Secrets Of Scotland Yard and The Line-Up

Summary

Case Closed! (RelicRadio.com)

Episode: Secrets Of Scotland Yard & The Line-Up
Date: April 29, 2026

Episode Overview

This episode of Case Closed! features two classic crime dramas from the golden age of radio: Secrets of Scotland Yard ("The Case of Robert Wood") and The Line-Up ("The Holstetter Case," originally aired December 21, 1950). Each story delves deeply into crime, justice, and the human side of law enforcement. The first half recounts a real-life British murder mystery, while the second follows police procedure in the aftermath of a violent American bank robbery.

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Segment 1: Secrets Of Scotland Yard – "The Case of Robert Wood"

(00:10–26:09)

Main Theme

A dramatic retelling of the true story of the Camden Town Murder (1907), focusing on the investigation and trial of Robert Wood, a mild-mannered artist accused of killing Phyllis Dimmock. The episode explores the fragile nature of justice and the intricacies of criminal investigation and defense.

Key Discussion Points & Story Progression

• Introduction to the Nature of Justice
  Clive Brook (Narrator) ponders the delicate balance of guilt, innocence, and the factors influencing a jury:

  “On what does that difference depend... The attraction or aversion of the jury to the man in the dock? Or perhaps the judge's breakfast?” (01:47)

• The Murder Discovery

  • Bertram Shaw, returning home, finds his fiancée Phyllis Dimmock dead (03:07).
  • Immediate suspicion falls upon her circle and the “shabby, genteel” artist seen with her (03:56, 06:35).

• Investigation Developments

  • Inspector Neal finds a crucial postcard with a sketch—a clue left by the murderer (07:25–08:38).
  • The handwriting is recognized by artist’s model Ruby Young, former lover of Robert Wood (08:50–09:32).
  • Ruby is torn in loyalty and ultimately gives information to the police, leading to Wood’s arrest (10:04–12:25).
  • Wood tries to fabricate an alibi with Ruby’s help, but she reveals the truth (10:39–11:09).

• Trial and the “Unraveling” of Evidence

  • Prosecution’s case relies heavily on circumstantial evidence and questionable witness identification (13:05–16:12).
  • Defense counsel, Marshall Hall, dismantles the reliability of the main witnesses, notably exposing weaknesses in McGowan’s account (16:12–19:36).
  • Marshall Hall critiques the alibi, emphasizing that an innocent man might construct a faulty alibi out of fear (20:28).

• The Final Arguments and Verdict

  • Defense: “You cannot hang a man on evidence such as that. I defy you to do it.” (21:40)
  • The judge’s dramatic reversal, instructing the jury to give “benefit of the doubt” if not convinced (23:47).
  • Jury delivers a “Not Guilty” verdict, leading to chaotic but joyful courtroom scenes (24:30).
  • Wood’s reaction is subdued, even sorrowful:

    “I was not relieved. I felt depressed. I believe I was the very person who did not rejoice at the result.” (25:37)

Notable Quotes & Moments

• On the weight of circumstantial evidence

  “Scotland Yard merely presents the facts without question. It presents the truth, not necessarily the whole truth that must come out in court.” (14:43)

• Defense demolishing witness reliability:

  “You were not so sly... Have you no regard for human life?” (16:59)

• Dramatic court climax

  “You cannot hang a man on evidence such as that. I defy you to do it.” (21:40)

• After the verdict

  “I was not relieved. I felt depressed... I was the very person who did not rejoice at the result.” (25:37)

Important Timestamps

• 01:47 — Justice & the “scales” of court
• 05:16 — Inspector Neal begins the investigation
• 07:25 — Discovery of critical postcard
• 10:04–12:25 — Ruby Young’s crucial role and Wood’s arrest
• 16:12–19:36 — Cross-examination and defense strategy
• 23:47 — Judge’s instruction to jury
• 24:30 — Not guilty verdict and aftermath

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Segment 2: The Line-Up – "The Holstetter Case"

(28:00–53:50)

Main Theme

A gritty police procedural chronicling the methodical hunt for violent bank robbers. The episode immerses listeners in day-to-day detective work, suspect interviews, and the tense pursuit of dangerous criminals.

Key Discussion Points & Story Progression

• Opening—The Line-Up Explained

  • Sergeant Matt Grip introduces the process by which witnesses identify suspects (28:45).

• Case Introduction

  • Five men rob a bank, escape with ~$100,000; shootout leaves robber Bulatti and a guard near death (33:10).
  • The investigation focuses on identifying and tracking down the Holstetter brothers, their gang, and the getaway vehicle—a green sedan (33:09–34:53).

• Investigative Breaks

  • No immediate witness identification in line-up (35:55).
  • Officers interview informants (“stoolies”) to glean leads: Bert, Tony, and Amos, none of whom give substantial help, until Amos mentions a possible associate, Frank Merritt, from Denver in a green Chrysler sedan (38:30–40:31).

• Detective Frustration and Persistence

  • Detectives express weariness: “I’m getting sick of this. We get a lead and we sit around for two days.” (40:33)
  • Discovery of the suspect vehicle, repainted black, in a garage (43:03–44:38).

• Sting Operation and Interrogation

  • Detectives stake out the garage, capture Frank Merritt as he picks up the car (46:09–47:54).
  • Hardboiled interrogation style:

    “This is a murder rap, Merritt. That bank guard died. You can’t do this to me, you, Honor. My ratement is enough to execute you.” (47:56)

  • Under pressure, Merritt gives up the location of the Holstetter brothers and the rest of the gang (49:31).

• Climax—The Final Showdown

  • Police set a trap at the gang’s hideout in the freight yards. As suspects approach the car, officers flood the area with lights and open fire as the suspects try to run (51:29–52:35).
  • Leon Holstetter is found dead after a chase through a culvert (53:33).

Notable Quotes & Moments

• On the challenge of police work

  “I always thought we had a pretty efficient force... They’re somewhere in the city. We’ve got them trapped and we don’t know it. You know something? Neither do they.” (41:53–42:01)

• Sergeant’s dry, world-weary tone:

  “I hate working with those guys sometimes. You got a cigarette?” (38:23)

• On mounting pressure and exhaustion:

  “I’m a little tired. Yeah, me too. Want to stop and get some dinner?” (43:03)

Important Timestamps

• 28:45 — Sergeant Grip explains the lineup
• 33:10 — Details of the bank robbery emerge
• 35:55–40:31 — Witness frustration and informant interviews
• 43:03–44:38 — Discovery of suspect vehicle
• 46:09–47:54 — Merritt captured, interrogated
• 49:31 — Merritt gives up the gang
• 51:29–52:55 — Sting at the freight yard, shootout, and final pursuit

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Memorable Episode Elements

• Cross-examination and the fragility of justice (secrets of Scotland Yard):
  The show’s depiction of how easily witness testimony and circumstantial evidence can be dismantled, skillfully dramatized in court exchanges.
• Atmosphere and Realism (The Line-Up):
  The immersive sound, dialogue, and methodical pacing provide an authentic-feeling look inside mid-20th-century police work.
• Human Drama:
  Ruby Young’s dilemma (09:32–12:25), the despair of Robert Wood (25:37), and the resigned fatigue of working detectives in the The Line-Up (41:53), all ground the stories in deep emotion.

