21st Precinct 56-06-28 (143) The Foundling (aka Abandoned Baby)

Summary

---

21st Precinct 56-06-28 (143) "The Foundling (aka Abandoned Baby)"

Podcast: Harold's Old Time Radio
Host: Harolds Old Time Radio
Date of Episode: February 28, 2026
Original Air Date: June 28, 1956
Episode Focus: Police drama revolving around an abandoned baby and the emotional, legal, and personal consequences for those who take him in.

---

Episode Overview

This classic radio drama from the "21st Precinct" series provides a nuanced look at how everyday people and law enforcement navigate the complications of child abandonment. The story focuses on Harry and Cora Froude, a childless couple who take in a baby left in their care by a woman intent on finding work, and the moral and legal dilemmas they face when the baby's mother seemingly abandons him.

Captain Cronin and his officers of the 21st Precinct must sort out the facts, deal with the legalities of abandonment, and mediate the emotional conflict within the Froude household.

---

Key Discussion Points and Plot Progression

1. Introduction: The Nerve Center of the 21st Precinct

• [00:06–01:13] The episode opens with the sergeant fielding routine calls, emphasizing the precinct’s central role in New Yorkers’ safety and setting the scene for an ordinary yet unpredictable night.

2. Harry Froude's Story: The Abandoned Baby

• [02:11–06:48] Harry Froude arrives at the station for advice. He describes:
  • His wife, Cora, agreed to board a baby after a woman (Mrs. Lois Natick) asked for help.
  • They received three weeks’ pay but no further contact or payments.
  • Harry feels tricked (“I just hate being made a chump out of, you know what I mean?” – Harry Froude, [06:27]).
  • Capt. Cronin instructs the Froudes to bring in the baby if abandonment can be substantiated.

3. Escalation: Cora Goes Missing with the Baby

• [07:27–09:09] Upon returning home, Harry discovers his wife and the child are gone. His confusion and concern mount as he explains to the police that Cora has no close friends or relatives nearby.

4. Cora Froude Found in Subway Station

• [10:00–12:27] Officers find Cora at the subway station with the baby, emotionally torn:
  • Cora: “I just can’t give him up. I’ve wanted him so long.” ([11:51])
  • Officers gently escort her and the baby to the station house.

5. Emotional Fallout at the Precinct

• [13:18–14:29] Cora expresses deep attachment but is reminded by Captain Cronin that only legal adoption can allow them to keep the child.
  • Cora pleads: “Can’t I keep him till they find out something?” ([14:06])
  • Cronin: “According to the law… the child is considered abandoned.” ([14:11])

6. Family Fight and Emotional Climax

• [16:22–19:05] At the Froude home, tensions explode. Neighbors, worried about shouting, call the police:
  • Harry and Cora argue fiercely about keeping the baby:
    • “It’s the first time since we’re married that we fought like that… Arguments, sure, but not fights like this.” – Harry [16:46]
  • Cora’s heartbreak and longing for children are evident:
    • “Everybody except me. I always wondered why. Everybody except me.” – Cora [18:16]

7. Resolution: The Truth About the Payments

• [23:19–26:32] In a private meeting with Captain Cronin, Harry reveals he secretly received and spent the payments Mrs. Natick sent for the baby:
  • Harry: “I want to admit to you right here and now that Mrs. Natticott has sent me $12 and 50 cents every week to the place where I work.” ([25:19])
  • Cora’s relief and anger mingle:
    • “You spent that money on the horses?” – Cora ([26:32])
    • “Yep.” – Harry
  • Cronin clarifies: “If the board bill is paid up, the baby hasn’t been abandoned.” ([26:15])

8. Bittersweet Ending

• [26:46–27:29] The family’s future with the baby is now uncertain but possible, with hope for reconciliation and potential adoption. Captain Cronin reflects on the unpredictable human drama embodied in the daily grind of the city’s police work.

