21st Precinct 56-05-31 (139) The Neighbor

Summary

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Podcast Summary: 21st Precinct 56-05-31 (139) "The Neighbor"

Podcast: Harold's Old Time Radio
Episode Date: February 28, 2026
Original Broadcast Date: May 31, 1956
Episode Theme:
A captivating police procedural from the Golden Age of Radio, 21st Precinct brings listeners into the nerve center of a New York police station, following the full arc of a late-night burglary call, from its initial report to the case's resolution. This episode, titled "The Neighbor," explores how an ordinary apartment burglary unravels secrets and tests perceptions of trust within an urban community.

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Main Theme and Purpose

This episode offers an immersive, quasi-documentary look at mid-century police work. The narrative follows the police as they respond to a late-night burglary in a New York apartment building, focusing heavily on the relationships and suspicions that arise among neighbors in the city. It highlights not only procedure and investigation but also the ordinary tensions and misunderstandings that police encounter.

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Key Discussion Points & Insights

Opening Scenes: Precinct Routine and the Burglary Call

[00:05–03:12]

• Introduction to the 21st Precinct staff and routine nighttime operations.
• The calm of the night is pierced by the call of a woman ("Ms. Lansford") who has found a burglar in her apartment.

[03:12–05:08]

• Ms. Lansford describes returning home and encountering a man in her apartment, calling the police from a street box out of fear (no phone at home; typical for the time).
• Officers respond quickly but stealthily (no siren) to avoid alerting the suspect.

Investigation at the Scene

[05:08–09:05]

• Officers Vaccaro and Coley interview Ms. Lansford and cautiously search the apartment.
• The burglar is gone; evidence points to an escape via the kitchen window and fire escape.
• Ms. Lansford realizes several valuables are missing, notably jewelry and a mink stole, expressing palpable distress about the loss:
  • Memorable Quote [08:44]:
    "That was the most beautiful stole you ever saw... I don't know how I can ever replace it." (Ms. Lansford)

The Neighbor: Mr. Reedley's Complaint and Suspicion

[09:05–10:42]

• Mr. Reedley, a neighbor, expresses outrage at police intrusion and loss of privacy—he's been awakened twice and threatens official complaints.
• Captain Cronin tries to explain the necessity of searching neighboring apartments for the suspect, but Reedley is defensive and uncooperative.
  • Memorable Quote [10:00]:
    "The trouble is I resent being wakened out of a sound sleep in the middle of the night by a policeman..." (Mr. Reedley)

Gathering Evidence, Expanding the Suspect Pool

[10:42–12:07]

• Detectives arrive and question Ms. Lansford about the stolen property and insurance status (she has none).
• Captain Cronin expresses suspicion over Reedley's attitude and proximity, advocating a closer look, though lacking direct evidence.

Unpacking Neighborhood Dynamics

[12:07–17:43]

• Investigation shifts toward possible suspects and relationships in the building:
  • Ms. Lansford describes only a cursory acquaintance with Reedley and describes an incident where she gave him her key to let in a furniture delivery.
  • Discussion includes insight into Reedley's background—he's late paying rent, home during the day, and not well-known.
  • Detective King and Cronin probe whether the perpetrator could be an inside job.

Building a Case Against the Neighbor

[17:43–19:42]

• The detectives reason through the timeline and opportunity—Reedley previously had access to Ms. Lansford’s key, allowing for a duplicate to be made.
• The evidence of the burglar’s escape through the fire escape, combined with the open window to Reedley’s apartment, shifts suspicion further.

