21st Precinct 55-07-30 (095) The Pair

Summary

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Podcast Summary: Harold's Old Time Radio

Episode: 21st Precinct 55-07-30 (095): "The Pair"
Date: February 27, 2026
Host: Harold’s Old Time Radio

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Episode Overview

This episode revisits a classic police procedural from the golden age of radio—21st Precinct. The story is a grounded, “as-it-happens” look at a typical night in the NYC 21st Precinct, focusing this week on the case of a red-haired young man, Paul Creedy, accused of a string of subway station hold-ups. The real-time narrative highlights the mechanics of police work—from arrest to interrogation to line-up—against the backdrop of routine precinct life.

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Key Discussion Points & Story Progression

1. Initial Call and Witness Account (01:25–06:27)

• Captain Frank Kelly and Patrolman Coley are flagged down by a subway station agent, Roy Perford, who believes he recognizes the man who robbed him inside a nearby bar.
  • Roy describes the suspect: "He's the guy who hanged me up three weeks ago... He's redheaded, isn't he?" (05:15)
• Kelly responds quickly, expressing knowledge of a recent crime spree against station agents—eleven robberies in just a few weeks.

2. Apprehension and Bar Interrogation (06:27–08:49)

• Paul Creedy is apprehended and questioned at the bar, with his girlfriend Louise Bonella sitting nearby.
  • Paul is confused and confrontational: "Why should I take it easy? You come around here throwing a lot of questions at me. Why should I take it easy?" (08:06)
• Despite his protests, Roy identifies Paul as the robber.

3. Precinct Interrogation and Conflicting Accounts (09:00–14:46)

• At the 21st Precinct, Lieutenant King and Detective Bender join in questioning Paul.
  • King's approach is cool and methodical: "From the description, it appears the same man who was involved in the other nine cases. Why don't you find him, Paul, the opinion appears to be pretty widely that we've got him." (11:09)
• Paul maintains his innocence, insisting he's being set up due to a physical resemblance to the real culprit.

4. Building the Lineup (14:46–20:29)

• Police discuss the importance of a fair lineup due to the critical nature of eyewitness identification: "In a criminal case, identification by the victim of the suspect is generally the most important piece of evidence. Consequently, procedure calls for exactitude in conducting a lineup."
• The squad gathers similar-looking, redheaded officers and arranges the lineup for midnight.

5. Lineup and Positive Identification (21:19–23:47)

• Paul participates in the lineup, clearly nervous and defensive.
  • Paul, talking to his girlfriend: "I hope so. I just hope." (21:28)
• Lewis Wolfsmith, another subway station victim, confidently picks Paul: "That's him. He's the one." (23:22)
• Paul protests passionately: "No, no, he's not. Lies. A lousy frame." (23:44)

6. Confession and Motive (24:04–End)

• Pressed by authorities and faced with the evidence, Paul finally confesses to the robberies.
  • “I thought I could soft talk my way out of it, but I guess there’s no use.” (24:15)
  • He claims desperation, not violence: “Listen, I didn’t hurt anybody. I wouldn’t have shot any of those guys anyway.” (24:25)
• Paul admits he lost his job and felt pressured to provide for his family, though he confirms his girlfriend knew nothing of his crimes or past record.

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Notable Quotes & Dramatic Moments

• Roy Perford on recognizing the suspect:
  "I recognize him right away. Right there." (05:15)

• Paul Creedy expressing despair:
  "What do I have to do to prove it?" (24:09)

• Lieutenant King's perspective on identification:
  “Means a lot to me, Paul… the opinion appears to be pretty widely that we’ve got him.” (11:09)

• Paul's confession:
  “I thought I could soft talk my way out of it, but I guess there’s no use.” (24:15)
  "I did work there, but I got fired. There wasn’t any money coming in. Had to get it someplace, you know." (24:42)

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Timestamps for Important Segments

• [01:25] – Call for police assistance; Roy Perford’s report
• [06:27] – Paul Creedy apprehended at the bar
• [08:49] – All taken to the station; questioning begins
• [13:58] – Paul fails to recall his whereabouts during the crimes
• [14:46] – Plans for the lineup begin
• [21:19] – The lineup is arranged; tension builds
• [23:22] – Lewis Wolfsmith positively identifies Paul
• [24:04] – Paul is confronted; confesses
• [24:42] – Paul’s discussion of motive and request not to inform his girlfriend

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Tone and Style

The episode maintains a procedural, almost documentary tone, with Captain Kelly’s narration providing facts and context between snappy, realistic dialogue. The interactions are gritty, honest, and at times somber, especially when Paul is forced to confront his actions. The mood is one of tense inevitability, blending procedural formality with the emotional weight of a life coming undone under the relentless logic of police procedure.

