Broadway's My Beat: The Roberto Segura Murder Case (EP4559)

Summary

The Great Detectives of Old Time Radio Episode Summary: Broadway's My Beat: The Roberto Segura Murder Case (EP4559) Release Date: November 27, 2024 Host: Adam Graham

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Introduction

In this gripping episode of The Great Detectives of Old Time Radio, host Adam Graham delves into the mysterious and suspense-filled world of Broadway's My Beat with the Roberto Segura Murder Case. Set against the vibrant backdrop of Broadway, this Old Time Radio drama brings to life the intricate investigation led by Detective Danny Clover, portrayed by Larry Thor. Graham masterfully combines authentic radio dramatization with insightful commentary, enriching the listening experience for both longtime fans and newcomers alike.

Plot Overview

Setting:
New York City's Broadway, the "gaudiest, the most violent, the lonesomest mile in the world," serves as the primary setting. The story unfolds in the early hours of January 31, 1950, where the tranquility of a winter night is shattered by a brutal murder.

Main Characters:

• Detective Danny Clover (Larry Thor): The steadfast and intuitive detective assigned to the Broadway beat.
• Roberto Segura: The victim, whose murder sets the case in motion.
• Christina Perez: A young woman deeply connected to Roberto and her controlling father.
• Don Eduardo Perez: Christina’s domineering father, whose secrets are pivotal to the investigation.
• Johnny Martinez: Roberto’s roommate and a potential suspect with a murky past.
• Joe Candelaria: A resourceful young boy assisting Detective Clover.

Detailed Summary

The Crime Scene and Initial Investigation

The episode opens with Detective Danny Clover at his office on Broadway, receiving an urgent anonymous call about a murder at an address on 116th Street. Upon arrival, he discovers Christina Perez and the lifeless body of Roberto Segura, stabbed in the heart. The tense atmosphere is immediately palpable as Christina is in extreme shock, and Clover begins piecing together the circumstances of the murder.

Interrogating Don Eduardo Perez

Clover's investigation leads him to Christina’s father, Don Eduardo Perez, a man of authority and rigidity. In a chilling exchange, Don Eduardo denies any connection to Roberto's death, asserting his disapproval of Roberto's presence in his home:

Don Eduardo Perez (06:43): "He will never return to Senor Perez. That is all I can tell you."

Despite an airtight alibi, discrepancies in the time of death hint at foul play. Clover uncovers that rigor mortis was used to estimate Roberto’s time of death, but an inconsiderate interpretation of the science suggests a possible deception.

Uncovering the Alibi

Further investigation reveals that Roberto’s roommate, Johnny Martinez, was allegedly in jail during the time of the murder. However, Clover's persistence and logical reasoning hint that the actual time of death might have been later than initially reported. This pivotal realization shifts the focus back to Don Eduardo Perez.

Joe Candelaria's Assistance

Introducing an unexpected ally, Joe Candelaria, a savvy seventh-grader, assists Clover by providing crucial information about suspicious activities near Don Eduardo's residence. Their collaboration uncovers that Don Eduardo manipulated the time of death to establish an unbreakable alibi.

The Climax: Don Eduardo's Downfall

In a thrilling confrontation, Detective Clover confronts Don Eduardo Perez. Utilizing cunning interrogation and strategic pressure, Clover exposes Eduardo's involvement in Roberto’s murder. The revelation is stark as Eduardo, under duress, confesses to orchestrating the murder to control Christina:

Don Eduardo Perez (27:20): "I will kill you with my own hands."

With the evidence and Eduardo’s own admissions, Clover successfully brings the case to a close, ensuring justice for Roberto Segura.

Notable Quotes with Timestamps

• Adam Graham (02:39): "From January 31, 1950, it's the Roberto Segura murder case."
• Don Eduardo Perez (07:02): "Have you observed, senor, that your feet are standing on the tiles of the immortal artist Goya?"
• Christina Perez (20:30): "I do not disobey my father under any circumstances."
• Don Eduardo Perez (27:20): "I will kill you with my own hands."
• Johnny Martinez (28:35): "You got him already, Clover."

Host’s Insights and Commentary

After the dramatization, Adam Graham provides a thoughtful analysis of the episode’s critical elements, particularly focusing on the forensic aspect of rigor mortis:

"Danny's idea was that they could commit the murder at 11, but the time of death would be assumed to be 9 based on the rigor mortis setting in more quickly in the car because it was out in the cold. However, scientific studies, such as those by MJ Lynch in the Encyclopedia of Forensic Sciences, indicate that rigor mortis is actually delayed in cold environments. This discrepancy highlights a clever but flawed tactic in the narrative."

Graham also addresses listener feedback, clarifying the role of Detective Danny Clover as a precinct detective whose "beat" encompasses the entire Broadway area, allowing for dramatic interactions akin to those found in contemporary series like Dragnet.

Listener Feedback and Community Engagement

Adam Graham engages with listener comments, addressing confusion about Detective Clover's role and emphasizing the creative liberties taken within the old-time radio format. He highlights Andrea’s comment regarding the dual portrayal of Clover as both a patrolman and a detective, explaining it as a narrative device to enhance dramatic encounters.

