 Broadway's My Beat from Times Square to Columbus Circle, The Gaudiest, The Most Violent, The Lonesomeest Mile in the World. Broadway's My Beat transcribed with Larry Thor as Detective Danny Clover. Drift of autumn on Broadway and another time, time when night summons its mists, its trumpets, its banners of neon begins the withdrawal from the avenue and pavement is littered with its conquests and the defeated, the once brave revelers gather in the draining light of the spectacular to compare losses, to grub once more in the places where night is still deep. Find only the refuse of pain, the neon stained memories, the scraps and bones of illusion and in an alley a newspaper truck poised waiting for the first edition of daytime to be hurled into it. So run, grub in another place, stay the flow of night. And west of Broadway, side street, channel for nighttime to enter into a river. To Eddie about a brownstone and inside it, apartment where I was, a detective mug of it and a man to explain why he was in the place of violence. She called me, here she called me up and she said she's... You were at home when she called that right, Mr. Quinn? I told you, I was home. Look, you're gonna stand there, ask me questions and joys, hurt, joys dying. Ambulance will be here right away, Mr. Quinn, take it easy. Yeah, sure, sure, I'll do that, just like you guys, take it easy, really easy. She called, you came here, you found her stabbed. And the other girl, what was she like when you got here, Mr. Quinn? I told you, dead, Lois was dead. Beaten up, knifed, dead when you got here. You sure you got a phone call, Mr. Quinn, you sure you weren't here all the time? Nobody had to call you because you... I'm doing like you said, I'm taking it easy, so don't louse it, huh? Just don't. Run it down again for me, Mr. Quinn, how it happened, why you happen to be here. All right, I'll do that. I was to a movie with Joy. After we stopped for a drink and Joy said she was tired, so I brought her home. And I kissed her goodnight at the door, then I went to my house and I read for a while and then I got into bed. Then the phone rang, I answered, it was Joy. She said, get here, Bobby, I've been hurt, I've been hurt very bad. I hung up, I put out my clothes, came here, she was right, she was hurt very bad. And her roomie Lois was dead. All right? Your girl's name's Joy Richard. Yeah. And her roommate... They've been roomies a long time, I don't know how long... All right, I better run out, tell them it's in here. They know, Mr. Quinn, you don't have to run out. Look, that's Joy who's dying, that ain't some ordinary day. They'll be all right, they'll be right up here, Mr. Quinn. They'll do everything they can. All right, I'll take your word for it. For her Joy, he says they'll do everything they can. Situation like this week, we've got to take his words. Mr. Quinn. Pardon me, yeah? The other girl Lois, you ever been out with her? I've been out with your roommate. Shall I tell them, yeah? Shall I tell them I've been out with her and with you and it's you I picked? Because you weren't knocked out like Lois, revved up like Lois? Just a girl, a man... That's right boys, in here. There's nothing you can do for this one, but the other one, maybe you can... They're here Joy. The Docs, they're here. They're gonna do something for you baby. Let's go out in the hall, Mr. Quinn. Let's do that. Cigarette? No. They'll do everything they can, Mr. Quinn. You know, I'm glad I picked Joy, not Lois. I picked Lois, where'd I be now? Holding hands with a dead girl, that's where I'd be. With Joy, I get another try. You think I'll get it, you've seen these things, I get another try? I don't know. You don't know, thanks a lot. Anything you can tell me about the girls, Mr. Quinn, something that'll give us a... Well, fun girls, kicks, good to be with them. It wasn't an easy choice to make. But I thought about it for a night and made it. Joy, there hasn't been one minute of sorry in it. They work? Yeah, yeah, yeah, they work. Public stenographers will tell them all. Hey, fellas, hold on a minute, huh? Joy, a kiss for the road, baby. Another thing you don't make. It's been a ball, honey. A real ball. About that time, a thing happened in the sky. A part of it started to bleed, and the deepest layer of black scutted away. And a marker of time was sounded, and the moon became paler, and rolled a quarter turn and then started to drift. New day came up the Hudson. New day came ashore and touched the streets. Someone somewhere noticed it, opened a window and let it in. New day in Manhattan. And later, hours into it, lobby of the Marland Hotel of slightly frayed green decor and clerk of slightly frayed lapel and smile, who