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Conclusion

This Case Closed! episode stands out for its compelling exploration of historic and fictional crime and justice, framed within atmospheric and superbly acted radio dramas. The first segment probes the uncertainties and pitfalls of criminal evidence, while the second offers a hard-driving, realistic manhunt in postwar America. Both stories highlight not just the criminal case, but the fallibility and humanity of everyone involved—from the suspect artist to world-weary detectives.

For more classic mysteries and cases, visit relicradio.com.

Transcript

[Case Closed Host]

This is Case Closed Crime stories from the golden age of radio. Welcome back to case closed, 60 minutes of old Time Radio crime with a new episode every Wednesday. We're going to begin this week with the secrets of Scotland Yard in the case of Robert Wood. That's followed up by the lineup in the Holstetter case. That story aired December 21, 1950.

[Lieutenant Ben Guthrie]

Sam, How do you do?

[Narrator / Clive Brook]

This is Ty Brook. I suppose you've often wondered if innocent men ever had and if guilty men are ever set free. But have you considered how delicate are the scales of justice? Upon how little the balance sometimes depends. Those cases in which, after the last moment, the verdict of the jury is in doubt, and yet the difference between guilty and not guilty means life or death to the man who stands in the dock. On what does that difference depend, apart from the obvious factors, of course. Does it depend upon the degree of counsel's conviction of his client's innocence? The ability of the prosecution of the defence? The attraction or aversion of the jury to the man in the dock? Or perhaps the judge's breakfast on the day of the trial? Let us consider the case of Robert Wood, the shabby, genteel artist, as somebody called it. He was brought to the Old Bailey 40 years ago because of a little sketch he drew on a postcard. You know what doodling is, don't you? Most of us do it. I'm drawing one while I'm talking. We draw peculiar designs on a blotting pad. But Robert Wood, being an artist, drew much better doodles than you or I. In fact, some of them turned into actual sketches. Robert Wood was a super doodler. He doodled in the dark. It is noon on September 12, 1907.

[Inspector Neal]

A Thursday.

[Narrator / Clive Brook]

Bertram Shaw, a young railway cook who lived in Camden Town, London, is returning from night duty on the railway. He has just called on his mother, and with her he's now proceeding to his flat at 29St Paul's Road. They don't speak very much, but his mother notices something odd in the young man's behavior.

[Ruby Young]

What's the matter, Bertie? You really tired? You seem all on him.

[Lieutenant Ben Guthrie]

You are.

[Narrator / Clive Brook]

Mother, I'll do it, all right?

[Ruby Young]

Oh, come on now.

[Sergeant Matt Grip]

You can't hide anything from your own mum.

[Ruby Young]

What is it, son?

[Inspector Neal]

Well, I'm taking you back to my flat today for a special reason. I'm begging you to meet my fiance.

[Ruby Young]

Your father? But, Bert. But when did you get engaged?

[Inspector Neal]

We only decided yesterday.

[Narrator / Clive Brook]

Well, that is.

[Lieutenant Ben Guthrie]

Who is she?

[Inspector Neal]

Have you known her longing? Yes. Well, you see, her name's Emily Dimmock. And everybody calls her Phyllis.

[Ruby Young]

So she's at your fat mother.

[Inspector Neal]

Yes, and sleepy. Nice to her when you meet her mother. She's had a hard time of it all her life. And she really is a sweetest girl. You'll see for yourself.

[Narrator / Clive Brook]

Actually, Bertram Shaw and Phyllis Dimmock were known as Mr. And Mrs. Shaw in the rather disreputable neighborhood in which they lived. What the young man did not know was that his intended bride was taking advantage of his night work on the railway to live a very different life on her own. With his mother beside him and anxious to get the occasion over and done with, young Shaw hurriedly entered his flat. There he was, brought to a standstill. His beloved Phyllis was lying on the bed in a peaceful attitude of repose. But something was quite definitely wrong. You see, her head had been cuddled.

[Inspector Neal]

Cid Inspector Neal here. Oh, yes, Doctor. I'll examine the body. Can I have anything? What time would you say the murder took place? 3 o' clock this morning. Yes, well, near enough, anyway. Sleep watching. Right, Otto, that's all for the moment. Right, thank you. Goodbye. Tim. Sir. Tim, take two men with you and question everyone you see around St. Paul's Road where this Dimmock woman lives. She was known as Phyllis or Mrs. Shaw. Try the pubs in the district. She was that type. Yes, sir. And I want to know everything you can find out about her. But especially I want to know her movements for the last four or five days. Shouldn't be difficult. She was well known in the neighborhood.

[Narrator / Clive Brook]

Inspector Neil had practically nothing to work on. But late that afternoon a ship's cook was brought in to see him.

[Inspector Neal]

You knew the deceased?

[Sergeant Matt Grip]

Yes.

[Inspector Neal]

Well, I passed three nights at her place. Sun man and two Sun Man. Oh, I see. And what about Web last night? Now, I was with the bloke I shaved this with. I was serving some bear orphan at cards. We was in the Eagle. Oh, take that, will you? See, you were at the Eagle last night and you didn't see this woman? Oh, I seen Phyllis. Was he with any one?

[Narrator / Clive Brook]

Yes.

[Ruby Young]

Young chap.

[Inspector Neal]

Fellow his name. Seen him together before, as a matter of fact, at the Eagle and the Rising Sun. What was the man like? Young, nice looking, in a way. Didn't look very strong. Sort of shabby, genteel. Shabby genteel. Now, can you tell me at what time you've spoken?

[Narrator / Clive Brook]

Several people stated they had seen this shabby, genteel young man in the company of Phyllis Dimmock at various public houses during the past week. And it Was finally established that he was with her as late as 11:30 on the night of the murder. But who was he? Where was he to be found? Inspector Neal returned at the scene of the crime flight at 29St. Paul's Road. What he found there put him in a much better spirit.

[Inspector Neal]

Simmons, I just been looking over the flat again and I found this postcard behind the mining of the dwarf. Evidently it was the one the murderer was searching for when he ransacked the room. Oh, now I see it's. Now, Phyllis. Phyllis, darling, if it pleases you, meet me at 8:15 at the. What's this drawing, sir? The Japanese play. Use your imagination. S. What's it look like? Oh, it's a sunset, isn't it? Well, all sort of sun shut its rising sun the name of the pub.

[Ruby Young]

Oh, censor.

[Inspector Neal]

Yes. Meet me at 8:15 at Preserving sun yours to ascend the. Well, at least we got a name to go. Oh, I had alid fitness and some sort of good. Several of the cards we found were

[Narrator / Clive Brook]

addressed in that handwriting.

