I Deal In Crime and Casey, Crime Photographer

Summary

CASE CLOSED!
Episode: I Deal in Crime and Casey, Crime Photographer
Date: March 18, 2026
Podcast Host: RelicRadio.com

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Episode Overview

This installment of Case Closed! reopens two classic crime radio dramas from the golden age:

1. I Deal In Crime: "The Laura Shields Case" (January 21, 1946)
2. Casey, Crime Photographer: "The Chivalrous Gunman" (August 14, 1947)

The episode invites listeners into a world of hard-boiled detectives, enigmatic dames, and morally complex criminals, showcasing two gripping mysteries about murder, deception, and the thin line between guilt and innocence.

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I. I Deal in Crime: "The Laura Shields Case"

Main Theme

PI Ross Dolan is drawn into a web of jealousy, paranoia, and murder when Laura Shields hires him—ostensibly to prevent her from killing her unfaithful husband.

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Key Plot Points & Insights

• Ross Dolan Returns Home (00:55–04:15)

  • Dolan, a PI just out of the navy, narrates his return to his run-down office. The atmospheric, sarcastic tone paints a vivid picture of his world: “It was eight o’clock at night, raining cats, dogs, and several other forms of livestock. I shrugged my way through the main door. Nothing had changed. …Yeah, I sure was home again.” [02:20]

• The Mysterious Client - Laura Shields (04:16–07:40)

  • Laura Shields, elegant but nervous, offers him a retainer to be her bodyguard, confessing:
    • “I'm afraid I’m going to kill my husband.” [06:30]
  • Laura is torn, plagued by dreams she might harm her cheating spouse.
  • Dolan: “Don’t worry about dreams, Mrs. Shields. They can’t hang you for dreaming.” [07:02]

• Seguna Beach - The Shields’ World (07:41–14:40)

  • Dolan heads to Seguna Beach, encountering Laura’s husband, John Shields—a brash promoter, his alluring mistress Betty Warner, and a cast of local characters during a tense dinner party.
  • Conflict erupts when John confronts Dolan about “making passes”:
    • John: “You sure get around, don't you, Dolan? Put your hands down, Shields. You're making a chump of yourself.” [13:47]
  • John and Dolan scuffle; Dolan gets a black eye.

• Murder and Investigation (15:21–19:46)

  • Dolan, roused at 1 a.m. by police: “One o’clock in the morning. What a time to entertain a flatfoot.” [15:26]
  • John Shields is found dead—gunshot to the temple. Police suspect suicide, but details are suspicious.
  • Cop (Works): “The only fingerprints on the death gun were John Shields’. There are powder burns on his temple. That would make it suicide. Maybe. Except…I remember that appearances aren’t always what they seem to be.” [18:13]

• Following the Suspects (19:48–24:34)

  • Dolan investigates both Shield's mistress and Phineas, the embittered beachcomber with a grudge.
  • Phineas reveals: he bankrolled Shields and was never repaid, fueling old resentments.

• Climax: The Truth Exposed (26:41–29:40)

  • Dolan confronts Laura:
    • “Let’s drop the injured and grieving wife pose, huh, baby? Where’s Jarvis?” [27:03]
  • Dolan uncovers a dark secret: Laura was paroled from a mental hospital into her husband’s custody.
  • The killer is revealed: Jarvis, John’s “dear friend,” aided by Laura.
  • Jarvis bursts in with gun drawn, but Dolan subdues and kills him in self-defense.

• Resolution (29:41–31:23)

  • Dolan clears his name, delivers Laura to the cops, and drives off into the night—taking Betty Warner, finding unexpected company in her:
    • “And you know something? She wasn’t nearly as tough as you’d imagine.” [30:40]

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Notable Quotes & Memorable Moments

• “You want it straight? Here it is. I'm afraid I'm going to kill my husband.” — Laura Shields [06:30]
• “Don’t worry about dreams, Mrs. Shields. They can’t hang you for dreaming.” — Ross Dolan [07:02]
• “Let’s drop the injured and grieving wife pose, huh, baby? Where’s Jarvis?” — Ross Dolan [27:03]
• “Yeah, Shields was a louse, all right, but he was in love with you.” — Ross Dolan [27:49]
• “Custom. And Yanna always means until tomorrow. Except there’ll be no tomorrow for Jarvis.” — Ross Dolan [29:35]

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Key Timestamps

• 00:55: “I deal in crime.”—Start of the story, Ross Dolan’s narration
• 06:30: Laura’s shocking admission: fear she’ll kill her husband
• 13:47: Confrontation at the Shields’ house; Dolan vs. John
• 15:21: Police question Dolan about John’s death
• 18:13: Forensics suggest suicide but hint at deeper mystery
• 29:35–30:40: Climax—Dolan outsmarts and defeats Jarvis; resolution

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II. Casey, Crime Photographer: "The Chivalrous Gunman"

Main Theme

A robbery, a safe-cracker, and a professional killer with a twisted sense of honor: “Ed,” the gunman, spares a female witness—setting off a manhunt ensnared in duplicity and conflicting loyalties.

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Key Plot Points & Insights

• The Heist (33:46–36:34)

  • Three criminals—Ed (the gunman), Gus (safe-cracker), and Riker (the inside man)—rob a safe in Penrose Square.
  • Sudden complication: a secretary, Ms. Burch, stumbles into their escape.
  • Riker: “She's a stenographer who works in that office. She'll tell. And if she told the cops on you, you tell about us. You gotta bump the squealer.” [35:39]

• The Chivalrous Gunman (37:07–38:12)

  • Ed, expected to execute Ms. Burch, instead releases her:
    • “I never killed a woman…Listen. You follow this path for about a quarter mile…” [37:34]
    • Ms. Burch: “Thanks. Thanks. I'll never forget you.” [38:04]

• Double Cross Among Thieves (38:24–39:14)

  • Ed’s partners catch on to his trick, leading to a fatal shootout; Ed kills both men, seizes all the loot.

• Investigation & Doubts (41:12–46:27)

  • Det. Casey, Captain Logan, and reporter Ms. Williams unravel the tale. Ms. Burch refuses to identify her would-be killer, driven by empathy for her unlikely savior.
  • “As screwy as this thing sounds, I think she got away safely. She’ll be able to give me a good description of his killer. Women remember men. But if she has any sense of gratitude, you’re not going to get a thing out of her.” — Captain Logan [41:58]

• Suspicions and Theories (46:28–50:36)

  • Ms. Burch’s character is scrutinized; Casey theorizes she might actually have known Ed before and colluded in the crime.

• Setting a Trap—The Jealousy Ruse (51:00–56:14)

  • Police manipulate Ms. Burch's emotions by letting her see Ed’s “wife” (undercover cop) visit him in jail.
  • Betrayed, Ms. Burch confesses all:
    • “George Neal is Ed. He’s that chivalrous gunman. He’s the murderer I love. He’s the man who promised to marry me.” [56:14]

• Resolution & Reflection (58:04–59:17)

  • The case resolved, Casey and colleagues muse on the psychological nuances:
    • “Pure vanity, Ethelbert. A manifestation of the protective ego with which all males cover their shortcomings.” — Ms. Williams [58:46]

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Notable Quotes & Memorable Moments

• “She's a stenographer who works in that office. She'll tell. ... You gotta bump the squealer.” — Riker [35:39]
• “I never killed a woman…Listen. You follow this path for about a quarter mile. ... So long.” — Ed [37:34]
• “George Neal is Ed. He’s that chivalrous gunman. He’s the murderer I love. He’s the man who promised to marry me.” — Ms. Burch [56:14]
• “Say, Annie, how do you know so much about men?” — Captain Logan [58:56]
  • Ms. Williams: “Not from reading books, Mr. Casey.” [59:00]

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Key Timestamps

• 33:46: Robbery begins; safe blown open
• 37:34: Ed spares Ms. Burch, the witness
• 39:14: Ed double-crosses his partners
• 41:58: Cops discuss Ms. Burch’s reticence to identify Ed
• 51:00–56:14: The jealousy trap; Ms. Burch confesses
• 58:04: Case closes; police reflect on human motives

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Episode Highlights & Takeaways

• Classic noir dialogue and atmospheric detail bring the golden-age radio style vividly to life.
• Both stories probe motive, loyalty, and identity with twisty plots and shades of moral ambiguity.
• Standout character moments: Laura Shields’s confessional intensity; Ed’s peculiar criminal code; Ms. Burch’s conflicted love and betrayal.
• The police in both tales struggle to separate appearance from reality, using psychology and emotional traps as much as hard evidence.
• The "chivalrous gunman" myth collides with grim reality—a killer’s conscience exists, but even empathy is weaponized in desperate circumstances.