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Final Thoughts

This episode offers an authentic glimpse into 1950s policing—careful, methodical, and sometimes heartbreakingly human. Paul Creedy’s story is less about hardened criminals and more about ordinary people trapped by circumstance, mistaken—and then confirmed—identity, and the pressures of everyday survival. The show’s nuanced approach to both justice and mercy remains as compelling today as it was when it aired.

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Transcript

[Podcast Host]

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[Captain Frank Kelly]

25 sleeping. Sergeant Waters. Yeah, calling. How many prisoners you got there? Yeah, yeah. Well, where is it?

[Paul Creedy]

Inside the bar there?

[Captain Frank Kelly]

Yeah, yeah. You are by transcription in the muster room at the 21st Precinct, the nerd 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 a car around to a city. Yeah, right away. Okay, and then come on in. 21st Precinct. It 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 if 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 Kelly, Frank Kelly. I'm captain in command of the 21st. I was working my night tour 4pm to 8am it was raining hard when I came on the job and the 62 men of the 4 to 12 Platoon wore their black rubber raincoats and cap covers at the turnout. By 6pm however, the rain had stopped and when I went out for my meal, the skies were clear. At 8, I instructed Sergeant Waters on telephone switchboard duty to have a car come by the station house to take me on patrol. Then for the next two and a half hours with Patrolman William P. Coley as operator, I rode the streets of the precinct. The 490 radio motor patrol cars of the police department of the city of New York are, for obvious reasons, conspicuous appearing vehicles. They are Ford, Chevrolet and Plymouth club coupes. The lower part of the bodies are painted dark green and black, the upper part, white. The word police is lettered in several places large enough to be read a block away. At night, a red and white lighted sign also reading Police shines from the roof of each car. Consequently, a citizen in need of assistance can see a radio motor patrol car coming from some distance away. And as we drove downtown on Lexington Avenue en route back to the station house, that was the case exactly. If that fellow wants us, Captain. All right, pull in. Sir. Boy, am I glad I saw you. What's the trouble? You see that body? Yep. Well, I was in there having a beer, see? I was just minding my own business, having a beer for no reason at all. I looked around, you know. I just turned around. I'm sitting at the bar, you know. And there in the booth is this fellow and this girl. I thought he looked familiar to me, so I took another look. You know who he is? He's the guy who hanged me up three weeks ago. How do you like that? How's your blast on the job? I'm the stakes major for the independent subway. He come in and stuck me up, and here it was him. Same identical fella. I swear. Is he still in the barn? Oh, yeah. Yeah, he lives in there. I wanted to get out as fast as I could before he recognized me. I got out there to see a cop on the street or something. I didn't know what to do. I thought if I went to a phone someplace, he'd get out and get away, you know. So I just thought it best to wait outside until somebody came along. And if he came out meantime, I was gonna follow him, you know. I'm glad to see you. I didn't want to go following him when he robbed me. He had a gun this long? Suppose I followed him. He still had it on him. What's your name? Perfect. Real perfect. Where is this subway station where you were robbed? 116th Street. 116th street, facing the 8th Av. When was it? Three weeks ago. You live around here, Roy? Yeah, over there. 2nd a.m. yes. All right, let's go have a look. Calling. Yes, sir. Right with you, Clemson. Well, I'm telling you, they're in a station agent who's not gonna breathe easier tonight. Know how many of us got stuck up last couple weeks already? Yes, I know. Eleven of us older. Damn. When I seen him, I started to shake, you know? Then I kind of got my wits back about me. He's redheaded, isn't he? Yeah, he's a redhead. You know about this guy? Yeah, we know about him. What a guy. Eleven of us. Bang, bang, bang. You say he's in a booth across from the bar? Across from the bar. In the back of it, sort of, you know. He's got this girl with him, you see? I recognize him right away. Right there. All right, Ryan, you wait right here. We'll talk to him. Be careful, will you? If he's still got the gun on him. Just wait right here. Come on, cry. You watch him now. All right, cry. You keep your eyes open. I'll talk to him. Okay, Captain, There he is. Yeah.