The Confrontation and Confession

[19:42–25:22]

• Detectives confront Reedley, who resists entry and threatens legal action, insisting on privacy.
  • Quote [21:03]:
    "You've got no right to come in here. I know the law. You can't come in here without a search warrant. If you do, I'm going to sue you..." (Reedley)
• Detectives, citing exigent circumstances, search the apartment.
• After much protest, they find the stolen mink stole hidden in Reedley's kitchen.
• Reedley confesses: he made a duplicate of Ms. Lansford's key after she trusted him with it and stole the valuables due to financial troubles.
  • Memorable Quote [25:02]:
    "Look, I needed money, that's all. But I'm in an awful spot. I've never been in trouble before. I mean, I never did anything. You gave me a key one day. I just couldn't resist it. I had a duplicate made..." (Reedley)

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Notable Quotes & Memorable Moments

• [07:56] Ms. Lansford on what she remembers:
  "Oh yes, yes, that impressed me. You know how white stands out."
• [09:19] Ms. Lansford, despairing for her missing property:
  "What am I going to do? I don't know what I'm going to do."
• [10:00] Mr. Reedley, objecting to police intrusion:
  "I'm looking for a good night's sleep. You've got no right to open my back window and then come ringing my bell..."
• [21:03] Reedley demanding his rights:
  "You've got no right to come in here. I know the law...If you do, I'm going to sue you..."
• [24:28] Bill, finding the mink stole:
  "Is this what you're looking for, Lieutenant? Where'd you find that bill? Stuffed into a kitchen cabinet. All right, Ridley, that's the mink stove. Where's the jewelry?"
• [25:02] Reedley's confession:
  "Look, I needed money, that's all. ...I just couldn't resist it. I had a duplicate made."
• [25:22] Lieutenant, dryly:
  "We're gonna let you write that letter to the police commissioner."

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Key Timestamps

• 00:05–03:12 — Night shift at the precinct, first report of the burglary.
• 03:12–05:08 — Ms. Lansford's emergency call, details on the burglary.
• 05:08–09:05 — Police search the scene; discussion with the victim.
• 09:05–10:42 — Mr. Reedley interrupts, establishing an early suspect.
• 12:07–17:43 — Detectives question victim and discuss Reedley's possible motives and opportunity.
• 19:42–22:12 — Police confront Reedley; tense debate over entry/search.
• 22:12–24:28 — Search for evidence, find stolen goods.
• 24:28–25:22 — Confession, case resolution.

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Tone and Language

The episode employs classic, authentic radio drama language: clipped, formal but accessible, with realistic emotional undertones. Dialogue is natural, with a mix of dry humor, frustration, and empathy. The police are procedural but human, and the civilians' responses range from panic (Ms. Lansford) to indignation (Reedley).

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Conclusion

"The Neighbor" is a classic urban morality tale wrapped in a taut procedural. The episode shines at capturing how trust can be misplaced even in the most ordinary circumstances, and how police must sometimes act on hunches and social cues as much as hard evidence. The dynamic between annoyed neighbor and methodical police creates authentic tension, leading to a satisfying, if somber, conclusion.

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Transcript

[A]

21st Precinct. Sergeant Waters. No, the skip is over there at the scene of that burglary. Yeah, I know you are. Well, what's the trouble? Oh, he is, huh? Yeah. You are in the muster room at the 21st Precinct, the nerve center. The 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. Okay. He ought to be back here within the next half hour or so. Yeah, okay, I'll leave a message for him. 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 Cronin, Vincent P. Cronin. I'm captain in command of the 21st Precinct. I was doing night duty 4pm to 8am I turned out the platoon for the 12 to 8 toward midnight and went out on patrol of the precinct. Things were quiet at 1:35am Lt. Patrick Gorman was on duty as desk office at the station house and Sergeant William Waters sat at the telephone switchboard. The settlements was broken occasionally by the hum of the switchboard or a call over kea, the police radio. When he placed Precinct Sergeant Waters. Give me the detective, Sergeant. Yes, sir. Hold on, Sergeant. Yes, sir. What time is Jacoby due to ring in? 40, Lieutenant. Okay. When he does, ask him what the delay is on that notification for the 90 seconds. Yes, sir. It's 12 stages getting me down, Lieutenant. When do you swing? After this tour. Thank goodness. That's Jacoby. Maybe you better let me talk to him. Yes, sir. No, it's not him, Lieutenant. Somebody was talking to the detectives. They're finished. Oh, okay. What time the skipper say he'd be back to the house? He didn't say. You want to see what that is on the Teletype? Oh, okay. Not much, Lieutenant. An alarm on a stolen car up in the 52nd. Okay. How about a cup of coffee, Lieutenant? There's some hot back there. No, no, thanks. I've got a lot of stuff to write up here and I've got to file all the cards Is Dr. Kobet here? Still want to talk to him? Yes. 21st Precinct. Sergeant Waters.