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For New Listeners

If you haven't heard the episode, expect colorful, hardboiled narration, lots of sharp, wisecracking dialogue, and clever mysteries where no one is quite what they seem. The dual stories deliver both suspenseful investigation and insight into the psychology of guilt, love, and survival.

Skip to these moments for highlights:

• [06:30] Laura’s explosive confession to Dolan
• [13:47] Hostile face-off between Dolan and John Shields
• [18:13] Police forensic findings complicating the “suicide”
• [27:03] Dolan’s gripping final confrontation with Laura & Jarvis
• [37:34] Ed’s “chivalrous” release of Ms. Burch
• [56:14] Ms. Burch’s emotional confession—culmination of the jealousy ploy

RelicRadio’s presentation keeps the spirit and tension of the original broadcasts, making for a rich journey into vintage radio crime drama.

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Transcript

[Narrator/Announcer]

This is Case Closed Crime stories from the golden age of radio. Welcome back to Case closed. Thanks for joining me this week. We're going to begin this time with Ideal in Crime. We'll hear the January 21, 1946 episode titled the Laura Shields Case. After that, it's Casey, crime photographer, and the chivalrous gunman from August 14, 1947,

[Ross Dolan]

I deal in crime.

[Narrator/Announcer]

The american broadcasting company presents I deal in crime, starring william gargan as ross dolan.

[Ross Dolan]

My name is Ross Dolan, and in case you're inclined to say so. What? Pull up a chair and listen to this. I've been a private investigator for 10 years. Except for a short hitch in Uncle Sugar's Navy, I've been a seaman on an lst, a gunner on a PT boat, and even made a parachute jump. That last I don't care to discuss. And just yesterday they decided to get along without me. So I found myself on my way back to my old hangout, my office in the Melrose Building. It was eight o' clock at night, raining cats, dogs, and several other forms of livestock. I shrugged my way through the main door. Nothing had changed. The foyer still had those silly gilt figurines chasing each other around the molding. The tile floor hadn't split any wider, and the paint was just as cracked as before. Even the elevator man hadn't changed. He just added another dozen wrinkles to that piece of saddle leather he called a face. I called fourth floor. His light blue eyes lit up with a friendly gleam you find in a pair of two cent marbles. The floor slid past as we went up. Finally the rickety old contraption slid to a stop. I got out and walked down the hall. I stopped at 404. On the door I read Ross Dolan printed in guilt letters, and below it, private Investigation. I was home again. The cab driver tried to jip me out of a buck. My shoes had sprung a leak in a puddle and that granite puss of an elevator man didn't even say hello. Yeah, I sure was home again. I slammed. The dog fell along the wall for the light switch. Just a moment. I looked out the window and got a panoramic gander at the town I knew so much about. Underneath all that neon and stucco it still looked cheap and vulgar, or rich and beautiful, depending on your viewpoint. Right now it looked cheap and vulgar. I lit the lights. The office was clean, thanks to a note I'd shot the building super a week before. I went through my mail. A couple of personal things, a bill from the Chronicle for my new ad. That's about all. I was about to take off my wet shoes when I heard the elevator going to a halt on my floor. Light footsteps came toward me. The door opened. She was the kind of a dame you see only in a dream. Tall, dark, and eyes that look as deep as a quarry pond on a quiet afternoon. This baby was class from head to foot and from elbow to elbow. She seemed surprised to see me and turned to go. Wait. What's your hurry? Sit down. Take it easy. Riding up and down that elevator is quite an emotional experience.

[Laura Shields]

I came up here to see Ross Dolan.

[Ross Dolan]

Well, that's fine. You came to the right place.

[Laura Shields]

But you're not Ross Dolan. You're a sailor.

[Ross Dolan]

You're wrong, beautiful. I am Ross Dolan, and I'm not a sailor. Uncle decided he could get along without me after today.

[Laura Shields]

Uncle?

[Ross Dolan]

Yeah, Uncle Sugar. Uncle Sam. Otherwise known as the United States.

[Laura Shields]

Oh, that.

[Ross Dolan]

That.

[Laura Shields]

Mr. Dolan, if you're just out of the service, you probably are in need of a job. Would you like to make some money?

[Ross Dolan]

I'm afraid I would. Money and I have been strangers lately.

[Laura Shields]

And should I employ you, can you furnish references?

[Ross Dolan]

Oh, get out your pencil, lady, and start writing them down. Or would you rather take a fast peek at my file cabinet? There. Well, there's the National Life, the American Bank, Johnny Briggs down at Homicide. Or shall I go on? There's 10 years of references in that gadget.

[Laura Shields]

What are your charges?

[Ross Dolan]

$25 a day plus expenses.

[Laura Shields]

I see.

[Ross Dolan]

Just what is this job? And not to be too pressing, just who are you?

[Laura Shields]

I'm Laura Shields, Mr. Dolan, and I want you to be my bodyguard.

[Ross Dolan]

Oh, now, look, if it's just one of those. Tail around with me and see the big bad man doesn't hurt Mama gags. You could do with a cheaper man. Get some character who's short on brains and long on muscle.

[Laura Shields]

You're talking yourself out of a job, Mr. Tower. Do you want it or don't you?

[Ross Dolan]

Definitely I do.

[Laura Shields]

That's better. My husband and I are living in our house at Seguna Beach. He's John Shields, a promoter.

[Ross Dolan]

Oh, I've heard of him.

[Laura Shields]

Could you come down tomorrow?

[Ross Dolan]

I guess so. Give me the morning to walk up two flights and save 10 and I'll be all set. Ought to be there around three or four.

[Laura Shields]

Fine, fine. I'll expect you. Here's a check for two weeks as a retainer.

[Ross Dolan]

You were pretty sure of me, weren't you, Mrs. Shields?

[Laura Shields]

Not at all. You'll notice that I've left the top line vacant.

[Ross Dolan]

Oh, yes, yes, so you have. Well, I'll see you tomorrow, Mrs. Shields. And by the way, just what, am I supposed to guard you against myself? Guard you against yourself? Suppose we drop the double talk and get down to straight language.

[Laura Shields]

You want it straight? Here it is. I'm afraid I'm going to kill my husband.

[Ross Dolan]

You don't need a private eye, lady. You need a doctor. Or the cops. Why don't you go to them?

[Laura Shields]

I couldn't go to the police. You see, I love my husband, but he's been playing around with someone else.

[Ross Dolan]

So it's like that.

[Laura Shields]

And I haven't been sleeping well recently. I've had dreams. I dream I'm killing him. Now I'm afraid.

[Ross Dolan]

Don't Worry about dreams, Mrs. Shields. They can't hang you for dreaming.

[Laura Shields]

But they've been getting worse. Do you want the job or not?

[Ross Dolan]

Well, it's okay by me. If there's any killing, it's not my funeral.

