Episode 383: The Twenty Minute Alibi

[00:00:16] Speaker A: The Mysterious Old Radio Listening Society Podcast. [00:00:27] Speaker B: Welcome to the Mysterious Old Radio Listening Society, a podcast dedicated to suspense, crime and horror stories from the golden age of radio. I'm Aaron. [00:00:36] Speaker C: I'm Tim. [00:00:36] Speaker D: And I'm Joshua. [00:00:38] Speaker B: We love mysterious old time radio stories, but do they stand the test of time? That's what we're here to find out. [00:00:44] Speaker C: For this week, I've chosen 20 Minute Alibi from Casey Crime Photographer. Before his radio debut in 1943, the character of Jack Flashgun Casey was greeted by George Harmon cox for a 1934 issue of the pulp magazine Black Mask. After that first appearance, Casey would go on to be featured in radio film, theater novels and comic books. [00:01:05] Speaker D: Initially, the radio series was called Flash Gun Casey, and over the course of its nearly 12 year run, it was variously called Casey Press Photographer, Crime Photographer, Casey Crime Photographer and then back to crime photographer. [00:01:21] Speaker B: Matt Crawley served as Casey for the first few months and after that role was played by Stats Cotsworth reporter Ann Williams. Casey's constant companion was played PR primarily by Jan Minor, who would later become famous for telling people you're soaking in it. Those ads For Paul Mollie St. Paul. [00:01:39] Speaker C: Native Alonzo Dean Cole of the Witch's Tale fame provided most scripts for the series, although this particular episode was written by Robert Sloan. Let's listen to 20 Minute Alibi from what was technically called Crime Photographer at the time. Originally broadcast February 20, 1944. [00:01:55] Speaker D: It's late at night and a chill has set in. You're alone and the only light you see is coming from an antique radio. Listen to the sounds coming from the speaker. Listen to the music and listen to the voices. [00:02:11] Speaker E: The Anchor Hawking Glass Corporation brings you. Crime Photographer. Open the door, Richard. Open the door, Richard. [00:02:35] Speaker F: Hey, what's Wrong with you, Mr. Marvin, huh? There ain't no door to open. You're already inside. [00:02:41] Speaker E: Why, Ethelbert, haven't you heard that song? [00:02:43] Speaker F: You mean that is the name of a song? [00:02:45] Speaker A: Certainly. Haven't you heard it on the radio? [00:02:47] Speaker F: You know, Mr. Marvin, I never get a chance to listen to the radio. What I mostly hear is Anchor Hawking. [00:02:54] Speaker A: That's right. [00:02:55] Speaker E: Anchor Hawking Glass Corporation is the world's largest makers of household glass. Good evening, ladies and gentlemen. This is Tony Marvin. Every week at this time, the Anchor Hawking Glass Corporation of Lancaster, Ohio and its more than 10,000 employees bring you another adventure of Casey, crime photographer, ace cameraman who covers the crime news of a great city. Our adventure for tonight, 20 Minute Alibi. Late afternoon in the office of the Acme Insurance Company, a telephone Rings on the desk of Mr. Edward Phillips. [00:03:52] Speaker A: Acme Insurance. Phillips speaking. [00:03:54] Speaker G: Mr. Phillips? [00:03:55] Speaker A: Yes, this is Mr. Prescott. [00:03:57] Speaker G: Travis Prescott. I've got to talk to you about my life insurance policy. [00:04:01] Speaker A: Yes, Mr. Prescott. [00:04:02] Speaker G: I've been having trouble raising the money for the premium. How much more time have I got? [00:04:07] Speaker A: Well, I sent you a final notice sometime last week. [00:04:09] Speaker F: Yes. [00:04:09] Speaker G: Yes, you did. But what'll happen if I can't meet the payment? [00:04:13] Speaker A: Why, after today, I'm afraid the policy will have to lapse, Mr. Prescott. [00:04:17] Speaker G: Lapse? [00:04:17] Speaker A: Yes. In other words, you won't be insured after today. [00:04:20] Speaker G: What time? What time is it now? [00:04:22] Speaker A: By a quarter to five. [00:04:25] Speaker G: And I have until midnight to pay the premium? [00:04:27] Speaker A: That's right, sir. [00:04:28] Speaker G: But if anything happened to me before. I mean, the policy is still good now, isn't it? [00:04:33] Speaker A: Yes, sir. [00:04:34] Speaker G: That's all I wanted to know. [00:04:36] Speaker A: Just a moment, Mr. Prescott. Prescott. What happened? Mr. Prescott. Mr. Prescott. Well, congratulations, Ethelbert. How did the. When did all this happen, anyway? [00:05:02] Speaker F: Last night, Casey. The bartenders were just having their regular monthly meeting and they elected me. [00:05:09] Speaker A: What do you know? [00:05:10] Speaker F: Of course, I still think the reason so many people come in here is because they like to hear Herman Chittison play the piano. [00:05:16] Speaker A: Boy, you got a point there. [00:05:18] Speaker F: Like my sister Edna says, quote, eat, drink and be merry, because tomorrow you don't have to work. That is, if it's Saturday night, Uncle. But you know Edna. [00:05:30] Speaker A: Yeah, I know Edna. [00:05:31] Speaker H: Hello, Ethelbert. [00:05:32] Speaker A: Good night. Hi, Annie. Pull up a stool. You crazy? Well, you have. [00:05:37] Speaker H: Not now, Casey. We got a job. [00:05:39] Speaker A: Aye. Where? What's up? [00:05:41] Speaker H: Man got killed over at the Milton Hotel. Shot in the head with his own revolver. [00:05:44] Speaker A: Suicide? [00:05:45] Speaker H: That's what Captain Logan's men seem to think. We better get over there right away. [00:05:48] Speaker A: What's the rush? [00:05:49] Speaker H: Because I know you, Casey. If Logan says it's suicide, you're gonna think it's mur. [00:06:01] Speaker A: Come on, Annie. We're gonna have to shoulder our way through this. Gosh, there's enough cops in this hall to launch a battle. [00:06:07] Speaker G: Yeah. [00:06:07] Speaker A: Here. Where are you going? Press, Commissioner. Gentlemen of the press. Her too? [00:06:11] Speaker H: No, officer, I'm a lady. [00:06:13] Speaker I: It's all right, Dolan. They can come in. [00:06:15] Speaker A: Yes, sir. Thank you, Logan. Well, old boy, it's awfully decent of you to let me solve this case for you. [00:06:21] Speaker I: Now, don't start masterminding, Casey. This is a very simple job, and all you have to do is take pictures. [00:06:26] Speaker A: Oh, the murder has confessed, has he? [00:06:28] Speaker I: The murderer has not confessed. There isn't any murderer. [00:06:30] Speaker A: Understand? [00:06:31] Speaker I: This is a simple case of Suicide. And let's keep it that way. [00:06:34] Speaker A: Okay, okay. I didn't say anything. [00:06:36] Speaker I: Maybe not, but you're thinking. [00:06:38] Speaker A: Well, one of us has to think. [00:06:39] Speaker I: Now, look. [00:06:40] Speaker H: Oh, don't pay any attention to him, Captain. He just got up on the right side of bed this morning. [00:06:45] Speaker I: Well, he won't get up at all tomorrow if he doesn't watch his. Come on. Come on. [00:06:48] Speaker A: Where's the body, Captain? [00:06:49] Speaker I: Over here behind the sofa, right next to the telephone stage. [00:06:53] Speaker A: This where you found him? [00:06:54] Speaker I: I didn't find him, Casey. My men found him. [00:06:56] Speaker A: What's his name? [00:06:57] Speaker I: Prescott. Travis Prescott. [00:06:59] Speaker H: He live here in this hotel? [00:07:00] Speaker I: Oh, he was a salesman. Lived uptown and used this room as a sort of downtown