[Paul Creedy]

Can I help you, captain?

[Captain Frank Kelly]

Oh, I'll see you in a minute, joe.

[Paul Creedy]

Very funny. Very funny.

[Captain Frank Kelly]

Stand up a minute, William.

[Paul Creedy]

What's the idea?

[Captain Frank Kelly]

Stand up. Stand up.

[Paul Creedy]

All right, take it easy. What's the matter?

[Captain Frank Kelly]

Lean up against them.

[Paul Creedy]

Why?

[Captain Frank Kelly]

Go on, lean up against that. Yeah. All right. Take him, Coley.

[Paul Creedy]

I'd like to know what the idea is. So would I.

[Captain Frank Kelly]

All right, sit down. But what's the matter, anyway? What's your name? Creedy. Paul Creedy. Keep your hands on the table.

[Paul Creedy]

I was just going to get my wallet to show you.

[Captain Frank Kelly]

All right, Just keep your hands on the table there.

[Paul Creedy]

What the idea? What's the idea? We didn't do anything. We were just sitting here.

[Captain Frank Kelly]

Where do you live, Paul? Why? Because I asked you where do you live.

[Paul Creedy]

762 East 89th Street. I'd like to know what this is all about. Would I, after all. Got some trouble here, Kevin?

[Captain Frank Kelly]

No, no, we'll handle it. Joe. What's the matter? Look, you better just get back behind the bar, okay?

[Paul Creedy]

If you stay, I'd like to know what this is all about. We've got some rights in this pentatonia.

[Captain Frank Kelly]

Okay, honey, it's all right. Go outside and get him. Get. Sir. Right away.

[Paul Creedy]

Get who?

[Captain Frank Kelly]

You working, Paul? Working? Sure, I'm working. Where do you work? At a leather goods factory downtown. What's the name of the company? Ravenscroft. Ravenscroft Leather Goods. Listen now, fun is fun. What's this all about? You ever been arrested, Paul?

[Paul Creedy]

Of course he hasn't.

[Captain Frank Kelly]

Have you?

[Paul Creedy]

No, I haven't.

[Captain Frank Kelly]

What's your name? Her name is Louise Bonella. She's a friend of mine we go out to together. She lives across the street from me. Is there anything else you want to know? All right, Paul, take it easy.

[Paul Creedy]

Why should I take it easy? You come around here throwing a lot of questions at me. Why should I take it easy?

[Captain Frank Kelly]

Because you're liable to have a lot more questions thrown at you. Here he is, Captain. That's him. That's the guy.

[Paul Creedy]

I'm the guy. What? You're the guy that stuck me up. You're out of your mind. Wasn't tonight I didn't see you.

[Captain Frank Kelly]

All right, you're lying about it.

[Paul Creedy]

Okay, cut it out.

[Captain Frank Kelly]

Quiet. Now

[Paul Creedy]

stick. Everybody up. Listen, when was this supposed to have happened?

[Captain Frank Kelly]

About three weeks ago in the 116th street station of the 8th Avenue line.

[Paul Creedy]

He's out of his mind. Yeah, well, we'll see if I have. Listen, let's go get this straightened out. I want it straightened out.

