21st Precinct 55-02-23 (085) The Museum

Summary

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21st Precinct 55-02-23 (085) "The Museum"

Podcast: Harold's Old Time Radio
Episode Date: February 27, 2026
Main Theme:
A compelling radio drama depicting a single night at Manhattan’s 21st Precinct, as police work collides with human drama, criminal intrigue, and desperate chances — culminating in a tense nighttime shootout at the Metropolitan Museum of Art.

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Episode Overview

This episode of "21st Precinct," set in 1955 and dramatized with the official cooperation of the NYPD, follows Lieutenant King, Captain Kennelly, and their squad from the routine procedures of a typical night at the station through a dangerous confrontation with armed criminals. Central to the story is Joe Creedy, a young man awaiting trial for burglary, whose desire for leniency leads the police to a much larger crime.

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Key Discussion Points and Insights

The Workings of the 21st Precinct

• The episode opens with an authentic portrayal of the 21st Precinct's daily routines—renewals of pistol licenses, calls, and managing officers on shift ([00:01]).
• Captain Kennelly narrates the structure of the precinct, emphasizing the mix of tension and routine that rules their world.

Quote:
"21st Precinct. It's just lines on a map of the city of New York... the security of their homes, their persons and their property is the job of the men of the 21st Precinct." — Captain Kennelly ([00:01])

Joe Creedy's Dilemma

• Attorney Ellis Hopkins seeks to broker a meeting between his client, Joe Creedy, and Lt. King, hoping Creedy's knowledge will secure a lighter sentence ([02:44]).
• King is cynical about Creedy’s sudden willingness to talk:
  "The closer the day comes, the more cooperative he feels... All you like these kids. They look you straight in the face and lie like demons." — Lt. King ([05:39])
• Hopkins reveals Joe might hold information about a homicide, not just burglaries.

Family Tensions and Moral Appeals

• Lt. King visits Mrs. Creedy and Joe at their home. Mrs. Creedy's pain and pleading underscore the personal stakes for suspects' families.
  "I don't want him to go away. He's all I got. Got nothing else." — Mrs. Creedy ([11:27])
• King remains professional but not unsympathetic, stating,
  "Well, that's up to a judge, Mrs. Creedy." ([11:50])

The Informant's Story

• Joe describes meeting two suspicious men (“Woody” and “Fred Hantz”) who offer him a role in a potential crime, later revealed as a violent hotel robbery ([12:50]-[15:30]).
• Joe’s information hints the men may be responsible for a homicide during the robbery; he agrees to help set a trap for them.
• The meeting spot is the Metropolitan Museum, Fifth Avenue at 86th St ([18:37]).

The Museum Stakeout and Shootout

• Detectives arrange a nighttime sting, with Joe as bait and officers in strategic positions ([18:37]-[19:45]).
• Tension peaks with the suspects’ arrival; a gunfight erupts on the museum’s steps ([20:29]-[24:42]).

Memorable Moment:
"That's us they’re shooting at. Come on." — Detective Fitzpatrick ([20:42])
"You want to walk away from there or get carried? You know." — Suspect's taunt during standoff ([23:27])

• One suspect is shot and apprehended; the second escapes during the chaos.

Aftermath and Reflection

• As the dust settles, officers call for an ambulance for the wounded suspect.
• Captain Kennelly provides a sobering closing—crime and justice in NYC as a relentless cycle ([24:46]).

Closing Quote:
"A police precinct... is a flesh and blood merry go round. Anyone can catch the brass ring, or the brass ring can catch anyone." — Narrator/Captain Kennelly ([24:46])

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Notable Quotes and Memorable Moments

• On the city’s gun laws:
  "The gun law of the State of New York is perhaps the strictest in the country." — Captain Kennelly ([00:01])

• On informant reliability:
  "You better make it before the 20th. He might not be around after that. But believe me, you’ve got to discount these things 95%." — Lt. King ([07:53])

• During the stakeout:
  "That kid dreamed all this up. They can throw away the key for all I care." — Detective (Fitzpatrick), skeptical as they wait ([19:45])

• In the thick of the action:
  "You see anything up there? It’s like a dungeon. Not a blessed thing." — (Museum standoff, tense and atmospheric) ([23:20])