[B]

Is this a police?

[A]

Yeah, that's right.

[B]

Lady, there's a burglar in my apartment.

[A]

There was or there is right now. There is.

[B]

There is right now. I saw him. I came home and opened the door and there he was.

[A]

Lady, wait a minute.

[B]

There he was right in the apartment.

[A]

You live in the apartment?

[B]

All alone? Yes, all alone. I got scared and I ran out. I couldn't find any place open, so I used this phone on the street. It says, call police.

[A]

Did you get a good look at the man?

[B]

No, I didn't wait to get a good look. I was scared.

[A]

You're sure it's not someone you know?

[B]

I'm sure. I'm positive.

[A]

Is he still in a building?

[B]

I think so. I think he's still up in my apartment.

[A]

All right, I'll send the officers right over there. What's the address of your apartment?

[B]

One nine four East 69th Street.

[A]

Are you talking from the police call box in the corner there?

[B]

Yes, that's right.

[A]

All right, lady, you just stay there and wait for the officers.

[B]

Will they be here soon?

[A]

Right away. Now, if you see the man come out of the building, remember which way he went. See if he's got a car. All right, the officers will be there right away. What do we got, Sergeant? A lady with burglars. Lieutenant. Sergeant Waters, 21st Precinct. Send a car to 194 East 69th. A woman rang in on a call box and said there was a prowler in her apartment. He's waiting on the street at the call box. 1-948-69th. Yeah. Okay. One body, one bugger. How many does she need, Lieutenant? As soon as sector car number three, Patrolman Paul Vaccaro, operator, and Patrolman William Coley, recorder, received the call. They started on the three block run to 194East 69th. Following instructions in the manual procedure, they did not sound the siren in order to approach the scene quietly and apprehend the criminal, if any. I don't see her. Colleen? Maybe she's standing around the corner. Yeah, maybe. Yeah, there she is. You're the one that called the police?

[B]

Yes, that was me.

[A]

See the one? Yeah. Which building is it?

[B]

That one across the street.

[A]

Now, how do you know it was a burglar?

[B]

Well, I had to stay and I came home and I went upstairs and when I got to my door, it was open. It was standing wide open. And he was in there?

[A]

Uh huh. Didn't he jump when he saw you?

[B]

He didn't see me. His back was to me.

[A]

Now, did you see anyone come out of the building?

[B]

No, not at all.

[A]

The street door locked?

[B]

Yes.

[A]

Give me your key, miss.

[B]

Huh? Yeah. All right.

[A]

Which apartment is it?

[B]

2. A second floor, right at the top of stairs.

[A]

This key fit the door upstairs too, in case he closes?

[B]

Yes.

[A]

Now, look, you better wait down here in the hall.

[B]

All right.

[A]

Right here. Okay. Colby. Yeah. Let go. I'll get Seth. She may be right. I'll set doors half open. Yeah. Chicken. Look in there. Anything? Nothing. How about you? Nothing here. Let's try to kitchen. Yeah, okay. Window's open. The fire escape. Maybe he went up there. Yeah, maybe. I'm going to take a look. Yeah, go ahead. I'll go all the way up to the roof. Yeah, I'll see what's in the hall here.

[B]

Where is he?

[A]

He's gone, lady. He might have gone out to backing up the fire escape.

[B]

Oh, my.

[A]

Now, look, you're sure you didn't see anybody come out the front door of the building, huh?

[B]

No. The man who talked to me at the police station told me specifically.

[A]

Watch it.

[B]

I was watching it. Nobody came out at all. I was standing right across the street watching it.

[A]

You didn't see anyone?

[B]

No one. Oh, my goodness. Look what he did in here. Really made a mess, didn't he? I had some rings in the drawer. I hope he didn't find them.

