Tony (Announcer): The Anchor Hocking Glass Corporation brings you Crime Photographer. MUSIC Ethelbert (Bartender): Hiya Casey. What's the good word? Casey: Pramis on the cranna fran Ethelbert: Pramis on the cranna fran...? Huh? Hey, what kinda talk is that? Casey: That's double talk, huh, Tony? Tony: Well, I don't know anything about double talk, but I know good single talk when I hear it. Casey: What's good single talk? Tony: Well, it's straight facts like this: Anchor Hocking is the most famous name in glass. MUSIC Applause Tony: Good evening, ladies and gentlemen. This is Tony Marvin. Every week at this time the Anchor Hocking Glass Corporation of Lancaster, Ohio, and it's more than 10,000 employees, bring you another adventure of Casey, Crime Photographer, ace camera man who covers the crime new of the great city. Our adventure for tonight [Music] The Case of the Blonde Lipstick. MUSIC SFX: bar piano behind Tony: Nine o'clock in the evening at the Blue Note Café, it's too early for the late crowd and the daily crowd has gone on to dinner. The place is practically deserted when... Ann: Hi, Ethelbert! Casey: Greetings, Ethelbert! Ethelbert: Casey! Miss Williams! Casey: Two bottles of beer, pal. Ethelbert: Coming up. Ethelbert: Here you are, Casey. (Casey whistles a tune behind) I was hoping you'd drop in. Casey: Yeah? Why? What's happened? Ethelbert: There was a dame looking for you. Casey: A dame? Who was she? Ethelbert: I don't know her name because she didn't mention it, but she really wasn't no dame, she was class. Ann: Class of 1898? Ethelbert: Oh, no, Miss Williams. She was young. And when I say a girl has class, I mean, she had...well, it's not what she had, it's the way she used it. You know...class. Casey: I take it, Ethelbert, she was good looking. Ethelbert: Yeah. Casey: What's she want with me? Ethelbert: I don't know, Casey. Not that I didn't inquire. She comes in and asks me if I would point out Casey, the photographer for the Morning Express. Casey: Uh-huh. Ethelbert: With a note of regret in my voice I says, "I would if I could, lady, but, uh, Casey ain't among those present." Casey: Then you probably said," Is there anything I can do for you, lady?" Ethelbert: Yeah, how'd you know? Casey: Well, you told me she was very pretty. Ethelbert: Sure...now wait a minute, Casey, I wasn't trying to cut in on you. Casey: Heh-heh. Ethelbert: I only asked her "Is there anything I can do for you?" and she says to me," Oh, no. I wanted to see Mr. Casey. It's rather personal." So, I told her you'd be around about this time, and she said she'd come back. Ann: So, you don't know her angle? Ethelbert: She didn't have no angle, Miss Williams. She sounded more like she admired Casey from afar. Ann: (snickers) Casey: Don't choke, Annie. What's so funny about that? Ann: (laughing) Oh, be your age, Casey! Casey: She did tell Ethelbert that her business was personal. Ann: Oh... Ethelbert: And the way she said it. Men can tell about things like that. Casey: Well, it might be a case of hero worship, you know. Lots of girls go for big names.... Ann: Ha! (snickers) Casey: Stick around and see. Maybe after all.... Ethelbert: Casey! Casey: What's the matter, Ethelbert? Ethelbert: She's here. The one near the door. Ann: Oh. Casey: Wow! Yeah! Ethelbert: That's what I said when I first seen her. Shall I call her over? Casey: Ethelbert. Do not delay fate. Ethelbert: Okay. She sees me. She's coming over. Casey: Annie, how do I look? Ann: Oh, nothing wrong that a tailor and a barber couldn't fix. Ethelbert: Right here, Miss. This is Mr. Casey I'm pointing to. I-I didn't get your name. Laura: My name is Laura Neely, Mr. Casey. I hope you'll excuse me, but I just had to meet you. Casey: It's a pleasure, Miss Neely! Uh, this is Miss Williams, an acquaintance. Ann: Yes. Mr. Casey has no friends. Laura: I read that honest newspapermen can't afford to make friends. Oh, you're just as I pictured you, Mr. Casey. Casey: Really? Well, don't go building up any romantic ideas about me, Miss Neely. Laura: But it's true! Well, you reach the public every day! You have great power for good or evil! For influence! Ann: Well, for goodness sake. Casey: You wanted to see me about