Other listeners, such as Russ Wright and Kathy from Sarasota Springs, express appreciation for the historical and nostalgic value of the show, commending Graham for his insightful commentary and the immersive experience the podcast provides.

Conclusion

Broadway's My Beat: The Roberto Segura Murder Case stands out as a quintessential example of classic detective storytelling, enriched by Adam Graham's passionate and knowledgeable hosting. The episode skillfully intertwines suspense, character development, and procedural investigation, offering listeners an enthralling journey through the golden age of radio drama.

Graham’s post-episode analysis not only deepens the understanding of the plot but also invites listeners to ponder the intricacies of forensic science and narrative construction in old-time radio. This episode reaffirms why The Great Detectives of Old Time Radio remains a beloved podcast, celebrating timeless mysteries and the art of radio storytelling.

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Notable Aspects:

• Authentic Atmosphere: The episode captures the essence of 1950s radio drama, complete with period-appropriate dialogue and sound effects.
• Complex Characters: From the resilient Detective Clover to the enigmatic Don Eduardo Perez, each character is vividly portrayed, adding depth to the narrative.
• Engaging Mystery: The plot is meticulously crafted, keeping listeners engaged through twists and revelations that mirror real-life investigative challenges.

For fans of mystery, nostalgia, and classic radio storytelling, this episode is a must-listen. Subscribe to The Great Detectives of Old Time Radio on your favorite podcast platform or visit Great Detectives to never miss a suspense-filled adventure.

Transcript

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[Adam Graham]

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 get into this week's episode of Broadway's My Beat, but before we do, I want to encourage you. If you're enjoying the podcast, please follow us using your favorite podcast software. Today's program is brought to you in part by the financial support of our listeners. You can support the show on a one time basis by mailing a donation to Adam Graham P. Box 15913. That's P.O. box 15913, Boise, ID 83715. And I want to go ahead and thank Sharon and Carolyn for sending along donations. That way you can also become one of our ongoing Patreon supporters for as little as $2 per month. And I want to thank Teresa for supporting the podcast that way. Thanks so much for your support. Well now, from January 31, 1950, it's the Roberto Segura murder case.

[Narrator]

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

[Larry Thor]

Broadway's My Beat With Larry Thor as Detective Danny Clover.

[Narrator]

Broadway it's the end of the dream and the start of the wilderness the dumping ground of odds and ends and beginnings and leftovers. It's a place to stop and take the kind of pleasure you need. It's a street of neon names that beckons to your loneliness and you better hurry kid, because it's a street where your name is written on water. It's Broadway, my beat at 11:45 on a January night. You look down on Broadway and watch it generate its own heat. Like I was doing from my office window at headquarters. Then a call came from a shy caller. He preferred to be anonymous, he said. And he gave an address. And he said I'd better come there. He said not to knock, to walk right in. And his disguised voice couldn't disguise the urgency in it. So I went. The address was on 116th street, just off Amsterdam. A section where the posters are in Spanish. And furtive laughter mixes lightly with a dimly heard tango rhythm. The street was dark and there were no house numbers. I beg your pardon. Worst number. 212. Thanks. Open up. It's the police. Okay, I'm coming in. She sat there like death, almost. Only her fingers moved, whipping the strings of a guitar. Black hair spread over her shoulders and frozen eyes and a single tear. And near her, sprawled on the floor, a man. A man and the knife in his heart. A dead man. What happened here? Who are you? Who is this man?

[Adam Graham]

Roberta.

[Christina Perez]

Roberta.

[Narrator]

Her hands lost the guitar, searched for it. Then her body twisted slowly to the floor. Even in the moment of her final embrace of shock and nothingness, the movement was somehow exquisite and dance like. And the pattern they made the girl and the boy, was a pattern of torment and death. Then the cold cycle of murder began. The dead boy's wallet established him as Roberto Segura. And this room was his home. Dr. Sinski reported that the boy had been dead for three hours. Probably killed at about nine o'clock. The girl was Christina Perez. She was in extreme shock and should be taken home. She was. I waited until morning to go back to her.

[Christina Perez]

You desire something, senor?

[Narrator]

I'm Danny Klober of the police. I want to talk to Christina Perez.

[Christina Perez]

Please come in, Senor.

[Narrator]

Thank you.

[Christina Perez]

It's necessary first to be granted the permission of Don Edwardo. Oh, the father of Cristina.

[Narrator]

I see. And you? You're.

[Christina Perez]

Christina is the child of my body also. I am the mother of Cristina. Wait here for a moment, please, senor.

[Narrator]

Of course.

[Christina Perez]

Buen, Eduardo.

[Don Eduardo Perez]

Sis. Senora.

[Christina Perez]

Uno Persona del policia. Senor Flover el Carriab?

[Don Eduardo Perez]

Si. I am Don Eduardo Pere, Senior. The heritage of my forefathers demands I say you are welcome in my house. But I will not say it for the reason that I abhor your presence.