office. [00:07:04] Speaker A: Huh? Watch it, Logan. [00:07:05] Speaker G: What's the matter? [00:07:06] Speaker A: Just taking a picture. Don't get scared now. You can put your cloth hoppers anywhere you want. [00:07:10] Speaker I: Thank you. [00:07:11] Speaker A: Then what makes you think it's suicidal? [00:07:13] Speaker I: Oh, just a wild hunch. Prescott was found with a gun in his hand and a bullet hole through his right temple. Powder burns on the face proved that the gun was fired at close range. And a neat little suicide note was found in the carriage of his typewriter. Is that enough of a hint, Mr. Casey? [00:07:28] Speaker A: No. [00:07:28] Speaker I: Then I'll let you speak to Mr. Phillips. [00:07:30] Speaker A: Mr. Phillips. Yes, Captain Logan? [00:07:32] Speaker I: Will you please tell this gentleman that Mr. Prescott called you up at a quarter of five this afternoon. That he didn't have enough money to pay the premium on his life insurance policy, and that you heard him shoot himself while you were on the floor. [00:07:43] Speaker A: Now, wait a minute, Logan. You can't hear a man shoot himself. You got to see it. [00:07:46] Speaker I: Well, this was practically the same thing. Mr. Phillips was still in the wire when the shot was fired. [00:07:50] Speaker A: That doesn't mean anything. A murderer could have phonied up the whole setup to make it look like suicide. [00:07:54] Speaker I: Use your head, Casey. If you wanted a murder to look like suicide, would you kill a man while he was still on the phone? [00:08:00] Speaker H: He's got you there, partner. [00:08:02] Speaker I: Okay, mastermind, you go to your church, and I'll go to mine. [00:08:05] Speaker A: Now, just a second, love. Has anything in this room been moved since Prescott's body was discovered? [00:08:11] Speaker I: You know better than that. Not when my tech man get finished. [00:08:14] Speaker A: Then it's murder, my friend. Good old premeditated homicide. [00:08:18] Speaker I: What do you mean? [00:08:19] Speaker A: Look at the telephone, Logan. Didn't you say Mr. Phillips here heard the shot over the wire? I did hear. Well, then, if Mr. Prescott committed suicide, how did the receiver get back on the hook? Only one person could have hung up that phone after Prescott was dead, Logan. And that's the murderer. [00:08:33] Speaker I: Now, wait a minute, Casey. I thought of that, too. It's just probable that Prescott put it. [00:08:38] Speaker A: Back himself after he'd been shot through the head. [00:08:40] Speaker I: It's possible, isn't it? He could have staggered and dropped it back into place as he fell to the floor. [00:08:45] Speaker A: Sure, sure. He could have played a violin concerto on the way down, so. [00:08:48] Speaker I: Will you shut up? [00:08:49] Speaker H: It doesn't make sense, Captain. Casey's right about this being murder, and you know it. [00:08:53] Speaker I: I don't know anything of the kind yet, Mr. Phillips. Tell me, did you hear the phone click after the shot was fired? [00:09:00] Speaker A: Why, now that I think about it, I. Yes, I am sure I heard a click as though the receiver had been placed back on the hook. Funny, you're remembering it now. What do you mean by that? Nothing. Just passing the time of day until Captain Logan decides to start looking for some suspects. [00:09:14] Speaker F: Yeah. [00:09:14] Speaker H: How about that, Captain? Doesn't this Mr. Prescott have any friends or relatives? [00:09:18] Speaker I: He's got a wife, yeah. [00:09:20] Speaker A: Why isn't she here? [00:09:20] Speaker I: She probably will be any minute. I sent word to her just before you came in. [00:09:24] Speaker H: What was her reaction to the news, Captain? [00:09:25] Speaker I: I don't know. I wasn't the one who broke it. [00:09:28] Speaker A: That sounds like her now. [00:09:32] Speaker I: It's all right, Dolan. She can come in. We were expecting her. [00:09:35] Speaker A: Yes, sir. [00:09:35] Speaker J: Where is the officer? What have you done with him? [00:09:37] Speaker I: No, no, no. Just a minute, please. [00:09:39] Speaker J: Is he dead? Is he really dead? Tell me. How did it happen? [00:09:42] Speaker A: Please, please. [00:09:43] Speaker J: You got the name of heaven Officer? Why are you keeping me from him? Why don't you let me see him? [00:09:48] Speaker A: No, no, no. Pete's sake, will you take her away from him? [00:09:54] Speaker J: No. [00:09:54] Speaker A: No. [00:09:55] Speaker J: I love it. I love you. [00:09:57] Speaker H: I know how you feel, but you've got to pull yourself together now. [00:09:59] Speaker J: Let me stay with it. Just. Don't you understand? I love him more than anything in the world. [00:10:06] Speaker I: I'm terribly sorry. I know it's a shock to you. [00:10:11] Speaker J: Sorry. Only I can't understand why anybody would want it. Who killed him? Office. Who killed him? [00:10:19] Speaker I: Why? I don't know. I'm not entirely sure. [00:10:23] Speaker A: He was killed. [00:10:24] Speaker H: Captain Logan thinks he might have committed suicide. [00:10:26] Speaker J: Oh, but that's ridiculous. He had everything to live for. He told me so this afternoon. [00:10:30] Speaker A: You saw your husband this afternoon, Mrs. Prescott? [00:10:33] Speaker J: Husband? [00:10:34] Speaker A: Yeah. Aren't you his wife? [00:10:36] Speaker J: Why, no. I'm evelyn warner. I'm Mr. Prescott's secretary. [00:10:52] Speaker E: Day after tomorrow is Washington's birthday, and I'm sure you'll want to observe at least one Good old tradition. So how about serving a delicious home baked cherry pie for dinner? You'll find mouth watering recipes in any good cookbook. But to make those recipes turn out right, to ensure flaky crusts evenly and lightly browned with no danger of scorching, be sure to use a Fire King Oven glass pie plate. You see, Fire King oven glass absorbs oven heat so uniformly that it practically ensures baking results. Now you'll find a wide selection of Fire King oven glass at your favorite chain, variety, hardware and department stores. Separate pie plates in different sizes, as well as casseroles with pie plate covers and smaller pieces for baking individual deep dish cherry pies. Fire King Oven glass Prices are unbelievably low and each piece is guaranteed for two years against oven breakage. Ask for Fire King Oven glass by name. Another product of Anchor Hawking, a great name in glass. [00:12:10] Speaker H: You've got your nerve, Casey. Walking right up to Mrs. Prescott's apartment and ringing the bell. What do you expect to find out from her anyway? [00:12:16] Speaker A: Somebody's coming. [00:12:19] Speaker F: Yes? [00:12:20] Speaker A: Oh, excuse me. I thought this was Mrs. Prescott's apartment. [00:12:23] Speaker G: It is. I'm her father. Lane is my name. [00:12:26] Speaker A: How do you do, Mr. Lane? Is Mrs. Prescott in? [00:12:29] Speaker G: Yes, but if your reporters. [00:12:31] Speaker H: Well, we won't stay very long, Mr. Lane. We just want to ask a few questions. [00:12:34] Speaker G: Well, I. I appreciate that. It's your job, of course, but really, we've been hounded by so many reporters this evening. Can't you come back at us some other time instead of bothering Mrs. Prescott again tonight? She's been through so much. [00:12:46] Speaker A: We'll miss the morning edition. [00:12:48] Speaker G: Yes, yes, I know, but couldn't I answer your questions for you? After all, the police have been here. And the whole terrible shock of Mr. Prescott's