[A]

What do you got, Carl? Burglar. Captain, she saw him in here. We got upstairs, he was gone. Window in a kitchen to a fire escape was open. Coley went up to the roof. Up on the roof. Go up there. Give him a hand looking around. Okay, Captain, right away. Go up through the hall. This is Captain Cronin, the commanding officer of the precinct. Ms. Lanceford, Ms. Audrey Lance. How do you jump, lan?

[B]

Oh, isn't this a mess? Isn't this some mess he needs?

[A]

Look, did you get a good look at the man? I mean, did you tell anything about what he was wearing?

[B]

Well, he had on a pair of dark trousers. I don't know whether they were black or gray or what, but they were dark and. And a white skirt. I think it was white anyway.

[A]

No jacket?

[B]

Oh, I really don't know.

[A]

Well, you said you saw a white shirt. You wouldn't have been able to see much of the shirt if he had a jacket on, would you?

[B]

No, I guess not. I guess he didn't have a jacket on.

[A]

Well, could you tell whether he was tall or short or what, you know?

[B]

No, I really couldn't tell that.

[A]

You couldn't give us any idea of what he looked like?

[B]

No.

[A]

It really impressed you, the white shirt, though?

[B]

Oh, yes, yes, that impressed me. You know how white stands out.

[A]

Do you have any idea what's missing?

[B]

Well, he really went through everything in my desk. That's where I keep my ring. You see that?

[A]

Yeah.

[B]

I had a diamond ring in that box. And a gold class ring. Oh, my goodness. I had a heart shaped amethyst set in pearls and it was on a solid gold chain. Oh, that's gone soon.

[A]

Did you have any money? Any cash?

[B]

No, I never keep any cash in the house. I don't think it's a very good idea. I have checking account.

[A]

Is there anything else of value we might have taken? Any clothing? Food? Worse.

[B]

Oh, my soul. My mink stuff that. I paid $400 for it in the fall.

[A]

Oh, all right.

[B]

What am I going to do? I don't know what I'm going to do.

[A]

That.

[B]

That was the most beautiful soul you ever saw, that. The skins were just so perfect. I don't know how I can ever replace it.

[A]

Everything under control, Skipper. Ah, there was a burglar in here, Sergeant. White shirt and dark trousers. Must have went out the kitchen window and up the fire escape. Choline foul up on the roof. You think he might have gotten into any other apartment here? I don't know, but you two better start hitting bells. Kitchen. Okay, Micada, let's go.

[B]

I don't have any insurance. I don't know how I'm going to replace those things. So. Worth about $1,000 altogether. I don't know what I'm going to do. Do you think I can get any of it back? Is there a chance of that?

[A]

Yes, if we get the man.

[B]

Do you think you'll get it?

[A]

I hope so. Vaccaro, let Ms. Lancet show you around here. See what else is missing. Yes, sir. Now what? What's that over there?

[B]

That's my little dressing room.

[A]

Maybe we better take a look in that first.

[C]

Listen, I'd like to know who's in charge here.

[A]

I'm in charge here. Who are you? What's your name? Captain.

[C]

I'll tell him who I am. My name is Reedley. I live across the hall and I

[A]

want to tell you.

[C]

Who am I talking to?

[A]

Captain Caron and commanding officer, the 21st. Bracing. What's the trouble, Mr. Ridley?

[C]

The trouble is I resent being wakened out of a sound sleep in the middle of the night by a policeman opening my window and back no sooner do I get back in bed when this policeman rings the front doorbell. Now I'd like to know what's going on.

[A]

We're looking for a burglar.

[C]

I don't care what you're looking for. I'm looking for a good night's sleep. You've got no right to open my back window and then come ringing my bell at this time of night. Citizen is entitled to a little privacy, isn't he or isn't he?

[A]

There's no question about that, Mr. Reedley. But we're responsible for your safety. If there's a burglar loose in this building, we want to find him.

[C]

Well, you won't find him in my place.

[A]

Your window was open from the fire escape. He could have gone in there.