[Narrator]

I was told I needed your permission to talk to Christina. See? I'm asking you for it.

[Don Eduardo Perez]

Have you observed, senor, that your feet are standing on the tiles of the immortal artist Goya? Everything else in my house is at least of equal value. Some possessions are even more extraordinary.

[Narrator]

I'm happy for you, Eduardo. Christina, where is she?

[Don Eduardo Perez]

Even more extraordinary. More delicate, more fragile. Cristina is such.

[Narrator]

You mean I can't see her?

[Don Eduardo Perez]

I think I have made it plain.

[Narrator]

No, Eduardo. It's all cluttered up. Explain it to me.

[Don Eduardo Perez]

Your own doctor said my Christina was in shock. You do not believe your workmen like doctors?

[Narrator]

Yeah, I do. Dr. Sinski's a good workman. He said Christina should be over it by now.

[Don Eduardo Perez]

My physician says no. And now you must go, senor. You must have many official duties.

[Narrator]

I'm glad you said that. I do, Eduardo. Like the murdered boy, Roberto Segura. Did you know him?

[Don Eduardo Perez]

He was not permitted in my house.

[Narrator]

Still, Christina was in love with him.

[Don Eduardo Perez]

She was not. She was not. Not with that.

[Narrator]

But she was with him when he was dying and dead. Maybe she was with him when someone put a knife into him.

[Don Eduardo Perez]

This you will have to wait to find out, senor. Only until my Cristina is well. Until you are permitted to see her.

[Narrator]

I'll wait. Keep watching over Cristina. I don't want her to get lost. Eduardo, she's in your custody. Is that plain, Eduardo? Don Eduardo Perez smiled his finest Castile Castilian smile to make it known that it was plain. He made it even plainer by looking my hat onto my head then staring me out of the door. I called headquarters. They had a couple of things for me. They'd searched Roberto's room and noted that the only bright spot in the otherwise drab walk up was a color photograph of Christina Perez. And then they may be important thing, Roberto had a roommate. One Johnny Martinez. A dishwasher. They told me because they'd checked in a restaurant on 112th Street. That's where I went to see Johnny Martinez. Your name Martinez? Johnny Martinez.

[Johnny Martinez]

Uh huh. Where'd I put down these dishes? Yeah, I'm Johnny Martinez.

[Narrator]

Haven't I seen you before?

[Johnny Martinez]

Maybe my back was turned because I don't remember you.

[Narrator]

You're a boxer, aren't you? I've seen you at the fights.

[Johnny Martinez]

You must have come early to see me. Never fought better than the first four round Pelim. I got yellow in one fight. Never left me.

[Narrator]

I'm from the police. My name's Danny Clover. What have you been doing?

[Johnny Martinez]

Been doing in jail for a year and a day. Tuesday will be an anniversary of my bnr in three months.

[Narrator]

What'd they get you for?

[Johnny Martinez]

Attempted robbery With a weapon. I stuck a shiv at a small man with glasses. He hit me over the Head with a briefcase and knocked me cool. I lost that like I lost everything else.

[Narrator]

You roomed with Roberto Segura.

[Johnny Martinez]

You know I did, else he wouldn't be here.

[Narrator]

Know any reason why he should be murdered?

[Johnny Martinez]

Sure. Somebody hit him.

[Narrator]

You?

[Johnny Martinez]

No, not me. Papers say Roberto was killed at 9 last night. I was here till 10. 38 hours all the time. Ask the proprietor.

[Narrator]

Yeah. Tell me about Roberto, Johnny.

[Johnny Martinez]

What was he, Clover? A guy with long sideburns. A family trade in Guadalajara. And maybe a buck 35 in his pocket, like me.

[Narrator]

You're a bitter boy.

[Johnny Martinez]

No, no, not bitter. I read the right papers. Roberto never would.

[Narrator]

Do you know Christina Paris?

[Johnny Martinez]

I'm not trying to stall you, Clover. Takes a second to gather up all the nice things about her and turn them into a smile.

[Narrator]

That way, huh?

[Johnny Martinez]

Do you know her, Clover? Have you talked to her? Have you looked at her?

[Narrator]

Only she loved Roberto.

[Johnny Martinez]

I know now what? Roberto is dead. Now I can try my best. Now I'll get haircuts and be a gentleman. And in a week or so, Christina will smile because I'll say something that'll amuse her. Anything else, Cuomo?

[Narrator]

Yeah. What did Roberto do last night? What were his plans?

[Johnny Martinez]

Same as always. He spent the evenings at Papa Candelaria's place. I guess last night too?

[Christina Perez]

Part of it.

[Narrator]

Papa Candelaria, huh? What's that upstairs?

[Johnny Martinez]

Private club for the natives. Cloak. Try 1203, 116th Street. Upstairs, but legitimate. They open at 9 in a p.m. thanks, Johnny.

[Narrator]

I'll see you.

[Johnny Martinez]

Yeah, sure. I'll look for you.