shrugs directions for you. To the end of the desk and turn to your right of the furniture you're on your way in. And he did. Mr. Gamble said your name is Clover. I'm on the phone, right? Right. My name's Hardy, right? Well, sure. Let's get things lined up, squared away, names settled, and you comfortable Clover? Yes, I am, Mr. Hardy. Shoot. It's about Lois Burton and Joy Richard. Right. You see the papers this morning? Sure. Now what do you need? I just want you to tell me about them. Public stenographers had a desk and a typewriter and a room in the mezzanine, each of them. What else? I don't know what else. You want me to make up something? You want to give us to the public. Wander off the street when you need typing and the girls would have at it. Or when you need dictating, a girl's... About regular customers. The girls were human beings. I guess they had a regular something or other. Cute dames. And they had a life to live. I never bothered them or asked them any questions. They never hedged on the rent, so I guess they made out good. And that's about it. Yes? Gentlemen, is Mr. Hardy? Yes, ma'am. Something I can do? Well... Yes. Well, is it true about those two girls? One of them killed and the other... This is Mr. Clover from the police, ma'am. He's here because... Oh, how do you do, Mr. Clover? How do you do? It's terrible, isn't it? Were those two young women friends of yours? Oh, I knew them. That's why I came to see you, Mr. Hardy. The desk told me you were the man to see. Lois Burton had some of my husband's work. She was to have finished today. Writing in this morning, I saw the papers and, well... Yes? It's terrible. My husband will be deeply shocked. Why? Why? Yes, I... Why? Here's a girl you've employed from time to time for months and suddenly her life is snuffed out. Why? I see. Well, that certainly wasn't the correct question to ask. Was it, Mr. Hardy? No, ma'am. No, certainly not. Then your husband must have known Miss Burton quite well. Quite well? I need to learn things about Miss Burton. May I speak to your husband? If you want to. But how about my husband's work that was to be done? Your husband's name is... Anderson. Frank Anderson. I'll see that he gets it, Mrs. Anderson. May I take you home? That's very nice of you. I'm deeply shocked. Mr. Clover is from the police, dear. Murdered? If I'm not out of bounds, am I inviting Mr. Clover to come here and speak with you? You see, he said he needed to learn things about... Listen, dear. Yes? I want you to go right to your room and lie down. Well, I don't see... I don't see why this kind of talk concerns you anyhow. It's all right, isn't it, Mr. Clover? My wife can go and lie down, can't she? Go ahead, Jessica. You ought to have your head examined, Clover. No. What's the matter with you? Just because I happen to know somebody who got killed, why do you have to drag my wife into it? Okay, okay. Okay, what? You finished staring now? Now look, Mr. Anderson... I'm 20 years younger than my wife, and I can hear the nasty little whispers you've already dreamed up to. What are you so upset about? I've gotten your kind of stares long enough. Just cut it out. Nobody... Just cut it out! What do you want? Joy Richard and Lois Burton. What about them? You sit down and let me talk to you. All right. Talk. You're making a whole lot out of nothing. Coming here, upsetting my wife. Mr. Anderson, as far as I know, you're just a man who employed a public stenographer. How wrong am I? You're exactly right. Then just fill me in, huh? I write articles for a living. Close by is the library. I thumb through an encyclopedia, come up with something interesting, and do a little research on it, write it up so ladies can enjoy reading about it. Sometimes I'm fortunate. Get it condensed and reprinted. And you write articles. Lois Burton did my typing for me. She was efficient, she was neat, and she took shorthand rapidly. What about Miss Richard? She was a young woman who worked in that small office. Pleasant? Pretty? Other than that? All right. Then let's just talk about Miss Burton. She did my typing for me. She was efficient, she was neat, and she... I'm really annoying, you know? Just let's get this over with. That's all. Did you kill her? No. Was she any more than a... Goodness sake! What? Are you going to ask me whether I tried any funny stuff? Is that how you term it, funny stuff? Well, yes I did. Sometimes she worked late for me and I took her back to her hotel. And I liked her. She was a nice, sensible girl, neat and efficient. And if you promise not to tremble with the implications of it, I'm going to tell you what I'm going to do. I like Joy Richard too. She was a human being who crossed my path