[C]

I told you, he didn't go in my place.

[A]

Well, he sure could have, though.

[C]

He didn't. And I want to tell you this, Captain. If your men don't stop annoying me and let me get a little sleep, I am going to write a letter to the police commissioner.

[A]

That's your privilege, Mr. Reedley.

[C]

Oh, you bet your life it's my privilege. And I'm liable to exercise it.

[A]

Good night.

[C]

For the last time, I hope.

[A]

Well, he's sure trying to be helpful, isn't he, Captain? Yeah. What's he want from us? I don't know, but maybe he thinks we want something from him. In the next few minutes, it became apparent that the burglar would not be apprehended immediately. I gave instructions for all men who had responded, with the exception of Patrolman Coley and Vaccaro, to resume patrol with them. I awaited the arrival of detective who would investigate the burglary. After looking over the apartment thoroughly with Patrolman of A. Carol, Ms. Audrey Lansford, the victim came to the conclusion that nothing else had been taken in addition to the mink stole and the jewelry she had mentioned previously. At about that time, Lieutenant Matt King, in charge of the 21st Detective Squad, arrived with Detectives Novak and Scanlon with the uniformed officers. They were talking to Ms. Lanston. And when did you get this doll,

[B]

Matt Paul is September or October.

[A]

How much did you pay for $400. You have no insurance on it?

[B]

No, None.

[A]

No insurance of any kind whatsoever?

[B]

Nothing.

[A]

No personal property floater, fire insurance? No insurance of any kind?

[B]

No.

[A]

You want to make stalls, it's all yours.

[B]

Yes, of course.

[A]

Take cash for it. No payments due on it?

[B]

No, I didn't pay cash. I gave him a check. I paid for it with a check.

[A]

Yes, sir.

[B]

I Can show you the cancel check if you want me to.

[A]

No, that's all. How long? You think you're going to be mad? I'm. I'd like to have a word with you before I get back on the job. How about now, Captain? They can go on with her. Okay? Sure. Is it all right if we talk in your Kitchen Hammer class?

[B]

Oh, yes, of course. Just make yourselves at home.

[A]

Then what are you working? Go ahead. Matt. Yes, sir. Matt, I think you ought to talk to that tenant across the hall, Mr. Reedley. About what? All. He came in here with a chip on his shoulder. He threatened to write lunch. The police commissioner. He resented our looking for the burglar in the building, disturbing his sleep. Do you think he had something to do with it? I don't know. I've got a feeling about him. I think he did. Matt. Yes? Do you have anything to base your suspicion on? Just his attitude. Did you ask him about it when he was in here? No. What do you want me to do, go knocking on his door again? I don't want you to do anything, Matt, but I'd sure like to get over. Look inside his flat, see what he's got in there. Captain, if you've got nothing more to go on. I can't go into his place unless he invites me. What? You tell me. He's sure not going to invite me. He's hot enough to write a letter to PC about being awakened. He's sure going to send a wire to the mayor if I go in there now, is that all you've got just a feeling about? It's a little more than a feeling, Matt. Well, a couple of things. First of all. First of all, there's no doubt that somebody was in this flat. She saw him. There's a stuff that's missing. Yes, sir. She went downstairs, rang in on the call box. She waited across the street until Vacaro and Coley got here. She didn't see anybody come out. Nobody could have gotten out any other way. Then you think whoever it was is still in the building? That's about the size of it. Matt, this fellow Reed, he looks like the most likely likely prospect to me. You see, his apartment shares the same fire escape platform with this one. If she left her window open, he could have come right across. Yeah, I guess he could have. But if he came in through the window, what did he open the front door for? She saw the door standing open. What's the point on the other side? I don't know, Captain. This would be going way out On a limb to go in there and look around. No, I'm not afraid to stick my neck out if I've got a chance of scoring. I know, I know. If I go in there and don't find her stuff in his flat, I'm really in a jam. Yeah. What do you know about this fellow? Did he tell you anything? No. I didn't have a chance to talk to him about him before you came. But I'm telling you, Matt, I can't shake the feeling about him. Well, sir, feeling about him doesn't make him a burglar. I know, but let's go ask her what she knows about him, huh? Okay. Sure. That's about it. Dark pants and white skirt.