something, something, uh, personal, Miss Neely? Laura: Yes, Mr. Casey. It's very personal to me. Casey: Well, that's alright. Laura: You see, I want some publicity. Casey: P-Publicity!? Oh.... Laura: You see, I'm working for a certain charity, Mr. Casey, and I know that if you give me publicity with pictures in the newspaper, I'm bound to collect a lot of money. Casey: I'll bet. Laura: Don't you think, Mr. Casey? Ann: Not at the moment, Miss Neely. I think Mr. Casey is nursing a case of severe disappointment. Laura: Pardon me? Casey: Is that what you've been hanging around for, some free publicity? Laura: But it's not for myself, Mr. Casey. It's for a worthy cause. Casey: Oh, I know, I know. The old story. How do you want your picture...in a bathing suit? Laura: Oh, Mr. Casey. You don't understand. This is a very worthy cause. Casey: Oh, I know. Yeah, sure. Getting your picture in the paper is the first step in interesting some movie producer. No, I'm sorry, Miss Neely. No go. Laura: Well you've really got me all wrong. Now, I'm sure you've heard of the city welfare fund, and I thought that if the newspaper... Casey: What did you say? Laura: I'm working for the city welfare fund. I think everybody should help and I... Casey: Well, why didn't you say so instead of beating around the bush? Laura: You mean...you'll help?! Casey: Well, I'll be glad to help with the city welfare fund. Anytime. Laura: (pleased) Oh! Casey: But every newspaper's collecting the fund...what's your special angle? Laura: Well, you know how people are, Mr. Casey. They intend to send a contribution, but they just never get around to it. But I call on them after work, and they're glad to give. Casey: Do you give all your time to collecting? Laura: Oh, as much as I can. You see, I work for the Stevens Electrical Company. Casey: Uh-huh. Laura: After work I visit people evenings. Casey: It's not a bad angle, you know. Look, I'll do a series of shots of you getting donations from prominent people. Annie, look, how does this strike you? I'll snap Laura getting a donation from Logan, behind his desk at police headquarters. Ann: I'm filled with enthusiasm at the novelty. Casey: We can start right here and now. Come on, Ethelbert. Kick in. MUSIC SFX: office sounds, such as typing Casey: Hello, Annie! How's the news department? Ann: Fine, Casey. One murder, two arsons, and a nightclub fight between two movie stars. In other words, I'm not writing up that baby-faced space-grabber. Casey: Now Annie, she's collecting for the city welfare fund. Ann: Mmm. Collecting a lot of glory for herself. Casey: So what? She's working for it, isn't she? Every newspaper guy I sent her to has given a donation even thought he'd already given before. You know that Laura's collected over $10,000 already? Ann: Must be that perfume she was sporting. Twilight in Paris. Guaranteed to land you a man. Casey: Oh, look. Why don't you give the gal a break, Annie? She's okay. Ann: Is she? Well, I might try, Casey, but I don't go for her. Casey: Why not? The way you hate her... Ann: I don't hate her. Casey: Alright, the way you dislike her, then, there isn't any reason for it. Ann: I knew I'd dislike her before I met her. Casey: That's what I mean. SFX: phone rings; phone is answered Ann: Williams. City room. Police desk. Stevens: May I speak to Mr. Casey, please. Ann: Yes, just a moment. For you, Casey. Casey: Huh, for me? Oh, don't get up. SFX: door closes Casey: Hello? Casey speaking. Stevens: My name is Thomas Stevens, Mr. Casey. Casey: Uh-huh. Stevens: President of the Stevens Electrical Company. Casey: Sounds familiar, Mr. Stevens, but uh.... Stevens: Miss Laura Neely is my secretary. Casey: Oh, yes. Laura mentioned you. Stevens: And she told me about you, Mr. Casey. You've been helping her collect funds for the city welfare fund? Casey: Well, Laura does all the work, really. Stevens: But you are very much interested, aren't you Mr. Casey? Casey: Naturally. I want to see the fund get as much as possible. Stevens: Then I'd better tell you, Mr. Casey, I-I really don't know if I should call the police... Casey: The police?! What happened?! Stevens: There may be nothing to it. But on the other hand, Laura left the office with