[Inspector Neal]

This is the only one with a message on it. I believe these first cards are written by the murderer and that he tried to find and destroy this particular postcard. I also think he is our shabby, genteel friend. Oh, isn't that nervous jumpy? Conclusion, sir? Look at the postmark on that card. A Sunday before the fatal wedding day. He must have received the card on Monday. The appointment was therefore for Monday night. We know from two witnesses that she was with our young friend at the writing son on Monday night. If we don't jump to a conclusion that he wrote the postcard, we might as well give up the job. Yes, of course.

[Lieutenant Ben Guthrie]

Sorry.

[Inspector Neal]

How do you propose? Take this Rising sun postcard and these three others and have been published in facsimile in every newspaper in the country. Then Jim, we shall just have to sit back and wait.

[Narrator / Clive Brook]

But what a long shot. Inspector Neal was packing. How likely was it that anyone would recognize writing from a few words in a postcard reproduced in a newspaper? But Ruby Young did. Ruby Young. Pale, delicate, with jet black hair and deep blue eyes. A refined, beautiful face that was a great asset in her work as artist's model. Up to three months ago, she had been receiving countless letters from her loved one another. These letters were long and flowery, interspersed with charming and witty little sketches. When Ruby Young saw the Rising sun postcard in a Sunday paper, immediately took up a pen and wrote to the man she loved, Robert Wood.

[Ruby Young]

My dear Bob, you came to me the other day and asked me did anyone question me. I swear I always saw you on Monday and Wednesday. I agreed to say this, though we've hardly seen each other since our choir. In the paper today there is a first card from you to a woman who has been murdered. Oh, come in,

[Narrator / Clive Brook]

come in.

[Inspector Neal]

Ruby, I'm in trouble.

[Ruby Young]

Yes, I know you are. That's your handwriting, isn't it?

[Inspector Neal]

Be patient, darling, and I'll explain all to you. I've got to have an alibi for the Wednesday night. Some people saw me with her on the Monday at the Rising Sun.

[Ruby Young]

Just to know it. Bob, why are you with this woman on the left? She was murdered.

[Inspector Neal]

No, Ruby, on Wednesday night I was out walking alone, but I can't prove it.

[Ruby Young]

Did you write to her again after the Monday night?

[Inspector Neal]

No, but I did a few drawings for her when we were in the pub. She might have kept those.

[Ruby Young]

What do you want me to do, Mark? I'll do anything I can to help you to know them.

[Inspector Neal]

Don't you move in to go, darling. I want you to say you were with me on the Wednesday night. Say we had dinner somewhere in Knightsbridge. That I left you at Branton Archery at 10.30. You went to Moore's Court, I went to King's Cross. And you remember all that?

[Narrator / Clive Brook]

Of course Ruby remembered. In fact, he could think of little else. He became nervous, hating the idea of a conspiracy and finally decided to go to the police, where she told her story to Inspector Neal.

[Inspector Neal]

Ruby was asked to meet Robert Wood

[Narrator / Clive Brook]

at a certain spot in the gray green road. And there, on a windy afternoon in October, three weeks after the murder, put his dilet. The inspector waited for the man he firmly believed to be the murderer a little way off. Ruby waited also. One can imagine her feelings as he watched her lover approach to keep the appointment she had made with him, knowing as she did that the kiss she was about to give him would deliver him into the hands of Stuff and Yard.

[Inspector Neal]

Hello, darling.

[Ruby Young]

Hello, Bob.

[Inspector Neal]

It's the first kiss I've heard from you, but I'm much too alone.

[Ruby Young]

Bob. I have 10.

[Inspector Neal]

Let's move on to the. Aren't you much too cold? No.

[Ruby Young]

All right, Bob, please.

[Inspector Neal]

If you can't, please excuse me, sir. Yes, what is it? I'm afraid I must retain you. I have reason to believe that you wrote certain postcards to the late Philip Dimmock, whose murder I'm at presently investigated. I only wrote one to her. Nevertheless, I'm afraid you'll have to come with me to the station and answer A few questions. Don't cry darling. I have to go with this gentleman.

[Ruby Young]

Oh, be brave, Father, Be brave.

[Sergeant Matt Grip]

Leave the rest of me.

[Lieutenant Ben Guthrie]

Now.

[Narrator / Clive Brook]

The searchlight of Scotland Yard was focused on Robert Wood. Inspector Neal found that the 28 year old artist belonged to a respectable middle class Scots family living in London. He was gentle and lovable and had many friends. Strangely enough, although respectability was terribly important to him, a streak in his makeup made him associate with the most undesirable women. Nevertheless, he remained devoted to Ruby Young until she began to resent his attentions to these other women. When Robert Wood was arrested, he believed implicitly in Ruby and with great confidence gave the inspector the alibi which the two had concocted. Unfortunately, as you know, Ruby Young had already told Inspector Neal the whole story. In any case, the alibi was disproved by the other witnesses.

[Inspector Neal]

So you see, Simms, at all points to Wood. A, he's undoubtedly the writer of the postcards. B, he's given us a completely false statement. C, he has been identified by two people, a solemnist, Phyllis Dimmock on Monday night. Indeed, a ship cook has identified Wood as the man with whom we saw

[Lieutenant Ben Guthrie]

her on a Wednesday night.

[Inspector Neal]

They're all good points, sir, but surely not sufficient. Oh, I haven't finished him. At this morning's identification parade, Wood was positively identified by a Carman named McGowan. McGowan says he saw wood at 5am on the morning of September 12th. That's two hours after the murder. And where does this McGowan say he saw Wood at that hour? He says he saw him leaving number 29St. Paul's Road, the house in which Phyllis Dimmock was found dead seven hours later.

[Narrator / Clive Brook]

The police had done their job. All they found about Robert Wood pointed to his being responsible for the woman's death. The motive only was lacking. Robert Wood now sat in Brixton Prison awaiting his trial.

[Inspector Neal]

How do criminals fill those hours?

[Narrator / Clive Brook]

Do they sleep? Do they read? Take their minds off their predicament? Do they write letters to their friends? Robert Wood drew pictures. The massive array of evidence against him seemed to worry him not a jot. But Scotland Yard merely presents the facts without question. It presents the truth, not necessarily the whole truth that must come out in court. Take for instance, one of the main items that the police gave the Crown by way of evidence against Wood.

[Inspector Neal]

The common named McGowan stated that he saw a man leaving number 29St. Paul's Road at five in the morning. He stated that the man was of stiff build with broad shoulders and that he wore a bowler hat and his coat collar was turned up. He later identified the prisoner Wood as the man he had seen, saying that he recognized him by the peculiar swing in his walk.

[Narrator / Clive Brook]

So said the police in McGowan. And that was part of the evidence used by the prosecution in court. But what happened to this evidence when the defending counsel, Mr. Marshall hall, cross examined McGowan? How reliable was the man's memory? How much was his evidence worth?