death. [00:12:55] Speaker H: All right, Father, you can let them in. [00:12:57] Speaker G: But, Helen, I'm sure I. [00:12:59] Speaker H: It's all right, Father. What's the use of pretending I'm upset about Travis's death? Everybody knows how he's treated me. [00:13:07] Speaker G: Helen, I think it's a mistake. [00:13:09] Speaker H: Oh, come in, come in, won't you? Let's get these press interviews over once and for all. [00:13:13] Speaker A: Well, we'll make this a short one, Mrs. Prescott. [00:13:16] Speaker H: Thank you. [00:13:17] Speaker G: Helen, I. I think you're giving these people the wrong impression. [00:13:19] Speaker A: What? [00:13:20] Speaker H: Good of keeping up appearances. It's all over now. Once I can really act the way I feel. [00:13:27] Speaker A: You sound as if you were almost glad your husband is dead. [00:13:30] Speaker H: Mrs. Prescott, don't say that. I'm not glad, but I'm not sorry either. Yeah, I'VE been hurt so much these past few years, I. I'm just sort of numb about it. Does that seem very cold to you? Well, frankly, a little. Well, maybe it is. [00:13:51] Speaker J: Then you didn't know Travis. [00:13:53] Speaker H: You didn't know the pain or the heartache he could bring to those who. [00:13:58] Speaker J: Tried to love him. [00:13:59] Speaker G: He was a scoundrel. Really, he was. I hate to say so now, but he treated Mrs. Prescott abominably when he was alive. [00:14:06] Speaker A: In what way, Mr. Lane? [00:14:07] Speaker G: In every way. He drank, gambled, spent my daughter's money. [00:14:11] Speaker H: Spent it on other women. Women like that secretary of his. [00:14:16] Speaker A: Oh, you know about her? Yes. [00:14:18] Speaker H: She wasn't the only one a little fool. He didn't care any more about her than he did about me. You think she might have killed him if she was in love with him? Anybody who was in love with him. [00:14:29] Speaker J: Might have killed him. [00:14:30] Speaker A: Including you. [00:14:32] Speaker H: I wasn't in love with him. [00:14:35] Speaker A: Well, it doesn't really matter very much. The police think he committed suicide. [00:14:39] Speaker G: Who, Travis? Not in a million years. [00:14:42] Speaker H: My father's right. [00:14:43] Speaker J: Travis wouldn't take his own life. [00:14:45] Speaker H: He was much too fond of living. Then you think that he was murdered? I'm sure of it. [00:14:49] Speaker A: By whom? Any ideas? [00:14:51] Speaker J: That's something for the police to figure out. [00:15:01] Speaker A: Now, look, try to remember, will you? After all, you're the doorman here. You ought to know what time Mrs. Prescott came home this afternoon. Well, I do remember, but I don't know that I can pass that information along to you. I've already passed it along to the police. [00:15:13] Speaker H: But we're practically policemen. Show them your press badge, Casey. [00:15:16] Speaker A: And will you stay off my side? We're confusing the guy. I'm not confused. I know when Mrs. Prescott came home and when. About a quarter past five. Quarter past five, huh? That's just a half hour after her husband was killed. [00:15:27] Speaker H: She could have done it, Casey. Only takes about 20 minutes to get here from the Milton Hotel. 25 at the outside if she came right over. [00:15:33] Speaker A: That's just what I was thinking. Say, tell me, Mike, did she come home in a cab? Yes, I believe she did. Alone? Or was she with her father? Oh, no, she wasn't with her father. Mr. Lane came home at least half hour earlier. About a quarter to five. No, just about. Maybe a few minutes before. Well, that lets him out, but it doesn't make it any too cozy for her. Well, thanks for the tip, old man. Here's one for you. Much obliged to you, sir. Come on, Annie, we got work to do. [00:15:53] Speaker H: Well, wait a minute. You don't have to yank me off my feet. Where are we going? [00:15:56] Speaker A: Back to the car first. Gee, then we're gonna drive down to. Say, wait a minute. [00:16:00] Speaker H: What's the matter? [00:16:00] Speaker A: Quick, get up against the side of the building. I got a flash of that dame in the lobby. She's coming out. [00:16:04] Speaker H: What dame? Who's coming out? [00:16:06] Speaker A: Shh. Mrs. Brisk. There she is now. Look how she's dolled up. [00:16:11] Speaker H: A nice time for her to be getting about. Where do you suppose she's going? [00:16:16] Speaker A: Keep your eye on her, Annie. We may have to tailor. [00:16:18] Speaker H: Look, she's getting into that parked car on the corner. [00:16:21] Speaker A: For Pete's sake, get ready, kid. We're gonna follow that car. [00:16:24] Speaker H: Why, whose is it? [00:16:25] Speaker A: Don't you recognize the guy behind the wheel? That's Mr. Phillips, the insurance agent. [00:16:36] Speaker H: Casey will both be killed if you keep driving this way. [00:16:39] Speaker A: Don't worry, Annie. I still got two wheels on the ground. [00:16:41] Speaker H: Well, let one of the others down anyway. [00:16:43] Speaker A: Right. We're coming down for a landing now. Stopping up ahead. [00:16:50] Speaker H: I wonder why. Everything looks closed up around here. Where are we? [00:16:54] Speaker A: Downtown, near River Street. These are all office buildings. [00:16:59] Speaker H: Wait. They're going inside. That gray one on the corner. [00:17:01] Speaker A: Well, don't give them a chance to get away. Come on, Annie. We have to find out what they're up to. [00:17:08] Speaker H: Not so fast, Casey. I got high heels on. [00:17:11] Speaker A: There's no time to call attention to your legs. We're in a hurry. [00:17:13] Speaker H: Oh, don't be so manly. We'll catch up with them. [00:17:16] Speaker A: We don't. Get a move on. [00:17:18] Speaker H: Well, there they are. Going in that side door off the lobby. See? [00:17:21] Speaker A: I hope they're not trying to give us the slip. That's what I hope. [00:17:23] Speaker H: No, it looks like some sort of office on the first floor. [00:17:26] Speaker A: Hey, there is an office. Oh, Acme Insurance Company. I'm going to find out what they're up to. [00:17:36] Speaker H: Leave you now, I just. Phillips might do that there with a gun. [00:17:39] Speaker A: Come on, we'll take a chance. [00:17:42] Speaker H: Don't tell me you're going to hold. [00:17:43] Speaker A: My hand to cross the threshold. There. Now you're on your own. Hey. What? But. [00:17:49] Speaker I: Take it easy, Casey. [00:17:50] Speaker A: Logan. [00:17:51] Speaker G: What? [00:17:51] Speaker H: Captain Logan, what are you doing here? [00:17:53] Speaker I: Minding my own business. What are you doing? [00:17:56] Speaker A: Now, look, Logan, don't be like that. We've been following that Phillips Guy and Mrs. Prescott. They came in here a second ago. Didn't you see them? [00:18:01] Speaker I: Yes, I saw them. [00:18:02] Speaker A: I sent for them. [00:18:03] Speaker H: You what? [00:18:04] Speaker I: I sent for them, Ms. Williams. [00:18:06] Speaker A: Well, it's about time you got wise to yourself, Logan. Are they in this thing together. [00:18:10] Speaker H: Did they cook up some kind of scheme to kill Prescott and collect his insurance? [00:18:13] Speaker I: Well, not exactly. [00:18:15] Speaker A: Not exactly? What do you mean? Come on, give. What have you got on them? [00:18:18] Speaker I: I just asked him to come down here so I could have a look at Mr. Prescott's insurance policy. [00:18:22] Speaker A: Aha. Good boy, Logan. That dame is suspect