[Joe Candelaria]

Hello, kid. Who sent you?

[Narrator]

Hello. What's your name, kid?

[Joe Candelaria]

Joe. Joe Candelaria. I am 11 years old. I am in the seventh grade. And when on a case, I am allowed to stay up until 12 o'clock at night. What's your name? Keith.

[Narrator]

Danny. Danny Klober.

[Joe Candelaria]

Danny. I like that name.

[Narrator]

Then you won't mind that I'm from the police. Huncho mine.

[Joe Candelaria]

I am delighted. You are my brother, huh? Positively my brother. I myself am a private ojo.

[Narrator]

What?

[Joe Candelaria]

Private ojo. He's Spanish for private eye.

[Narrator]

Oh, I'll bet you're good, Joe.

[Joe Candelaria]

The best. Sweethearts. Nothing escapes from my keen eye, my keen intelligence. Only last night I saw a big black car with two hoodlums sitting in it with dangerous machine guns.

[Narrator]

Joe, I.

[Joe Candelaria]

The other day I found a lady's glove. One glove. And I knew she was in desperate trouble because she left behind one glove. And this, to Joe Candelaria, was a clue.

[Narrator]

I hate to break it up, Joe, but I gotta get in there. Into the club. Is it all right?

[Joe Candelaria]

Oh, you are on a case too?

[Narrator]

Yeah, Joe, that's the way it is. A case, you understand? As a fellow professional.

[Joe Candelaria]

Don't speak further. I understand. It's a room at the end of the hall, brother.

[Narrator]

Thanks, pal.

[Joe Candelaria]

Good luck, sweethearts. I'll go back to my post.

[Narrator]

The room at the end of the hall was without windows, its walls whitewashed to better display the posters of gypsy dancers in scarlet, of bullfighters in gold and of wounded bulls on yellow sand. The shadows of the men that filled the room were black and of great depth. Over it all hung a veil of cigar smoke and the odor of licorice. And in the center, in a cleared space, dancing to savage music, was Christina Perez. Like some animal in fury. Watching her at a little marble topped table was her father, Don Eduardo. Your position, Eduard. He prescribed this for Christina. Is dancing flame Tiger. Look at her. Is it all right if we talk now, Eduardo?

[Don Eduardo Perez]

Christina is a sublime artist. Makes me ill to be distracted when she dances. What do you want, senor?

[Narrator]

I put Cristina in your custody because you said she was too sick to talk to me. She got better fast, didn't she, Eduardo?

[Don Eduardo Perez]

As you say, senor. She got better fast. You still wish to speak with her?

[Narrator]

Yeah, I still wish.

[Don Eduardo Perez]

My Cristina is in her dressing room. She's through those curtains and down a hall.

[Narrator]

Yeah. Hey. What? What? Whoever it was didn't answer me. Whoever it was was pounding on me over and over. Whoever it.

[Larry Thor]

You are listening to Broadway's My Beat, written by Morton Fine and David Friedkin and starring Larry Thor as Detective Danny Clover, Benny and Bergen Crosby and Groucho, Luigi and Irma. There's a lot of sheer exuberant fun around on CBS in the nighttime. But don't forget that every weekday, Monday through Friday, some fellows who are very good at being entertaining are right here reading from right to left, left to right and right down the middle. They are Gary Moore, Art Link Letter and Arthur Godfrey. Yes, every day, Monday through Friday over most of these CBS stat.

[Narrator]

Broadway is a place that hardly ever gets excited. It takes the winning of a war to do that or the opening of a musical comedy. The best response you can expect for a murdered boy in a cheap room is polite applause. This for maintaining the violent death rate of the city. And a man can lie in an alley in a tortured, painful sleep. And Broadway tiptoes right by him. And the next morning the man can walk down the subway steps wiping blood off his face. And Broadway will turn its Back. It's a tired movie they've seen before. I know all this because it happened to me. No one gave me a backward glance until I returned to headquarters. Then I got clucked over by two mother hens at the infirmary. Dr. Sinski being efficient and Sergeant Tartaglia being nervous. Does.

[Sergeant Tartaglia]

Does it hurt much, Danny?

[Narrator]

It hurts, Tartaglia.

[Sergeant Tartaglia]

Well, now, don't you worry about a thing. Just that you should get okay again. Just that your head should look symmetrical.

[Narrator]

You know, Danny, this is an interesting.

[Don Eduardo Perez]

Formation you got on top of your head here. The bump on top of a lump.

[Narrator]

I could write it up for the journals. Take it easy, Doc. Read me what you got so far. Tattaglia.

[Sergeant Tartaglia]

Yeah, sure, Danny, sure. Now, in the matter of suspects, we have none for the following reasons. The deceased, Roberto Segura being deceased at 9:00, that lets out Johnny Martinez, who was at his place of business until 10:30. Check. Senor and Senora Perez in each other's company until 10pm Check. And about the girl, Christina.

[Narrator]

Grab hold to the table, Danny. This might idle you. Yeah. Oh, what was that stuff? Here's the bottle, Danny. Yeah, but what is it?