[Inspector Neal]

In your thirst deepened. You said the weather was grizzly, Sir Art. But you saw the man clearly by the light of the street lamp. Sir Art, you also stated you remember the time was five because you heard a clock strike. My lord, I have here the lighting chart from the electric light company proving the street lamps in the Camden town district were turned off on September 12th at 4:37am Furthermore, I have proof that there was not one drop of rain recorded in the whole of London that morning. When you saw the man leaving the house Magard, did you know the house was number 29?

[Lieutenant Ben Guthrie]

Yeah, already.

[Inspector Neal]

And yet you stated to the police that you saw him leave number 29, sir, at the identification parade, you recognize the prisoner as the man by his peculiar walk. That's right. A kind of swing. And yet you mentioned nothing about it in your statement. Well, figures. When we go to make a statement, we're not destroyed. When we come to be cross examined. You were not so sly. You mean to say that knowing this man's life might depend on your description, you did not take particular notice of what was read over to you? Have you no regard for human life?

[Narrator / Clive Brook]

Marshall hall never did things by halves. Later on he called a witness of his own. William Westcott, ticket collector.

[Inspector Neal]

What kind? To leave your house on September 1st. About five minutes to five in the morning. And your house is number 26St. Paul's Road?

[Lieutenant Ben Guthrie]

Yes.

[Inspector Neal]

Did you see anyone that morning? Yes. A man going in the opposite direction. Are you conscious that you have got a swing in your lock?

[Lieutenant Ben Guthrie]

Oh, yes, slightly.

[Inspector Neal]

In the movie they say, C.T. out with your chin, please. Turn up your coat collar, put on your bowler hat and walk up and down for the journey.

[Narrator / Clive Brook]

Sure enough, there was a definite swing in the man's walk. From that moment on, McGowan's evidence was worthless. Another item presented to the Crown by the police was the statement of the ship's cook who had spent the three evenings previously to the murder with Phyllis Dimmock. He had seen Wood with Phyllis on the fatal Wednesday night, or so he said. Marshall hall quickly found the weak link in the Man's statement.

[Inspector Neal]

You were in a great fight, were you not?

[Narrator / Clive Brook]

When you handed this matter?

[Inspector Neal]

No, I was not. When you heard of it, did you realize that except for the murderer, I was next man to him? The next man to the prisoner? No, the next to the murderer, which is a very different thing.

[Narrator / Clive Brook]

If you please.

[Inspector Neal]

You realized your danger?

[Narrator / Clive Brook]

It was a very unpleasant situation. Yes. Did you speak to a woman called May? Am I astute? Look up and speak up. You're in court of justice now.

[Inspector Neal]

Did this woman give you a description of the man who she said was known as a friend of Dimmoth? Yes. So that you could easily have picked out the prisoner from May's description of that matter? I could, yes. I implore you not to laugh me.

[Narrator / Clive Brook]

A man's life is at stake. It was certainly no laughing matter for the ship's cook whose evidence and identification of Wood had been completely discredited. He left the stand sweating from every pore. That night in prison, the young artisan, proud of his life, wrote to his

[Inspector Neal]

dear Charles, my feelings were strange today such that I cannot describe. Though peaceful whispers of good cheer came from every direction. Little did I think that one day I should appear on the chemical charge. To be tried for one's life is, I find, sufficient for the day. And I am very weary. I understand there are great odds to face that may end disastrously. But I will carry my head high.

[Narrator / Clive Brook]

A struck was the false alibi that he had concocted with Ruby Young. But again, Marshall hall maintained that if Wood trying to make an alibi for the murder, he would not have made it for 10:30 when the murder was at 3am if he was guilty, he would have known what time the woman was killed. That's a very good point. When Robert Wood was finally called in for his defense, every eye in the court followed his walk to see if there was any peculiarity about it. Well, there wasn't. As he passed his father, he smiled gently and said, here now, dad. He gave his evidence badly, showing all his weaknesses, his vanity and affectations, his love of the dramatic, but nevertheless with a calmness and serenity which staggered the crowded court. His counsel commented on it in his final speech today.

[Inspector Neal]

Members of the Durian, how could this gentle, amiable little artist have done this dreadful crime? His unruffled demeanor to us at trial is based on an unruffled conscience.

[Narrator / Clive Brook]

What is the evidence of murder?

[Inspector Neal]

The only iota of evidence against the man is that of the Carman, who

[Narrator / Clive Brook]

has been shown to have a faulty memory.

[Inspector Neal]

And Ruby Young, whose Statement was invented

[Narrator / Clive Brook]

out of the men.

[Inspector Neal]

A gross and indicative lie. You cannot hang a man on evidence such as that. I defy you to do it.

[Sergeant Matt Grip]

I defy you. I do not merely ask for a verdict of not guilty. I denounce.

[Narrator / Clive Brook]

Prosecuting counsel described Wood as a cold blooded murderer. And it seemed as if the presiding judge, Mr. Dusty Scranton, was inclined to agree with the prosecution. The court crowded with Wood sympathizers heard point after point right up against him. In the summing up, it must not

[Inspector Neal]

seem that because no motive has been shown on the part of the prisoner that therefore he must be not guilty. There is no doubt that the Tableman was murdered by a man who was leading a double life. Gentlemen, the whole evidence seems to prove that the prisoner has been leading a double life form. He says he is innocent and yet he keeps everything from the police and from his own brother.

[Narrator / Clive Brook]

50 mounted police had been called in to deal with the huge crowd waiting outside the Old Bailey. A worried official leaned over to speak to Wood. Solicitor. Mr. Newton,

[Inspector Neal]

I don't know what will happen if the verdict goes against him. I don't think we can control the crowd. You have to. The judge are determined. I'd never heard such a thing.

[Lieutenant Ben Guthrie]

You did something up.

[Inspector Neal]

Look at that fellow Wood. He's the only one who isn't the least excited. What's he writing? Good Lord. I do believe he's making a sketch of the judge.

[Narrator / Clive Brook]

Yes, Robert Wood, having sketched most of the people in court, among whom were Lily Elsie, the Original Merry Widow, Mrs. Beerbohm Tree, wife of the famous actor Paul Kane, and Henry Irving. Had now begun a caricature of the judge. Having seemingly condemned the prisoner, the judge paused and then resumed in a very different tone.

[Inspector Neal]

If in my judgment, as strong as the suspicion is, I do not think the prosecution has brought the case home against him clearly enough. All this is of course the matter for you and for you alone. Gentlemen, it is my duty to point out to you that unless you find that the evidence is so much against him as to warrant a conviction, you must give him the benefit of the doubt.

[Narrator / Clive Brook]

This amazing change of attitude has never been fully explained. Marshall hall thought that the judge, seeing the jury obviously in Woodstaver, was trying to steal the dory due to him the defending counsel. But this is a doubtful explanation. Certainly there was glory for Marshall hall at 8:15 on that December night when the foreman of the jury spoke those miraculous words. Not guilty. The court about him was going wild. Mrs. Beerbohm tree rushed from the building to the stage. Of His Majesty's theater and announced to a cheering audience the innocence of the popular artist. Women fainted with joy in the courtroom itself. And even one of the policemen was heard to shout, hooray. But what of the young man whose neck, insane? What emotion was he showing? Elation? Triumph? Relief? No, none of these. There, among the cheering multitude, he was quietly finishing his sketch of the judge. Later, he wrote.