[Laura Shields]

A very misplaced sense of humor.

[Ross Dolan]

Sorry.

[Laura Shields]

When you get to Seguna beach tomorrow, register at the Seahorse Inn. There'll be a room waiting for you.

[Ross Dolan]

Say, that's a classy foxhole.

[Laura Shields]

And Mr. Dolan, I hope I can trust your discretion. If worried if what I was doing got out, people might think there was something wrong with me.

[Ross Dolan]

People knew what I was doing. They'd think there was something wrong with me too. I got the Sigona about three the next afternoon. It was a typical coast town. Filling stations, drugstores, hamburger stands, and some kids shivering in their shorts. I asked a question. Where can I find John Shields? His home is on the West Highway. If you want to see him in person, try Jarvis's Bluebird in across the street.

[Narrator/Announcer]

Thanks.

[Ross Dolan]

There was a trio there trying to play like Paul Whiteman. Looked like a pretty fair crib. I walked to a table and sat down. You couldn't miss Shields if you were wearing dark glasses on a foggy night. He was 6 3, wore dungarees and a sweatshirt and tried to look like a combination of Randolph Scott and Clark Gable. He didn't even come close. But there was something worth looking at. A baby was gabbing with. She looked the way most Hollywood blondes would give that peroxide to look like. And the guy who bought a waitress uniform certainly had a surveyor's eye. I sat there. I waited. I waited some more. Finally, I got tired of that. Hey, miss.

[Laura Shields]

Yes, sir?

[Ross Dolan]

I'll have a beer, please.

[Laura Shields]

Yes.

[Ross Dolan]

I watched her walk away and it was better than watching Army's backfield. She came back.

[Laura Shields]

That'll be 15 cents, please.

[Ross Dolan]

You from LA doing anything tonight?

[Laura Shields]

That'll be 15 cents, please.

[Ross Dolan]

Okay, honey. I'm not only set back on my heels, but my pass has been intercepted and run back for a touchdown.

[Laura Shields]

Thank you, sir.

[Ross Dolan]

This was the babe that Shields was nuts about. He hadn't taken his eyes off her during the whole sequence. I drank my beer and then I went away from there. I went down the west highway to look up. Mrs. Shields.

[Laura Shields]

Mr. Dublin. Oh, I'm so sorry I wasn't home when you called before, but I had some errands to run and. Come in, come in.

[Ross Dolan]

Thanks.

[Laura Shields]

And here, the living room. And sit down.

[Ross Dolan]

Have something.

[Laura Shields]

Drink? Sandwich? Cigar?

[Ross Dolan]

No, thanks.

[Laura Shields]

It's almost 7, and John will be home directly. When he comes, please pretend that you're an old friend of mine. You met me in, oh, San Francisco.

[Ross Dolan]

Okay by me.

[Laura Shields]

And I'll call you Ross. You must call me Laura. That will ease things up a bit. And you won't mind being an o. Friend.

[Ross Dolan]

Lady, please.

[Laura Shields]

What have you been doing the past four hours?

[Ross Dolan]

Oh, nothing much. Looking over Seguna Beach. Watching your husband, John.

[Laura Shields]

Was he down at that?

[Narrator/Announcer]

With that?

[Ross Dolan]

If you mean was he down at the Bluebird with the blonde? You can pick up your dots.

[Laura Shields]

There are times when I. Laura.

[Narrator/Announcer]

Hey, Laura, where are you? That's John.

[Ross Dolan]

Shh.

[Laura Shields]

And remember the time we had all those dances on the roof?

[Ross Dolan]

Well, well, well.

[Narrator/Announcer]

What's this?

[Ross Dolan]

Old home week?

[Laura Shields]

Oh, darling, this is an old friend from San Francisco, Ross Dolan. Ross, this is my husband, John.

[Ross Dolan]

Hiya, Ross. Hello. You better get going with the canopies and the drinks.

[Narrator/Announcer]

Laura.

[Ross Dolan]

We're having a party.

[Laura Shields]

Oh, darling. Again?

[Ross Dolan]

Yes, again. Invited. Sims the writer. Judd the golf pro. My dear, dear friend, Bill Jarvis. Jarvis? Yeah. You sort of met him this afternoon. He runs the Bluebird. Oh, yeah. Yeah. And old Phineas will be here too.

[Laura Shields]

Oh, John, please. Not Phineas.

[Ross Dolan]

Yeah, Phineas.

[Laura Shields]

Phineas Ross is the old man who lives in our beach shack down below us. John gives him a little money once in a while, but, oh, he's so dirty. John always teases the poor old thing.

[Ross Dolan]

Yes, sir. Oh, Phineas, here is my meat.

[Laura Shields]

Dear, please. Not with Ross here.

[Narrator/Announcer]

Who cares about him?

[Ross Dolan]

Your friend, not mine. Let him in, Lawrence, and break out the drinks.

[Laura Shields]

Oh, Mr. Jarvis. Come in.

[Ross Dolan]

Hello, Mr. Shield.

[Laura Shields]

And, Phineas, how nice to see you.

[Ross Dolan]

Glad to see you. You sure look pissed off, Mr. Shields. Never saw you looking better. Yep. Look as fit as A fiddly crab.

[Laura Shields]

Ross, this is Phineas Baxter. And this is Bill Jarvis.

[Ross Dolan]

Glad to know you. Howdy.

[Laura Shields]

This is Ross Dolan.

[Ross Dolan]

Seems to me I've seen you. Oh, yeah, yeah, yeah, sure. You were in my place today. Well, Phineas, tell me, how's the beach combing today, huh? Scraping much away from that old devil sea?

[Narrator/Announcer]

I do all right, Mr. Shields. Mr. Shield.

[Ross Dolan]

What kind of talk is that? You know Dolan.

[Narrator/Announcer]

Phineas here is something of a local celebrity.

[Ross Dolan]

He's an author.

[Laura Shields]

Jonathan Teague.

[Ross Dolan]

Yes, sir. He's got some weather folks in Sigourna. Haven't got.

[Narrator/Announcer]

Then who wants it?

[Ross Dolan]

You're. You're quite a comic, aren't you, Mr. Shields? Ever thought of going on the stage?

[Narrator/Announcer]

No, no, no, Mr. Dolens.

[Ross Dolan]

Mr. Shields just having a little mite of fun at my expense. I don't mind. Yeah, that's right, John. Always ribs old to the end.

[Narrator/Announcer]

Forget that, you fellas.

[Ross Dolan]

What did you mean by that crack, Dolan? No, nothing. Cracking down, huh? How'd you like a good punch in the nose?

[Laura Shields]

John, he's our guest.

[Ross Dolan]

He's your guest, not mine. I want you to make passes in the cafe this afternoon. Now I find him in the house making passes with my wife. You sure get around, don't you, Dolan? Put your hands down, Shields. You're making a chump of yourself. Is that so?

[Narrator/Announcer]

Well, take a look at me.

[Ross Dolan]

Well, if you want it that way.

[Laura Shields]

John. John, are you hurt?

[Ross Dolan]

I reckon he got on the wrong side of you, mister. Yeah, reckon he did. Should have known that my wrong side is my right side. You'd better trot down to the local barber shop with me, Dolan. That eye of yours is breaking out in more colors than the Sunday supplement. Old.

[Laura Shields]

Call me later, Ross. Say, in about half an hour,

[Ross Dolan]

Jarvis and I went down to the local barber. It turned out to be a pretty good Joe. In about an hour or so, my eye looked almost human. When the barber got through, I walked into the phone booth and got Mrs. Shields on the phone.

[Laura Shields]

Everything is under control, Ross.

[Ross Dolan]

How's Mr. Shields feeling?