[Captain Frank Kelly]

That's what we're going to do, Paul, right now. Control, compliance, confidence. That's what the American Express corporate program helps deliver. Customize rewards, success, centralized company spending and count on world class customer care. With corporate cards from American Express, your company can be covered. Explore [e-mail] corporate terms apply. Patrolman Cody rang in and an additional car was sent to assist. And we took all three to the station house. At the house, Cody and I took them upstairs to the office of the 21st Detective Squad, where the situation was explained to Detective John Bender, who was catching, and Lieutenant Matt King, commander of the squad, as required. Patrolman Crowley, who would be the arresting officer of record, remained with his prisoner. I went downstairs to my office after talking for a few minutes to the complainant, Roy Perford. Lt. King brought the suspect into his office where he questioned him in the presence of Patrolman Coley and Detective Bender. Well, you've got to grant this, Paul. The man walked into the bar, he saw you sitting there. He said you're the boy that stuck him up. Must be something to it. Well, he said it. There's something to that. Maybe he believes it, I don't know.

[Paul Creedy]

But it wasn't me.

[Captain Frank Kelly]

Paul, in the last month there have been 11 station agents held up in Manhattan alone.

[Paul Creedy]

That doesn't make me the guy.

[Captain Frank Kelly]

I know it doesn't, but I want you to listen to this. What? One of the robberies was in this precinct, the 77th street station of the Lexington Avenue line on Friday, June 24th. This is from the squeal made out by the detective. Detective investigated the case at 11:18 a lone man walked up to the change booth and asked directions of how to get to Times Square. Station agent told him the man then pulled a nickel plated revolver from his pocket and robbed the station agent of $53.40.

[Paul Creedy]

What's that got to do with me?

[Captain Frank Kelly]

The station agent described the man like this. 24 years old, 5ft 9 inches, 150 to 60 pounds, light complexion, blue eyes, medium build and red hair. Just sounds like he was talking about you, doesn't it, Paul?

[Paul Creedy]

Well, I'm not the only guy in New York with red hair.

[Captain Frank Kelly]

He was one. This fellow, Roy Pierford, who saw you in the bar tonight. He gave the detectives up there in the 28 squad almost an identical description. He identified you in person.

[Paul Creedy]

Well, that don't mean the same.

[Captain Frank Kelly]

Means a lot to me, Paul. From the description, it appears the same man who was involved in the other nine cases. Why don't you find him, Paul, the opinion appears to be pretty widely that we've got him.

[Paul Creedy]

It's not true. I didn't do it.

[Captain Frank Kelly]

All right, maybe we'll find out if you didn't. But I'm telling you, if you did, you might as well let me know about it right now. Because you're supposed to be wasting a lot of your time and a lot of mine.

[Paul Creedy]

I didn't.

[Captain Frank Kelly]

Now, you told Captain Canelli that you were employed by the Raven's Cross Leather Goods Company? That's right. What do you do then? I work on a stamping machine. Work? Stenting? Yeah. Good. How long you been there? Since around February. What do you make a week? Well, that depends on the overtime. On the average, right around $80. 75. What time did you get in in the morning? Like 8 o'. Clock. What time you through? Four. Unless it's overtime. You live at 762 East 89th Street? Yeah. Who do you live there with? My mother, my brother and my sister. Where's your father? Well, that's what we'd like to know. Bender, move that ashtray over so he can use it. Yes, sir. Thanks, mister. All right. Are your brother and sister younger or older? No, she's older, he's younger. They work, my sister does. He works for the city. My brother's in high school still. He works a little bit. You know, odd jobs. How old are they? 18. What color hair does he have? Red too? No, no, he's darker. Brown, like yours. Who's this girl you were with tonight? Louise Vanella. Yeah, I know that. I mean, you see her much? Yeah, I see her a lot. We're thinking about getting married. Oh, I am? Yeah. When? We don't know yet. We've got a few problems we've got to work on. Yeah, don't we all? How long have you been going with her? Oh, I don't know. Three or four months. Ever been in trouble? Trouble, Paul? What do you mean, trouble? Ever been arrested? No. Never? No. Never had any trouble with the cops? Not even when you were a kid? Kid stuff? No, Never. Well, see, now, there were 11 of these robberies. Let's just talk about two of them for a minute. The two we know most about so far. I don't know anything about any of them. I mean, us. We hear. Now, we know about the one in the 116th street station of the 8th Avenue line because Mr. Pierford saw you in the bar and identified you. Crazy about that, but he identified you. That was on June 16th, Thursday night. Now, we know about the one that was here in this precinct. That was on June 24th, Friday night. You got any idea where you were either of those two nights? Not at the moment. I gotta think about it. I can't remember back when I wasn't doing anything in particular. I know. Could have been with your girl, couldn't you, Louise? Oh, yeah, sure. I could have. I might have, but I don't know.