---

Notable Quotes & Memorable Moments

• Harry Froude on being duped:
  “I just hate being made a chump out of, you know what I mean?” – Harry, [06:27]

• Cora’s heartbreak:
  “I just can’t give him up. I’ve wanted him so long.” – Cora, [11:51]
  “Everybody except me. I always wondered why. Everybody except me.” – Cora, [18:16]

• Moral and legal tension:
  “According to the law… the child is considered abandoned.” – Capt. Cronin, [14:11]
  “If the board bill is paid up, the baby hasn’t been abandoned.” – Capt. Cronin, [26:15]

• The twist:
  “The baby is paid up today. Paid up?” – Harry [25:40]
  “You spent that money on the horses?” – Cora [26:32]
  “Yep.” – Harry

• On marriage and responsibility:
  “At least there’s one thing in a marriage, Harry. You can’t do any worse than come in second.” – Captain Cronin, [26:49]

---

Timestamps for Key Segments

• Harry introduces the problem: [02:11–06:48]
• Cora disappears with the baby: [07:27–09:09]
• Cora found at subway station: [10:00–12:27]
• Emotional plea at the precinct: [13:18–14:29]
• Home confrontation: [16:22–19:05]
• Harry admits the truth: [23:19–26:32]
• Episode wrap-up and reflection: [26:46–27:29]

---

Tone and Style

The episode maintains the thoughtful, conversational tone characteristic of golden-age radio dramas—earnest, sincere, and laced with dry humor among the somber moral, legal, and marital themes. Characters speak plain, working-class New York English, and the emotional undercurrents are raw and close to the surface.

---

Summary

This episode of "21st Precinct" exemplifies the series’ strength in dramatizing domestic crises and the police’s often-unseen role as mediators of human drama. The tension between law, personal longing, financial hardship, and honest mistakes—especially with the last-act twist—ensures the story’s emotional impact and lasting resonance for listeners. The humanity of Captain Cronin and the voices of Froude and his wife bring to life a dilemma as real now as when it first aired.

Transcript

[A]

21st Precinct. Sergeant Waters, who's missing? Is that your wife? How do you spell that? D, E or G? Where is it you live where 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.

[B]

All right. I'll tell you what you do.

[A]

You better come into the station house

[B]

and talk to the detectives.

[A]

That's right.

[B]

Come right on in here.

[C]

21st Precinct is just lines on the 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 or not they know it. The security of their homes, their persons and their property is the job of the men of the 21st Precinct.

[A]

The 21st. 160 patrolmen, 11 sergeants and four lieutenants, of whom I'm the boss. My name is Cronin, Vincent P. Cronin. I am captain in command of the 21st Precinct. I was doing night duty 4pm to 8am after I turned out the platoon, I read and signed reports and communications that had accumulated since I was last on duty. At 5:50, I walked out of my office into the muster room while Lieutenant Gorman was desk officer and Sergeant Waters was on telephone switchboard. Unit 21st Precinct. Sergeant Waters. Hello, captain. Sergeant. You'll have to ring in, ask me that. Right. I'll go on patrol now, Red. Yes, sir.

[B]

These rooks ring in every time they want to take a deep breath.

[A]

Didn't you, sergeant? Yes, sir. I guess I didn't. I have a car come by the house for me. I'm going out on patrol. Yes, sir, right away.

[B]

Step right up here to the desk, mister. I'd like to get a little information. Yes, sir. What? Well, it's a long story.

[A]

Okay.

[B]

I'd. I'd just like to know what to do about it.

[A]

Do about what?

[B]

You see, about six, eight weeks ago on the 26th of April, to be exact, I come home from work and my wife was in the living room and she had company. Another woman, a girl about 20, 21. I didn't know who she was, so there were introductions all around. My wife said she was Mrs. Lois Natick. Anyway, this Mrs. Natick had a baby with her baby boy, about nine months. His name is Richie.

[A]

The baby.