[Laura Shields]

A little groggy, I guess. He took the car and went for a ride along the shore.

[Ross Dolan]

Want me to come up?

[Laura Shields]

No, no, I'm all right. Besides, there might be complications. I'll see you tomorrow.

[Ross Dolan]

Right. Good night.

[Laura Shields]

Good night, Ross. You better go to bed.

[Ross Dolan]

Yeah. Who's that?

[Narrator/Announcer]

Tony, Open up.

[Ross Dolan]

All right, all right. One o' clock in the morning. What a time to entertain a flat foot.

[Narrator/Announcer]

You doing?

[Ross Dolan]

That's what it says down on the register. Get dressed. What for, mister? I just got undressed. Or reverse it, chum. We want you down at the station. Well, that's a novelty. Whatever for?

[Narrator/Announcer]

Officer?

[Ross Dolan]

We want to talk to you about

[Narrator/Announcer]

a fellow named Shields.

[Ross Dolan]

Know him? Yep. Same tonight? Yep. He give you the black eye? Yep. Okay, that's all.

[Narrator/Announcer]

Come on.

[Ross Dolan]

What for? I want to talk to you about John Shields. We found him sitting in his car out of Dana Point. Why, the old rascal. Did he have a cuddly little blonde with him? We didn't see her. He was sitting there alone with a bullet hole in his temple. I guess I read too many darn detective stories while I was in the Navy because I got the idea that all small town coppers had red faces and big feet. Tommy works at nita. He was an ex homicide man from the big town police crew. He kept me in his office all night. And believe me, he knew all the questions. So you're a friend of the family? Is that Dolan? Yeah, you might say that. I might say it, but what I

[Narrator/Announcer]

want to know is what you might say.

[Ross Dolan]

What do you want me to do, works? Break out my other shop and tell you about my lifetime? Don't get smart with me, Dolan, because we know all about you. I'm blushing in shame. Well, if you are, it doesn't show. We know that you never met the Shields any place before. Not until the other day when Mrs. Shields went up to the city and hired. And what happened in the second chapter? We wonder why she hired. Now, Polly, you got me. I was hired to come down here and get a shiner for my husband. See it? Hmm. He's a good workman. Ever see this before? Ooh, 32 automatic. Mind if I pick? This is the baby that did it, huh? Never saw it before. I carry a.38 myself. I know. We found it when we went through your things. You boys don't miss a trick in Sigourna, do you? We can't afford to, darling. You can take your gun back. I presume you've got a permit to carry it. Didn't you find that too when you went through my stuff? Here's something for your book, Sonny. The only fingerprints on the death gun were John Shields. There are powder burns on his temple. That would make it suicide. Maybe. Except I remember that appearances aren't always

[Narrator/Announcer]

what they seem to be.

[Ross Dolan]

Ah, works, old boy. You've been cribbing from the copy books again. Okay, smart guy. Here's another thing. Don't leave town. Why? I wouldn't Dream of it. I love the quiet air here in Seguna Beach. Never mind, Weisenheimer. Beat it for now. And tell Mrs. Shields I won't need her anymore either. She's waiting outside. Oh, is she your guest too? You might call it that.

[Narrator/Announcer]

Dolan.

[Ross Dolan]

Yeah?

[Narrator/Announcer]

Keep your nose clean.

[Ross Dolan]

Oh, I do, pal. That's why I carry this box of Kleenex.

[Laura Shields]

What? Is everything all right?

[Ross Dolan]

Come on, Mrs. Shields, let's get out of here.

[Laura Shields]

Mr. Works, doesn't he?

[Ross Dolan]

He doesn't. Beautiful out.

[Laura Shields]

Oh, does he think it's murder?

[Ross Dolan]

Russ Works? He's not sure.

[Laura Shields]

Ross, what do you think?

[Ross Dolan]

Did your husband have a lot of enemies?

[Laura Shields]

More than he had friends. Sometimes I think everybody hated him. I've seen old Phineas so angry that he looked positively murderous.

[Ross Dolan]

I can imagine. What about the blonde at the saloon?

[Laura Shields]

John definitely promised me he was through with her. But still, I'm so confused. Maybe it was suicide after all.

[Ross Dolan]

Yeah, maybe it was. See you later, beautiful.

[Laura Shields]

Boss. Where are you going?

[Ross Dolan]

Where polite ladies wouldn't dream of going to Jarvis's Bluebird.

[Laura Shields]

The Bluebird? What for?

[Ross Dolan]

Have to see a man about a woman. Hiya, Jarvis. Well, well, fellas, this is my black eyed friend, Mr. Dolan. How's the glimmer this morning, Dolan? How does it look to you? It looks like it needs a drink. Have one. Thanks. Luck. And to you. Too bad about Shields, isn't it? Yeah, Mr. Shields is all broken up. He was such a husky guy. Never thought he'd bump himself off. No. Well, he and that blonde were pretty close. Yeah, very close. I wonder how she feels. Pretty bad, I imagine. No fun losing your boyfriend had it that bad, huh? Looked like Mrs. Shields was on the way out and she was in. Oh, what's her name? LeBlanc? Yeah, Betty Warner. Uh huh. Where is she now? I fired her. Uh huh. Where'd she live? I'm not sure. She moved recently. Why? Oh, nothing, nothing. Just thought she might be looking for a new playmate. You work fast, don't you? Why not? Now listen, darling. Play off that Warner Dane. She's smart. Also, she's tough. Jarvis was right. The Warner babe was smart. It took me half a morning to get her address. I finally located her in a motel out of town a ways. I took a cab, pulled up and started to look around.

[Narrator/Announcer]

What do you want, mister?

[Ross Dolan]

I'm looking for Betty Warner. What's her number?

[Narrator/Announcer]

No Betty Warner living here, mister.

[Ross Dolan]

Well, maybe she's using another name. She's a gal, about so tall with blond hair and she Walks like this

[Narrator/Announcer]

on you it don't look good.

[Ross Dolan]

Oh, there's a girl who might be your friend down in cabin eight. Thanks, pal.

[Narrator/Announcer]

What might your name be?

[Ross Dolan]

It might be Smith.

[Narrator/Announcer]

Yeah, that's what they all say.

[Ross Dolan]

I walked past cabin eight and around the back there was a rear entrance, a door with a window I could look through and see the Warner Bay packing. Like she had one minute to make the train. I opened the door and walked in.

[Laura Shields]

What do you want?

[Ross Dolan]

Me? Oh, I just want to make with a few words.

[Laura Shields]

If that's what you want. Go down to the library, get a dictionary. You can make with all the words

[Ross Dolan]

you like, but I want to talk to you.

[Laura Shields]

Look, Mr. Dolan, I don't like you. I haven't liked you since you walked in that beer joint and cracked wise. Now get out of here. I'm busy.

[Ross Dolan]

Leaving town?

[Laura Shields]

No, I'm just packing because I like the feel of leather.

[Ross Dolan]

Did you know that John Shields is dead? He was found in his car at Dana Point with a bullet hole in his head.

[Laura Shields]

No, it couldn't. Couldn't happen to him.

[Ross Dolan]

I told her the whole story. And she sat there chewing her lips like she was wearing chocolate instead of lipstick. In spite of the fear and trembling show she put on, she looked as guilty. Well, she calmed down after a while and we talked. We had a drink. We topped that one off with several more. Finally, she promised to hang around town if I promised to keep my mouth shut about where she was. It was a good trade. And pretty soon I. I went down to old Phineas Baxter's shack on the beach. It was dark. And he lift things up for me. Sure, I hated him, Sonny. I guess I hated him more than anybody in town. You're chatting your way right into the gas chamber. You think I did it, didn't I? Supposing I did. Supposing you just prove that little item. Skip it, Phineas. Why did you hate him? You know why. You saw the way he treated me last night. Well, Sonny, that ain't nothing compared to what really happened. No, you never knew I backed him when he first got to be one of them promoters, did you? Never knew it was old Phineas who

[Narrator/Announcer]

put up the money, did you?