[B]

Well, I told you I didn't get much of a look at him. His back was to the door.

[A]

Ms. Lansford?

[B]

Yes?

[A]

Are you good friends with any of the other tenants in the building?

[B]

Good friends?

[A]

Yes.

[B]

No.

[A]

Well, do you know any of them?

[B]

Oh, sure, slightly. Just to say hello, mostly.

[A]

Who, for instance?

[B]

Let's see. There's a couple upstairs right above me. The Bakers. I've been up there for a drink. I've had them down here once. Yeah, And a girl on the top floor. Occasionally we ride downtown to work together. She works on 40th Street, 9139. So we have to be in about the same time.

[A]

Anyone else?

[B]

No.

[A]

Who lives across the hall?

[B]

Oh, Mr. Rably.

[A]

How well do you know him?

[B]

Oh, just to say hello.

[A]

You're not very good friends with him?

[B]

Oh, no.

[A]

Does he live there alone?

[B]

Yes, I think so. All he knows.

[A]

What if he do? Do you know that? What do you mean? What does he do for a living? What does he work at?

[B]

I really don't know. He's a salesman of some kind, I think.

[A]

Do you know what he sells?

[B]

No, I don't. I don't know him that well. I've never asked him. You know, I meet him in the hall occasionally. He says hello and I say hello, and that's about it.

[A]

You've never been in his apartment?

[B]

Of course not.

[A]

You've never invited him in here? No, he's never been in here.

[B]

I've never had him in here.

[A]

You haven't any idea where he works?

[B]

Well, I don't know whether he works much at all. Seems to be home a lot in the daytime.

[A]

Oh, does he?

[B]

Yes. As a matter of fact, he did me a favor once because he was home.

[A]

What kind of favor is that?

[B]

Well, I was expecting some furniture to be delivered. You see that little table over There. The little one with the leather tops?

[A]

Yes.

[B]

Well, I had to be at work, and I knew they were going to deliver it on this Tuesday, So I saw Mr. Reedley in the hall, and he suggested that he was going to be home all day long and that if I. Leave the key with him. Let him in.

[A]

You left the key with Mr. Reedley?

[B]

Yes, it worked out very well. I mean, the furniture was here that night, and Mr. Reedley knocked on my door and gave me back my key, and he said the truck came about one o' clock in the afternoon and they put the stuff inside and that was that. I thought it was very nice of him.

[A]

When was this, Ms. Lampert?

[B]

Oh, about two weeks ago, I guess. No, just about two weeks ago.

[A]

And he had the key to your place all day?

[B]

Yes, I gave it to him, but he gave it back to me. Gave it back to me that night. Oh, you don't think. Oh, no, no. He couldn't have done it.

[A]

You don't think he works much? He's. He's around here all day?

[B]

Well, he's around here a lot. I'll say that.

[A]

During the day, if he doesn't work much, how does he pay his bill?

[B]

I don't know. I don't know anything about him except what the Bakers told me.

[A]

What did the Bakers tell you?

[B]

You see, the Bakers have an apartment upstairs and has a very small kitchen without a window in it. They like the building, and they told the super that as soon as there was a vacancy with an apartment with a kitchen with a window in it, they would like to get it if they could. Well, they told me that the super told them that he thinks Mr. Reed is going to move out soon.

[A]

Why?

[B]

Well, I. I don't like to say this, but the super told the Bakers and slow in his rent, as a matter of fact, he's a little bit behind and they're going to try to get him out. And the super told the Bakers that the landlord told him that they could have the apartment suit and Mr. Reedley moved.

[A]

I see. Did the man you saw in here look anything like Mr. Reedley?

[B]

I told you I couldn't say that. All I can say for sure is that he had on dark trousers and a white shirt.

[A]

You're sure he didn't have on a jacket, a suit coat or whatever?