• Moral reality:
  "She’s half out of her mind since I got in this dam. It’s natural… You know that, don’t you?" — Joe Creedy ([12:09])

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Timestamps for Important Segments

• [00:01] — Opening, introduction to the precinct, licensing, and procedures.
• [02:44] — Attorney Hopkins attempts to intercede for Joe Creedy.
• [10:28] — Lt. King visits Mrs. Creedy’s apartment.
• [12:09] — Intimate talk with Joe and family pressures.
• [15:00] — Joe recounts his run-in with the criminals.
• [18:37] — Planning the stakeout at the Metropolitan Museum.
• [20:29] — Detectives wait at the stakeout; criminals arrive.
• [21:24] — Gunfight and the standoff at the museum steps.
• [24:46] — Aftermath, ambulance called, and philosophical narration.

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Conclusion

This episode offers a slice-of-life police story where procedural realism meets noirish suspense. “The Museum” unflinchingly portrays the personal cost of crime, the grind of police work, and the razor-thin lines between betrayal and survival in mid-century New York. The authentic dialog, tense action, and strong performances illustrate why "21st Precinct" remains a radio drama classic.

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Transcript

[A]

Shooting where? At the museum or near the museum? Who's doing the shooting? Well, are there any police officers there? You are by transcription in the muster room at the 21st Precinct, the nerve center. A call is coming through. You will follow the action taken pursuant to that call from this minute until the final report is written in the 124 room at the 21st Precinct. All right, I'll send the officers right over there. Yeah, right away. 21st Precinct. It's just lines on a map of the city of New York. Most of the 173,000 people wedged into the 9/10 of a square mile between Fifth Avenue and the east river wouldn't know if you asked them that they lived or worked in the 21st. Whether they know it or not, the security of their homes, their persons and their property is the job of the men of the 21st Precinct. The 21st. 160 patrolmen, 11 sergeants and four lieutenants, of whom I'm the boss. My name is Kennelly, Frank Kennelly. I'm captain in command of the 21st. I was working my night tour 4pm to 8am after I turned out, the platoon and the men marched out the front door to take over their posts, Lt. Matt King, commanding officer of the 21st Detective Squad, came downstairs to confer with me in connection with several pistol license renewal applications that were still pending. According to the Manual of Procedure, each application for renewal must be investigated annually by both the commanding officer and the detective squad commander of the precinct in which the applicant resides or is employed, and they must recommend either approval or or disapproval. The gun law of the State of New York is perhaps the strictest in the country, and licenses are granted only upon absolute proof of necessity and good character of the applicant. While Lt. King and I were busy in my office, Lt. Gorman was on duty as desk officer outside in the muster room, and Sergeant Waters was on telephone switchboard duty. Money for his placing. Sergeant Waters? Yeah. Listen, take a walk around the corner and talk to the butcher there, will you? He's got a complaint about some kids annoying his delivery boy. Yeah, see what it's all about, will you? Okay, that was forgotten, Lieutenant. I gave him the complaint about the butcher. Okay. Yes, sir. Can I help him? Yes, you can, Sergeant. Where'll I find Lieutenant King? Well, his office is upstairs on the second floor, but I know he's busy right now. He's down here in the captain's office. Oh, well, I've got an appointment with him for five o'.

[B]

Clock.

[A]