over $10,000 in cash, which she was going to take to the bank. Casey: When? What time? Stevens: During her lunch hour. That's one o'clock. Casey: That's four hours ago. Stevens: Yes. She hasn't returned. I didn't think anything of it at first, but then I began worrying. Casey: Did you check with the bank? Did Laura deposit the money? Stevens: I called the bank, but she hasn't been there. I'm afraid she's...well, there could've been an accident, or – or anything, but she had $10,000 with her. What shall I do? Call the police? Casey: No. Hold everything for awhile. I'll check this end and I'll call you back in an hour or so. Stevens: Alright. Good-bye, Mr. Casey. Casey: Good-bye. SFX: Receiver hangs up Ann: I only heard your side of the conversation, Casey, but it doesn't sound good. Casey: I should say not. Laura Neely left her office for the bank with more than $10,000 in donations at one o'clock. It's after five now. She never got there. Ann: Ha! Check the bus and railroad terminals. Casey: Huh? Hey wait a minute, Annie. That's unfair, really. Laura wouldn't run off with that dough. Ann: So I'm catty. Well, where's Laura? And more important...where's that $10,000? Casey: Well, that's what worries me. Laura could've been followed and robbed. Ann: Casey, I'm working a police desk, remember? I'd be the first one to get a report on a robbery or assault. Casey: But she might be hurt, Annie. She may be unconscious in some hospital right now. Ann: You know I get the accident reports, too, and nothing doing, Casey. Now you better start thinking up excuses. Casey: Excuses for what? Ann: I'll state the case as simply as I can. You meet a girl at the Blue Note. You don't know a thing about her. Casey: Wait a minute. If I can't judge a person's character after all these years... Ann: Stick to men, Casey. You don't know a thing about women. I should know. I haven't been able to teach you a thing. Casey: Like what? Ann: We'll go into that some other time. Right now, you've accepted a strange girl at face value. You introduce her to all your newspaper friends. You practically force them to give her money. What does that make you with all those boys? The biggest sucker in town! Casey: Well, I'll still bet my last dollar that Laura's honest. Ann: Face the facts, Casey. You were taken for a ride. Now, what are you going to tell the boys? Casey: Nothing. Ann: Well they'll be telling you plenty. Casey: Not until they find out. Look, so far her boss, Stevens, is the only one who knows that Laura's missing. That gives me a chance to find her. Ann: Well you'll need police help. Casey: Yeah. Yeah, I guess I will, at that. Ann: Well, I'll ring up Logan. SFX: receiver being lifted; phone being dialed under Casey: Well, look, Annie, give me the phone. I'll talk to him. Ann: You'd better let me do it. You did get Logan to pose for a picture with Laura. And it won't look very well when the story breaks. Casey: I'll take my own medicine if I have to. Still not sold on the idea that Laura ran out, though. Hello? Police headquarters? Hello, Logan? This is Casey. Now listen carefully and save your comments until I'm though. Laura Neely has disappeared with over $10,000 she collected. MUSIC SFX: door opens; footsteps Logan: Come in, Miss Williams. Ann: How are you, Captain? Logan: Fine. And who's the gentleman with you? Casey: Oh, cut the comedy, Logan. Ann: The gentleman is Mr. Casey. Logan: Impossible. Ann: Why, Captain? Logan: Because a certain photographer named Casey wouldn't dare show his face around here—not after what he's done to me! Casey: Go ahead. Rub it in! Logan: What'd you expect me to do—roll out the welcome mat for the guys who's made me the laughing stock of the police department?! Every paper in town is going to dig up the picture of me handing a donation to Laura Neely. And are they going to go to town. Quote: Captain Logan gives official sanctions to bunco game. Unquote. Casey: Now hold on, Logan. I'll admit it looks bad for Laura-- Logan: Oh, and you'll also admit that Hitler might have been guilty, I suppose? Casey: Will you cut the sarcasm? We might get to work. Laura disappeared. She was carrying ten grand. Well, now lots of guys in this town could knock