[Johnny Martinez]

A doctor's free sample of commercial laboratory. Sent me this morning.

[Narrator]

First time I tried it.

[Don Eduardo Perez]

Hey, sir, It's a good sign.

[Sergeant Tartaglia]

The girl, Christina. Danny, not only don't we get an alibi from her, we don't get her either. She's missing. Danny.

[Narrator]

What? Back on the table, Danny.

[Larry Thor]

Where do you think you're going?

[Narrator]

I got only one place to go. Doc. Get me a squad car to Taglia. Papa Candelario. I was here last night. You must have seen me. You know who I am? You mean you don't understand English?

[Don Eduardo Perez]

No English.

[Narrator]

Non tiendo. Try hard, Papa. I'm of the police. Police. Understand?

[Don Eduardo Perez]

Non tiendo, senor.

[Narrator]

Try this. I was beaten up here last night. This could make trouble for Papa Candelaria. Big trouble.

[Don Eduardo Perez]

Papa Candelaria? Yes, Papa Candelaria.

[Narrator]

Que quieres? Christina Perez, Papa. What does that do to you?

[Don Eduardo Perez]

Christina Perez.

[Narrator]

Yeah, Papa. Yeah, Christina Perez. That's right. Where is she? She was here last night. She's disappeared.

[Joe Candelaria]

Oh, look who is here. My brother, Danny Clover.

[Narrator]

Joe. Joe, am I glad to see you.

[Joe Candelaria]

And I am glad to see you, sir. Sweetheart, you know that big case I was working on? That big black car with the gun soles? I think it is all solved.

[Narrator]

Joe. Joe, listen. I want you to do something for me.

[Joe Candelaria]

Anything, Danny. You are my brother.

[Narrator]

I want you to translate for me, huh? I have to ask your Father, some questions. He doesn't understand English, so I want you to translate for me.

[Joe Candelaria]

Papa, please. Danny is my brother. Please speak to him.

[Johnny Martinez]

All right, Jose.

[Narrator]

I've.

[Johnny Martinez]

I will tell him.

[Narrator]

Oh, then you do?

[Don Eduardo Perez]

Si, senor. I do speak English.

[Johnny Martinez]

I only tell you this because it.

[Don Eduardo Perez]

Is the wish of my son, whom I love. You will find Christina Perez with her mother at the Convent of Santa Cecilia. That is all I can tell you.

[Joe Candelaria]

Oh, Papa. You are my brother. Papa is now a brother to both of us, huh, Danny?

[Narrator]

Yeah. Joe? Thank Papa for me. And you too. Thanks, brother. The Convent of St. Cecilia stood high on Morningside Drive. A sister led me through a courtyard and into a gray stone building and into a room, a large room, simply furnished, and told me to wait. And she left. It was 15 minutes before the door swung softly open again. Senora Perez and his daughter Christina. They didn't seem surprised to see me. They walked to a cast iron bench and sat down and folded their hands and waited. Senora Perez, who was it that I.

[Christina Perez]

Sent you to us? Senor Abaganularia, this is difficult to believe. No, Mother, it isn't difficult. You must realize, like I do, that it's useless to hide from the police.

[Narrator]

Why are you hiding, Christina?

[Christina Perez]

My mother thought it was the best way. Now it doesn't matter.

[Narrator]

It still doesn't explain very much. You were in Roberta's apartment when they found him dead. You were dancing when you should have been sick. You ran away when you should have been available. Let's start up top and see. Why.

[Christina Perez]

I was supposed to meet Roberto rendezvous, Mr. Clover. On the night he died. He was late. I went to his place to look for him. I found him dead.

[Narrator]

Go on.

[Christina Perez]

I danced because my father wished to look at me dancing. I do not disobey my father under any circumstances. Never. Mr. Clover. Mr. Clover isn't a fool. He'll find out and eat. Cristina, enough. You have said already too much. And I ran away because my mother wished me to run away. I do not disobey my mother either.

[Narrator]

Tell me something, Cristina. Tell me about Roberto. I loved your father. What was his reaction to Roberto?

[Christina Perez]

My father hated him.

[Narrator]

Roberta had a roommate, Johnny Martinez. What about him?

[Christina Perez]

My father hated him.

[Narrator]

I'm getting the impression that your father hated anyone who had an emotion about you.

[Christina Perez]

Senor Perez. He is evil. I tell you this because you should know it. I tell you he is evil. He will never return to Senor Perez. You understand why, senor?

[Narrator]

I'm beginning to. What now, Cristina? What are you gonna do now that.

[Christina Perez]

Depends on you, Mr. Crawford. Am I arrested?

[Narrator]

Not if you stay right here, you're not.

[Christina Perez]

It will be like that, then.

[Narrator]

Good. Don't worry about anything, Senora Perez. If what you say is true, your husband had his own type motive for killing Roberto. Except for one thing.

[Christina Perez]

And that is what, senor?