[Inspector Neal]

After the verdict, the reaction cannot properly be conveyed in words. I was not relieved. I felt depressed. I received with a sort of fainting feeling in my stomach. Though it did not outwardly affect my composure. I was overwhelmed with sadness. I believe I was very person who did not rejoice at the result.

[Narrator / Clive Brook]

A strange young man was nearly condemned because he drew a sketch of the rising sun on a postcard. Might have been hanged had not Marshall hall been there to defend him. And so the Camden Town murder remains one of those unsolved mysteries that from time to time trouble the consciousness of Scotland Garden. Well, that's all for now, but I'll be back again soon to tell you some more of the secrets that Scotland Garden. Meanwhile, this is Clive Brook saying goodbye and pleasant dreams.

[Lieutenant Ben Guthrie]

Ladies and gentlemen, we take you now

[Announcer]

behind the scenes of a police headquarters

[Lieutenant Ben Guthrie]

in a great American city where under the cold, glaring lights will pass before us the innocent, the vagrant, the thief, the murderer. This is the lineup. Just take the chairs in this room, please. That's right. It's all right to smoke.

[Sergeant Matt Grip]

May I have your attention, please? You people out there on the other side of the wire in the audience room. May I have your attention, please? Thank you. My name is Grip. Sergeant Matt Grip. I'll explain the lineup to you. Each of the suspects you will see will be numbered. I'll call off a number, their name in charge. If you have any questions or identification, please remember the number assigned to the prisoner as I call his name at the end of each line. When I ask for questions or identification, call out the number. If you're sure or not too sure of the suspect, have him held. The officers who took your name will assist you. They're seated among you. Please be prompt with your questions or identification. When the prisoners leave here, they are sent to the bathroom and dressed back into their jail clothes. It makes it quite difficult to bring them back after they leave here. The questions I ask these suspects are merely to get a natural tone of voice. So do not pay too much attention to their answers as they often lie. Bring on the line. All right, all right. Come on.

[Inspector Neal]

Move it along.

[Sergeant Matt Grip]

Keep it moving. Right up to the end of the stage. Now face front. Hands to your side. Look straight ahead. Number one. Bernard Egan, alias Bernard Bushman. Assault. Five arrests, two convictions. Armed robbery. Where do you live, Bernie? You got no special place at you kind of tough. Liquid bread. Why did you slug the man in that bar? Very uncout language. You're a two time loser, Bernie. This won't be easy on you. I should have controlled my disposition. I guess things have. Muck said you hit him with a bottle. Empty. Number two, Rex Gay, alias Gaylord Green, alias Rex Anderson. Nine arrests, one conviction. Grand theft auto. Where do you live, Rick? 618 North Adams. You stole a car belonging to Mrs. R.H. henderson. I was walking by and I seen this here car parked out in the street. It was way out. Anybody could have run into it. I just figured I'd do a good turn and park it right. You were trying to park it right three miles away from where Mrs. Henderson left. You know, that's a funny thing I pulled out. Getting ready to back it in, right. See some low life sneaks in right behind me. Well, I cushed him out, sure. But I couldn't just sit there in the middle of the street, everybody blowing horns, Whack, whack, whack. So I went looking for another space. Three miles away. Number three. David Hellman, alias Richard Hellman, alias Herman Richards. Sixteen arrests, two convictions. Armed robbery, larceny. Served 15 years in the state prison. Where do you live, David? Lately? The bar, Sergeant. Mission.

[Lieutenant Ben Guthrie]

You're not working?

[Sergeant Matt Grip]

I'm on vacation. See any of the boys lately who haven't gone straight? You know that you keep taps on me? We've been watching you closer than you think.

[Lieutenant Ben Guthrie]

Number four.

[Sergeant Matt Grip]

John Kaler, alias Jack Johnson. How are you, Sergeant? You talk when I ask you. I beg your pardon, sir. Vagrancy for arrest, one conviction. Forgery. Now where do you live, John? I just got out. Where do you live? I doubt I just registered. When the door flew open, two of your finest gently lifted me by the back of my neck. Did a very sloppy job of bisking while a duffel bag all me down here. Where were you registering, John? Eaton Hotel. Two bits of knowledge. 334 West 89th Street. Any questions or identifications from the audience?

[Lieutenant Ben Guthrie]

None of these men. Any questions or identifications from the audience, please? Sergeant Graham.

[Sergeant Matt Grip]

Yes, Lieutenant.

[Lieutenant Ben Guthrie]

No identifications. Run on the next group. I've got the whole bunch of them down looking at the mug files. I've got to see Baylor. Want to come along? Yeah, sure, sure. We haven't had a bank job like this in six years. How's it going? Still unconscious. Doesn't look like he'll make it. Hello, Chief. Hello, Ben.

[Sergeant Matt Grip]

Matt.

[Lieutenant Ben Guthrie]

Hello, Chief. I just had the witnesses look at the lineup. Didn't spot anybody. We haven't had a bank hold up in five years. In six years. Well, here's how it stacks up, Chief. Five men went into the bank at 11 this morning. As near as the bank can tell, they got away with close to 100,000. They ran for the street and this bank guard pulled a gun. Exchange shots with one of the holdup men. Julio Bulatti. Yeah, that's right. Bulatti and the guard are both in pretty bad shape. Unconscious, not likely to live. Sergeant Klein's over with Bulatti in case he regains consciousness. The other four left Bulatti on the sidewalk, piled into a green sedan. Witnesses say it was either a Chrysler or a Plymouth. Couldn't get the license number. Covered with mud. The witnesses have identified two of the hold up men. Lamb and Jack Holster there. We'd like to have those boys. They've never operated here, Chief. All we know about them is what you got from Denver. They've been under circulation for about seven months. Never pulled a job this big before, but that doesn't mean they couldn't. Originally from Oklahoma. A couple of brothers who started out bad. Both have done time. Skipped out on their parole a year ago. Well, this Bulatti is a local boy. We know him. Probably landed here, cased the job, then rounded up some local talent. That's what we're hoping for. We've got Bulatti, but he may die before he can tell us anything. The other three boys are local talent. Maybe we can trace that green sedan if it wasn't stolen. Even if it was, Be easier rounding up some of our own local hoods than it would the house Dinner brothers. We've set up the usual roadblocks. Covered the airport, the bus stations and trains. The witnesses in the bank got a good look at all five of the men. They say so. They identified a house that are brothers. Let's hope they can tag the other two. What about the sixth man driving the car? Nobody got a good look at him.

[Sergeant Matt Grip]

Just luck.