her off for less. Why don't you investigate before you jump to conclusions? Logan: You know, Casey, the same thing occurred to me, too. I did investigate. Ann: Did you find out anything? Logan: Not much. Laura Neely was making $55 a week. Then last week she buys $970 worth of dresses. Casey: So what? Every girl saves for clothes. Logan: Well, sure. But Laura's personal bank account was $200. She didn't touch that. And on top of the 970 for dresses she spent 300 for two suits and bought $150 worth of luggage. When I got all of those reports I began to suspect that Laura might have been preparing for a trip. Ann: How about the railroad and bus terminals? Logan: Well, my boys checked them, but not a trace. Casey: Well, you see now? Logan: But I found a record of an automobile sale in her name. Yesterday Laura bought a blue convertible roadster from a second-hand dealer. Today she's gone. Casey: She bought a car? Logan: uh huh. Casey: Pick her up fast in a blue convertible. There aren't many on the road. Logan: So we pick her up. Then what? We put her on trial. Then the whole story comes out. How she took the wise boys in town...the newspaper men and the police. Casey: Oh. I'll take the blame for that, Logan. The boys will be glad to pass the buck to me. Logan: Yeah. Ann: But if you take all the blame, Casey— Casey: What else can I do, Annie? I fell for a story, I introduced her around... Ann: It might...it would be pretty hard to live down. Casey: Huh! Who's worried? I can always get a job. Who says I've got to be a crime photographer? I can go around snapping baby pictures. SFX: door opens; footsteps out; door closes Ann: Captain Logan, I'm afraid for him. Logan: Aw...he'll blow his top then calm down. Ann: Well, I'd better stay with him. In case he ever needed me, he needs me now. MUSIC Tony: Our story will continue in just a moment. Casey: Say, Tony? Who collects and returns all the empty beer bottles in your house, you or Junior? Tony: Empty beer bottles? Say, hasn't anyone told you about the new Anchor glass one way no deposit no return bottles? Casey: Say, that's right. There's no need to save one- way bottles. Tony: No deposit is required. You never have to return them to the store. Casey: And they're a tremendous convenience, too, so light, so compact, and they take up so little space in the refrigerator. Tony: And the Anchor glass one-way bottle is a glass bottle and because it's a glass bottle it brings you beer and ale that tastes as beer and ale should taste, Casey: -- unaffected by foreign flavor, Tony: --clean, clear sparkling, Casey: --beer that's brewery bright. Tony: No deposit, no fuss, no empties to be returned to the store. Casey: And when you've enjoyed the beer you dispose of the empty bottle as you would any other food container. Tony: You are the first and the last to use it. Casey: Yes, and that's why the new, sanitary Anchor glass one way, no deposit bottle is sweeping America. Tony: And that's why, when you buy beer, you should say that you want your favorite brand in the new Anchor glass one way no deposit bottle, a product of Anchor Hocking-- [musical commercial tone] Casey: --the most famous name in glass. MUSIC SFX: footsteps running Ann: Casey! Casey, wait! Casey: I'm in a hurry, Ann. Ann: Oh, now Casey...I'm going with you. Casey: Why should you? Ann: Well, I-I've helped before... Casey: I don't need any help! (pause) I'm sorry, Annie. Ann: What are friends for? Casey: Thanks, kid. Ann: Haven't I always? Casey: Sure. Ann: Thanks, Casey. Now. What are we going to do? Casey: Gotta find that blonde! Ann: Oh, the police will pick her up. Casey: Sure they will. Sure. But I've got to get to her first, Annie. If this story ever gets in the papers— Ann: What can you do? Casey: The way I figure is, if Laura was getting ready to leave town, she might've dropped some hint to somebody. Ann: She doesn't have any family that we know of. Casey: Her boss is probably closer to her than anybody else. At least he may have a lead—a girlfriend, a boyfriend. I've got to call on Thomas Stevens right now. MUSIC Butler: If you'll make yourselves comfortable in the library, I'll tell Mr. Stevens you're here. Ann: Thank you. Butler: If I may take