henry.

[A]

Well, I advertised in the paper for a clean living man to share this apartment. I chose Henry. Uh huh. But I made a mistake. I learned not to like him. That's why I'm not outraged or worried or sorry that Henry's dead. He did nothing but dote on girls, he and his buddy.

[C]

Buddy?

[A]

Well, that chaser, Frank Muir. If you want his address, I don't know it, but his phone number's around. You think you can trace it? Frank Muir. I tracked him down where I were you. He's the cause of it all. Poor Henry.

[C]

I detached him from his creton grief, made him look for Frank Muir's phone number. He found it on a pad next to the phone. He did that by lifting up a French doll. And there it all was. Surprise. I phoned Muir. He was at home. I told him to stay there. He Said he had a date. I tinkled my badge into the receiver. He said he'd break the date. When I got there, he was still doing it.

[G]

Come on in, Mr. Clover. Mix yourself up a happy happy at the bar. This lady I'm talking to on the phone, she's bitter. She don't believe I got a rendezvous with a policeman. Yeah, yeah, sure. Honey, I swear it's only a copy. For 20 minutes you've been holding up the phone, honey. Here. Yeah, I'll prove it to you. Say something to my lady. Prove to her you're only a man.

[A]

Killer.

[C]

Hang up.

[G]

Look, be a pal.

[C]

Hang up.

[G]

Between the two of you, she'll fracture me. I don't do this sort of thing. Still the ladies normally.

[C]

You understand, Mr. Clover, you had a friend, Henry Gaynor.

[G]

You can say that again. Head is just a word I read in the papers. How a friend I once had is now gone.

[C]

Why didn't you see him last?

[G]

You think I killed him? When Henry and me had such snazzy times together on blind dates. On with your eyes open.

[C]

Dates. When did you see him last?

[G]

On the occasion when I turned over Mrs. Ellen Clark to him.

[C]

What?

[G]

You heard me. That was three, maybe four Saturdays ago. I make it four.

[C]

Mrs. Clark was one of your lady friends?

[G]

Like, don't get me wrong, Mr. Clover. Mrs. Clark was. How do you classify a smile filled with hidden meanings? The touch of a knee under a checkered tablecloth. That was all Mrs. Clark was to me.

[C]

That's why you handed her over to your buddy.

[G]

Wrong again. You see that plaster cast up there on the mantelpiece? That's courtesy of irate husband, Mr. Clark. He found me once with his missus waiting to catch a bus. He clobbered me, broke my arm. Care to autograph it, Mr. Clover? All my friends, huh?

[A]

No.

[G]

Oh, you'll excuse me. It's undoubtedly.

[A]

Hi, Danny. How you feeling?

[C]

There have been better times, Mugavin.

[A]

You're always seen the papers.

[C]

Uh, hadn't had the time.

[A]

You should have looked.

[C]

What have you got in your mind, Mugavan?

[A]

You don't have to bite my head off because I suggest you read the papers. He's got a picture of Lloyd Ramey on the front page.

[C]

What?

[A]

Yep. Only his name isn't Lloyd Ramey. The name is George Harvey something, huh?

[C]

You want me to invest a nickel in a newspaper? Or you want to tell me why.

[A]

We took the two bullets from the body of Harold Clark and checked the riflings of what we got on file? We didn't have anything. So sent them to Washington. FBI checked, sent a wire back. They got what? The two bullets matched two more bullets.

[C]

Where'd they get them?

[A]

One of them out of a murdered bank clerk of Vincennes, Indiana. The other from a woman shot down during a liquor store robbery in St. Louis. Both shootings done by George Harvey. Wanted by Indiana, Missouri police for murder. What does it do to you, Danny?

[C]

There's a whole lot. Mugavin.

[A]

May I come in? What are you looking for, mister? I'm Joseph Gribness. May I come in?

[C]

What's on your mind, mister? Goodness.

[A]

Thank you. Who do I see about the reward?

[C]

Reward?

[A]

Yeah, it says right here in the paper, reward. And don't you people try to talk your way out of it either. You see right here on the front page, have you seen this man? It says I've seen this man. What about the reward? If there's a reward, we'll see that you get it. Where did you see him? Where'd you see him? Yes, where's the reward?

[C]

The man in charge of the reward department has just stepped out.

[A]

Oh, wait.

[C]

Sure, wait. But if George Harvey escapes while you're waiting, you'll be held for. What'll he be held for, Mugavan?