number one on my list. [00:18:26] Speaker H: Mine too. She had motive and an opportunity to commit the crime. [00:18:30] Speaker A: Where? [00:18:30] Speaker I: Tell me about it. [00:18:31] Speaker H: At a quarter to five when Travis Prescott was murdered too. And she didn't get back to her apartment until one half an hour later. [00:18:38] Speaker I: So you figure she was with her husband at the time of his death? Well, as a matter of fact, she wasn't. [00:18:44] Speaker A: Oh. Oh, she's got an alibi, I suppose. [00:18:47] Speaker I: You said it, Casey. An airtight one. At a quarter to five she was at a bridge party uptown with over a dozen witnesses. So she couldn't have killed her husband. [00:18:56] Speaker A: No, I guess not. [00:18:57] Speaker H: Then who did? [00:18:58] Speaker I: I don't know yet. I've still got an idea it was suicide, remember? [00:19:02] Speaker A: Yeah, I remember. Suicide or not, Logan, if you let that woman put one over on you, you're a SAP. She has everything to gain by her husband's death. Including that nice fat insurance policy. [00:19:11] Speaker I: The policy may be fat, but it won't do her any good. [00:19:13] Speaker A: Why not? [00:19:14] Speaker I: Because she's not the beneficiary. Mr. Prescott left the money to Evelyn Warner, his secretary. [00:19:31] Speaker J: Just what do you want, Mr. Casey? [00:19:33] Speaker A: Well, I'll tell you, Miss Warner. If you'll just take your foot away from the door and let us come in. [00:19:37] Speaker J: No, please. I'm awfully busy right now. Can't you two come back some other time? [00:19:41] Speaker H: And find you gone? [00:19:42] Speaker J: Why, no, of course not. What makes you think I was going anywhere? Don't you dare come in here. [00:19:48] Speaker A: Why? What are you hiding? [00:19:49] Speaker J: Nothing. [00:19:50] Speaker A: Nothing but a half packed suitcase. I can see that from here. [00:19:53] Speaker J: Go away. [00:19:53] Speaker A: I will In a minute, Ms. Warner. Come on in, Annie. [00:19:55] Speaker H: Like you are. [00:19:57] Speaker A: Big idea, sister. But you know it's bad news to run away at a time like this. It's practically an admission of guilt. [00:20:03] Speaker J: I don't care what it is. [00:20:04] Speaker H: You mean you killed Mr. Prescott? [00:20:05] Speaker J: No. [00:20:06] Speaker A: According to what Logan tells me, you were at the office with him this afternoon. [00:20:09] Speaker J: Of course I was. I was his secretary, wasn't I? I was there until 4 o'. Clock. [00:20:13] Speaker A: And where were you after 4 o', clock, Trapp? [00:20:15] Speaker J: Mr. Prescott sent me out on an errand. [00:20:18] Speaker H: And why are you so anxious to get get away now? [00:20:20] Speaker J: Because I know what'll Happen they'll send me to the chair for something I didn't do. [00:20:23] Speaker A: You didn't do it. You got nothing to worry about, Ms. Warner. [00:20:26] Speaker J: But all the evidence points to me. The insurance policy, the fact that I worked for him. Even the fact that I was in love with him. [00:20:32] Speaker A: There's only one fact that really counts. Can you prove you were not with Mr. Prescott at a quarter to five this afternoon? [00:20:40] Speaker J: No. The only man who could prove it for me won't help me. [00:20:43] Speaker A: Who's that? [00:20:44] Speaker J: Mrs. Prescott, Father. Mr. Lane. He knows I wasn't at the office at a quarter to five this afternoon. But he'll never tell the police that. [00:20:50] Speaker H: Why not? [00:20:51] Speaker J: Because he hates me. I'm sure he does. Any man would hate me for breaking up his daughter's marriage. [00:20:56] Speaker A: But he wouldn't send you to the chair for it. Besides, Mr. Lane doesn't strike me as the kind of a guy who'd blame you for what happened. [00:21:03] Speaker J: He would. I know he would. I can't take a chance. [00:21:06] Speaker A: You can't take a chance because you killed Travis Prescott. [00:21:09] Speaker J: No. [00:21:09] Speaker A: You'll have a hard time convincing him back. Hey, what are you doing there with it? [00:21:13] Speaker H: She's got a gun. [00:21:13] Speaker J: Stand back, both of you. I know how to use it and I will if you get in my way. [00:21:17] Speaker H: Don't be an idiot. You can't get away with it. [00:21:19] Speaker J: We'll see about that. Close my bag. Quick. Now put it on the floor and stand back. [00:21:28] Speaker A: You're a chump to walk out of here with that gun in your hand. [00:21:31] Speaker J: I'm not asking your advice, Mr. Casey. Just don't move a muscle till I'm outside the door. Stand just where you are. [00:21:38] Speaker G: I'll take that gun if you please, Mr. Lane. What's the meaning of this, Ms. Warner, I was just about to ring your bell. [00:21:44] Speaker A: Hold her, Mr. Lane. I'll take care of that gun. [00:21:46] Speaker J: Let me go, you stupid school. [00:21:48] Speaker A: Thank you, Ms. Warner. You might hurt somebody with that thing. [00:21:50] Speaker G: What's the matter here? What has she done? [00:21:52] Speaker A: Plenty. Mr. Lane murdered your son in law and tried to make it look like suicide. She just gave us a cock and bull story about you being able to fix her up with an alibi. [00:22:01] Speaker G: I don't understand. Didn't Mr. Prescott die at a quarter to 5 this afternoon? [00:22:05] Speaker A: That's right. [00:22:06] Speaker G: Then how could Ms. Warner have killed him? [00:22:09] Speaker A: What do you mean? [00:22:10] Speaker G: Well, Ms. Warner dropped some mail off for me at the apartment this afternoon. I was with her at almost exactly a quarter to. [00:22:33] Speaker F: Say, Casey, you've been sitting there for the last 15 minutes without opening your mouth. What's the matter with him, Miss Williams? [00:22:41] Speaker H: To put it in simple language, Ethelbert Casey is what we might call stuck. [00:22:46] Speaker F: Hmm. Does that expression on your face, Casey, mean that you're thinking? [00:22:53] Speaker A: Yeah. Give me another cup of that coffee, Edelwe. Awful stuff. [00:22:58] Speaker F: Oh, Walter, bring Casey another coffee. I told you it was awful. You know Walter can't make coffee. [00:23:05] Speaker A: You're telling me, Annie. I give up. As far as I can make out, Nobody was at Mr. Prescott's office at the quarter of five this afternoon. [00:23:15] Speaker H: Well, at least Mr. Prescott was there. [00:23:17] Speaker A: I'm beginning to wonder. Boy, if he was alive, he'd probably have an alibi, too. [00:23:22] Speaker H: Maybe Logan was right. Maybe it was suicide. [00:23:25] Speaker A: Certainly beginning to look that way. Only there's something awful fishy about that phone call. [00:23:31] Speaker H: You think Mr. Phillips is lying? [00:23:33] Speaker A: I don't know. He's got plenty of witnesses from his office. But there might have been some shenanigans at the other end of the line. Oh, say, Ethelbert, if that's for me, you know what to tell him, right? [00:23:44] Speaker F: Casey, you know me. Excuse me, folks. [00:23:49] Speaker A: Hello. [00:23:49] Speaker F: Blue Note, Ethelbert speaking. [00:23:51] Speaker J: Deposit five cents, please. [00:23:53] Speaker F: Yeah, wait, I'll have to get. Hey, wait a minute. I just picked up the phone. [00:23:58] Speaker J: If you'll give me your name and. [00:23:59] Speaker H: Address, we'll return you a nickel. [00:24:01] Speaker F: But I didn't put in a nickel. [00:24:02] Speaker H: You should deposit $0.05 before you dial. [00:24:05] Speaker