and whom I liked. I'm going to visit her at the hospital. Are you trembling? Mr. Anderson... Come on, Mr. Anderson, I'll take you there. Mr. Clover? Yeah? On the way down here, I've been thinking of things to say to her, to say to Joy. And what, Mr. Anderson? I believe I've hit upon the exact phrase, the precise words. I'm sure they will help her. Uh-huh. I'm quite sure. Then here, Mr. Anderson. Danny? This is Mr. Anderson, Dr. Sinski. He has something he wants to say to Ms. Richard. Ms. Richard is dead, Danny. Dead? A moment ago. I was just... A moment ago. A moment away from the solace I could have given her. The exact phrase, the precise words to... To what, Mr. Anderson? Why, to ease the pain of what happened to her. To make gentle the path of... A moment away. A pity. A real pity. You are listening to Broadway Is My Beat, written by Morton Fine and David Friedkin, and starring Larry Thor as Detective Danny Clover. The little red schoolhouse of bygone days was something to be proud of. But in many parts of the country today, it's become the shabby schoolhouse. Too little to house its current crop of students. Its equipment outdated and inadequate. Its teachers too few and too underpaid. If your schools are like that, act now with others in your community before the costs of repair and replacements get astronomical. Act now in the interest of tomorrow's leaders and tomorrow's America. When October spreads its golden light over Broadway, the mob scurries down the street toward the week's ending. It's the month of the stadium again, the soft drink and the old locomotive yell and the very small hot dog for 35 cents. It's the season when higher education comes into its own, when a student punts a bladder and everybody screams. The word is Bula Bula, the flower chrysanthemum, and everybody's either a fellow-router or an arch-rival. So get with it. It's just like going to college. And at headquarters, a word from that ex-collegian, Sergeant Geno Tritaglia. Talk about a bo-jess, Nanny. Huh? Bo-jess, Nanny, a noble gesture. Nobody was talking about it. All I can say is that Raymond Shapiro is the noblest Shapiro of them all. Him and his bo-jess. So help me. Geno, if you don't... Okay, Nanny, okay. I just... items. Result from legwork by the good detectives Markovan and Denison. Thank you. Item one. Joy Richard and Lois Burton were out of town as to New York. Joy from Pittsburgh, Lois and Cleveland. They met at a business college. Go on. Decided to set up a little office with six stenographers, the two of them. So they located at the mall and hotel. What else? Nanny, what is it about today that makes it so tough for young people to keep out of mischief? Just tell me what else, Geno. The both of them misdemeanors. A pair of peas, like drinking loudly and swimming in the rain in the fountain. Not a minute, Nanny. Sure. Don't mind me. Robert Quinn, Nanny, that Joy Richard girl's boyfriend. His alibi checks out. A neighbor saw him kiss his girl at the door and leave her. Then his landlord says he got a call an hour or so later from a girl his son had heard or drunk. Also, Frank Anderson has a dad. What's novel about that, Detective Muggerman? Nanny, he called in, Nanny. Read your question to his son. Left word for you to drop in. Here's his address. And thank you for your kind attention, gentlemen. And uptown, then, and east to park. And north, the segment of city where avenue is wide and facades are of marble. And children are attended by governesses in gray silk and whose school books are carried by chauffeur of dashing uniform. Avenue also of the miniature poodle and the king-sized jewel and the furs scented with musk from the Mediterranean and the house of Frank Anderson's father. The man who opens the door is a gray man and bent who tells you you're expected. Mr. Anderson is in the library. Takes you there. And the room is of a great fireplace of field stone and of fire in it. And of glowing leathers of rifle rack and gleaming wooden steel. And of autumn flowers and autumn branches in crystal. And of something else, a man in silk robe and of swift appraising eyes and of great power in his hands. Glad to meet you, sir. I'm Frank Anderson. You? Danny Clovers. Glad to meet you, Danny. That's Charles, my man. He's not that old. He got gray like that, stoop like that because I've made demands on him in my lifetime. Haven't I, Charles? Oh, you know it, Charles. Mr. Anderson, you were... Get Mr. Clover a drink, Charles. Will you have, Danny? Oh, nothing. Thanks, sir. Then just bring me one, Charles. The rye. Four fingers, huh? This is an occasion. Sit down, Danny. All my needs, Charles, takes care of them. Almost all of them, that is. Why don't you call