[A]

Aiding and abetting a criminal.

[C]

Aiding and abetting a criminal.

[A]

Aiding and abetting a criminal. The man whose picture appears in the paper moved in this morning next door to me. Hotel Hobart. Enter the hall, third floor. No, I'll just wait.

[C]

Down the end of the hall, the man said.

[A]

That's what Mr. Griffin has said. Danny here? Yeah, yeah, yeah. What do you want?

[C]

Come on, open up, Harvey. Move away from the door, Mugavan. Open the door. I'll break it down.

[A]

You cop still there or are you dead?

[C]

Shoot the lock off the door, mug.

[A]

I'll kick it open.

[C]

Let's go, Harvey.

[A]

No one's home. Come back later. Danny, in that hallway.

[C]

Yeah. You better call an ambulance, Mugman. Okay, Danny, turn the radio off.

[G]

What do you know?

[A]

What? Somebody home?

[C]

Can you talk, Harvey?

[A]

I just talked, didn't I? You cuss. Been chasing me all over the country just to chat with me. Advertised me at post offices, detective magazines and a radio.

[C]

Why did you kill Harold Clark?

[A]

You partner my. On my door. You saw what happened. I thought he was a cop. Yell, open a door. I'll break it down. Cops talk like that.

[C]

Did you poison a man named Henry Gaynor?

[A]

I'm losing blood, copper. Pity me.

[C]

Did you poison a man named Henry Gaynor?

[A]

Poison? Never in my life. Henry Gaynor Never in my life.

[C]

One more question, Hervey. Was Mrs. Clark in your apartment when you killed her husband?

[A]

You kidding me? That's one of the tough things about running all the time. You never have time for a dame. She wasn't in my apartment.

[C]

You're sure? I'm confessing a murder.

[A]

Mister, don't try to book me for a dame in my apartment because Mrs. Clark wasn't there.

[E]

Yes? Oh, it's you, Mr. Clover. I know you've come to tell me you've got my husband's murderer. Did you bring me some good news like that?

[C]

I'll come in and tell you about it.

[E]

Mrs. Clark, I was just going to ask you to do that. My apartment looks better now, doesn't it?

[C]

How does a woman feel when the man she loves is murdered?

[E]

I felt numb at first, but I'm getting better. Harold. My husband was a jealous man. Harold was always.

[C]

I'm not talking about your husband. I'm talking about Henry Gaynor.

[A]

Who?

[C]

The man you poisoned. After he refused to have anything to do with you. You poisoned him and brought me there to watch him die.

[E]

You're crazy.

[C]

Before you killed Gaynor, did you tell him how you arranged your husband's murder?

[E]

You invited yourself in. Now invite yourself out. What are you doing? What are you walking around my place for?

[C]

Place looks nice.

[E]

Thanks. Get out.

[C]

Really looks a lot better. Neat things in order. Where are all those true type detective story magazines?

[E]

I gave them away. A man came, offered me a dollar for all those magazines I had. I gave him five bundles wrapped in twine.

[C]

Did you save one of them?

[E]

What?

[C]

The one with a picture of George Harvey, alias Lloyd Ramey. What did it say under his pictures? That he was armed. That he was wanted for murder. That he was dangerous not to approach him, but to notify the police.

[E]

Get out of here.

[C]

You knew your husband was bitterly jealous. You goaded and made him believe you were carrying on with a neighbor across the hall.

[E]

Get out.

[C]

You sent him over there knowing that trigger happy killer would shoot him as soon as he knocked on the door. And Harvey?

[E]

Did I kill you?

[C]

Harvey said you were never in his apartment. You were too frightened of him ever to talk to him. Let's go, Mrs. Clark.

[E]

Take your hands off me.

[C]

I said let's go. Go, Mrs. Clark.

[E]

I had it all. I had it in the palm of my hand until you. You.

[C]

Come on, Mrs. Clark.

[E]

Look. Look. You've got to understand. My husband was jealous. He spoiled everything. Every man I ever looked at. You know how it was. He ruined everything. He Spoiled every.