[B]

Well, so I sit there wondering when supper is going to go on a table and what this Mrs. Natick is doing. And Cora, that's my wife, she springs it on me. We're taking in a paying guest, she says. The baby hits me right between the eyes. But I'm polite about the whole thing. I take Cora in the kitchen. I ask her, what's this all about? Are you going nuts or something? So she gives me a long song and dance about how another lady she met in the delicatessen told her about Mrs. Natick was looking for someplace to board the baby for a couple of months. Cora's dying to have the kid in the house. She won't take no for an answer. So to make a long story short, we took in a baby.

[A]

Well, what do you want us to do about it?

[B]

Oh, well, I'm not asking you to do anything about it. All I'm asking for is a little information.

[A]

Did Mrs. Knottock pay anything?

[B]

Well, that's just the point. You see, my wife made an agreement that we'd board this baby for $12.50 a week. So when she left the kid with us, she gave us $37.50 to cover the first three weeks. She said she'd either come by the house or send us the money before the three weeks were up.

[A]

How much has she sent you since?

[B]

Nothing. Not one lousy cent. That's what I'm so burned up about. We got the kid. We haven't heard a word from her. Not a single word.

[A]

I see.

[B]

So, what I'd like to know is, what am I supposed to do?

[A]

What's your name?

[B]

Me?

[A]

Yeah.

[B]

Froude. Harry Froude.

[A]

Sergeant Water. How do you spell that?

[B]

F, R, O, U, D. E, F,

[A]

R, O, U, D. Where do you live?

[B]

502 York Avenue. Listen, are you the captain here?

[A]

Yeah, that's right. I'm Captain Cronin.

[B]

Well, I'm glad to know you.

[A]

Glad to know you.

[B]

Well, is there something that can be done? I mean, where do I go? Who do I see?

[A]

There might be something that can be done. Mr. Froude, this child or the mother is not related either to you or your wife.

[B]

Related? I never saw either one of them before in my life. I saw the woman just that once in my living room when I come home from work.

[A]

Oh, where do you work, Mr. Frood?

[B]

Downtown, Lafayette Street. I'm an order filler, you know, a stock clerk in one of those electrical supply houses. Donowitz Brothers.

[A]

You been there long?

[B]

Oh, a couple of years. That's all. O' Donowit's brother's been in business. But I've been down there on the street 18, 20 years working for one company or another.

[A]

This woman, the mother, Mrs. Maddick.

[B]

Lois Maddick. Yeah.

[A]

Yeah. She agreed to pay you $12.50 a week to board the check.

[B]

That's right. $12.50 a week. I told my wife. I told her, you know, Cora, $12.50 a week to take in a kid is nothing today. No, nothing. I mean, it'll cost more than just that. Expenses out of the pocketbook. Much. She's gotta have the kid. Gotta have them. I couldn't even reason with it.

[A]

How long have you been married, Mr. Brood?

[B]

16 years.

[A]

Any children of your own?

[B]

No, no, we got no children. Not that we didn't want any. I mean, her especially. It was just one of those things where I worked out. It was no children.

[A]

What did Mrs. Knottock tell your wife? What do you mean? I mean, why did she say she had aboard the baby in her foster home?

[B]

Oh, well, she said that she had a chance of a pretty good job in one of those airplane factories out in Long Island. She said she wanted to take the job, but that she couldn't do that and take care of the kid too. So she wanted to take the job so she could save up some money.

[A]

Did she give you the address where she lived? Out in Long Island.

[B]

She said she sent it when she got settled.

[A]

Did she, son?

[B]

Yeah, like she sent the 1250 a week.

[A]

Did this Mrs. Knight live with her husband?

[B]

Look, I don't even know that she had one. I mean, I asked the people in the building where she was staying there. They never saw any husband around.

[A]

She'll leave any forwarding address with the people at the building?

[B]

Nothing. She just left.

[A]

And she owes you approximately four weeks board.