[Ross Dolan]

I never knew that. He never paid me back a single century. Shields was quite a guy. He was a thieving rat, that's what it was. When I went busted and asked him for my money, he stood there laughing at me and gave me this old shack to live in and $10 a month for polishing his car. Never paid off, huh? John Shields never paid off anybody. And there's something I know about his marriage to. Hey, what's the matter with the lights? Where are your fuses? Right outside the door. Well, let's see whether one of them blew out or not. Boy, it's as dark as hades. Out. Oh, Mr. Donan. Mr. Don, where are you? Hey, what's going on around here? Turn off that flashlight. No, no, no, I won't tell. I'll just. I won't. The noise boomed around in my head and I was sure I was back on the beach at Okinawa with the guns going full blast. Then I opened one eye and set up in a hurry. I looked for old Phineas and found him lying on the sand next to me. Somebody had used an iron bar on him. He wasn't so nice to look at. I tried to remember what had happened just before the lights went out and remembered only one thing Phineas saying is something I know about his marriage. My gun was gone, but I still had my flashlight. I looked over Phineas's place very carefully. Oh, very carefully. And found what I was looking for. Also the old man's gun, which was something else I wanted. I staggered back downtown and made a long distance phone call. Then I went on an errand.

[Laura Shields]

Ross. Dolan.

[Ross Dolan]

What's wrong, baby? You seem surprised to see me.

[Laura Shields]

Rather late for a visit. Sides, I'm in seclusion.

[Ross Dolan]

Yeah, I'm beginning to get the drift of the whole thing. Where is he?

[Laura Shields]

There's no one here. Oh, you're drunk. Look at your head. It's all bloody. I'm gonna call the police.

[Ross Dolan]

You're not going anyplace. Where is he?

[Laura Shields]

Let go of me.

[Ross Dolan]

Let's drop the injured and grieving wife pose, huh, baby? Where's Jarvis?

[Laura Shields]

How do I know where Jarvis is? What are you talking about?

[Ross Dolan]

It's a little late, Mrs. Shields. When I looked around Phineas's shack, I found out all about it. I found the old man's scrapbook. Or didn't you know he kept one?

[Laura Shields]

Ross, listen, listen. Let me tell you all about it.

[Ross Dolan]

Uh, baby, let me tell you. You wanted to get rid of John Shields the worst way, and you hope to set me up as a fall guy. Or the dame down at Davis's joint. She could be a fall guy.

[Laura Shields]

You're crazy. I could have divorced him.

[Ross Dolan]

It doesn't gel, beautiful. You forget the scrapbook. There's a little item in there. It tells about a woman who was paroled from a mental hospital into the custody of a man who married her. A man who wouldn't divorce her because he was in love with her. Oh, yeah, Shields was a louse, all right, but he was in love with you. That's why he was making the big play for the Warner babe. Trying to make you jealous. You were nuts about Jarvis, who was an ex con. I could kill you like you knocked off Shields when he went for that ride. You were in the back seat. You fed him a mickey in his last drink. And you took his gun, held it in your handkerchief and shot him through the temple cross.

[Laura Shields]

Listen, Listen. I didn't do it. It was Jarvis. He did the whole thing. He planned it all by himself. He forced me to help him.

[Ross Dolan]

Okay, Laura. I might have known you'd full last reach, Dolan. I was afraid you weren't gonna make it, Jarvis. Or were you in the kitchen all the time? You're a pretty smart handy Andy, aren't you, Dolan? Just stand where you are. You were the one who knocked off the old man. You followed me, didn't you? You're talking, Dolan. And you killed old Phineas when you saw he was going to spill. I think I'm going to let you have it.

[Laura Shields]

No, you fool. Someone will hear the shot.

[Ross Dolan]

So what? I've got Dolan's gun. I'll hold it in a handkerchief like you did to your old man. Then you'll find the body. Just like that, huh? Yeah, just like that. Well, Dolan, it's been nice knowing you. Like they say in Spanish, hasta manana. Yeah, hasta manana. I was watching that trigger finger and when it started to whiten, I hit the floor, heaved sideways and gave it to him with the old man's gun. His bullets splashed into the carpet at my feet. I shot him through the heart. Custom. And Yanna always means until tomorrow. Except there'll be no tomorrow for Jarvis. His light was out for keeps. Well, after I turned Laura screaming and kicking over the workstone at the station and got myself cleared of any possible charges, I got a little sick at Seguna beach and thought I'd power back up to the city, stopping along the way for one or two and listen to a little music, even if it did come from a jukebox. Well, it was more fun listening to those corny pop tunes than you'd imagine, because I picked up the blonde, Betty Warner and took her along. And you know something? She wasn't nearly as tough as you'd imagine. Good night, folks. Don't forget to listen again next week, same time, when you will hear William Gargan say. I deal in crime.

[Narrator/Announcer]

I deal in crime. Starring William Gargan as Ross Dolan is

[Ross Dolan]

a special presentation of the American Broadcasting Company.

[Narrator/Announcer]

Written by Ted Hedegar, directed by Leonard Reeg, with original music composed and conducted by Skitch Henderson. Dresser Dalsted speaking. Ideal in Crime came to you from Hollywood.

[Ross Dolan]

When it comes to the business of making music, we know one fellow who's dean of them all, it's Paul Whiteman. Paul has picked some songs that have proved they're here to stay. The top tunes of yesterday. It's a show you'll enjoy called Forever Tops. This is abc, the American Broadcasting Company.

[Narrator/Announcer]

The Anchor Hawking Glass Corporation brings you crime photographer. Did you have a good time at the UN yesterday, Tony? Sure did. Casey even attended a committee meeting. But what did you say when they asked whom you represented? Why Anchor Hawking, the most famous name in glass. Good evening, ladies and gentlemen. This is Tony Marvin. Every week at this time, the Anchor Hawking Glass Corporation of Lancaster, Ohio and its more than 10,000 employees bring you another adventure of Casey, crime photographer, ace cameraman who covers the crime news of a great city. Written by Alonzo Dean Cole. Our adventure for tonight, the chivalrous gunman. Penrose Square in the daytime is a busy place. But now at night, lights shine behind a few windows of its old fashioned office and loft buildings. And a block away, a construction crew continues to drill and blast a new section of subway out of the city's rocky bed. In the darkened offices of the J.J. titus Company, whose business is private loans, there are three men. One is busily engaged at the door of a massive safe. Another holds a flashlight. The third lightly grasps a gun. How you coming, Gus? Almost ready to blow, Red. Hold that flashlight steady, will you, Ragger? Sure, sure, sure, Gus. Got the shakes pretty bad, haven't you? No, I'm all right. Ed, you're so scared I can hear your teeth right now. It's a guy's first job, Gus. Weren't you scared when you cracked your first safe? I was scared the first time I killed a guy. I've never been scared. How many men have you killed, Ed? Oh, you've got a lot to learn about the rackets, Riker. You must never ask personal questions. And you must cultivate a bad memory.

[Ross Dolan]

I will.

[Narrator/Announcer]

I got the charge in and all wired. It's ready to shoot after I rigged my patent. You still scared, Reggae? Well, sometimes people work in this building at night during overtime if the explosion is hurt. Nuts. Nobody paying attention to this blast. That subway Work going on outside makes a perfect sense. I hope we find all the dough in that safe. You say you'll be in it, Riker? There'll be at least $40,000 and maybe 50. I work in this office. I know what Titus keeps on hand. It better be right. I don't like to waste my time. I told you fellas how much money my boss kept here. I showed you how to beat the burglar. Sure, Riker, you've done your part. Back with the wall, guys. I'll touch her off right here. Here she goes. The door's blown clean off.