[Paul Creedy]

How should I know?

[Captain Frank Kelly]

I can't remember specifically. I could have been home. I could have. Yeah.

[Paul Creedy]

I don't know. I don't remember that far back.

[Captain Frank Kelly]

How do you expect me to remember where I was a month ago? Almost. I had no reason to remember. No, you could have been putting a gun on those station agents. Well, that I wasn't. You'd have remembered that if I did them. I would have remembered I didn't do them. I'll tell you what, Paul. I'll agree with you that there's lots of redheads in New York. Sure are. Now, I agree with you that Mr. Pierford, the fellow at the 116th street station, might have been mistaken. I know he was. I'll tell you what I've got in mind. We've got the victim from the 77th street subway station, the one in this precinct over here. See what he has to say. Well, that's right. There. You're not going to sit him down here and say one fellow said I was the guy? Oh, nothing like that. If he picks you, he's got to pick you out of a line. Oh, sure, and I'm the only redhead.

[Paul Creedy]

How can he miss?

[Captain Frank Kelly]

He'll be loaded with redheads. Well, all Right. That's fair enough. Good. Excuse me. Yeah? 25 spacing. Sergeant water. Lieutenant king. Sergeant. Captain pinelli around?

[Paul Creedy]

Yes.

[Captain Frank Kelly]

So he's in his office. I'll ring in then. Okay. 21st Precinct. Captain Kenami. Lieutenant King. Captain. Yes, ma'? Am. You have a minute? I'd like to talk to you. Okay, Matt. I'll be right up. I'll meet you at the head of the stairs, Captain, outside the squadroom. All right. You sit in there, Paul. Caller, you stay with him. Yes, sir. Come on, Bender. Yes, sir. I'm not going to be here all night, Emmer. All night, Paul. Hello. I've been there. Yes, sir. There's two things I want you to do. I want you to check his name through BCI for any previous records. Okay. Then I want you to see if you can locate the victim of the robbery in this precinct and get him over here. Yes? Oh, yes, sir. Tell Goldman I said to ride over the boy's house. I want him to take a look through his thing. See if he's got that gun around there or any other evidence. Okay, Lieutenant. Get on it. Yes, sir. Right away. Listen, Excuse me. How long will I have to wait around here? Do you know, I was just supposed to be going down for a paper and I stopped in for that beer. My wife will have a fit. Oh, I could telephone, let her know you're here. We don't have any phones. I could have the desk officer send a policeman around to notify her. Oh, no, don't do that. She wouldn't know what to think. She's got some vivid imagination. Could I just go home and come back? Would that be all right? The detectives from the 28th squad are on the way down here to see you. Better stay here. All right.

[Paul Creedy]

Aren't you finished with Paul yet?

[Captain Frank Kelly]

No, not yet.

[Paul Creedy]

What's taking so long? He didn't do anything. You know he didn't do anything.

[Captain Frank Kelly]

That's the trouble. I don't know it.

[Paul Creedy]

Well, when will you be finished?

[Captain Frank Kelly]

I don't know that either. You can go home if you want.

[Paul Creedy]

No, that's all right.

[Captain Frank Kelly]

I'll stay. All right. Up to you May have a long wait.

[Paul Creedy]

I. I don't.

[Captain Frank Kelly]