us, Mr. Anderson? To talk to you. Talk to you about my son. What about him? You've seen him, I understand. Question him about those girls. Met his... Thanks, Charles. Thank you very much, Charles. Mr. Anderson, I know you're a busy man. Cleaning up after the dead keeps a man busy. My name's Frank, Danny. Frank Anderson Sr. My son... I want to show you something. Charles, get Mrs. Anderson's photograph. I want you to have a look at a picture of my wife, Danny. Find woman, good woman. That's why she died young. I want you to have a look at her, so... Thanks, Charles. Here, Danny. Take a look. That was my wife. Very beautiful. You're right, Danny. Very beautiful woman. And loved me deeply. That's why she named our son Frank Jr. She said she wanted him to grow up to be like his father. Like me. She said that, didn't she, Charles? She really said that. Charles was at my side. When she died, weren't you, Charles? And your son? He got here a day late. He was at college. Can't blame him for that. He couldn't get a train. Can't blame a boy for that. He cried real hard. Go on, Mr. Anderson. You've seen my son. Yes. Very handsome boy. Yes. Big, muscular. Talks real nice. Writes real nice. Good words. Yes. He gets 20,000 a year from his mother's will. My son doesn't have to lift a finger. Look, Mr. Anderson. Easy, Danny. Easy and calm. We'll get along better. All those things. All those things my son has. Makes him an attractive man, doesn't it? Uh-huh. Made him attractive in college too. Co-eds went for my son real big. Me and his old daddy proud the way pretty young things went for his son. Of course, knowing the boy was coming into 20,000 a year when he got out, that didn't hurt a bit. Just put honey in the old college trial. And they tried, Danny, believe me, they tried hard. You know what? No. Frank Junior, my son, he said to me once, Dad, I'm a discriminating man. Don't push me, Dad. I'll find her. I'll find Miss Wright. I'll find Miss Wright. For a while there, I thought he had. Went with her longer than all the rest. Beautiful girl, stunning. Young. Met her at an old grad get-together. This girl. Mary Ann Corby. Charles has it all written down. He'll give it to you when you feel like going. Her name, her address. Danny. Yeah? You met my son's wife. Yeah. She's 20 years older than he is. He told me. He tell you how he met her, how he met his Miss Wright. No. In a museum. I mean it. The Metropolitan Museum guided tour. They admired the same statue. They got to talking. He married her. I didn't make the wedding. Danny. What? You go see Mary Ann Corby. Ask her how come she wouldn't marry my son of the $20,000 a year. My handsome, attractive son. Charles, Danny's coat, huh? Get it? What does that music make you need, Danny? Something tropical? Something real southy, yeah? Miss Corby. Why'd you lip for just this little bit? Listen. Does it bring out the Caribbean in you? Well, if it does, you'd better run. Don't walk right out of here. Because all you've done so far is say you're from the police and guileless girl that I am. I admitted you. Guileless girl that I am. You're done? Does it impress? Or am I in the wrong light for it? Want to know why I'm here, Miss Corby? One way or another, it'll come out. Frank Anderson. See? Okay, tell me about him. Need more music? Mm-mm. There's an oldie. Goes M's for the O's for the T's for the, you know, mother song. Goes with the boy real fine. I'm saying Frank was a mama's fella. No fun at all, no fun at all. Very fine boy. Uh, no fun at all. Why not? Listen, a fella like that healed and pretty. And me as predatory as anything you'll find. And me as wanting to marry a healed and pretty fella as you'll find. You didn't make it? I've got the draughtiest fourth finger of the left hand as you'll find among those of us without wedding bands. Listen. Yeah? I went with the boy. And? I went with the boy, period. I had a whole spring with the boy. I was un-kissed from March to June. Then on June 3rd, he slugged me. What are you talking about? We don't talk the same, do we? Just tell me what... The fella didn't kiss, nor hug, nor scratch gently the forearm, nor say sillies, nor breathe upon the cheek. Waste of time. On June 2nd, I got loaded. No. From the frustration of it. What happened? He walked into my apartment. I put my arms around him. Well, he didn't react the way I expected. He slugged me. I had to put a steak on my eye. So? So what? So I'm still looking for a fella. At least I've got a direction in life. Isn't that nice? Well, if that's all you can say, you better go. Do. Mr. Clover. Hello, Mrs. Anderson. What do you want, Mr. Clover? Is your husband home? What do you want, Mr. Clover? Would you rather I came back with a