I'm an attorney, Ellis Hopkins. Well, I don't know when he'll be through. Mr. Hopkins, you want to go upstairs and talk to one of the detectives? Maybe they can help you. You haven't any idea how long he'll be tied up? I've got to get downtown to my office. Excuse me a minute. Oh, yeah, sure. Sorry. 21st facing Sergeant Waters. All right. All right, Captain. Yes, sir. Oh, Captain, would you tell Lt. King there's a lawyer named Hopton out here to see him? He has an appointment. Thanks, Sergeant. All right, Captain. I'll tell him. He'll be out in a few seconds. Mr. Hobson. He says wait here. Okay, Lieutenant. The Captain wants to go out on patrol. Shall I have number five come by the house? All right. Number five. Yes, sir. Hello, CB Sergeant Waters. It's a 25th. Have 681 call at 25th. Okay, thanks. How they keep you pretty busy? Well, yeah, sometimes. Like anything else, it's got its busy times and it's quiet times. Oh, there they come now. Lieutenant King in the civilian clothes. Yeah. All right, Matt. I'll put them through. Yes, sir. Is the car coming by for me, Sergeant? The Hodgson? Yes, I've got a call out for it. I'm Lieutenant King. What can I do for him? I want to talk to you about a client of mine. Who's that? Joe Creedy. Oh, yeah. Want to come upstairs to my office? Yes, I would you hold up on that one till we talk again, Captain? Yes, I will, Master. When's Joe's case set down for trial? The 20th, Lieutenant. What's he gonna do, cop out? I don't know. We haven't decided. You're not going to bat? That's one of the best cases of burglary we ever made around here, isn't that. Go ahead, Lieutenant. Thank you. Want to go into my office and have a seat? I'll be in there in a second. All right. Is that it there? That's right, dad. Yes, sir. Where's Goldman? He ran down the 17th and got a guy there he wants to talk to on that Blackwell squib. Oh, yeah? I'll tell you what. Yes, Go ahead and take the call. 21st Squad, Detective Fitzpatrick. No, he's not here now. Who is this? Can I take a mess? Yeah, he's working today. He's out on investigation. All right, all right, I'll tell him. Yes, sir. He was writing up a DD5 for me. Ask him where it is when he rings in or when you see him. Yes, I'll be in my office. Is this chair all right, lieutenant? Yeah, it's fine. Well, the reason I wanted to see you. One second. I've got one thing to write down before I forget. Oh, good. Unnamed faces, but figures escape me. All right. Well, as I told you, I'm representing Joe Creedy. Where is he, down at the Tombs? No, he's out on bail. He made 5,000. Bail? The court reduced it to 2,000. His mother scraped up a hundred dollars for the bondsman. Where's he now? He's been staying at home. Haven't seen him around. Well, I advised him to stay pretty close to the house and not get mixed up with that crowd again. He'd only make things worse for himself. Good advice. Think he's taking it? I think he is. He's got a job. Well, pretty hard for a boy awaiting trial on a burglary indictment to get steady work. But he's picking up a few odd jobs here and there. Like what? Well, he told me he'll be doing some messenger work downtown. And he's got a cousin who does some hauling out in Long Island City. He's been helping him out when he needs help. Some stick gum? No, thanks. Comes up on the 20th, huh? Yeah. What do you want from me? Joe would like to talk to you, lieutenant. About what? Well, the fact of the matter is I'm trying to get the district attorney to recommend a suspended sentence. I've convinced Joe that the only way he can get it is to be of some help to you. We collared him in the act of committing a burglary. He had plenty of opportunity to tell me everything he knew, then didn't say a word. Well, I suppose the closer the day comes, the more cooperative he feels. When I talked to him, he sure must have thought the penitentiary was a million years away because he didn't feel cooperative at all. Wouldn't tell me the right time of day. See, I knew those boys had been stealing his blind in this precinct. Cop caught him inside the place. He had two other boys with him. Wouldn't say a word about them. What about anything he'd been involved in before? That kid has been into more flats than a paper hanger, lieutenant. He's got something more on his mind than those burg liveries, huh? What? I don't know exactly. Don't think he does either, Mr. Hogden. He's looking for a cheap way to save himself a couple of years. You all are like these kids. They look you straight in the face and lie like demons. He's not a kid anymore. He's 20 years old. Well, another year I can vote. I have an idea that what he wants to talk about is a homicide case that he was involved in. Not going to talk about a homicide case to get a suspended sentence on a burglary indictment. Not that he was involved in. That he knows about. If he wants to talk about it, tell him to come and see me. Well, that's just the point, lieutenant. I tried to get him to come with me. He won't. That's what convinces me. He's really got something on his mind. I think he's a little bit frightened. I'll tell you, Mr. Hodson, it's all part of the act. The bigger he can make it sound, the better chance he thinks he's got. Will you go to see him? I'm around the neighborhood there. I might drop in. I'll see. I wish I could generate a little more enthusiasm. So do I. Well, I'm sorry I couldn't interest you more. I've seen this happen a million times. Sorry to take up your time. That's what I'm here for. Don't blame you. It's your job to do the best you can for your client. If you get a chance, you will see him? Yeah, sure. If I get the chance, I might drop in on him, see what he has to say. That's all I can ask for. But you better make it before the 20th. He might not be around after that. All right, if I can. But believe me, you've got to discount these things 95%. Yes. Yeah, I suppose so. Well, I'll see you again sometime, lieutenant. Yeah, I'll tell very soon. Yes. You remember that boy, Joe Creedy? The one we jumped up in the act of burglarizing a flat down there on 73rd Street, I think. Yes, sir, I remember. Get his address out of the card. Yes. What is this stuff you're working on? A bunch of disposition of defendant forms. What are you, detective, a bookkeeper? It's what I'd like to know, Lieutenant. All right, get it cleaned up. I think we're gonna have a heavy night. I'd like. Lieutenant. Don't know exactly, but that Creedy boy thinks it's enough to get him off the hook. If it is enough, it's good and heavy. As a result of what he had heard from the attorney who visited him. At 6:15pm Lt. King, along with Detective Fitzpatrick, left the station house and drove the squad car to Second Avenue, found the address they were looking for and stopped. Detective Fitzpatrick was instructed to wait in the car while Lt. King went into the entrance to a tenement, looked at the mailbox and walked up the stairs to the third floor.