[Narrator]

He just couldn't have done it. You're his alibi for 9 o'clock. He was with you when the murder was done. Maria Perez sank to her knees, drew the black lace shawl close about her head. With the fingers of her clasped hands, moving endlessly in a kind of torn pleading, began a voiceless prayer. Christina looked at me for a long time, her eyes empty and staring at the door. I turned back for a moment, and Christina had not moved, had not changed. It was hard to believe that this was the girl who danced with fury and like flame at headquarters. Nothing added up. Nothing took shape. Motives were there, but alibis were there too. Hard, cold, unbreakable. No one, it seemed, was around when Roberta Segura was murdered. They had reason to be there, but they hadn't made it. They were somewhere else.

[Sergeant Tartaglia]

I don't like busting in, Danny.

[Narrator]

What do you want to Taglia?

[Sergeant Tartaglia]

Well, you have a visitor.

[Narrator]

Tell him I'm busy. I'm out. Anything you think of?

[Sergeant Tartaglia]

Oh, I tried, Danny, I tried, but it's no use. Your visitor is. Now, wait, let me see. Don Jose. Miquel.

[Joe Candelaria]

Me sweetheart. Joe. Joe Calendaria. Hello, Keith.

[Narrator]

Hi, Joe. Look, kid, I'm pretty busy right now.

[Joe Candelaria]

Oh, sure. Okay, Danny.

[Narrator]

But look, Joe, how would you like to have Sergeant Tattaglia show you around police headquarters?

[Joe Candelaria]

Oh, that would be super keen. You mean it, Danny?

[Narrator]

Sure, kid. Take Joe around Itaglia. Everything, the works.

[Sergeant Tartaglia]

Sure, Danny, sure. Come on, let's go. Don Jose.

[Joe Candelaria]

Wait a minute, Sergeant. First I must tell Danny he's all solved. My case, the black car, the glove. He's all solved. Let's go, Sergeant.

[Narrator]

Hey, wait a minute. What's this about the black car, Joe? You're always talking about it.

[Joe Candelaria]

Very mysterious, Danny. This black car was standing in there for a long time with all its windows open.

[Narrator]

Well, that's bad, huh?

[Joe Candelaria]

I don't know about that, but it is very mysterious. Because it was so cold at night. So cold I wore my hoppy shirt and my hoppy jacket and my hoppy hat.

[Narrator]

Where was this car, Joe?

[Joe Candelaria]

In front of the house. Eduardo Pere.

[Narrator]

Oh, when was it, Joe? Night before last.

[Joe Candelaria]

That's right. Night before last. 11 o'clock, by my Mickey Mouse watch.

[Narrator]

Who was in the car? Joe, you said there were two men. Did you recognize them?

[Joe Candelaria]

Si, si.

[Narrator]

Who were they, Joe? Who were they?

[Joe Candelaria]

Do not ask me, Danny, because I cannot tell you.

[Narrator]

Why good detectives should tell other detectives Joe when he has something important.

[Joe Candelaria]

I cannot tell you, Danny, because I am not a good detective. I am only an afraid detective. I cannot tell you now. I cannot see police headquarters.

[Narrator]

Sure, Joe, sure. You can see it. Go on. Tetaglia, take my brother Joe around.

[Don Eduardo Perez]

Oh, Senor Clover?

[Narrator]

Yeah, Eduardo? Senor Clover. Invite me in.

[Don Eduardo Perez]

You have come to tell me you have found my Christina?

[Narrator]

Yeah, that too. Let's go inside, shall we? It's warm in here, not cold like outside. Edward. Oh, where is she?

[Don Eduardo Perez]

Senor? You have no right to torment me. Can go badly for you.

[Narrator]

For all of us. You and me.

[Don Eduardo Perez]

Where is she, senor? I must go to her.

[Narrator]

She's at the Convent of St. Cecilia with her mother. Don't bother with your coat and hat, Eduardo. You won't need them.

[Don Eduardo Perez]

What?

[Narrator]

You won't need them. We'll bring Cristina to you. If she wants, we'll let her visit you in her cell.

[Don Eduardo Perez]

What are you trying to tell me, senor?

[Narrator]

I'm not trying, Eduardo. It's easy to say. You're under arrest for the murder of Roberto Segura.

[Don Eduardo Perez]

You are.

[Narrator]

It had me fooled, Eduardo for a long time. Such an airtight alibi. All because we thought the boy was murdered at 9 o'clock.

[Don Eduardo Perez]

You have a reason to believe it was at another time?

[Larry Thor]

Yeah.

[Narrator]

Say around 11. That was neat, Eduardo. Killing him, then letting his body sit in your car in the cold air so that rigor mortars would set in quickly.

[Don Eduardo Perez]

You talk with the mouth of a babbling idiot.

[Narrator]

And you brought him to his room. And because it was warm there, Dr. Sinski figured the boy had been dead for three hours because that's how long rigor mortis might take in a warm room. But in the cold, in a car with open windows, it doesn't take so long, huh, Eduardo?