[Ross Dolan]

Sure, I know how to crack these boxes.

[Narrator/Announcer]

Now we'll see. Thing is full of dough. I told you. Hey, give me that suitcase. Help me load it. With this dough, you guys, you and Reich are loaded. I stay close to this hall door to watch and listen. I'm watching you guys, too. That. See, none of that dough sticks to your fingers. I want a full third of it. You'll get it, Ed. Sure I will. Big business and packages. There's all of 50,000 here. We'll count it up when we get to the hotel and make our split. Yeah, Shake it up. Now we've got it all. Hey, let's get out of here. You carry the bag. With my tools in, Riker. I'll take the money. Suitcases. Why can't I? Just tells you, Riker. Sure. Okay, let's get away. Quiet. Now. I'll open the door.

[Ross Dolan]

Come on.

[Narrator/Announcer]

There's no one in the hall. We'll go down the back stairs. Yeah. Then there's only a block to the car in our getaway. Quiet. Somebody opened a door down the hall there. That girl. Don't scream, babe. Don't.

[Laura Shields]

I won't. But why do you point that gun at me, Mr. Riker?

[Narrator/Announcer]

She recognizes me, Ed. She's a sonographer who works in that office. She'll tell. And if she told the cops on you, you tell about us. You gotta bump the skelet.

[Laura Shields]

No. I don't know what this is all about.

[Narrator/Announcer]

Please let her have it. This girl's coming with us. Coming with us? Where? I know a spot out in the suburbs.

[Laura Shields]

They're going to kill her.

[Narrator/Announcer]

Now, take it easy, baby. Come on. We're heading down the back stairs. Ed, you take it where you want to. Gus and I'll go to the place we agreed on. Take that dough with you. Yeah. No, no. Right. The Doe and me are going to stick together. Yeah. This is a good spot. Gus, stop the car. Okay.

[Laura Shields]

You're going to Kill me here.

[Narrator/Announcer]

Sorry, sister. You worked late in your office on the wrong nights. Let's get out.

[Laura Shields]

I'll never tell anybody that. It's not human. I swear I'll never tell Mr. Riker. You know me. I swear.

[Narrator/Announcer]

I. That's true. Just hit Ms. Burch. You know me and you could send me to prison. You're the guy who runs the biggest risk from this girl, right? Suppose you bump her off me? No, I couldn't kill anybody. Okay, yellow belly. How about you, Gus? You're strong for this bumper. I've done my end of the job tonight. This is your part, Ed. Yeah, that's so. Want to see me do it? No. Take her back there among those trees. Okay. Come on, sister.

[Laura Shields]

No. No.

[Narrator/Announcer]

No.

[Laura Shields]

Let go. Please. Please don't.

[Narrator/Announcer]

That's a girl. Just a few steps, babe. Away from the road where the trees are thick.

[Laura Shields]

That's it.

[Narrator/Announcer]

Away from those two yellow bellies. Oh, I'm not gonna hurt you.

[Laura Shields]

You're not quiet.

[Narrator/Announcer]

I've been sizing you up and I figured you'd stand by a guy who stood by you.

[Laura Shields]

I swear I'll never tell. I. I swear.

[Narrator/Announcer]

That don't convince me. I go by how I feel about things. Besides, I never killed a woman.

[Laura Shields]

Let me go, huh?

[Narrator/Announcer]

Now, candid. Listen. You follow this path for about a quarter mile. You'll come out on Weldon Spring Road where you can flag a bus back to town. All right, get going.

[Laura Shields]

Miss you.

[Narrator/Announcer]

That's all. I'll fire a shot or two after you start for the benefit of those mugs back there. So long.

[Laura Shields]

Thanks. Thanks. I'll never forget you.

[Narrator/Announcer]

What I expect you to do is forget me. Get on your way.

[Laura Shields]

I. Goodbye. You can depend on me.

[Ross Dolan]

A swell double cross.

[Narrator/Announcer]

Hey, what does. I didn't trust you with that money. We followed you and heard everything you said to that girl. You did right, kid. We did. And you have a gat in your mitt, huh, Gus?

[Ross Dolan]

Yeah.

[Narrator/Announcer]

Guns aren't your racket, pal. You're a safe cracker.

[Ross Dolan]

I'll use a gat when I have to pay off a double crosser. That gal is never going to reach the bus line.

[Narrator/Announcer]

And as for you, what about me?

[Ross Dolan]

I'm giving you guess.

[Narrator/Announcer]

No, you don't. I said guns weren't your racket, Gus. You're too slow on the trigger. You. You killed him. I think so. Riker. Let's see. Uh huh. He's dead. You never saw a guy get it before, I guess. Don't look at me like that, Ed. Don't guts, have you? Right. You don't belong in the big leagues. And you wouldn't know what to do with big dough. So I'm taking all of what we got tonight.

[Laura Shields]

No.

[Narrator/Announcer]

Not even a killer like you is gonna take it from me. Shouldn't have reached for the gad. Poor Gus. Drop right there. Guns aren't your racket either. Our story will continue in just a moment. For more than 125 years, we've all enjoyed good, wholesome beer and ale in glass bottles. Why? Because glass and only glass can bring you beer and ale as it comes from the brewery, unaffected by any foreign taste or flavor. You can. Yes, glass bottles and only glass bottles can bring you beer as it's meant to taste. Beer that's brewery bright. And here at last is a new kind of bottle. A glass bottle that's different. It requires no deposit, no return to the store. When the bottle is empty, just throw it away. It's light as a feather, sturdy and compact. It saves space in the icebox. It belongs on any table. It's a natural for picnics. And brother, what flavor that real brewery flavor, protected by glass as only glass can protect it. Yes, the revolutionary new Anchor Glass One Way no Deposit bottle is sweeping America. For flavor, demand beer in glass bottles. For convenience, demand your favorite brand in the new Anchor Glass One Way no Deposit bottle, a product of Anchor Hawking, the most famous name in glass. That's. That's how it happened, Captain Logan. I tried to tell you everything. No, I.

[Laura Shields]

No,

[Narrator/Announcer]

that's the end, Captain. Riker's dead, Doctor. Yes. It's a miracle he lived as long as he did. Well, Logan, you got a big break. He gave you a pretty complete story before he passed out. Here's a swell break.

[Laura Shields]

You see, but Riker didn't identify the killer for you, Captain. He said he knew him only as Ed. And the description he gave you fits thousands of men.

[Narrator/Announcer]

Well, at least Riker gave me something to work on, Ms. Williams. And there's this stuff, Francis Birch, that the gunman turned loose. Logan, do you go for that part of Riker's story? A professional trigger man. So chivalrous he takes a chance on his own hide by letting a witness go free. That's hard for me to swallow.

[Ross Dolan]

How screwy as this thing sounds, I

[Narrator/Announcer]

think she got away safely. She'll be able to give me a good description of his killer. Women remember men. If the killer did let her go, and if she has any sense of gratitude, you're not going to get a thing out of her when she learns that her chivalrous gunman killed. Killed two guys tonight. Well, as a reputable citizen, I'll bet she won't say a thing. We'll see. I'm starting to look for Ms. Burch right now.

[Laura Shields]

Yes, Captain Logan. The man let me go. He said he couldn't kill a woman. I ran through the woods, caught a bus, came home here.

[Narrator/Announcer]

He didn't follow you?

[Laura Shields]

No. Captain Logan.

[Narrator/Announcer]

This is certainly a hot one, Annie.

[Laura Shields]

I'll say. Now, I've told you all I know. I've had a terrible experience tonight. Please leave me alone.