[Lieutenant Ben Guthrie]

He's probably the one who owns the car. Chief Bailey speaking. Yeah. Okay. You better get down to the hospital. That was Klein. Doctors say Bulatti is regaining consciousness. Here comes Quine. Is he still conscious? No. Too late. Yeah. Didn't even get a statement. Just opened his eyes, took a look at Me and died. Want some coffee, man? Oh, yeah, please.

[Inspector Neal]

Huh?

[Lieutenant Ben Guthrie]

Well, they didn't come up with one identification. I sent them home. Green sugar?

[Sergeant Matt Grip]

No.

[Lieutenant Ben Guthrie]

No, thanks. That one identification. Now, they were a little vague. They all got a good look at the host and her brothers, but the others were off near the door or by the side of the room. They identified Bulari's picture all right. They all got a good look at him while he was lying on the street. I'm keeping Bilotti's death out of the papers. I want the homestead of boys to think he can still talk. Yeah?

[Sergeant Matt Grip]

We got the men you wanted down in the tank, Lieutenant.

[Lieutenant Ben Guthrie]

Okay. I'll see him in the interrogation room. Stoolies? Yeah. We haven't been able to find out too much on Bulatti, but maybe some of the stoolies might give us a lead. Sorry, won't be able to. Finish your coffee, man. Well, I hope something comes out of this. I hope so.

[Sergeant Matt Grip]

Hello, Lieutenant. Country.

[Lieutenant Ben Guthrie]

Hello, Bert. Good afternoon, Sergeant Gribb.

[Sergeant Matt Grip]

Hello.

[Lieutenant Ben Guthrie]

How are you? Is this about the bank robbery this morning?

[Sergeant Matt Grip]

Uh huh.

[Lieutenant Ben Guthrie]

I can't help you, Lieutenant. You know Giulio Bulatti? I heard of him. Don't know him. He was one of the men who stuck up the bank. Got a hundred thousand in here. He sure had a lot of nerve pulling a job like that. What do you know about Bulatti? I've heard of him. And what have you heard? Got a record? Just a hood. That's all I heard. You know any of his friends? No, Lieutenant. First national bank in October. Some nerve. How about the Holstetter brothers? What do you know about Leon and Jack Holstetter? Can't help you with this one, Sergeant. We've done you some favors, Bert. Oh, I appreciate the favors I done you some, Lieutenant. You can't help us. No, Lieutenant. Can't help you. I'd like to help you, but don't know nothing about the bank job or Bulatti? No, Sergeant. Or the Holstead of brothers? No, Lieutenant. You're sure, Bert? Sure. That's all, Bert. Thanks, Lieutenant. Yeah. Keep your nose clean.

[Sergeant Matt Grip]

Yes, Sergeant.

[Lieutenant Ben Guthrie]

Good afternoon.

[Sergeant Matt Grip]

Bye, Lieutenant. Yeah? Bring in the next one.

[Lieutenant Ben Guthrie]

I hate working with those guys sometimes. You got a cigarette? Oh, yeah.

[Sergeant Matt Grip]

Here's Tony, Lieutenant.

[Lieutenant Ben Guthrie]

All right. Come on in, Tony.

[Sergeant Matt Grip]

Hello, Tony.

[Lieutenant Ben Guthrie]

Just sit down, Tony. Sure. Hello, Sergeant. We want to ask you some questions, Tony. How about the bank job this morning, huh? Why? Word gets around. It sure does. I can't do you no good. Did you know Julio Bulatti, Tony? No, I Heard of him, though. Know any of his friends? No. How about Leon and Jack Holstead? Heard of them, too? Don't know. Oh, then I think we only have one more, Amos. Here is the last one, Lieutenant. Okay. Come on in, Amos. Yeah, yeah, yeah, Lieutenant. Have a chair, Amos. Thanks. How you been, Sergeant? Fine, fine. We want to ask you some questions. Sure. About the bank hold up this morning. I know they all do. You know Giulio Bulatti? No. I know a kid named Frank Merritt. Oh, you do, eh? Yeah, good friend of Bates here. He was with him all last night. How about this morning? Couldn't say, Lieutenant, I hear there's Frank Merritt is from Denver. All steady boys are from Denver, ain't they, Lieutenant? Yeah, that's right. Now, where can we find this Frank Merritt, Amos? I don't know, Lieutenant. Got a hunch he's making himself scarce. How long's this Frank Merritt been in town? About two weeks, I think. Drove in from Denver in a green Chrysler sed.

[Sergeant Matt Grip]

Good morning, Ben.

[Lieutenant Ben Guthrie]

Morning. I just saw Chief Baylor. And? And nothing. I'm getting sick of this. We get a lead and we sit around for two days. Yeah, I'm getting sick of it, too. But we can't find Merritt or the Hostetter brothers or an identification on the other two hold up men. Or the green sedan. Yeah. FBI's got every available man on it. We've got every precinct in the city working on it. Sooner or later we're going to turn up with something. Yeah, ulcers. Now, look, if we don't pick up one of the Hallsteader boys, then we might find Merritt and he'll lead us to the rest. If we don't find him, we may get a lead on that green sedan. There's so few green Chrysler sedans in this city. Maybe you have a better suggestion?

[Narrator / Clive Brook]

No, but I have an alternate.

[Lieutenant Ben Guthrie]

Make some coffee. I'm sick of coffee, too. Well, then you think of something. Hand me the coffee, John. Lieutenant Guthrie.

[Sergeant Matt Grip]

This is Quine. Lieutenant. That bank guard just died. He never regained consciousness.

[Lieutenant Ben Guthrie]

Okay, come on in. That's swell, Matt.

[Sergeant Matt Grip]

Bank guard just died.

[Lieutenant Ben Guthrie]

No identification. Where the devil are these guys, man, I always thought we had a pretty efficient force.

[Sergeant Matt Grip]

They're keeping out of sight. Good.

[Lieutenant Ben Guthrie]

Yeah. Well, they haven't gotten through the roadblocks. I haven't left the city. Unless they have Houdini's ghost with them.

[Sergeant Matt Grip]

We'll get them, Ben.

[Lieutenant Ben Guthrie]

Sure. They're somewhere in the city. We've got them trapped and we don't know it. You know something? Neither do they. Sa.

[Sergeant Matt Grip]

Ben.

[Lieutenant Ben Guthrie]

Yeah? What you doing, man?

[Sergeant Matt Grip]

You knocking off?

[Lieutenant Ben Guthrie]

Yeah. You? Uhhuh. Give you a lift? Oh, I'd love it. All right, bill.

[Sergeant Matt Grip]

Not you, kenneth. Good night, bill.

[Lieutenant Ben Guthrie]

I'm a little tired. Yeah, me too. Want to stop and get some dinner? Oh, yeah, sure. It's Quine. Wait a minute. Ben. Glad I caught you. Yeah. What's the matter? We think we got the green Chrysler sedan spotted in the garage over in 3rd Avenue. Guy fitting Merit's description brought it in yesterday morning for a paint job.

[Narrator / Clive Brook]

What?