[C]

It's the street of the hunter. Broadway. The smile that's dropped at the tip of a hat. And the lights are flung from windows. Out of doorways you walk a path, pavement speckled with a thousand colors. But between the lights, that's where the darkness is. 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. The program was produced and directed by Elliot Lewis with musical score composed and conducted by Alexander Courage. Included in tonight's cast were Kathy Lewis, Vivi Janis, Anthony Barrett, Leo Cleary, Jack Crucian and Ed Max. Jack Smith, Dinah Shore, Margaret Whiting, Bob Crosby, the Andrews Sisters, Lowell Thomas, Beulah, Ed Murrow. Anywhere else, they'd make up an all star list for a week. But at cbs, the stars are. You can hear them every evening, Monday through Friday. Yes, every weekday evening. Most of these same CBS stations bring you these top ranking stars in their specialties. Music, comedy, top reporting. Be listening for Jack Smith, Dinah Shore and Margaret Whiting. For Bob Crosby and the Andrew Sisters, for Beulah. And for those great radio reporters, Lowell Thomas and Edward R. Murrow. Dan Coverley speaking. This is CBS where yours truly, Johnny Dollar brings adventure. Saturday nights on the Columbia Broadcasting System.

[B]

Welcome back. This might be one of the more nonsensical plots on this series, I guess. More nonsensical solution, her getting her husband killed. That makes sense. Problem is that's not actually a crime. So we end up with this poisoning. Now she could have killed the guy in the restaurant and it probably would have been written off as a heart attack. And even if it had turned out to be poison, it would be really a stretch to figure out who actually did it. Instead, she calls the police in and ties it into the murder case. Leading to Danny digging into her past and finding information why? And even the information he finds at the end. He's only guessing and he has no evidence. And she makes no real firm confession other than to the fact she wanted her husband dead. It's like we ran out of time and needed a dramatic arrest, whether it made sense or not. Also, I will say on the positive side, great potential for someone to write up the adventures of Mike Schreck. He's just asking to be updated. I mean a detective with a forehead tattoo that is perfect for the 2020s. Wonder how it goes when he tries to do undercover work. Well, somebody will write it and we'll find out. Alright, well, listener comments and feedback now and over on YouTube. Just a brief note from a listener listened and enjoyed to the Tom and Alice Corey murder case. Well, thank you so much. And now it is time for us to go ahead and thank our Patreon supporter of the day. And I want to thank Jack. Jack's been one of our patreon supporters since November 2019, currently supporting the podcast at the detective Sergeant level of $7.14 or more per month. Thanks so much for your support, Jack. And that will do it for today. If you're enjoying the podcast, please follow us using your favorite podcast software. And if you're enjoying the podcast on YouTube, be sure to like the video, subscribe to the channel, and mark the notification bell. We will be back next Wednesday with another episode of Broadway's My Bait Broad. But join us back here tomorrow for Dragnet, where police officers, ma'.

[A]

Am. We'd like to see Mr. Sherman.

[H]

Oh, certainly, officers. Won't you come in?

[A]

Thank you very much.

[H]

I'm Mrs. Keller from next door. I saw you around here yesterday.

[A]

Yes, ma'.

[C]

Am.

[H]

Came over this morning. Look after poor Mr. Sherman.

[A]

Yes, ma'.

[B]

Am.

[A]

Well, how's he feeling today?

[H]

Not too well. Fixed him some nice chicken broth for lunch and then I helped him in his wheelchair and took him out in the backyard, out in the center. Good hot sun is wonderful for his legs. He has arthritis, you know.

[A]

Yes, so we understand. Wonder if we could talk to him, Ms. Keller?

[H]

Well, yes, I guess, if you have to. He's still out in the back sleeping. His chair last time I looked. Seems ashamed to disturb him.

[A]

Well, he called us at the office, said he wanted to see us as soon as we could make it out here.

[H]

Was it about his grandson, Jimmy? They found him yet?

[A]

No, ma'. Am. Searching parties combing the area, there's still no trace of the boy. Did any of the other officers who were out here covering the neighborhood talk to you, Ms. Keller?

[H]

Oh, yes, there was. Mr. Lorman. Detective Lorman.

[A]

Yes, ma'. Am.

[H]

I told him everything I knew about Jimmy's disappearance. It was right after dinner hour On Monday, about 6:30 last time I saw Jimmy.

[A]

I see.

[H]

I came out the side door to empty the garbage and I saw Jimmy hiking up the side of the hill there, just in the back of the house, all by himself. Nice boy.

[B]

I hope you'll be with us then. In the meantime, send your comments to Box [e-mail] follow us on Twitter at radiodetectives and check us out on Instagram. Instagram.com Great detectives from Boise, Idaho, this is your host, Adam Graham, signing off.