[Narrator/Announcer]

I'm sorry, Ms. Burch, but you haven't yet given me a description of this man called Ed.

[Laura Shields]

I can't describe him, Captain. It was dark all the time I was with him and I was so frightened.

[Narrator/Announcer]

You must have some idea.

[Laura Shields]

I haven't. I don't remember a single detail of the man's appearance.

[Narrator/Announcer]

Because you're too grateful to remember.

[Laura Shields]

I just don't remember.

[Narrator/Announcer]

Ms. Burch, this man's a professional killer. He murdered two men tonight. It was a cold blooded murder and it was a double cross.

[Ross Dolan]

It's your duty to assist the police

[Narrator/Announcer]

in putting him where he belongs.

[Laura Shields]

Duty can't make me tell you something I don't know. I wouldn't recognize him if he walked into this room. I don't know him.

[Narrator/Announcer]

Okay, that's the way you want it. I have to hold you as a material and unwilling witness. Sergeant, take this young lady to headquarters.

[Laura Shields]

I mean, I'll be a prisoner.

[Narrator/Announcer]

You'll be held for further questioning. Does the prospect improve your memory?

[Laura Shields]

No, Captain. I'm ready to go, Sergeant.

[Narrator/Announcer]

Guess you win your bet, Casey. Hmm. Sorry, pal. I hoped I'd lose. Mr. Ebersole to everyone who's come into this bar. I've been predicting that this here baseball season is going to end with a big surprise.

[Laura Shields]

Hello, Ethelbert Casey.

[Narrator/Announcer]

Ms. Williams. Excuse me, Mr. Ebersole. Where you been all day? Hang around. Police headquarters.

[Laura Shields]

Who's that guy? We're going back there in a few minutes.

[Narrator/Announcer]

Yeah, We've only got time for a small bottle of beer a piece, so give us some action, Ethelbert.

[Ross Dolan]

Come on up.

[Narrator/Announcer]

You sticking close to headquarters? Waiting for a break in that chivalrous gunman case?

[Laura Shields]

Yeah, yeah, things swell. Newspaper copy. The women especially are eating it up.

[Narrator/Announcer]

Well, I'll say they are, Ms. Williams, every other Femi who comes in here is talking about the killer who wouldn't hurt a lady. I think most of them are jealous of that Birch gal. They'd like to have met such a romantical character themselves. Oh, romantical character. Nuts Effelbert, those cookies don't do anything romantic or chivalrous unless they got a very cold, hard boiled reason for it. She still ain't described or identified the killer, has she? Well, no.

[Laura Shields]

Which seems to prove, Mr. Casey, that he didn't take very big chances. He was simply an excellent judge of character.

[Narrator/Announcer]

Maybe the thing still has a phony smell to me. I don't see why. Casey, he sized up the gal and figured she wouldn't rat on anyone who'd done her a big favor. That's all there is to it. Not the way it looks. All right. I suppose the cops have investigated the Birch gal pretty thorough, huh?

[Laura Shields]

Very thoroughly. And she's just what she seems to be. A plain looking, capable stenographer. And her reputation is a one.

[Narrator/Announcer]

But Annie, nobody knows her really well. She has no close gal friends. She never went out much with guys. The cops didn't find anybody she'd ever been confidential with.

[Laura Shields]

Well, so what? Girls in a wolf town like this are smart to keep. To keep to themselves.

[Narrator/Announcer]

Yeah, she worked overtime on the night of the robbery at her own request, Danny.

[Laura Shields]

And her boss says that she's done that many times before.

[Narrator/Announcer]

Yeah, I know you got suspicions of Ms. Burch, Casey? Well, I had, pal, but there seems to be no grounds for him.

[Laura Shields]

Casey had an elaborate theory that the appearance of Ms. Burch after the Titus safe was robbed was timed. Timed to make two of the robbers, Riker and Gus, agree to a change in plan.

[Narrator/Announcer]

See, they'd intended to split the doe in a downtown hotel. Francis Burch provided an excuse for this gunman Ed to get them and the stolen money out of a lonely spot in the woods where he could bump them off and take the entire hole. You figured Ms. Burch and that Ed were working together, huh? Well, it was a theory. You mean a hunch. Yeah. Only Logan can't find any connection between the Birch gal and any crooks. I don't think it was a very hot hunt theory anyways. I guess Captain Logan's been rounding up a lot of suspects. Every guy known to have associated with a safe cracker Gus has been brought in for questioning. The cops are still looking for more. Oh, well, Annie, come on. Let's get back to headquarters. If anything breaks in this case, we want to be around.

[Laura Shields]

And we'd better be. Our city desk will have our scalp.

[Narrator/Announcer]

You know what I predict about this case, pal? What? It'll either be solved. Yeah, or it'll always remain a mystery. You and Ms. Williams got here just in time, Casey. My boys have brought in another suspect. And so. Who is he? A rob from Minneapolis named George Neal. Been booked for several trigger jobs in the Middle west, but always got out from under.

[Ross Dolan]

He's been seen several times with Gus

[Narrator/Announcer]

Lesser during the past couple of weeks. And he just might be Ed.

[Laura Shields]

Is the name Ed one of George Neal's aliases, Captain?

[Narrator/Announcer]

No, not that we know of, Ms. Wiggins. But that's a minor detail. An experienced crook wouldn't let an amateur like Riker know his real name or one of his usual aliases. Bring him in, Sergeant. Yes, sir.

[Ross Dolan]

In a minute or two, I'll have

[Narrator/Announcer]

Ms. Burch in to give him the once over.

[Laura Shields]

Oh, she won't identify anyone for you.

[Narrator/Announcer]

I watch that gal very closely when she meets the suspect, Ms. Williams. When she sees the right one, she may tell me more than she intends to.

[Laura Shields]

Oh, you think she'll give herself and him away?

[Narrator/Announcer]

Could be. Now, you and Casey keep your eyes open. Let me handle this.

[Laura Shields]

Okay.

[Narrator/Announcer]

Here's Neil, Captain. Oh, come in, Neil. Oh, thanks. I have a chair. You're too good to me. Well, what's this pickup all about, Captain?

[Ross Dolan]

When did you leave Minneapolis, Neil?

[Narrator/Announcer]

About six months ago. Been operating in this town ever since. I don't know what you mean by operating. You did quite a little gun work out in the Middle West. Oh, I wouldn't say that. I fell up against a couple of phony raps that weren't followed by conviction. Yeah, yeah, you pulled some jobs in this town, Neil. Have I? Prove it. I'm gonna try. Bring in our witness, Sergeant.

[Ross Dolan]

Yes, sir.

[Narrator/Announcer]

You have a witness? Yeah. There she is, Captain.

[Laura Shields]

What do you want of me now, Captain?

[Narrator/Announcer]

Take a look at that man, Ms. Birch. Well, have you ever seen him before?

[Laura Shields]

No.

[Narrator/Announcer]

You're certain?

[Laura Shields]

Certain.

[Narrator/Announcer]

That's all. Take her back to her quarters, Sergeant. Yes, sir. Your witness didn't know me, Captain. I noticed that, Neil. Am I at liberty to go now? You are being held for questioning. Take charge of me, Martin. Come on, Neil. Okay. These cops certainly waste an awful lot of time having a thing on me, Ms. Williams. Casey, you notice a change in that gal when she saw Neil?

[Laura Shields]

Yes, Captain. Her voice was calm enough. But did you see how she clenched her hand?

[Narrator/Announcer]

Did you get it too, Casey? I wasn't watching that gal, Logan. What? Watching Casey? I had my eyes on Neil. He wasn't at all afraid of Ms. Burch. You mean you think he's not our guy? I'm sure he is our guy. I don't get it.

[Laura Shields]

No, neither do I.