[Don Eduardo Perez]

No, you are right, senor. It is a good way to kill. A good way to deceive the stupid ones of the law.

[Narrator]

Yeah, yeah, we're pretty stupid, Eduardo. We don't understand how it means to possess things like Goya tiles or a daughter like Christina. You're Cristina. You killed her to keep her to yourself, didn't you do? No one good enough for Cristina but you.

[Don Eduardo Perez]

It is as you say, senor. No one good enough. So I had Roberto kill you.

[Narrator]

Had help, of course.

[Don Eduardo Perez]

I do not soil my hands unnecessarily. Senor Johnny Martinez helped me.

[Narrator]

Why should he do that?

[Don Eduardo Perez]

Because I promised him, Christina. But you, senor, for you I need no help. I will kill you with my own hands.

[Narrator]

Give me the gun, Eduardo.

[Don Eduardo Perez]

It frightens you. Brave senor.

[Narrator]

Yeah, it does that. You give it to me. Drop it. Now I've got the gun, Eduardo. What does it do to you? Frighten you?

[Don Eduardo Perez]

He will not kill me.

[Narrator]

You will not. Let's go, Eduardo. You gotta be booked for murder. I can get to Johnny Martinez later.

[Johnny Martinez]

You got to em already, Clover.

[Narrator]

Well, Johnny, welcome. Eavesdropping, huh?

[Johnny Martinez]

No, no. Don't turn around, Clover. Now that you've peeped at my gun, just keep it in mind. Sure, I've been eavesdropping. The next room.

[Narrator]

I don't mind. You can come to headquarters. Shoot him, Johnny.

[Don Eduardo Perez]

Kill him. You should have killed him last night when you knocked him unconscious.

[Joe Candelaria]

Kill him.

[Don Eduardo Perez]

All right.

[Johnny Martinez]

All right, you say so, Senor Perez. All right.

[Narrator]

Just this. Before you do, Johnny, Eduardo would like to know about it.

[Don Eduardo Perez]

Know about what?

[Narrator]

The gun I'm pointing at you. If Johnny shoots me, I'm just liable to react. I'm liable to grab onto something when Johnny's bullet hits me. The trigger of this gun, maybe. Then you're liable to be shot, Eduardo. Killed. Maybe.

[Johnny Martinez]

You got a point, Senior brace.

[Narrator]

Well, what do you want me to do? Drop it, Jerry. Like I was saying, let's go get booked for murder, huh? Broadway, it's an enchanted island or a desert of dust. A crazy dance that starts off wild then winds down to a dirge and blues. You look at it one way and it's a magician's pitch. With golden mirrors and jeweled fountains. Then you blink and the whole thing dissolves. Your hands are bloody from beating against a wall corroded with pain. It's Broadway. The gaudiest, the most violent, the lonesomest mile in the world. Broadway, my be.

[Larry Thor]

Broadway's my Beat stars Larry Thor as Detective Danny Clover, with Charles Calvert as Tartaglia. 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 Tony Barrett, Jeanette Nolan, Herb Butterfield, Jack Crucian, Michael Ann Barrett and Armando Corral. Dinah Shore, Jack Smith, Margaret Whiting, Dick Hames, the Andrew Sisters, Beulah, Edward R. Murrow, Lowell Thomas. These top names in radio are all on CBS regularly, not once, but five times a week. Top news, top color, top reporting. Lowell Thomas and Ed Murrow each are heard for 15 minutes every Monday through Friday in the early evening hours. And then there's the wonderful comedy of Beulah, the Tops and Pops with the Jack Smith dinosaur, Margaret Whiting show, the grand singing of Club 15's Dick Hames, the Andrews Sisters and Evelyn Knight. You can hear them all on most of these same CBS stations Monday through Friday evenings. Listen tomorrow night. This is Joe Walter speaking. This is cbs, where Wednesday night is Bing Crosby night. The Columbia Broadcasting System.

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[Adam Graham]

Week on the Old Time Radio Snack Wagon.

[Narrator]

Well, boy. Yes, Mr. Finley. Where are you, boy?

[Don Eduardo Perez]

What about my house?

[Narrator]

Well, I'll tell you, Mr. Finley, where's your word? You said you'd be over with a down payment. What are you made of, boy? Rock, maple or pint? Something has come up, Mr. Finley.

[Don Eduardo Perez]

I got 15 people after this house.