[B]

Approximately? Yeah, just about.

[A]

All right, Mr. Froude, you and your wife bring the child into the station house. If what you told us can be substantiated.

[B]

Oh, it could be substantiated, all right.

[A]

Then the mother's guilty of abandonment. You make the complaint here, and we'll see the child is taken care of. I'll be My office, lieutenant.

[B]

Thanks, Captain. Thanks a lot. Oh, listen, captain.

[A]

Yeah?

[B]

I just wanted you to know that I got nothing against this little fellow, you know. I mean, he's all right, see? But I just hate being made a

[A]

chump out of, you know what I mean? Yeah, sure, I understand.

[B]

I mean, it's just a rotten, lousy thing for that mother to do. And I'm not gonna beat a sucker in this deal.

[A]

How does your wife feel about it?

[B]

Look, it don't make any difference how she feels about it. I'm the guy that's paying the bills. And I got enough to pay with 63.34 a week take home pay without worrying about somebody else's obligations.

[A]

All right, Mr. Froude. You and your wife come into the station house with the child. We'll get it all straightened up.

[B]

Okay. I'll go home right now and get him.

[A]

You can wait until tomorrow if the baby's asleep. You've had him this long. Another night won't make any difference to you.

[B]

I know it don't make any difference, Captain. To me it's plenty of difference.

[A]

A few minutes after Harry Froude left the station house, Sector car number three came by to take me on patrol of the precinct. I had my operator, Patrolman McAdo, drive to several of the parks and playgrounds in the city to check on reports that youths in unduly large numbers had been congregating in the early evening hours and causing disturbances. Before returning the station house, we made a swing to the south end of the precinct by way of York Avenue. What's the trouble, Mr. Fool?

[B]

Captain, she's gone. My wife, she's gone. And she took the kid with her.

[A]

Why did she leave?

[B]

I don't know. I thought it was all settled. You know, we were going to bring the kid in here tomorrow. I went to bed. You know, I got to get up early to go to work. Kokora said she'd go in the kitchen and make the sandwiches for my lunch. Yeah, I've been taking my lunch the last couple of years. I mean, it gets so you can't buy a decent lunch anymore for less than a buck. Yeah, so she makes the sandwiches at night and then she puts them in the icebox, you know, so it isn't such a rush in the morning with the baby and everything.

[A]

She left after you fell asleep?

[B]

That's right. She just took the baby and left.

[A]

Any idea where she went?

[B]

No, I don't have any idea at all.

[A]

When did you discover she was gone? Gee, I don't know.

[B]

I'm usually a sound sleeper, you know. Very sound. I guess I just felt something was wrong. I woke up and she wasn't in the bed. So I went out in the living room. I went into the kids room, she wasn't there.

[A]

Did you have any relatives she could have gone to?

[B]

That's the funny part of it, Captain.

[A]

Not a soul.

[B]

A Sister in Boston, that's all. A relative she's got.

[A]

What about friends?

[B]

Well, it was so late, I didn't feel like calling anybody.

[A]

Is there anybody in the building she could have gone to? No.

[C]

No.

[A]

How about a hotel? Oh, I don't think so.

[B]

She didn't take any money?

[A]

Nothing?

[B]

Well, I mean, payday is tomorrow. She didn't have only a couple of dollars left. She left a couple of dollars right on a dresser. She took it out of her pocketbook and left it right on a dresser. Captain, I don't think she took a cent with it.

[A]

Not a cent.

[B]

That's what worries me.

[A]

You're positive she didn't go to some friend?

[B]

Can't be positive, but I don't think so.

[A]

Well, you ought to check some of your friends in the neighborhood.