[B]

Yeah?

[A]

Is Joe home, Mrs. Creeding?

[B]

Well, yeah, he's here. Oh, you're from the police station, detective.

[A]

That's right, Ms. Creedy. Lieutenant King.

[B]

Oh, yeah. I remember. Oh, come in.

[A]

Thank him.

[B]

Lawyer said he was gonna talk to you. I guess he did.

[A]

He did? Yeah.

[B]

That's good. I'm glad.

[A]

Where's the Owen now?

[B]

Yeah, he's getting cleaned up. He just got home from work. He's been helping his cousin on the truck.

[A]

In Long Island City?

[B]

Yeah, that's right. Joel. Excuse me, Joel1 mom, he's here to see you.

[A]

Who?

[B]

From the police station. The detective.

[A]

All right. As soon as I put on my shirt.

[B]

All right. As soon as he puts on his shirt.

[A]

Okay.

[B]

I don't want him to go away, mister. I don't want him to. He's all I got. Got nothing else.

[A]

Well, there's nothing I can do about that.

[B]

He's a good boy. He's got it in him to be a good boy. His father's a hard worker, and he could be a hard worker. I don't want him to go away.

[A]

Well, that's up, Judge. Mrs. Creedy.

[B]

But you could help a word.

[A]

I've got no reason to help.

[B]

You will. You will have

[A]

sit down the table. That's all right.

[B]

Would you like something to. Coffee?

[A]

No, that's okay.

[B]

Oh, Joe.

[A]

Hi, D. Lieutenant.

[B]

You see, Joey came. I told you he'd come.

[A]

Let's sit down, Jo. Yeah, sure. Thanks, Ma. Go downstairs to Luncheonette. Have a cup of coffee.

[B]

I just had dinner, Joe.

[A]

Go on, Ma.

[B]

How'd it wanna go?

[A]

I think you ought to, Ms. Greening. Go ahead, Ma. All right. You better put on a coat.

[B]

I don't need a coat. Just next door. You talk to him, Joe.

[A]