[Adam Graham]

Listen to the Old Time radio snack wagon, snackwagon.net or wherever you get your podcasts. Welcome back. So the rigor mortis thing that is key to the solution, is that actually real? Well, probably not. As I understand, Danny's idea was that they could commit the murder at 11, but the time of death would be assumed to be 9 based on the rigor mortise setting in more quickly in the car because it was out in the cold. However, science direct quoting MJ lynch in the Encyclopedia of Forensic Sciences says the death of an individual occurring in a cold environment or refrigeration immediately post mortem will delay the onset of rigor mortis, so rigor mortis would come slower. Now, I would say that I found a study on the National Institutes of Health website that involve liquid paraffin and rats that I guess on the plus side for dandy found that at cooler temperatures it slowed rigor mortis until it reached 41 degrees and then rigor mortis. Fed up. Now, of course these are rats and the paraffin may have some impact, but I'm just reporting what I found. As someone who uses the Internet and got A B in Dr. Alexander's Criminalistics and forensics class at college, obviously I'd invite expert correction, particularly if Danny's right and I'm just not smart enough on the science to get it. Now, if for some reason you've been paying careful attention to the dates, you'll notice that this is 10 days after the last episodes. There were no lost episodes. This show had been airing on Saturday nights at 9:30 since it returned to the air in November. However, it was moved to Tuesday for this episode before moving to its new time slot on Friday at 9:30. And it jumped around the schedule a lot between the time it began airing from Hollywood in July of 1949 and it going off the air in November 1950s. 3. Broadway's My Beat was mostly on the schedule for four and a half years, although there were some random preemptions, as we've heard already, as well as random cancellations. But all in all, during its time on the air, it changed time slots 14 times. 12 of those times involved changing the day of the week that it was airing. Now there was a period between August of 1952 and October of 1953 where it held down the same time slot for 14 months. But that just kind of makes how much it was jumping around the rest of the time it was on the air so much more severe. Listener comments and feedback now and we turn to Andrea, who writes in regarding the Mary Murdoch murder case. Although this is more specific to the whole series, she says, I never could really figure out Danny Clover. He's supposed to be a detective, so one assumes plain clothes, especially since he runs into people who don't want to answer his questions if he doesn't identify himself immediately as police. And yet he talks about walking a beat and driving a patrol car, which assumes cop on the street and in uniform. This conflict always confuses me about what the actual role is. Well, thanks so much for the comment, Andrea. I think that the idea of Broadway being his beat plays off the idea of a patrolman, even though that's clearly not Danny's role. Now, of course, in New York City, detectives have precincts that they work out of. There are certain portions of the city where they're assigned investigate cases. You hear the same thing over on Dragnet, and certainly hear things similarly on Dragnet, where they'll have different divisions. For example, on Dragnet they'll refer to Central Homicide, which is for the Central Division of the lapd. But they also have mentioned Hollywood Division, Highland Parks Division, things of that sort. So Broadway is Danny's general area that he operates and not in the sense of a beat cop who would regularly patrol a much smaller portion of Broadway and be very aware of what went on in that very limited beat. But for Danny, the entirety of Broadway is the area that he works and he doesn't walk the beat in the way a patrolman would, but rather he's walking the area where he works and what cases will happen and meets and knows various people within various subcultures within Broadway and is a part of that wider Broadway culture. So he's a police lieutenant and just working in that specific section of New York City. I will say that the series can be a bit confusing about Danny's status because he so rarely acts like you would expect a police lieutenant to act. With all the times he is confronting suspects on his own and giving them the opportunity to get the drop on him, it allows for some big, dramatic confrontations. It just doesn't make a whole lot of sense and I think adds a little bit to that sort of ambiguity. All right, well, thanks so much for the comment, Andrea. And now we turn to our listener survey. And Russ Wright's been a great fan of old time radio for a long time and this is a great addition for getting my fixed. And then another listener writes, I enjoy the old time radio shows. They give a sense of real life history. These are the shows my parents and grandparents would have heard. I get a sense of how different life was then. Adam is a great for adding context and insight into the shows. And then Kathy over in Sarasota Springs, New York, writes, fairly new listener. I'm hooked. Well, thanks so much, Kathy. Appreciate. And thank you so much to everyone who took the time to fill out our listener [e-mail] well, now it's time to thank our Patreon supporter of the day. And I want to go ahead and thank Martin. Martin's been one of our Patreon supporters since March, currently supporting the podcast at the Master detective level of $15 or more per month. Thank you so much for your support, Martin. And that will actually 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'll be back next Wednesday with another episode of Broadway's My Beat. And then next Tuesday, a previously uncirculated episode of Hearthstone of the Death Squad. But join us back here tomorrow for Mr. And Mrs. North, where there are.

[Christina Perez]

Times when a woman needs a husband. Please let me in quickly.

[Adam Graham]

Why?

[Christina Perez]

You've been shot. Quickly, please. All right, Here, let me help you. Lie down on this couch there. Well, I'd better phone for a doctor at once. No, no, not a doctor. He'd have to notify the police and I. Jimmy, there's no time. But you're hurt. Does the flesh wound? But you're in pain. I can't let you do. You must. You see, what happens to me right now isn't very important. It's Jimmy who's in danger. You mean from the man who shot at you? Oh, no. From the state executioner. State executioner? They're going to kill Jimmy for a murder he didn't do. I'm the only one who believes in him. And you and your husband, Mrs. North, are the only ones who can save.

[Adam Graham]

I hope you'll be with us then. In the meantime, send your comments to Box13REAT detectives.net follow us on Twitter at radiodetactives and check us out on Instagram. Instagram.com Great. Detectives from Boise, Idaho, this is your host, Adam Graham, signing off.

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