[B]

I wouldn't want to do that, Captain. I've been in enough trouble tonight. It's late. They all got to get up early in the morning. Everybody wouldn't want to wake any of

[A]

them up if she didn't have any money with her. Mr. Froude, that's where you're going to find her. I think Mr. Froude finally took my suggestion, went home to bed. In the meantime, we notified the detectives, CB and the Missing Persons Bureau. As patrolman on post and inspector cars and the 21st rang in. The sergeant on TS gave each of them description and told them to be on the lookout for the woman and the child. In the meantime, the first deputy commissioner visited the precinct. As the ranking officer on duty in the 6th Division during the night, he asked me to accompany him on his visits to the other precincts in the division. While I was on this tour with the deputy police commissioner. Sector car number three responded to a radio call to meet the subway station agent in the 68th street station of the Lexington Avenue Loco.

[B]

There he is in the booth.

[A]

Did you call the station house?

[B]

Yeah. Yeah.

[C]

Wait a minute.

[A]

I'll be right out.

[B]

Okay. What's the trouble over here? Two passengers called into my attention

[A]

and I've been watching.

[B]

Thanks.

[A]

As far as I know, she's been

[B]

sitting there a couple hours. Over there on the bench.

[A]

Coming with the baby. Just been sitting there? Yeah.

[C]

Okay.

[B]

You can go on back if you want.

[A]

We'll handle it.

[B]

Oh, good.

[A]

Thanks. It seems awful funny. Yeah, I see you. What was the name of the woman?

[B]

The one with the baby?

[C]

Rude.

[A]

Yeah.

[C]

Yeah.

[A]

Fruit.

[B]

That could be her.

[A]

Excuse me, ma'. Am.

[D]

He's asleep. He woke up when an express passed a little while ago. I had a hard Time getting him to go back.

[A]

The station agent says you've been sitting here for a couple hours.

[D]

Did he?

[A]

That's what he told us. Where are you going?

[D]

Well, I don't know. I'm trying to make up my mind.

[A]

It was kind of late to be out with a baby, isn't it?

[D]

He's all right. I take good care of him. Oh, I hope this train doesn't wake him up. They make an awful lot of noise.

[B]

Well, this isn't a nursery. It's a subway station.

[D]

Guess it isn't their fault.

[B]

You Mrs. Williams?

[D]

What?

[A]

Are you Mrs. Fru?

[D]

I still didn't hear you.

[B]

I asked if you were Mrs. Fruit.

[D]

Yes. Yes, I'm Mrs. Fruit.

[A]

We've been looking for you.

[D]

Oh. I guess Harry woke up and saw I was gone.

[A]

I guess he did.

[D]

I don't want to give Richie up. I can't give him up. I've wanted him so long.

[A]

Long?

[D]

You haven't any idea how long.

[A]

We better go into the station house and talk about a piece of fruit.

[D]

Do we have to?

[A]

Yes, we'd better.

[D]

I'm not going to give him up. Look, he even smiles when he sleeps. You've never seen such a happy baby. He's so happy.

[A]

Yes. Him.

[D]

He won't be happy if they take him away from me. Nobody will be happy. Nobody.

[A]

Come on, Mrs. Fru.

[D]

All right. So funny. Everything's so funny. He's hers and she doesn't want him. I want him and I can't have him. So funny.

[A]

The two officers took Mrs. Froude and the child upstairs to their car and drove them to the station house. I had just returned from my tour of the division with the first deputy commissioner. I asked Mrs. Froude to wait in my office. Then I instructed the desk officer to notify Mr. Froude that his wife was at the station house. After a few minutes, I walked toward my office. Through the open door, I could see a holding, sleeping child tightening her arms. She looked down at him fondly. Well, you notified your husband, Mrs. Fruit.

[D]

Oh, I didn't want you to do that. You didn't have to bother him.

[A]

I see. It was done as a matter of course. He told us that you were missing.

[D]

Oh, was he coming?

[A]

I sent an officer around to tell him you were here.

[D]

I think he really likes Richie. I don't understand him. I'll be out or in the kitchen or someplace and I'll come in and find him playing with the baby. And he jumps away like he was caught stealing something. I don't understand him.