I will, Ma. She's half out of her mind since I got in this dam. It's natural. Got no dough, nothing. Little of my old man's insurance money comes in, that's all. She went out and borrowed a hundred dollars for the bondsman for me. Sit down, Joe. Yeah. Look, I want you to get a couple of things straight. First of all, I've got no time to waste. Don't send me to haul any water. I won't. Once you understand. I'm not promising to do anything for you. Help me clear up some things that ought to be cleared up. I promise I'll let the district attorney know about it. I'm the probation officer. If you ask me, all I can expect you to do. That's a lot. Cause you weren't much help to us when we collared you. You've been doing nothing but making trouble for us since you were a kid. You know that, don't you? Yeah, I know it, but I'm not a kid anymore. You don't want to do any time. You said it. I don't. All right. What's this all about, Joe? Well, I met a couple of guys the other night. Where? Down the block here on the Avenue. In a bar and grill. What about? They're hot and heavy. Lieutenant? Yeah. How do you know? Because they wanted me to come into a deal with them. You go into a bar and grill, you meet a couple of guys, you say hello, and first thing you know, they want you into a deal. That the idea? No, no, no. That's. That's not the way it happened at all. How did it happen? What night did you meet them? Tuesday. You see, I was up here and I wanted to go to bed, but I got to thinking about the trial coming up and going away and all that. I knew I wasn't gonna be able to go to sleep, so I went down to get a beer. Anyway, I was in the place, and these two guys are sitting at the bar. Well, it's no secret in the neighborhood that I'm out on bail. And bartender mentioned it, you know, said he hoped everything had come out all right for me. These guys picked it up. I didn't know who they were. I didn't know them from Adam. Who started the conversation between you, you or they? I don't know who started the conversation. Actually, I think it started with some discussion about a fight. We were watching from the Garden, and one of them said, what kind of a jam are you in? I told them what it was and so forth. They took it all in. Were they drunk? No, I wouldn't say they were drunk. They had a few drinks apiece. They were feeling good. What do they want you to go into? Well, it wasn't mentioned right off. I told them I didn't know if I'd be interested because I was in a big jam already. And besides, I told them I never did any of that heavy stuff. I didn't want to hurt anybody. How'd you know it was heavy stuff? You said they didn't mention it. Right on. No, they didn't mention it. No. But they sort of intimated around, you know. Then they dropped the subject after you said you weren't interested. Yeah. And they pick it up again later the same night. Tuesday? Yeah. How did that come about? Well, we decided to go downtown to have a drink together. To the Village. They had a car and I went with them. On the way down, they stopped in front of a hotel and one of them said. Woody, I think it was. He said they had a friend staying there and they'd go in and see if he'd come have a drink, too. So they both got out of the car and I waited in there. A few minutes later, they come out and get in the car and we take off. They're laughing so loud they can hardly drive. So I ask them, what's the matter? They say they just stuck up the hotel, the night clerk. But what time was it? About 1 o'. Clock. 1:30, I guess. Wednesday morning. Yeah. Where was this hotel? Well, I don't know exactly. It was over on the west side in the 60s, I think. Just off Broadway there. Then you went on downtown, had some more to drink with him? Yeah. How long did you stay with him? About an hour more, I guess. I was a little sore about him laying me open on a deal like that. Just sitting in the car. They thought it was a great big joke on me. Would have been if you got colored. You're telling me you stayed with them an hour. What did they do then, Drive you home? No, they wanted to stay there and I told them I had to get home. They said they'd like to see me again. So we made a date for the next night. That was last night? Yeah. When? That joint there down in the Village, you went? Yeah. I didn't have anything better to do. You weren't thinking about going into the deal with them, were you, Joe? Well, to tell you the truth, Lieutenant, I did think a little bit about it. At least it must have been in the back of my mind. Otherwise I don't guess I would have had anything to do with him. What happened last night? Nothing. We just stayed there and drank. What's this about there being right for homicide? Well, I don't know for sure. You see, this Willie started to say something about the guy they shot up in a hotel job, and Fred shut him up quick. Were they healed? Guns, you mean? Yeah. Well, I guess they were. They must have had him just pick up that hotel, don't you think? Yeah. What time is your date to meet them tonight? How'd you know I had a date to meet them tonight? Dig here, didn't it? Yeah, I guess so. 10:30. Where? At the same Bar downtown? No, they said they'd picked me up in the car. The car house? No, on Fifth Avenue. Right by that museum there. The Metropolitan? Why that I don't know. That's where they said, meet him there. I guess they want to come through the park there and go right downtown. He said one of them is named Woody. What's the rest of his name? That's all I know. He never said his other name. And Fred. Fred Hantz. Where do they live exactly, you mean. I don't know. They never said. Over on the west side there. I know they eat in those restaurants up on Broadway in the 70s and 80s. That's what they said, anyway. I don't know exactly. Well, I guess it doesn't make any difference. They won't be there long anyway. Lieutenant King took Joe Creedy and returned to the station house with him. There, he made plans to arrest the two men. When they arrived at the corner of Fifth Avenue and the 86th street transverse through Central park at 10:30 that night, in order to keep them off their guard, Joe Creedy consented to wade on the corner. As had been arranged, detectives on foot would be placed in strategic positions. Lt. King picked for himself and Detective Fitzpatrick a doorway across Fifth Avenue, almost directly opposite the meeting place and with a clear view of the entire area, down to the massive steps and columns of the Metropolitan Museum of art. At 10:20, Joe Creedy, on instructions from Lt. King, crossed 5th Avenue and took his place on the corner. The detectives watched. Fifteen minutes later, they were still watching and waiting. That kid dreamed all this up. They can throw away the key for all I care. Lieutenant, it's cold out here. Yeah. Who serves coffee to the poor detectives on a night like this, huh? No gray ladies in sight, no volunteers. Nobody. All right, hold it. Car coming through. Stop it. Stay back. You know it's step good. Following instructions. Installing them. Yeah. All right, let's go. Yep. Come on. Come on. He get another car to talk to him. Here comes Goldman Beach. Come on, let's see it.