[Lieutenant Ben Guthrie]

What were you saying about dinner then?

[Announcer]

It's your listening post to the world. Cbs, new program. Here it now. Featuring Edward R. Murrow. Friday evenings on most of these same stations, the top news of the preceding seven days. International political, sports, entertainment. All the fields of interest are covered in this fascinating, noteworthy one hour program. Oftentimes, you hear the actual voices of the people who've made the news on Hear It Now. Be listening every Friday for Hear It Now. Your listening post to the world.

[Lieutenant Ben Guthrie]

That's right, Lieutenant. That's the fellow who brung in the car. That's it right over there. Black sedan. You painted it? Sure. That's what the fellow wanted. How'd I know you guys were looking for him?

[Narrator / Clive Brook]

Just come in.

[Lieutenant Ben Guthrie]

Wanted a fast paint job. How'd I know? I'm in business. Gotta make a buck. It was green.

[Narrator / Clive Brook]

Sure.

[Lieutenant Ben Guthrie]

He wanted yell at first, but I told him for a good job, might have to sandblast. Stuff bleeds through. He settled for black and a fast job. Green don't bleed through. Black. Yeah. When is he supposed to pick it up? Some.

[Narrator / Clive Brook]

But time?

[Lieutenant Ben Guthrie]

Between 5:30 and 6. We close up at 6. Well, it's nearly 6 now.

[Sergeant Matt Grip]

Yeah.

[Lieutenant Ben Guthrie]

Maybe he spotted us coming in. We were pretty careful. Done a good job, too. If you pick him up, who pays, huh? Klein, get behind one of those cars. All right. Merritt's picking the car up. He's probably expected back with a gang. We can't give him the car and take a chance on losing him in traffic. Oh, how can we take the time to haul him down to headquarters and sweat him? His friends will wonder where he is. He can't take the time, huh? Well, then what? Then we'll sweat him right here. Maybe we can drag it out of him in a hurry. You got an office? Sure, right back there. Okay. Get behind one of the cars on that side, Matt. No shooting if you can help it.

[Sergeant Matt Grip]

Right.

[Lieutenant Ben Guthrie]

Shooting. Get out of that cap and overalls. Get out of them. Hurry up. Okay. The quine. Yeah, I'll see if I can take him alone. Don't come out unless I give you the word. Okay, Matt.

[Sergeant Matt Grip]

Say, aren't those overalls a little snug?

[Lieutenant Ben Guthrie]

Now, look, I'll take him first. Here he is.

[Sergeant Matt Grip]

Hey, you.

[Lieutenant Ben Guthrie]

We're just closing. I know it.

[Sergeant Matt Grip]

I got a car here.

[Lieutenant Ben Guthrie]

Oh, okay. It's that Blackman right over there. You remember, I brought. Now, you ain't the guy who was here yesterday. No, no. He's back in the office. Oh, well, look, I'm in a hurry. Hey, you must be Mr. Marin.

[Inspector Neal]

Yeah.

[Sergeant Matt Grip]

How did you know?

[Lieutenant Ben Guthrie]

Keep your hands where they are. What is this? Police. I know. Wait a minute. Don't move. Put your hands behind your head. Hey, you're making a mistake. Where can we find the Holsteader boys? Who? Here. Here's his gun. Get him in the office. Move.

[Inspector Neal]

No, look.

[Lieutenant Ben Guthrie]

Wait a minute. I told you, you're making a mistake. That bank guard died. Merritt.

[Sergeant Matt Grip]

What bank card?

[Lieutenant Ben Guthrie]

What are you talking about? Okay, okay. But I don't know what you're talking about. You stay out of here. Corn, in case somebody else shows. Garage man's hiding down on the grease pit. Help him close up. Yeah, sure. All right, sit down, Merrick. Look, sit down. Why don't you guys listen to me? You got a permit to carry this gun? Permit? Yeah. Where is it? I left it at home in Denver. No, no.

[Sergeant Matt Grip]

Where I live.

[Lieutenant Ben Guthrie]

Where do you live? Look, you got no right to ask. You were one of six men who stuck up the First national bank three days ago. You're crazy. You and the whole set of brothers. I didn't stick up no bank. I don't know nobody by that name. You know Julio Bulatti? Bulio Batti?

[Sergeant Matt Grip]

No.

[Lieutenant Ben Guthrie]

He knows you.

[Inspector Neal]

He couldn't.

[Lieutenant Ben Guthrie]

Oh, well, why couldn't he? Because I never met him.

[Sergeant Matt Grip]

I don't know him.

[Lieutenant Ben Guthrie]

He swears he knows you. I can't help it. Maybe. Maybe he does, but I don't know him. I never heard of him. He says that you were in on that holdup. He's a dirty liar, I tell you.

[Sergeant Matt Grip]

I don't know.

[Lieutenant Ben Guthrie]

He's in the hospital. We got a sworn Satan. I don't know.

[Sergeant Matt Grip]

I don't know. He didn't like being left behind.

[Lieutenant Ben Guthrie]

What are you talking about, left behind? After he got shot outside the bank, you left him lying there. I didn't leave him nowhere. He named all six men in that holder. Well, I wasn't one of them, I swear. You got the.

[Sergeant Matt Grip]

I've got you and the Holstetter.

[Narrator / Clive Brook]

Brothers.

[Lieutenant Ben Guthrie]

I don't owe any Holstetter Brothers. That's your sedan out there, isn't it? Yes.

[Sergeant Matt Grip]

So what?

[Lieutenant Ben Guthrie]

This is a murder rap, Merritt. That bank guard died. Listen, you can't do this to me, you, Honor. My ratement is enough to execute you. I don't know no July. What were you doing three days ago at 11 o' clock in the morning? Three days ago the 16th, at 11 o' clock in the morning?

[Sergeant Matt Grip]

I don't know. I don't remember.

[Lieutenant Ben Guthrie]

How do you expect me to remember three days ago?

[Sergeant Matt Grip]

You better start remembering, Merritt.

[Lieutenant Ben Guthrie]

I was having breakfast. Where? Well, I don't know this town very well. I don't remember. Some drugstore near where you live. Yeah? Where do you live? Roaming house on Baker Street. What's your address? 412 West. There's no drugstore around there, Mary.

[Announcer]

Sure there is one on the corner.

[Lieutenant Ben Guthrie]

That's the one you had breakfast in.

[Sergeant Matt Grip]

No.

[Lieutenant Ben Guthrie]

You went to another one.

[Sergeant Matt Grip]

Yeah.

[Lieutenant Ben Guthrie]

You walked.

[Sergeant Matt Grip]

What?

[Lieutenant Ben Guthrie]

No, I went to a drugstore further away. I don't remember which one you drove. Yeah. Yeah, I drove. In that car out there? Yeah. A dozen people identified that car as the one in front of the bank. Well, they're all nuts. They got the license number. They couldn't have because it was covered with mud. No, they just couldn't have. I wasn't near the bank. You know where the bank is?

[Sergeant Matt Grip]

No.