[A]

He told me the mother's making a sucker out of him.

[D]

Yes, he told me that, too. But maybe it's not her fault. I don't see how anybody could help caring about Richie. Maybe she's sick or something could happen, couldn't it? Couldn't that be why she didn't send the money?

[A]

And we'll find out. The detectives will start checking into it.

[D]

Do they have to take him away from me? Can't I keep him till they find out something?

[A]

According to the law, Mrs. Froude, when a parent has agreed to pay for a child in a foster home and goes away without leaving an ascertainable address or continuing to arrange for board, the child is considered abandoned.

[D]

I haven't abandoned him. I want him.

[A]

Yeah, but he's not yours. It's up to the Department of Welfare to provide shelter for him.

[D]

Can't I keep him? Isn't there any way?

[A]

There probably is. If you can get your husband to agree to seek adoption.

[D]

Harry? Not the way Harry feels. He wouldn't agree to anything.

[A]

He likes the boy. You said that yourself. And he told me he.

[D]

Yes, I know, but he's so sore at Mrs. Natick. He's so sorry. He takes it out on Richie. And on me. Oh, excuse me. I thought he was stirring. Look like a log. He's really a good baby. So happy.

[A]

Babies usually are.

[B]

How far down you want to go, Captain?

[A]

No, take a swing around 57th, over to Lexington, back up to the house. Yes. There's car number one. The next block. Yeah. Must be on a job. Pull up behind him. I got him. Yes, sir. Let's see what it is.

[B]

Doesn't look like much, Captain.

[A]

Wasn't anything on the air? Come on. Yes, sir. That must be it. 502.

[B]

There's Eisman coming out.

[A]

Oh, hello, Captain.

[B]

What have we got?

[A]

Nothing much, Skipper. When we rang in, the sergeant told us to take a turn by here. Neighbor called in that a couple was scrapping. Family fight. Neighbor thought he was beating her up. Something about a baby. What's the name of the couple? Frude, Captain. Mr. And Mrs. Harry Frude. What floor are they on? Second floor, front. Captain.

[B]

It's all settled.

[A]

They quieted down. Yeah, I. I know him. I. I want to talk to him. Oh, get back on the job, Ian. Yes, sir. Nicoto.

[C]

Yes, sir?

[A]

You wait down here. Yes, sir.

[B]

Yeah? Who is it?

[A]

Captain Cronin.

[C]

Who?

[A]

Captain Cronin, the 21st Precinct.

[B]

Oh, all right. There's no trouble, Captain. Everything's fixed up. You didn't have to come.

[A]

No, no, I. I was just passing by. Oh, is this Mrs. Fruit?

[B]

Yeah, that's Mrs. Fruit.

[C]

Okay.

[B]

Come on in, Captain.

[A]

Thank you.

[B]

It's the first time, believe me, the first time since we're married that we fought like that. Arguments, sure, but not fights like this. Cora. Cora, this is Captain Cronin. He's the captain I spoke to at the police station.

[A]

How do you do, Mrs. Ruth?

[D]

How do you do? I'm sorry. It was my fault. I screamed. It was me. Harry tried to keep me quiet.

[A]

Well, it's all over now.

[D]

He said you told him to bring me and the baby to the police station. Is that right?

[A]

If the baby's been abandoned, yes.

[D]

I'm taking care of him. I'm taking good care of him.

[B]

Cora, we've been through that now. We've been through that time and time again.

[D]

True.

[B]

Hey, captain, would you like a nice cool can of beer? I got so many ice boxes.

[A]

No, no. No, thanks.

[D]

We couldn't keep him. Isn't there any way.

[B]

How many times have I got to say it? I'm not going to beat a chump in this deal, Cora. Not me.

[D]

She'll wake him up.

[B]

He didn't wake up. From what went on before, he ain't

[A]

gonna wake up now.

[D]

Would you like to see him, captain? Cora, he's such a fine boy.