J: Please hang up and dial again. [00:24:06] Speaker F: Hey, look, lady. Hello? [00:24:08] Speaker A: Hello. [00:24:10] Speaker G: Goodbye. [00:24:12] Speaker F: Hmm. Must have been a wrong number. A blue note. Ethelbert speaking. [00:24:18] Speaker H: Wrong number. Excuse it, please. [00:24:20] Speaker F: I thought so. Oh, dear, these telephone operators. I have more trouble. [00:24:27] Speaker A: Wait a minute, Ethelbert. You know, wait a minute. You. You give me a hunch, huh? That telephone operator, Annie, that's who I want to talk to. Come on. [00:24:34] Speaker H: Where are we going? [00:24:35] Speaker A: Back to the hotel, Milton. I want to talk to the operator at the switchboard. [00:24:48] Speaker H: Milton Hotel. Get a moment, please. Now, what were you saying, Mr. Casey? [00:24:53] Speaker A: Well, we wanted to have a look at the call sheet, miss. You keep a record of all outgoing calls, don't you? [00:24:58] Speaker H: That's right. [00:24:59] Speaker J: Are you from the telephone company? [00:25:01] Speaker A: No, no, not exactly. But look, if you'll do this little job for us, we can get your picture in the paper, see? [00:25:06] Speaker H: See, he's got his camera and everything. [00:25:08] Speaker A: Yeah, here it is. [00:25:09] Speaker H: Well, what you want now? [00:25:11] Speaker A: Oh, just how many calls Mr. Prescott made from his room this afternoon between half past four and five o'? Clock? [00:25:19] Speaker H: Half past four and five o'? [00:25:22] Speaker A: Clock? That's it. Did he make any other Calls beside the one to the Acme Insurance Company. [00:25:27] Speaker J: Between half past four and five o'. Clock. [00:25:29] Speaker H: Yeah, See, that's funny. [00:25:31] Speaker J: According to the sheet, Mr. [00:25:32] Speaker H: Basket didn't use the phone at all during that time. [00:25:35] Speaker J: Last call he made was at 4:00'. Clock. [00:25:36] Speaker A: Let me see that, will you? [00:25:37] Speaker H: Sure, Casey. What's it mean, Annie? [00:25:41] Speaker A: It means we're dealing with a pretty slick murderer. That phone call Mr. Phillips got wasn't made from this hotel. [00:25:48] Speaker H: That's so. [00:25:48] Speaker A: What's more, Prescott didn't even make it. His voice was impersonated by somebody else's after the murder was committed. Here, hold on to this sheet, Annie. We got to get in touch with Logan right away. Operator, will you call headquarters, please? [00:25:58] Speaker J: Hey. [00:25:59] Speaker A: Hey. Who turned off those lights? [00:26:00] Speaker H: I don't know, but somebody slipped into this room. Casey. I saw the door close just as. Oh, Casey. [00:26:03] Speaker J: Help me. [00:26:04] Speaker H: Somebody grabbed the call sheet out of my hand. [00:26:05] Speaker J: He's got the list of calls. [00:26:06] Speaker A: Don't worry, I've got him. Quick, turn on the lights. While I hold him down, I'll find. [00:26:11] Speaker J: A quick, Mr. Casey. [00:26:12] Speaker A: Now we'll see who murdered Travis Prescott. [00:26:15] Speaker J: Mr. Lane. [00:26:16] Speaker G: It's all right, Mr. Casey. I will try to get away. Go ahead and call the police. [00:26:22] Speaker A: Okay, Mr. Lane. So you killed your son in law? [00:26:27] Speaker G: Yes. I had every reason in the world for killing him. After the way he treated my daughter, he. He didn't deserve to live. I made up my mind to kill him when he tried to borrow money from me to meet his insurance policy. Policy that would only benefit that that secretary. [00:26:44] Speaker A: After you shot Prescott, you went back to your apartment and called up Mr. Phillips, the insurance man. You impersonated your son in law's voice. And while Mr. Phillips was still on the wire, you fired a shot for him to hear over the phone. Yes. [00:26:56] Speaker G: I tried to make it look as if Prescott had died at a quarter to five. Because I was already at home at that time with a perfect alibi. [00:27:04] Speaker A: When did you kill Prescott, Mr. Lane? [00:27:06] Speaker G: At exactly 25 minutes after 4. [00:27:10] Speaker A: That gave you a perfect alibi, all right. The only trouble is it gave everybody else one too. Okay, Annie, call up Logan. [00:27:28] Speaker E: Back in the 1920s, the average grocery carried only a few hundred items. Today, big food markets sell literally thousands of different products, different grades and different brands. If it weren't for glass containers, marketing would indeed be a very perplexing problem. But thanks to transparent glass, marketing is not only simple and easy, but it's also fascinating. For glass lets you see exactly what you buy before you buy it. It Lets you decide immediately whether the product is what you want or not. Yes, the colorful array of gleaming glass packed foods on your market shelves is exciting and stimulating. It makes shopping a pleasure. And when you're in a hurry, when you aren't sure what to buy, what brand, what quality, what size, play safe and buy foods packed in crystal clear sanitary Anchor glass containers protected by Tampa proof Anchor vacuum caps. Both products of Anchor Hawking, a great name in glass. [00:28:44] Speaker A: Well, you see, Ethelbertian, it was a perfect alibi. [00:28:47] Speaker F: I don't see how it's so perfect if the guy got caught. [00:28:50] Speaker H: Well, he wouldn't have been caught if it hadn't been for our man Casey. [00:28:55] Speaker A: Oh, I don't know about that, Annie. Logan was onto that call sheet long before I was. He had a photostatic copy of it the whole time. [00:29:03] Speaker F: Well, then why didn't he do something with it? If this Lane guy hadn't followed you to the hotel and made that pass in the dark, he'd have been a free man. [00:29:11] Speaker A: Not necessarily. No, Logan was playing the whole thing cozy, Letting it pass for suicide and keeping an eye on all the suspects all the time. [00:29:19] Speaker F: Well, if I ever commit a murder, I'm not gonna make it fancy. [00:29:24] Speaker A: Oh, why not? [00:29:25] Speaker F: Well, you see what happened to this lame guy, he should have known. You can't commit a murder and make it look like suicide. [00:29:32] Speaker H: Why? [00:29:33] Speaker F: Because any man that commits a murder is committing suicide at the same time. [00:29:45] Speaker E: Crime Photographer, starring Stotts Cotsworth as Casey is brought to you each Thursday by the Anchor Hawking Glass Corporation, makers of fire king oven glass. Anchor glass containers, anchor caps, enclosures, all products of the Anchor Hawking Glass Corporation, a great name in glass. Prime Photographer is directed by John Deetz. Tonight's episode was written by Robert Sloan. The original music was by Archie Blyer. And the program features Ms. Leslie woods as Anne and John Gibson as Ethelbert. Thursday night on CBS is the biggest show in town, so stay tuned for exciting dramatizations on Reader's Digest radio edition, which follows immediately over most of these stations. If you are a young woman between the ages of 18 and 35, here's a way in which you can serve yourself and your nation. America needs student nurses to study for a high paid professional career. Ask your local hospital for complete information. This is Torture Tony Marvin saying good night for the Anchor Hawking Glass Corporation, the world's largest makers of household glass. This is CBS, the Columbia Broadcasting System. [00:31:34] Speaker B: That was 20 minute Alabama from Casey, Crime photographer