[Lieutenant Ben Guthrie]

Then how do you know whether or not you were near it? You're a stranger in this town, aren't you? I told you. Yeah. That car was identified as the hold up car.

[Sergeant Matt Grip]

You're in trouble, Merritt. Why? I didn't do anything. Give me a lawyer.

[Lieutenant Ben Guthrie]

We've got sworn statements from a dozen witnesses on Bulatti. You won't stand a chance against the jury.

[Sergeant Matt Grip]

I didn't pull no hold up sworn statements. Merit.

[Lieutenant Ben Guthrie]

I don't believe it. How do you think we found you? Might not execute you for state's evidence. I don't know nothing about it. Okay, I'm satisfied just to get this one. Matt. Take him down and book him on armed robbery and first degree murder. Oh, wait a minute. We'll get the whole center brothers, whether you help us or not. Yeah. Got a cigarette?

[Sergeant Matt Grip]

Yeah.

[Lieutenant Ben Guthrie]

Where can we find the Hallstead of brothers? Will you go easy on me? No deals. I'll do what I can. You'll die if you don't help Merritt. Okay. The Hostetter brothers are down on a shack in the freight yards. Who are the two other men in on the holdup? I thought you said Gilati squealed on all of us. Well, I hope you won't hold us against us, Merritt, but Bulatti's been dead for three days. It's Chief Baylor, Ben. Yeah. As if we don't have enough trouble.

[Sergeant Matt Grip]

Hi.

[Lieutenant Ben Guthrie]

Now we got the Yards surrounded, Chief. They're down in that shack. You seen them? No. Merritt says they're down there. Quine and Asher have Merritt in the car. How many of them? A whole bunch, according to Merritt. Allstatter brothers. Man named William White, Detroit record. Guy named Jake Harrison, also Detroit boy. Merritt was supposed to pick him up in the car. He got lights. It's pretty dark. Yeah. Four big ones.

[Sergeant Matt Grip]

All right. What's the deal?

[Lieutenant Ben Guthrie]

Well, I. I'd like to get him out of that shack if I can. Merritt was supposed to drive up on that ramp and honk twice. Now, we got the sedan here, so what's to stop one of us from driving it up on the ramp and honking twice? And when they get halfway to the car, throw the lights on and cover them.

[Sergeant Matt Grip]

Okay? Okay.

[Lieutenant Ben Guthrie]

Quine.

[Sergeant Matt Grip]

Yeah?

[Lieutenant Ben Guthrie]

Still want to take that car down on the ramp? Yeah, sure. Well, go ahead. When you get down there, honk twice. All right. Matt, alert the men.

[Sergeant Matt Grip]

Right.

[Lieutenant Ben Guthrie]

Coin will have to drive the sedan down to the Lincoln street entrance to get out on the ramp. Take him about five minutes. I hope those guys in the shack are patient. I hope those guys are in the shack. There's Quine. Did that in a hurry. Give me that microphone Here. Here they come. I count three. Where's the other one? About halfway. Ben, let them get a little further away from the shank. Okay.

[Sergeant Matt Grip]

Lights.

[Lieutenant Ben Guthrie]

I don't know which way to go.

[Sergeant Matt Grip]

Stand where you are. You're surrounded.

[Lieutenant Ben Guthrie]

They're running.

[Sergeant Matt Grip]

Open fire.

[Lieutenant Ben Guthrie]

That's three. But where's the other one?

[Sergeant Matt Grip]

Play those lights around the yard. Put one on the shack there.

[Lieutenant Ben Guthrie]

There he goes. He climbed into that culvert.

[Sergeant Matt Grip]

Hold your fire.

[Lieutenant Ben Guthrie]

Come on, man.

[Sergeant Matt Grip]

Yeah. That's the river overflow.

[Narrator / Clive Brook]

Yeah.

[Lieutenant Ben Guthrie]

Careful, man. I'll be sitting ducks wide. I'm going in. I'm coming, too. Come on. Stay out of the. Keep against that wall. Okay, Ben.

[Ruby Young]

Okay.

[Lieutenant Ben Guthrie]

Come on. Are you okay?

[Sergeant Matt Grip]

Yeah.

[Lieutenant Ben Guthrie]

Yeah. There he goes. Light up ahead at the end of the culvert. Yeah. There he is.

[Sergeant Matt Grip]

He's hit, but he's still going.

[Lieutenant Ben Guthrie]

Watch your.

[Sergeant Matt Grip]

There.

[Lieutenant Ben Guthrie]

There he is. He's lying by the edge of the water. Roll him over. He's dead. It's Leon Holstetter.

[Narrator / Clive Brook]

All right.

[Lieutenant Ben Guthrie]

Yeah. What's the matter? What'd you do? To your knee. Oh, I skinned it. Better put something on it when we get to the car. Thing like that can be dangerous.

[Announcer]

The lineup, where before you pass the innocent, the vagrant, the thief, the murderer. Listen again next week when we again bring you the lineup.

[Sergeant Matt Grip]

May I have your attention, please? You people out there on the other side of the wire in the audience room. May I have your attention, please? Thank you. My name is Greb. Sergeant Max Greb. I'll explain the lineup to you. Each of the suspects you will see will be numbered. I'll call up a number, their name in charge. If you have any questions or identifications, please remember the number assigned to the prisoner as I call the mail.

[Announcer]

The lineup, starring Bill Johnstone as Lieutenant Ben Guthrie and Wally Mayer, Sergeant Matt Grab, is written by Blake Edwards with music by Eddie Dunstetter. Featured in tonight's cast were Clayton Post, Robert Griffin, Raymond Burr, Earl Lee High ever back and Ed Begley. The lineup is produced and directed by Jaime del. Attention, young women who are college graduates or who are in their senior year. Is the field that you've chosen for a career overcrowded? Is it a field that offers equality of opportunity? If you're worried about getting started, listen carefully. You can begin your career at a salary of over $300 a month. You can have additional schooling and training while you are earning. One month a year vacation with pay, a chance to travel, and most important, you can serve your country at a time when you are needed. Sounds good, doesn't it? The army is now offering to young women with college degrees the opportunity to become second lieutenants in the WAC Regular army. That means a lifetime career with security, with all the advantages and privileges of mail officers. But you will have to hurry. Applications must be received by 6th army headquarters by January 15th. So act today. Right now. We must see ourselves as others see us. If our nation is divided in any way by rumors or acts against other groups, races or religions, we suffer in these times of crisis. We lose not only abroad, but at home. Judge your neighbor, your fellow workers on his merits alone. Dan Coverley speaking. This is cbs, where you find songs for sale every Friday night. The Columbia broadcasting System.

[Case Closed Host]

There's more from the secrets of Scotland Yard, the lineup, case closed. And all of the relic radio shows at the website relicradio.com. you can donate through that website if you'd like to help support this and all of the shows. Thanks to those who have helped out. Thanks for joining me this week. I'll be back again next Wednesday with another hour of old time. Radio Crime on Case Closed.