[B]

No, no, it was just a white shirt. You know, the regular business jerk. I just saw him from behind. I'm sure that if it was Mr. Reedley, I would have recognized him. Even from behind.

[A]

But you only saw him for an instant?

[B]

Yes, I got out of there as fast as I could. I didn't want to stay there. That was the best thing to do to get out, wasn't it?

[A]

Yeah. Yeah, that was the best thing to do. Now, when you gave him this key, what time in the morning did you give it to him?

[B]

Well, it was about 8:30 in the morning.

[A]

And he had your key until 6 o'. Clock. Approximately?

[B]

Yes, approximately.

[A]

You ever missed anything out of here before, Ms. Lansmith?

[B]

Oh, no, no. This is the first time.

[A]

Nothing's ever been missing between the time you gave him the key and now.

[B]

Oh, no, nothing. Oh, something was missing. I didn't notice it.

[A]

Yes, man. Yes, sir. You just sit here a minute, Ms. Lansford. You fellas stay with her. Yes. Well, begins to look better, Captain. You sure had plenty of time to get a duplicate key made. Yeah, that's not the only thing. She insists the man she saw had on just a pair of slacks and a white shirt. I know the weather's been kind of cool. Anybody who would come from the outside would be wearing a coat or a jacket or something. Wouldn't just be walking around these shirts. Leaks. Yeah, that's something else. I sure like to have a look around inside his place. Well, I think maybe we can have a look around. Paul. Yes, sir? Come here. Tell me what I want you to do. You go in there to the kitchen, open up the window and sit on the fire escape. We're going to talk to this fellow next door. I want you to make sure that he doesn't throw anything out the window. Okay. If he tries to throw anything out the window, grab it. Get going. Okay? Sure. Bill, you come with us. Okay, Lieutenant. I'm just going to talk to this fellow across the hall. You Right there, Ms. Lansford. We'll be back.

[B]

All right.

[A]

Well, you think we ought to talk to the super first? Mark, maybe a little bit of line on the gun. As long as I'm sticking my neck out, I might as well stick it out. Good. Will you stay right with us? Now, listen to everything that's said. He's a heavy sleeper. Yes? Who is it? Police officers, Mr. Reed. Link.

[C]

What do you want?

[A]

I want you to open the door so we can talk to you.

[C]

I told you what would happen if you disturbed me again.

[A]

I want you to open this door right now.

[C]

Listen, you had better learn how to respect the privacy of someone. What is it you want?

[A]

I want you to take the chain off the door so we can Talk to you?

[C]

No, it'll stay just like this. What is it you want?

[A]

I'm Lieutenant King, in charge of the 21st Detective Squad. This is Captain Cronin.

[C]

Yes, I've met Captain Cronin, I'm sorry to say.

[A]

Take the chain off the door so we can come in and talk to him.

[C]

Listen, you've got no right to come in here. I know the law. You can't come in here without a search warrant. And if you do, I'm going to sue you and I'm going to sue the city. And I'm really going to make things tough for you, believe me.

[A]

You don't know the law, Mr. Reedley.

[C]

Don't tell me what I know.

[A]

Under the law, we've got a right to enter a place if we have reasonable belief that there's evidence of a felony within. That's right, Mr. Reedley. That's the law.

[C]

And you're accusing me of robbing her place? Is that the idea?

[A]

Oh, no, no. We're not accusing you of that. We know for a fact that this burglar didn't get out of the building. We know he's in here someplace. We know he went out the fire escape and into one of the apartments here. All the windows from the other apartments leading off the fire escape were locked. Yours was the only one that was open. We think he may have come into your place and is hiding in there someplace. In the closet.

[C]

That's ridiculous.

[A]

Look, this is for your own safety, Mr. Reedley. He couldn't have gone anyplace else. We're here to protect you. Now, what we want to do is come in there and take a look around. We have ample reason to believe that this burglar is hiding in your apartment. He might be in a closet. He might be under the bed. Might be any place. Your window is open. That's the only place he could have gone.

[C]

I've looked around here. He's not in here.

[A]

I say he is. If you get hurt, we don't want that on our conscience. You've got to come in there and take a look around.