[B]

Hold up there.

[A]

Just want to light out. Cut them off that way. They're heading to the museum.

[B]

Hold up. Hold up there. Hold up. There they go.

[A]

They're going up the steps.

[B]

Hold up. Watch it. Turn him.

[A]

That's us they shooting at. Come on. You see them? Okay, hold it up.

[B]

Where are they? Stay back there. Stay where you are. Watch it from that end.

[A]

Well, at least they can't get down without our seeing them. Yeah, we can't get up without them seeing us. See that stone pedestal over There? Yeah. Try to make it to there. Okay. Okay. With me. Come on. Oh. Hey.

[B]

Come.

[A]

I don't see them.

[B]

What do you say? You two want to call it a night? I'll give you a knife.

[A]

Okay. Fit? Yeah, I guess they mean it. Yes, they do.

[B]

Yeah, I. Okay, we're all right. Post the men around that end. See they don't get down that way.

[A]

Okay. What do you say? They've got a lot of COVID with those columns up there. Those are a lot of steps we got to go up. Yeah. Tell you what. I see that about halfway up. Stone railing there. Yeah. You start firing, they'll keep their heads in. I'll make it that far. Okay? Okay. Whatever. Let me try them once more.

[B]

What do you say? Haven't you about had it?

[A]

Okay. Sid, cover me with that fire. Yeah. Look. Here it goes.

[B]

Okay, fitz. Okay. Beth. Okay. We're okay. Stay with us, fitz. Yes.

[A]

Come on.

[B]

I'll cover you. Okay,

[A]

Brother. Who needs this? Not me. Keep your head down, Fitz. Keep it down. Yeah. Okay. Lieutenant. I just fed baby. You see anything up there? It's like a dungeon. Not a blessed thing.

[B]

What do you say? Want to walk away from there or get carried? You know.

[A]

Think I hit him? I think so, too. Want to try it the rest of the way? There's no cover from here, and we can't stay here all night. Okay.

[B]

Is he down? Yeah, he's down, Flap.

[A]

I see him, Lieutenant. He's down back there behind the post.

[B]

All right.

[A]

You come out of there backwards.

[B]

Keep your hands in the air.

[A]

Come on. There he is. Come on. Come on back farther. That's it. Hold it there. Okay.

[B]

Hold it there. Just stay right here, all right?

[A]

Okay. Take it easy. Hold, Stu. Sit down there. Go on, Sit down. That one's not gonna bother us. Lieutenant, what do you say?

[B]

All right. Come on. We've got some. Get somebody to ring in for an ambulance. All right.

[A]

Listen, can I reach in my pocket for a cigarette? You just better sit there. Did you get the other guy, too, Joe? What happened to him? He didn't run with us. He played it smart. Yeah, he played it smart for a change. 21st briefing. Sergeant Waters? Yeah, that's right. We want an ambulance up here at the station house. What? Yeah, an injured prisoner. Well, who gave it to you? CB we got no name on him yet. Well, how soon will it be here? And so it goes around the clock through the week. Every day, every year. A police precinct in the city of New York is a flesh and blood merry go round. Anyone can catch the brass ring or the brass ring can catch anyone. 21st Precinct transcribed a factual account of the way the police work in the world's largest city is presented with the official cooperation of the Patrolman's Benevolent association, an organization of more than 20,000 members of the Police Department, City of New York. Everett Sloan in the role of Captain Kennelly. Ken lynch as Lieutenant King, Harold Stone as Sergeant Waters. Featured in tonight's cast were Lawson Zerby, Bill Zuckert, Briana Rayburn, William Redfield and George Petrie. Written and directed by Stanley Niss. Gaylord Avery Speaking.