or Photographer Casey or the crime of photographing People or crimey guy here on the mysterious old Radio Listening Society podcast once again. I'm Eric. [00:31:49] Speaker C: I'm Tim. [00:31:49] Speaker D: And I'm Joshua. [00:31:50] Speaker A: And I'm. [00:31:51] Speaker B: That was Tim's pick this week. What instigated you choosing this? [00:31:56] Speaker C: We recently had a Patreon get together happy hour that was themed around cats. That's not pertinent, but that's true. And one of our Patreon members recommended an episode of Casey Crime Photographer. And I did not choose it because apparently I'm a jerk to our Patreon. But it did make me think, like, oh, we have not had Casey Cryford craft. [00:32:23] Speaker D: Maybe that's why they kept changing. [00:32:25] Speaker C: We have not had Casey Cried Photographer on the podcast. And we ought because it's a big deal. It's a huge run and it's. Our beloved Alonzo Dean Cole was the script writer. [00:32:38] Speaker D: But not for this one. [00:32:39] Speaker C: Not for this one. The reason I chose this one in particular, I listened to a bunch of. And I don't know if you guys have listened to a bunch or not, but this series has a big playground. There is a wide variety of types of episodes. And so I wanted to grab one. Like, this is kind of a good baseline before I bring in some of the weird stuff. [00:32:59] Speaker B: Nice. [00:33:00] Speaker D: So start with the weird. [00:33:02] Speaker C: That's what I normally would have done. [00:33:04] Speaker B: But to clarify, our beloved Alonzo Dane Cole, because he's a radio writer from St. Paul, Minnesota. [00:33:11] Speaker D: I don't care where he's from. But I like his witch's tale. [00:33:15] Speaker G: Right. [00:33:16] Speaker B: I like your witch's tail. [00:33:18] Speaker D: Nice. Swish it. [00:33:20] Speaker B: So you just answered a bunch of questions for me and the first of which is, have we ever listened to this before? So I'm glad to find out we haven't. So this would be. Is my recollection the first time I've ever listened to it? I will be honest with you. I've heard of it and it comes across in my Internet scrolling from time to time. I didn't know that it was featured on radio and film theater. All I didn't know it was this big, big of a thing. And now franchise. I feel the same. [00:33:51] Speaker C: We could perform a Casey play in theory. [00:33:54] Speaker B: I'm starting to feel the same way I did about Johnny Dollar. Like, is this a big deal? [00:34:00] Speaker C: I've heard of things. [00:34:02] Speaker B: Yeah. And it's good to hear that there's a wide variety of how this was presented. There's all sorts of ways to do this. Because right now, from this episode, what I get is, wow, this guy takes crime, photographs and is given a lot of leeway to do whatever the hell he wants. Right? Yeah, sure. Let's listen to the crime photographer guy. [00:34:25] Speaker D: That struck me too. [00:34:27] Speaker B: The cop is so patient. [00:34:28] Speaker D: Barge is right. And I kind of imagine him telling everybody what to do while he's like, just snapping pictures without even like looking where he's aiming the camera. Like, I'm a photographer. See, I've snapped some pictures. Now here's how we're going to solve the mystery. [00:34:41] Speaker G: Right. [00:34:42] Speaker B: So he must have put a base down of solving a lot of crimes in the past where they allow him. [00:34:50] Speaker C: To speak up, assume that it's, hey, I will help you solve this and not make you look like an idiot. [00:34:55] Speaker D: While I do it. There are a couple moments where I thought to myself, when is he going to turn into the shadow? Because it felt a lot like the way Lamont and Margot just barged into crime scenes and just start telling the police how to do their job. [00:35:12] Speaker A: Right. [00:35:13] Speaker B: Or just barge into that lady's house. [00:35:16] Speaker A: Yeah. [00:35:16] Speaker B: You're packing, I see. Come on in. [00:35:18] Speaker C: Although to their credit, the series has a little variety. They do at the end, say, like that the commissioner, Chief, whatever role he has, is like, oh, he kind of knew the whole time what was going on. But you know, he had the list of phone calls. [00:35:32] Speaker B: Yeah. [00:35:33] Speaker C: But he was just like, I want to see what happens. [00:35:35] Speaker D: So he wasn't quite the idiot in the end that Weston usually is in the shadow. [00:35:40] Speaker B: Right. Or Lestrade. [00:35:42] Speaker D: Yeah, they're all idiots. [00:35:47] Speaker B: Yeah. So that's the first thing that struck me is the premise to write these is that he's on the scene because he's a crime photographer. That gets us in on the storyline, that gets us into how he is involved with all these crimes. [00:36:05] Speaker D: Yeah. [00:36:05] Speaker B: So it's a great premise from this one episode I listen to. What fails for me is that leeway. I'd rather he took the pictures, saw some things, kept it to himself and did the investigation on his own. [00:36:21] Speaker D: And see, the whole drama takes place in the developing room. [00:36:26] Speaker A: Right. [00:36:27] Speaker D: But sounds like a quiet please episode where he's just having a monologue with himself as he develops pictures. [00:36:32] Speaker C: It's probably no coincidence that there is this Venn diagram overlap with the shadow of both being from pulp magazines of we accept Milkman who fights crime. [00:36:43] Speaker D: They just needed the thinnest reason for someone to appear at a crime scene. But Lamont, it's just, I'm rich enough to be here. Get out of my way. He's technically a journalist. Technically. Why do I hate photographers? That's not real journalism. [00:37:01] Speaker C: He is accompanying a journalist. [00:37:03] Speaker B: But this is a. To put a character in crime scenes that they can solve. Much better than Lamont's premise of just showing up. So I like the premise of that. Right. [00:37:16] Speaker D: Yeah. And I mean, I'm guessing it ran for 12 years. That probably some of the earliest episodes actually had him taking pictures that solved the case. But at some point, if you're running a show for 12 years, it can't be every episode. It's somehow involves photography. Yeah. [00:37:36] Speaker B: Why not? [00:37:37] Speaker D: You've always got a scheme for recycling material. [00:37:41] Speaker C: And I will confess again that I'm kind of low balling the series with this episode. I really like the series. And one of the things I like about it that's not so much highlighted here is the music. The music in the series is pretty cool. [00:37:55] Speaker B: Yeah. [00:37:56] Speaker C: That you just get a taste of it in here from the recurring trope is to go to this bar with a piano bar. [00:38:02] Speaker A: How many times? [00:38:03] Speaker D: That's my favorite thing about this. And I've heard one other Casey crime photographer. So I know that it's part of the structure. Is the guy at the piano bar extolling the virtues of Anchor Hawking? [00:38:15] Speaker C: Yes. Yeah. [00:38:16] Speaker D: Yeah. And that he sort of exists, or it feels like exists with. [00:38:22] Speaker C: They just hang out at a bar with a guy who pitches kitchen glass. [00:38:25] Speaker D: Yeah. Yeah. [00:38:26] Speaker A: Right. [00:38:27] Speaker D: And I really like that framing sequence. I think that's a really cool idea. And that they just have a pal of theirs who is