[A]

No, no, don't wake him up.

[D]

No, we won't wake him this way. Now, you stay here, Harry.

[A]

Don't worry. Shh.

[D]

Did you ever see such a butterball? I love him. You don't know how I love him. How many children do you have, Captain?

[A]

Two.

[D]

Two? My.

[A]

Shh.

[D]

Two is a nice family. Everybody except me. I always wondered why. Everybody except me.

[B]

Oh, now, don't ask foolish questions.

[D]

Harry says we have to bring him to the police station tomorrow. What will you do?

[A]

We'll try to find the mother and place charges of abandonment against you.

[D]

What about him, Richie?

[A]

The New York family home. It's a very nice incident.

[D]

Oh, no, no.

[A]

He's not your responsibility. Mrs. Fruit, if the mother abandoned him.

[D]

Well, just because the mother abandoned him, is that a for me to abandon?

[B]

Laura, we've been through all that now. We've been all through it so much, the neighbors had to call the police.

[D]

Now, please, Harry, give me some lies.

[B]

The answer is, has been and always will be. No, no, no. That day made a monkey out of this.

[D]

I'm not thinking of her. I'm thinking of him.

[B]

He's got nothing to do with it. And she's not going to get away with it. That kid gets turned over.

[A]

Tomorrow, folks. Come on, let's settle down.

[B]

It's settled down, Captain, and it's settled. Tomorrow.

[A]

Bright,

[C]

you are listening to 21st Precinct, a factual account of the way police work in the world's greatest city. What was the Old west really like? Were the men who wanted really all cardboard heroes with strong jaws, loyal horses and little sense? Were the bad men all mustache twirlers who spent their spare time kicking dogs and little children? If that stereotyped picture seems a little ridiculous to you, join Marshal Matt Dillon, upholder of the law, in Dodge City for an authentic and revealing story of the Old West. On Gunsmoke every Saturday. It sure Fire Entertainment. And now back to 21st Precinct and Captain Cronin.

[A]

It was settled. The husband made the decision. The wife had apparently resigned herself to it. She sat on the couch and stared down at the floor. I said good night to each of them and left. When I returned to the station house and walked up the front steps into the muster room, a wildly gesticulating man was standing in front of the desk trying to make himself understand.

[B]

Wait a minute. No comprendo. See? Hold it.

[A]

A long time. Since high school.

[B]

Spanish. Captain.

[A]

Yeah, Sergeant? Did you call upstairs to the detective? Yes. He's working.

[B]

He's out of control. They're trying to locate him.

[A]

I think he's trying to tell me he was robbed. Papers, papalis. He's going to show you his wallet.

[B]

Wait a minute.

[A]

I think he's a merchant seaman. I think that's what this card says.

[B]

Excuse me.

[A]

Ask him if he's hurt. Yes, sir. Esta. Detective Hernandez is on his way in here.

[B]

Wait a minute.

[A]

A detective.

[C]

Cheese.

[B]

Easy, Captain. Are you busy? Can I see you a minute?

[A]

Hold on, Mr. Fred.

[B]

It's very important.

[A]

Captain. Yeah, all right, mister. I'll be in my office, Sergeant. Come on. Come on to my office, Sam.

[B]

Yeah, sure.

[A]

Go ahead, Brandon. Thanks. If the person taking care of them is happy doing it.

[D]

Yes, I know I'm happy. I've been married all these years and I've never been so happy. That's what I think. Maybe the matter with Harry is I think he's jealous. Imagine. Jealous of a little thing like this.

[A]

Ament. Ah, come in, mister.

[B]

Food.

[A]

Thanks.

[B]

Should I close the door?

[A]

Yes, please.

[B]

Hello, Cora.

[D]

Harry.

[B]

Why'd you have to run off like that, Cora? You scared me half to death. Half to death?

[D]

I'm sorry, Harry.

[B]

Sorry? Well, you should be sorry.