your valise, sir? Casey: That's alright. That's my film case. I'll set it down right here. Butler: Mr. Stevens will be down directly. Casey: Yeah, we'll wait. Boy, the electrical line must pay off plenty. Ann: Uh-huh. Hm. This is a lovely house. Oh! An original painting by Van Houten. Stevens: Good evening! Do you like my wife's portrait? Ann: Good evening. Mr. Stevens, your wife is a beautiful woman. Stevens: Thank you. She's out of town right now, Miss—um— Ann: Oh, I'm sorry! I Miss Williams and this is Mr. Casey. Stevens: Oh, yes. I spoke to you on the phone Mr. Casey. Casey: Yes. Stevens: Do you have any news of Laura? Casey: Yes. Bad news. Stevens: You mean Laura's hurt? Casey: No. Laura has run away with the money she collected for the city welfare fund. Stevens: Oh, it's impossible! I don't believe it! Casey: They had a pretty hard time convincing me, too, but I can't argue about it anymore. The police found that Laura bought a flock of new clothes and luggage and a car, and then she disappeared. Stevens: She didn't! And I—I— Casey: You what? Stevens: I donated $300 to her fund myself. Casey: You're in good smart company Mr. Stevens. There are quite a few people that would like to catch up with Laura. And I'd like your help. Stevens: Well, what can I do? Casey: Answer some questions if you will. You see, the way we figure, Laura was with you during her working day, and she might've dropped a hint as to where she was going. Stevens: Nothing that I can remember, Mr. Casey. Casey: Did she ever say she wished she were in California, we'll say, or Florida, or someplace? Stevens: No. As a matter of fact, I know very little about her. Casey: There isn't anything you remember that could give us some lead? Stevens: I'm afraid not, much as I'd like to. Casey: Well, sorry to bother you, Mr. Stevens. Stevens: If I think of anything, I'll call you Mr. Casey. Casey: Yeah, thanks. You can reach me at the newspaper office. Stevens: Or perhaps the police will catch her. Casey: Maybe. By that time Laura Neely will have run through the money for the welfare fund. Shall we go, Annie? MUSIC Casey: Ah, that visit was a complete bust. Ann: Well, I don't know about that. Casey: What do you mean? Stevens didn't know a thing. Ann: So he said. Come on, let's get into the car. Casey: Here we are. SFX: car door opens Casey: Go right in. Ann: Okay. SFX: car door closes Casey: Will you please tell me why you think Stevens knows something? Ann: Casey, I've got something I want to show you. Switch on the dashboard light. Casey: Alright. Here it is. SFX: light switch Ann: Now. What do you think of this? Casey: What is it? A tube of lipstick. Ann: Look closer. Casey: Well, let's see it. Alright, I still think it is lipstick. Ann: Of course, but it's strawberry lipstick. Get it? Casey: Strawberry, huckleberry, raspberry, what difference does it make? Ann: Oh, none to a man, I guess. But this is the lightest shade of lipstick made. It's used by very blonde women. Casey: Keep talking. Ann: Do you remember when I sat down on the couch? Well, I found this lipstick between the cushions. That shows that Laura was in Stevens' library recently. Casey: Annie. You've got Laura on the brain since you met her. This lipstick could belong to any blonde woman, it might even be Mrs. Stevens'. Ann: Didn't you notice that portrait of Stevens' wife? She's a brunette! Her shade would be deep red or purple. Casey: True enough, but Mrs. Stevens might have dozens of blonde friends. Ann: Stevens said his wife was out of town, didn't he? Well, none of her friends would come around when she's gone. Casey: Ah, I still can't see it, though. Alright, let's just say for the sake of argument I agree that Laura was in Stevens' library. Ann: She was! Casey: Alright. Does that make any sense? What would she be doing there? Ann: Well, she might be in love with Stevens. Casey: In love with him? Well, alright. Let's see. Now suppose...suppose he were planning to run out with Laura. What does he do? He let's Laura steal the ten grand which she collected for the welfare fund? Think, Annie. Stevens is a very rich man. Ten thousand bucks doesn't mean very much to him. Why would he let Laura take the money and get the