a barfly. [00:38:36] Speaker A: Right. [00:38:36] Speaker D: Or is he an agile bartender? I think. Oh, he's the bartender. [00:38:38] Speaker C: Oh, the guy they talked to. [00:38:39] Speaker D: What's his name? With an E. Yeah. I haven't listened to it. [00:38:43] Speaker C: I've bizarrely seen so many E names like Erlichsen, Heinrich, Endgame. I don't know. [00:38:48] Speaker B: Elephant. [00:38:49] Speaker C: Elephant. [00:38:50] Speaker B: How many did you listen to? [00:38:52] Speaker C: Half a dozen. [00:38:53] Speaker B: And all over the spectrum of these. [00:38:56] Speaker C: Yeah, a lot of different kinds of stuff. [00:38:58] Speaker B: Is the spectrum by year or is it different structures? [00:39:01] Speaker C: Like there's one that you go maybe five minutes in and get sort of Columbo. Like the people involved with the crime, what's kind of happening to them before any of your familiar characters show up? [00:39:13] Speaker B: Interesting. [00:39:15] Speaker C: The whole kind of genre can shift. [00:39:18] Speaker B: But did they do that? Format shifts by year? Like it was this style from this year to this year? [00:39:25] Speaker C: I think just episode by episode, episode. [00:39:27] Speaker B: By episode, they shifted. [00:39:28] Speaker C: I mean, I. That's a strong statement, but that seemed to me to be that of just interesting. [00:39:34] Speaker B: What's his last name? [00:39:35] Speaker D: Kasem? Casey Kasem. [00:39:37] Speaker C: Casey's his last name. [00:39:38] Speaker B: What's his first name? [00:39:40] Speaker E: Jack. [00:39:40] Speaker C: Flash gun. [00:39:41] Speaker B: Casey Jack, that's right. What is flash gun? Is that a. That's a term for a camera. [00:39:47] Speaker C: Those old speed cameras. Okay, that old, like which I wish. Oh, I wish they would have had that sound effect instead of the shunk. That is my one. Like every time he took a picture, like, oh, that was sad sounding. [00:40:01] Speaker B: You mean the big 1860s exploding gunpowder. [00:40:05] Speaker C: I mean like, like gangsters gun down. And then the guy there with his camera. [00:40:11] Speaker D: Yeah. Louder than the gunshots. [00:40:15] Speaker C: Floods the area with light. [00:40:18] Speaker D: What I enjoyed about this episode is the energy. The actors were really committed and it moved. It had a good pace. It went through the mystery really fast. But there was nothing really that stood out to me. It makes a lot more sense hearing that you wanted to have a bass line before you brought the odder ones. I guessed the solution, which again, to me isn't a big deal. I was talking to the radio show going, have you thought maybe it wasn't him on the phone? [00:40:53] Speaker B: Well, yeah. And it's funny you say that because this is rare for me. You know, you've written a script. We're going to figure out when I figure it out in the first five minutes. The first thing I thought was, oh, well, there's no way to prove that that was him on the phone. And then I was like, well, I never write. I don't know what's going on ever. And at the end I went, huh, you wrote something I could figure out. Get back in your writing room and try again. [00:41:25] Speaker D: It creates a great opening hook. I did like that those first couple minutes of him going, like, so if I kill myself right now, I'm good. [00:41:35] Speaker B: All right, all right. [00:41:37] Speaker C: It's not complicated. But I also liked the little. How do you know he didn't commit suicide? Who hung up the phone? [00:41:44] Speaker D: Yeah. And I love. They're like, well, maybe he dropped it onto the hook. [00:41:48] Speaker B: It was a great, really accurate dying scene. And he took the time to hang up the phone. You're a terrible cop. That assumption is ridiculous. [00:42:01] Speaker D: If you watch enough true crime or courtroom documentaries, occasionally, I am flabbergasted at actual trials and what lawyers will try to put forward to a jury. So I could actually, when. When the inspector was saying, like, well, maybe you just landed right there on the hook, I was like, I kind of believe that there could be a prosecutor out there who. Or a defense attorney who would, who would put that forward. [00:42:31] Speaker B: I've watched a lot of that true crime stuff. And I'm always amazed. Be like, well, obvious. This guy's. So this person's the guilty person. Right. To find out what the defense is going to come up with. And almost every time like that is just ridiculous. Well, we don't know. We don't. It could be a guy that he was cloned. Maybe he was cloned. [00:42:56] Speaker D: But I give the defense way more leeway because their job is not to prove the case. [00:43:00] Speaker B: Right. [00:43:01] Speaker D: That's their job is to just spread doubt. [00:43:03] Speaker B: Yeah, right. [00:43:05] Speaker D: I get angrier when it's the prosecution because their job is to actually prove the case. [00:43:09] Speaker B: Right. [00:43:10] Speaker D: That's their burden. [00:43:11] Speaker B: But the defense does, in a lot of times, come up with just insane doubt. Like, how do we know that we are actually here? The universe is entropy. [00:43:24] Speaker C: We could be brains and jars. [00:43:25] Speaker B: Right. [00:43:27] Speaker C: Not guilty. [00:43:31] Speaker D: I call mistrial on the human race. [00:43:35] Speaker C: In this episode. They totally won me over. It just takes this little moment of charm. I don't know if you remember it, Mr. Ringing this from a different episode, but I think it was this one of when his reporter friend. I'll learn his names at some point, comes to meet him in the bar after he's been talking to the bartender and she shows up and the bartender says, well, goodbye. It sounded like a flub. [00:43:57] Speaker B: Cause, like, they're laughing. [00:43:59] Speaker C: And if that's scripted, that's a great performance of it. [00:44:02] Speaker A: Yes. [00:44:03] Speaker D: I think that's what I was trying to describe as energy. It felt alive. And that the actors were really in the moment. And occasionally, especially these formulaic radio shows, you get the idea that, like, they're. You can sense them dropping each page of the script. [00:44:18] Speaker B: Yeah. [00:44:19] Speaker D: Closer to the bar. I'm closer to the bar. [00:44:22] Speaker C: Yes. Or like covering up your neighbor's script. [00:44:26] Speaker D: The killer, the father had a terrible stumble over. [00:44:30] Speaker C: Oh, yes. [00:44:31] Speaker D: When he was confused. One of those ones where he got. He had to say the word three times in a row to get. To get it. [00:44:37] Speaker C: I suppose this is important. Explaining the. [00:44:39] Speaker B: He had a Basil Rathbone, I think is what we call it. You Rathbone. That line. Yeah. [00:44:44] Speaker D: He pulled a Basil Wrath boner. [00:44:46] Speaker B: Pulled a Basil Rath Boner. Wrath boner. There it is. [00:44:53] Speaker D: Also known as the Boner of Wrath. [00:44:57] Speaker C: There's a T shirt I don't want, but it's coming. [00:45:02] Speaker B: I dare you to wear this around. [00:45:06] Speaker D: That's what it says in the back. I don't want it, but it's coming. That's a great episode, Jim. [00:45:17] Speaker F: Thank you. [00:45:19] Speaker G: Yeah. [00:45:20] Speaker C: I'm gonna bring some others later on that. Like, if you're like, this is more variety, a little spicier. And like, yeah, I like the other one better. This doesn't really have the rathbone