[D]

You wake him.

[B]

You see, Captain? You see that's all I get? You'll wake the baby. Don't play the television. Don't smoke my pipe. It's bad for him. We can't go to the movies. There's nobody to leave them with. Out of the 12 and a half dollars a week we didn't get, we have to pay for sitters yet. My age, I have to have an infant around. At my age. I don't need it. All I need is a little peace and quiet. Nobody thinks about me anymore.

[D]

All right, Harry. I'm going to give him back. The Welfare Department does something with them. You'll have your peace and quiet. You want to take him now, Captain?

[B]

Look, it's. It's late now, Cora. Let's go home with him. You got all his things here. We'll make arrangements in the morning.

[D]

No, I can't take him home. I want to leave him right here and right now. I couldn't do that. Can't I?

[A]

I'll have to get a policewoman up here. Take him to the New York Founding Home.

[B]

Look, look, Cora.

[A]

Nine, don't be stubborn.

[B]

I mean, do we have to lose

[A]

a whole night's sleep?

[B]

I gotta be at work at 8 o'.

[A]

Clock.

[B]

Let's go home. You get the whole thing straightened out tomorrow.

[D]

I'm not taking this baby in my house again. Not unless I take him there to stay, I'm not. You got your way, didn't you? What else do you want from me? You could at least try to make it a little easier on me. Harry. I'm ashamed of you. You don't know what you put me through. You big ape, you. You don't realize how much I love you. To do this for you, to give the baby up. For you.

[B]

Cora, honey, cut it out.

[D]

I won't cut it out. You haven't got a brain in your head. Not one brain.

[B]

I guess maybe I have him. Maybe you're right, Cora. Captain, I guess I'm a loss.

[C]

Are you?

[B]

Yeah. Yeah, I know I am. Captain, I. I want to admit to you right here and now that Mrs. Natticott has sent me $12 and 50 cents every week to the place where I work. Every week?

[A]

Oh, that's so.

[D]

Harry. You're not kidding?

[B]

No, no, no, I'm not kidding. The baby is paid up today. Paid up?

[D]

What did you do with the money?

[A]

Hmm?

[B]

Oh, well, I gotta admit it, Cora. I gotta admit I spent it. I spent every last cent playing the ponies. Every last cent I spent. But she's been right on the button Every Monday morning in the mail with the money with the 1250 cash in a plain envelope.

[A]

And where were they postmarked from?

[B]

From all over.

[A]

She was traveling.

[D]

Can we keep him now? Can we?

[A]

If the board bill is paid up, the baby hasn't been abandoned.

[D]

Why, that's wonderful, Harry. That's just wonderful. You spent that money on the horses?

[B]

Yep.

[D]

Well, you ought to be ashamed of yourself. Baby's money on the horses.

[B]

How you gonna win, Captain?

[A]

You just can't win. At least there's one thing in a marriage, Harry. You can't do any worse than come in second. Go on. I'll catch up with her. 21st Precinct. Sergeant Waters. Who shot who? Well, where? All right, take it easy.

[B]

Talk slower so I can understand.

[A]

And so it goes around the clock through the week, every day, every year, the 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.

[C]

21st Precinct. Transcribed a factual account of the way 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. James Gregory in the role of Captain Cronin. Harold Stone as Sergeant Waters. And featured in tonight's cast were Santos Ortega, Ralph Camargo, Bill Quinn, George Petrie, Mandel Kramer and Elspeth Eric. 21st Precinct is written, produced and directed by Stanley Nist. Bill Martin Speaking here, there and everywhere, election excitement is sparked. And you're likely to run into the CBS News Campaign Cavalcade, the special 12 man unit set up to follow every important pre election and election story as it develops, no matter where it develops, through many news programs throughout the day, the Campaign Cavalcade will keep in touch with you. Stay tuned for five minutes of CBS News to be followed on most of these same stations by my son, Jeep.