Well, thanks for coming up, Captain. It's all right, man. How does it look? Well, he continues to deny he's the one. Yeah, I'm getting the victim from the robbery in this precinct over here. We'll have a lineup. Good. I need some help on the lineup, Captain. We'll get to it about midnight. I need four or five redheads about the same physical description as his. We ought to be able to dig up that many between both platoons. Yes, I think so. I thought Kane is working in 4 to 12. Ought to be good. Yeah, he would be. And I think Benjamin is on the job too. Oh, good. Now we ought to have enough. I'll. I'll talk it over with the desk officer. What do you think of this boy, man? What do I think? Yeah. Well, I'll tell you, Captain. I've got a personal opinion. After that second victim gets a look at him, I think he's going to walk right out of here. I don't believe that boy was anywhere near those subway stations. You are listening to 21st Precinct. A factual account of the way police work in the world's largest city. After I spoke to Lieutenant Gorman, the desk officer, I rang upstairs and told Lieutenant King we had five patrolmen, all red haired, who approximated the same general physical description as the suspects. I suggested that the proposed lineup be held as close to midnight as possible in order that those men who were on the job would lose as little time from patrol as practical and those men off duty would be required to spend a minimum of their own time. He agreed. Provided of course, that the victim was could be located and brought to the station house by then. In a criminal case, identification by the victim of the suspect is generally the most important piece of evidence. Consequently, procedure calls for exactitude in conducting a lineup. The process of identification is usually the prime target of attack by the defense attorney. And any irregularity that can be shown makes a deep impression on the jury in favor of the defendant. At 11:25pm Lt. King informed me that Detective Bender had located the victim at his home in Washington Heights and was driving him to the station house. The men from the patrol force who were to participate in the lineup were instructed to report to Lt. King in their civilian clothes at midnight. I turned out the platoon and after the men marched out the front door to take over their post, I started to cross the Musker Room toward my office. Captain. Oh, hello, Mena. Captain, this is Mr. Lewis Wolfsmith. Captain Canelli, Captain. How do you do? Mr. Wolman. He's the victim in that robbery we had in this precinct. I never thought you'd tap tap him. I never thought you would. Well, we don't know that it's him yet, Mr. Wilsmit. You're the one who's going to have to tell us that. Don't you worry about that. I know him. I don't forget. I wonder if we could wait in your office until they're ready for Mr. Wil Smith upstairs, Captain. Sure, Bender, help yourself. I'd love to see how they're making out. Yes, sir. In here, Mr. Wilkes. How long will it take, you know. Well, gotcha. Yes, Sergeant. I was just upstairs. Or about. All set. All right. I'm going up there now. I left those cabaret inspection reports on your desk, Captain. Did you get a chance to look at them? No, not yet. I'll. I'll read them during the night. Yes, sir. Anything unusual in them, Justin? That one I was telling you about, Captain. I told the manager we had another complaint about the entertainers fraternizing with the patrons. He said he'd watch it. And you make a stop in there tomorrow night, too, Sergeant. Yes, sir. Make sure he is watching it.

[Paul Creedy]

All right, Keep it down, you men.

[Captain Frank Kelly]

What do you think this is? Where's Lt. King? He's office, Captain. Now, haven't you gone home yet?

[Paul Creedy]

No, I'm waiting for Paul.

[Captain Frank Kelly]

You could have a long wait.

[Paul Creedy]

That's all right. I don't mind.

[Captain Frank Kelly]

Yes, captain. Caneli. Come on, captain. Ender brought the other victim in, Matt. He's waiting in my office. Yeah, I know. He rang up here, Captain. I told him to come upstairs and wait with them outside in the home. Oh, Are you about set, Paul? Yes, I'm set. Let's get it over here. All right, Paul. I see you found a few redheads.

[Paul Creedy]

Paul, are you all right?

[Captain Frank Kelly]

Why don't you go home, honey?

[Paul Creedy]

I don't want to.

[Captain Frank Kelly]

Don't you leave her. Have to sit down on the bench at home. Go sit down, Louise, please. This will all be over, son.

[Paul Creedy]

I hope so. I just hope. Sir.

[Captain Frank Kelly]