[C]

No, no, I'm not going to let you.

[A]

I'm telling you, Mr. Reedley, you take the chain off this door, I'm gonna kick it in. Do you want me to do that?

[C]

All I'm telling you is that you better not.

[A]

I want you to close this door, take the chain off it and open it up. Now, you do that right now. Close the door. All right.

[C]

This is the most ridiculous thing I ever heard of.

[A]

Come on, Bill. Okay. Sound ridiculous. The. What have you got in here? The living room, bedroom, kitchen, bathroom. Is that right?

[C]

Yes, that's right. But I'm telling you, I'm not only going to write to the police commissioner, I'm going to sue you. I'm going to sue you good and collect.

[A]

All right, let's see if he's in this closet over here.

[C]

Well, where is he? Oh, he's not in there. You can see that. What are you looking for?

[A]

It might be a very small burglar, Mr. Reedley. Look under the car, Bill. Yep.

[C]

I don't know what you expect to find in here, but you're going to be in trouble. You're going to be in real trouble.

[A]

None of the cops. Lieutenant, what's this over here? The bathroom.

[C]

Now, wait a minute. I'm warning you now, Captain, I demand that you stop this. I demand that you get out of here. I want you to get out of here right now. I demand that you get out. Get out.

[A]

Let's see what's in the bathroom.

[C]

There's nothing in the bathroom. I'm not going to let you in there. You better get out of here right now. I am going to call my lawyer. I've had enough of this. Just enough of it.

[A]

I want you to step aside, Mr. Ridley. Let him in there.

[C]

No, no, I won't. I demand that you get out of here.

[A]

Look, mister, if I have to pull you aside, we're all liable to have trouble.

[C]

Well, you're not going in that bathroom.

[A]

Step aside. Let me in there. What do you see what's in here, Mr. Rley?

[C]

That is a clothes hamper for dirty laundry.

[A]

All right, let's take a look at it.

[C]

Oh, this has gone far enough. I want you to get out of here immediately.

[A]

See that clothes hamper?

[C]

No, no, you stay away from there. I've had my privacy invaded enough. I want you to get out right now.

[A]

You better let the lieutenant look in there, Mr. Ridley.

[C]

All right, all right. But I've warned you. Well, what did you find? You didn't find anything, did you? You've broken into my apartment. You forced your way in. You had no right in the world to do it, and here you are. Well, you're going to pay for this. Now, I want you to get out of here right now, immediately. If you get out right now, I may decide not to do anything about this. But if you stay one minute longer, I'm going to sue you and I'm going to sue the city. And I am going to make you pay for this.

[A]

Now, look, mister.

[C]

Oh, don't tell me to look. I want you out of here.

[A]

Is this what you're looking for, Lieutenant? Where'd you find that bill? Stuffed into a kitchen cabinet. All right, Ridley, that's the mink stove. Where's the jewelry? Now, tell me where that jewelry is. We're going to tear this joint apart.

[C]

All right, it's. It's in the coffee pot in the kitchen. In the bottom of the coffee pot.

[A]

All right, let's have a look. Wait a minute.

[C]

Look, I needed money, that's all. But I'm in an awful spot. I've never been in trouble before. I mean, I never did anything. You gave me a key one day. I just couldn't resist it. I had a duplicate made. I'm sorry, fellas. I'll give all that stuff back, every bit of it. You can have it all back.

[A]

You'll get it back. Mr. Reedling, what's gonna happen to me? What are you gonna do with me? I'll tell you what we're gonna do. We're gonna let you write that letter to the police commissioner. 21st preaching. Sergeant Waters, where is this? Yeah. Yeah. How many people were hurt? How many? 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, a factual account of the way police work in the world's greatest 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, James Gregory in the role of Captain Cronin, and Ken lynch as Lieutenant King, Harold Stone as Sergeant Waters. Featured in tonight's cast were Frank Moss, Santa Sotega, Bill Quinn, Elaine Roth and Bill Redfield. 21st Precinct is written, produced and directed by Stanley Nist. Art Hannah speaking.