warrant? Let's go inside, shall we? Very well. Frank. You know I'm busy. Frank. I told you, Jessica, dear, I told you... What do you want, Clover? Sorry if I'm interrupting, but... You're interrupting? Article writing? Icebergs. More than meets the eye. For Science Magazine on assignment. I'm happy for you. Would you like some information on icebergs? Just some information on a couple of public stenographers. Jessica. No, don't send me away again. It's just that I don't want you mixed up in these. Mixed up? Why should I be mixed up? Why should you be mixed up? You can stay, Jessica. Stay, stay. What is it, my Franks, mixed up in, Mr. Clover? Haven't you told your wife, Mr. Anderson? Tell her what? Look, I've had a long talk with your father. Good for you. Very good for you. What do you think about Frank's father? What do you mean? Do you like him? I haven't thought about it. The only impression I've got is I believe he's a truthful man. Jessica. Jessica, why don't you... No, Frank. All right. What did my father tell you? About a girl named Marianne Corby. You've told me about her, Frank. Did he tell you he slugged her? Slugged her? What about it, Frank? Don't pay any attention to him, Jessica. Now let me ask you something, Mr. Clover. All right. Did my father finger his mustache when he talked to Marianne? Let me handle this, Jessica. Did my father twirl his mustache and look sly? All he told me was go talk to her. How do you come to call on my father, Mr. Clover? He phoned us. He wanted to talk to someone about you. Yes. And Mr. Clover... Yeah? Why should he want to do that? I don't think your father likes you very much. Is that all? We know that. He wants to destroy me, doesn't he? That's why he called. He doesn't like you very much. On account of me. Because I'm older. And because... That's about it. And this is the way he's found to destroy me. Listen, Mr. Anderson, police operate this way. A crime is committed, a special kind of crime in a special way. We ask ourselves, who does this sort of thing? Who's done this before and in this way? Oh, I must write an article. We'll call it... So when two girls are slugged and stabbed... The title, the police. More than meets the eye. Frank. Yes? Did you do what he said? What? Hit that girl? Marianne? Yes. Yes, I did. I see. Tell your wife why you did it. Because she wasn't like you, Jessica. She was cheap. Forward, like Lois Burton did. Yes. You've got to understand, I have a well-ordered life. I don't want anything spectacular to happen to it. I've got Jessica in peace and silence. There's no room for... Frank. And you're what I want, Jessica. You took her home, Frank. Last night. Yes? You worked late at the hotel. At her office. And you took her home. Yes, I did. What happened? I'll tell you what happened. I'm going to tell you the truth. When I tell you, you're not going to be angry at me. Just tell me. She tried to get me drunk. I see. She tried to get me drunk and she wanted me to dance with her. I pushed her away and she fell down. She was hurt. Jessica, I didn't mean it. She was stabbed. She was... She knew I was married, didn't she? Why did she try all that funny business for? The other girl, Joy. She came in. It was the wrong time for her to come in. She started to scream. I hit her, too. Jessica. Oh. I'm so sorry for you. You're not angry, are you? Just sorry. Jessica. Please hold me. Just like this. She wasn't like you. None of them were. On a late autumn's night, Broadway echoes with sounds heard only in darkness. Whispers. Laughter floating down to your end of the bar. Footsteps that fade when you turn a corner. You reach after them and there's nothing. The closing door at the end of a long corridor. It's Broadway. The Goddiest. The most violent. The lonesomeest mile in the world. Broadway. My Beat. Broadway's My Beat stars Larry Thor as Detective Danny Clover, with Charles Calvert as Tortaglia, and Jack Krushen as Muggevin. The program is produced and directed by Elliot Lewis, with musical score composed and conducted by Alexander Courage. In tonight's transcribed story, Paula Winslowers heard as Jessica Anderson and Lee Malar as Frank Anderson. Featured in the cast were Hi Everback, Her Butterfield, and Mary Jane Croft. Bill Anders speaking. Edward R. Murrow on CBS Radio. Lowell Thomas on CBS Radio. Robert Trout on CBS Radio. Alan Jackson on CBS Radio. These and many other familiar names in news reporting and commentary are why America listens most to CBS Radio for the latest news, daytime or nighttime. The place to get it right and get it fastest is CBS Radio, fed by its crop of overseas and nation-spanning observers, eyewitness observers reporting firsthand. You hear America's favorite show.