You have a light, Captain? Yeah, sure. Get him lined up over there, William. Here you are. All right, fellas, let's form a line. Thanks, Paul. Listen, I was just sitting in a bar, minding my own business. All right, Paul, let's go. Come on, come on. Form a straight line there. Okay, Paul, this is your party. Pick your spot. Anywhere on the end, in the middle, anywhere you like. All right, this will do right here. Let out there and let him in. Excuse me, Captain. I'll be right back. Sure, go ahead. Take that jacket off, K. Hello, Ben. Lieutenant, this is Mr. Lewis. Wolf. Schmidt. Lieutenant King. Mr. Wolf Schmidt. Hi, how are you? Wmit? Do you think you can identify the man that held you up? Oh, yeah. You sure of it? Oh, I remember him. I remember what he looked like. I could it. All right. Well, let's try. You want to come in yeah, looks like yesterday. That night. When we get in there, I'll tell you how we work it. Go ahead, Mr. W. Now I want you to walk up and down in front of that line of men. No, thank you. Now take your time. Look them over, look them over good. You see the one that held you up and robbed you? Tap him on the shoulder. Look them all over. Looked him over good. Yeah, I got it. 21st Squad, Detective Sanders. Yeah. Sinker. Oh, yeah, yeah. You're not strong. Listen, you want me to take another look? You think you need it? I'd like to hear that one. Talk. Which one? This one Here, take your name and address. Paul Cree. 762 East 89. That's him. He's the one.

[Paul Creedy]

No, no he's not. Lies. A lousy frame.

[Captain Frank Kelly]

No frame up. Nobody told me nothing. Rest of you man are excused. Thank you very much.

[Paul Creedy]

The whole thing is a lousy frame up. You're the one I can't help from beginning to end.

[Captain Frank Kelly]

Showing my office, Paul. Captain. Right working man. Wait a minute, Mr. Walter man. Yeah, sure, Lieutenant. Go ahead and.

[Paul Creedy]

Lousy frame up, that's what it is.

[Captain Frank Kelly]

Yes, Bender. Listen, Lieutenant, can I talk to you? All right. Sit down, Paul.

[Paul Creedy]

I didn't rob anybody. What do I have to do to prove it?

[Captain Frank Kelly]

I don't know, Paul. Okay, Bender, thanks. Yes, that's all. Looks like that was in, huh?

[Paul Creedy]

That was nothing. It was a frame up. You gotta hang it on somebody. So you pick me, that's all.

[Captain Frank Kelly]

Did I? Did I pick you? To serve two years Reform for grand larceny and felonious assault? True, isn't it? Yeah, it's true. You lied about that. You could lie about this. I didn't stick up anybody. The Bureau of Criminal Identification called back and said the case practically amounted to armed robbery. Why did you lie about doing time? Ah, okay. I guess you got the right dope. Sit down, Paul. I thought I could soft talk my way out of it, but I guess there's no use. No, there's no use. Was it you and all 11 of them? I don't know, 1011, something like that. Where's the gun? Boat? I got it. Well, in the basement of my house. I never did keep it upstairs. I thought my ma or my brother might find it when I was embarrassed. Him? Exactly. Where? In the basement? Well, I couldn't describe it exactly. I have to show you. Listen, I didn't hurt anybody. I didn't hurt a soul. I wouldn't have shot any of those guys anyway. You said you Worked at this leather goods place. Is that the truth? I did work there, but I got fired. There wasn't any money coming in. Had to get it someplace, you know. Gotta help out at home, find a way to help out and. Had to help out some way. Why didn't you get another job? I don't know. This was easier, I guess. Was it? What else did you rob beside those station agents? Nothing. Nothing else, I swear. Listen, Louise doesn't know a thing about this. She thinks I'm still working down there. She don't even know I did time before. She'll know a thing. She's waiting outside. Do you want to talk to her? What's the use? What could I say? I don't know. I don't want to talk to her. Well, that's up to you. I never should have gone into that bar tonight. That was my mistake. My big mistake. No, that wasn't your big mistake. What was? If you don't know, Paul, I can't help it. 24 speaking. Sergeant Waters. Where is this? What's the trouble there? Well, how do you know from what? Well, where is it? Where? On East 81st Street. Who's this calling? What's your name? What? All right, you just wait right there for the officers. And right away goes. Yeah. 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 Benevolence association, an organization of more than 20,000 members of the Police Department, City of New York. Everett Sloan in the role of Captain Kennelli. Ken lynch as Lieutenant King. Harold Stone as Sergeant Waters. Featured in tonight's cast were Eileen Palmer, Larry Haynes, Bill Zuckert, John Gibson and Lawson Zerby. Written and produced by Stanley Ness. Art Hannah speaking.