[Narrator/Announcer]

All right. Now, Neil was pretty tense at first because you just might have had the goods on him for any one of a dozen jobs. Well, that tension disappeared when he saw Francis Burch. All he showed then was relief.

[Laura Shields]

But Casey, if he's Ed, he'd have had the opposite reaction.

[Narrator/Announcer]

Of course, Ed met this gal only once. He couldn't be sure she wouldn't send him to the hot seat. Right. He couldn't be sure if he'd met her only once.

[Ross Dolan]

Are you going back to your cockeyed

[Narrator/Announcer]

theory of collusion between that respectable woman and a professional Rodman? Neil's a good looking guy. He could have made a play for her after he learned about the big doe in Titus's safe. And she could have gone so overboard on him, Logan, that she'd play along with a scheme. Even a scheme that involved robbery and murder. Well, that's just a hunch, pal.

[Laura Shields]

Well, there's no way to prove a hunch of that kind, Casey. She'll just keep on refusing to identify Ed.

[Narrator/Announcer]

I think there's a way to prove it. Oh, women are jealous, Logan. And when they go all out for a guy, they demand a lot in return. Yeah.

[Laura Shields]

How do you know so much about women, Casey?

[Narrator/Announcer]

I've read about a manny in books.

[Laura Shields]

Hmm.

[Ross Dolan]

Say, we'll try the old green eyed monster gag, Casey.

[Laura Shields]

Now what on earth?

[Narrator/Announcer]

You'll find out because you're going to help work it, Ms. Williams. Now, here's what we'll do. Beginning tomorrow, George Neal will receive special privileges in jail. He'll be allowed to have visitors privately. And after we're sure he's enjoying his privileges, Ms. Burch's quarters in the women's wing will be changed so that she'll have a fine view of the private visiting room. And then, Ms. Williams, you come in.

[Laura Shields]

Come in, Ms. Williams. Nice of you to visit me. It seems the least I can do, Ms. Burch. You must be terribly unhappy here. That's an understatement. Not in a barred cell. But I'm in a jail. I'm a prisoner. How much longer are they going to hold me as a witness against a man they haven't arrested and whom I can't identify if they do? I don't know, Ms. Burch, but they're making things more comfortable for you. They've given you nicer quarters than you had before. Yes, they moved me in here today.

[Narrator/Announcer]

Huh.

[Laura Shields]

Well, this would be quite a pleasant room if it weren't inside a jail? Yes, but it is. Well, that's interesting. View from this window. Interesting. Barred windows, stone walls. No, no. Haven't you noticed? The visiting rooms there are a few floors below. Across the court. You can see the real prisoners with their relatives and friends. That'll be fun. That. That fellow Neil is in one of the rooms now. Neil? He's a good looking guy. One of the men that you couldn't identify, remember? No. I've been asked to identify so many men. Look, he's got a nice looking girl visiting him. Yes, I see. She looks a little too blonde to be the real thing. Definitely peroxide. I don't know what there is about blondes, real or phony, but they sure appeal to men. Who do you suppose that woman is? I don't know. She's probably a newspaper reporter like you. Interviewing. No, I know all the news gals in town and she's not one of us. Oh, the guards come in to break up their visit. Oh, Neil must be a close friend. She's kissing him goodbye. So I see. Look at that. Oh, the guards shoot him out. Show's over. Ms. Williams? Mm? I wonder if you'd find out for me. Well, what, Ms. Burch? Nothing. Never mind. Oh, hello, Ms. Williams. Hi there. I meant to come back sooner, but I've been so busy. Good to see you. It's good to see anyone who isn't a matron or a policeman. You don't look very well. Have you been sick? I haven't been sleeping well. I don't wonder you're not really a prisoner, but just. I'm in a prison. I'm in a prison. Well, I. I wish I could do something for you. You can. Ms. Williams? Yes? Nothing. You know, I've had some amusement watching people in that village visitors room you pointed out to me. That man, Neil, I think you said his name was. Oh, yes. Yeah. Well, do you know that same blonde woman's visited him every day? She must be a relative, don't you think? She's a relative, all right. I was curious enough to ask about her. She's his wife. His wife? Yeah, as she flew on here from Minneapolis. Ms. Burch. What's the matter? He's married. He was married when he met me. Married when he made me do the things I did for him. All Wright, too, can play his rotten game. Get captain Logan. I'll tell him what he wants to know. George Neal is Ed. He's that chivalrous gunman. He's the murderer I love. He's the man who promised to marry me.

[Narrator/Announcer]

Fine.

[Laura Shields]

I guess you've heard everything you need to. Captain Logan.

[Narrator/Announcer]

We heard Ms. Williams. And Casey wins another bet. This one, Logan, I didn't want to lose. We'll join the crowd at the Blue Note in just a moment. It's a funny thing, but nobody ever seems to have enough glasses. Attractive glasses. Big, generous sized glasses. Particularly on these hot summer days and nights when you serve so much iced tea and lemonade. So why not put this note right on the top of your Weekend shopping list? 6 oversized sunburst crystal glasses for long drinks of all kinds. These new sunburst crystal glasses cost only 10 cents apiece at your favorite 5 and 10 cent store or. Or any other store selling household glass. They're crystal. Yes. Genuine crystal with a beauty that can be compared only to rare and costly hand cut crystal. The kind that mothers hand down to their daughters. Yet these sunburst crystal glasses cost only 10 cents apiece. Only 60 cents for a half dozen. Slightly more in distant cities. Now you'll recognize them immediately by the distinctive sunburst design, but be sure to ask for sunburst crystal by name. Sunburst crystal, product of Anchor Hawking, the most famous name in glass. The blonde tomato Ms. Bridge saw with Neil was just a Police Stooge, huh, Ms. Williams?

[Laura Shields]

That's right, Ethelbert.

[Narrator/Announcer]

Yeah, great job she has there. After a couple of visits, their little get together was worth watching. Those visits will put the chivalrous gunman into the hot seat.

[Laura Shields]

Yes, Francis Burch has given the DA a detailed account of her association with Neil before the robbery and how they put on that act in the woods.

[Narrator/Announcer]

I still can't understand why he needed her. As a excuse to get his partners in crime out in their mood. Well, Ethelbert, Neil has a screwy quirk of character, pal. Unlike most professional gunmen, he couldn't shoot a guy unless he had some pretense of self defense. So he planned things so both Gus and Riker tried to get him before he got them. Hmm.

[Laura Shields]

Pure vanity, Ethelbert. A manifestation of the protective ego with which all males cover their shortcomings.

[Narrator/Announcer]

Say, Annie, how do you know so much about men?

[Laura Shields]

Not from reading books, Mr. Casey.

[Narrator/Announcer]

Crime photographer starring Stotts Cotsworth as Casey is brought to you each Thursday by the Anchor Hocking Glass Corporation, makers of Fire King oven glass. Anchor glass containers, Anchor caps and closures, all products of Anchor Hawking, the most famous name in glass. Crime Photographer is directed by John Deetz. The original music is by Archie Blair and The program features Ms. Jan Minor as Anne and John Gibson as Ethelbert. Herman Chittison is the Blue Note pianist. This is Tony Marvin saying good night for the anchor Hawking Glass Corporation of Lancaster, Ohio. With offices in all principal cities of the United States and Canada. This is cbs, the Columbia Broadcasting System. You'll find more from Ideal and Crime, Casey, Crime Photographer, Case Closed and all of the Relic Radio shows at the website relicradio.com you'll find our shoutcast stream there as well. And you can donate through that website if you'd like to help support this and all of the shows. My thanks as always to those who have and thanks for joining me this week. I'll be back next Wednesday with the private files of Rex Saunders and Pursuit in our next episode of Case Closed.