or feel that I've come to expect. [00:45:35] Speaker B: Well, what other thoughts do we have on this? [00:45:38] Speaker D: Do you know that Anchor Hawking still exists and is still in business? We occasionally get product at Whole Foods that is bottled in Anchor Hawking glassware. Because I walked by it going, what radio show is that from? So thank you at least for helping me. This has been like, for a year, I've been going, that's a sponsor on a radio show. And I can't remember which one it is. [00:45:59] Speaker C: It is one of those products, like, why did you choose to spot. I. I guess, like, it's kitchen goods that are. [00:46:06] Speaker D: Well, it's a great commercial where he's like, now you can see the food you buy. [00:46:10] Speaker B: Right. Anchor Hawking also sounds like a DC character. [00:46:18] Speaker D: Spoken like someone who's never read a DC comic book. [00:46:20] Speaker B: Oh, I read him. That's why I gave up on him. Moved over to Marvel. [00:46:24] Speaker C: Wow. [00:46:24] Speaker D: Did this. [00:46:25] Speaker B: This took a turn. [00:46:27] Speaker D: Here comes the boner of wrath. [00:46:32] Speaker B: Is that how we're gonna solve this? Boner of Wrath? [00:46:35] Speaker C: An Image comics character, Todd McFarlane, again. [00:46:42] Speaker B: Are we ready to vote? I'm gonna say historically significant because the entire what is a Casey crime photographer thing was a huge deal and Iran for a long time, and this is one of them. So. And we've never delved into it. So historically, it was good to learn all of that. The episode itself, I will give production value and actors big credit. I think it was well done that way. I think the storyline was okay. And again, I know this is nitpicky. I just wish they would take that moment to just not have him be so belligerently involved and instead just kind of go, huh, that's interesting. And then take it upon himself to investigate. It's a small thing. That kind of thing bugged me. [00:47:31] Speaker C: But overall, that's not going to go away. [00:47:33] Speaker A: Yeah. Okay. [00:47:34] Speaker D: And, I mean, I just don't see how you get past that hurdle in a show that runs for 12 years, that every single episode, every writer has to find some new way to justify his entry into the crime scene. I think that would get old. [00:47:48] Speaker B: Well, he's the crime photographer. That's how he gets in. But just his discovery, he goes off on his own and doesn't go, hey, let me tell you guys what to do. It just takes the air out of the reality or the possible. [00:48:00] Speaker D: I think it's the job of the police to be smarter. It's the police's fault they're asking for this abuse. [00:48:06] Speaker G: Yeah. [00:48:07] Speaker C: I think the same dynamic is like Holmes and Lestrade, just both of them are kind of down a step. [00:48:11] Speaker B: Yeah. [00:48:12] Speaker D: Oh, and Jan Minor. I don't know if this was Jan Minor in this particular role. [00:48:17] Speaker C: I think so. [00:48:17] Speaker D: Yeah. But you may remember, I just barely remembered this. In addition to the Palmolive commercials, she starred in the Chase. Long distance. [00:48:29] Speaker B: That's right. [00:48:30] Speaker D: Desperate wife trying to save her husband. [00:48:33] Speaker B: One of my favorite radio shows of all time. I love that. That is Jan Minor. I forgot. You're soaking in it. Madge. Madge, right. [00:48:42] Speaker A: Yes. [00:48:43] Speaker D: Yes. [00:48:43] Speaker C: I mean, I mildly apologize for bringing in what I know is, like, this isn't one of the best, but it's an investment in the future and I think you'll be glad I did it in the long term. [00:48:53] Speaker B: I'm glad you did it now. [00:48:56] Speaker D: So we should wait and save our vote until we've heard more. [00:48:59] Speaker B: Then we can go back and see how this one compares. [00:49:01] Speaker C: Well, you just, in the future, ramp up your vote. A little expectation of, like, you know, I might have been a little lukewarm on this, but it's so much better. [00:49:11] Speaker B: I just did a reference to last week's episode by making a time machine noise. [00:49:15] Speaker D: Oh, thanks for explaining it. [00:49:17] Speaker B: Yeah, I had to because I realized how out of context that was. [00:49:21] Speaker D: Eric's just having a stroke over there. [00:49:24] Speaker C: You should edit that into last week's episode. So my vote's very similar. It's historically significant because this is an amazing series and this is maybe an average episode of it. [00:49:41] Speaker D: Yeah, I think this totally stands the test of time. This is the type of crime procedural mystery show that is still incredibly popular today. And I think the mystery works really well. It moves really well. I found all the characters entertaining. It just wasn't a really surprise or thrilling mystery. But I enjoyed it. So not a classic yet. I'm now excited about what the future holds, but I thoroughly enjoyed listening to it. [00:50:13] Speaker B: We're going to run out of Signalman at some point, so maybe we switch to Christmas Crime Photographer. [00:50:20] Speaker C: There's a Christmas episode. [00:50:21] Speaker D: Yeah, it was once retitled to Casey Signalman. [00:50:26] Speaker B: Tim, tell him stuff. [00:50:27] Speaker C: Please go visit ghoulishdelights.com that is the home of this podcast. You'll find a lot of other episodes. There's. And of course, you'll find our podcast wherever you get podcasts. But if you go to ghoulishdelights.com, you can vote in polls to let us know what you think, see what the poll results are, see what other people have thought, leave comments. You'll also find out some history of the mysterious old radio, some little bios of their hosts, little flourishes that just aren't there other places. You can also find our store and you can find a link to our Patreon page. [00:50:58] Speaker D: Yes, go to patreon.com themorals and support this podcast. You too can be on a happy hour and subliminally suggest an episode for Tim to reject and bring an alternate to the episode. So we do really love interacting with our patrons and the happy hour is just one of the ways. We also have a mysterious old book club. We have discord for our mysterious old patrons. Some of them are quite young and not that mysterious, but we still give them that title obvious young supporter. So please. And your financial support really does make this possible. I think we've said it before, but without any money we'd stop doing this. [00:51:46] Speaker B: The Mysterious Old Radio Listening Society Theater Company performs live on stage audio drama where we do recreations of classic old time radio shows and a lot of our own original work. You can find out where we're performing and what we're performing and how to get tickets by going to Ghoulish Delights and do that. Get some tickets, come see us, see where we're performing. It's a lot during the course of a year. [00:52:13] Speaker D: Too much, Too much. [00:52:15] Speaker B: But then also we record the audio of those live shows and that audio is provided for our Patreons as yet another perk. So if you can't make it, at least you can listen to it as a supporter. Hey, what's coming up next? [00:52:29] Speaker D: Next we'll be listening to my pick and that is the Judas Clock from Inner Sanctum. Until then, watch it. [00:52:38] Speaker A: Logan, what's the matter? Taking a picture? Don't get scared.