police after them? Annie: Well. When you put it that way. Casey: Well, sure. Those are the facts. Stevens is no dope. How do you get around that? Ann: Well I don't know, but I do know that this is Laura's lipstick. Casey: How? What are your reasons? Ann: When something is true you don't need reasons! Casey: Oh. Ann: And I know that this is Laura's lipstick. And if we could get back into Stevens' home, I bet that you'd find more clues that she was there. Casey: Huh. What am I supposed to do? Tell Stevens I think that he's harboring Laura and search the house? Or should I pull the gag about reading the gas meter? Ann: Alright. Get sarcastic if you want to. But I'd get into that house if I wanted to find Laura. Casey: Well, I could wait Stevens left the house and I could walk in and tell the butler I'd left my film case behind. Ann: Yes! That's it! That'll give us a chance to examine the library again. Casey: Hm. Well, okay, Annie. But I'm doing this for one reason. Ann: What reason? Casey: Your intuition was right once about Laura, and even if it's a million to one against you being right again, I'm not leaving myself open. MUSIC SFX: phone ringing in background Ann: (low) You're sure that that was Stevens in the car which left. Casey: Yeah. I got a good look at him. He's gone. Ann: Okay. SFX: door closing Casey: Good evening. Butler: Oh, I'm sorry, Mr. Casey, but Mr. Stevens left the house shortly after you did. Casey: Oh, that, that's alright. I didn't come back to see Mr. Stevens. You see, I missed my film case and I think I left it here. Butler: Film case? Casey: Yeah, yeah. That square leather case with a leather strap that you wanted to take? Butler: Oh, yes. I remember, sir. Will you come in? Casey: Yes, thank you. After you, Annie. Ann: Yes. Butler: You must've left the film case in the library, sir. I'll look. Casey: I'll just come along and pick it up. Butler: Here's the library, sir. Do you remember where you put it? Casey: It's too big to miss. It might be on the other side of the couch...Nah, nah it's not here. Do you remember what I did with it, Annie? Ann: Well, eh, you might've shoved it under the couch. (pause) No. No, it isn't there. Casey: Hey, what's that over there? Ann: Hm? Casey: It wasn't here before. No, no that's too big. Butler: That's Mr. Stevens' over-night bag, sir. Casey: Oh. Butler: I placed it there after you left. Casey: Oh, I see. Could anybody've picked up the film case after I left? Butler: Oh, it's hardly possible, sir, but I'll ask the maid, if you wish. Casey: Yes, thank you very much. I'd appreciate it. Butler: I'll only be a few moments, sir. Casey: (under his breath) Take as long as you want. Ann: (chuckles) Casey: Well, Annie, did you find anything more? Ann: Yeah. Come here, Casey. Near the couch. Casey: What do you mean? I don't see anything. Ann: Smell. Casey: (sniffs) Eh? You mean the perfume? Ann: Yes. And it's strongest near the couch. Laura sat here recently. Casey: Some more intuition, Annie, or some logical reason this time? Ann: I'm sure, Casey. It's fate. But its Twilight in Paris, Laura's perfume. I'm sure she was here. Casey: Eh. Just might fit in at that, Annie. Annie, I'll tell you what I'm going to do. Ann: What? Casey: Well, first I'll take you home, then I've got to prepare a speech to make to a tough guy, and then, I've got to buy a can of paint. MUSIC SFX: door opens, footsteps, door closes Paula: You're late, Tom. Stevens: I had to be careful driving up here, Paula. Where's Laura? Paula: In the cabin. Stevens: Did she give you any trouble? Paula: Everything went like we planned. She came to the house with some papers from you and I offered her a drink. That stuff you put in the liquor kept her out cold. Stevens: And nobody could possibly have seen you put her in the car? Paula: Nobody. All the servants had the day off. Stevens: Fine. All your friends, Paula, I must've told a million people that my wife was out of town for a few days. Paula: This summer cabin of ours is certainly out of town. Stevens: Where's the blue convertible roadster you drove up? Paula: In back of the fence, naturally. It can't be seen from the road. Stevens: Every policeman in the state is looking for that car. Paula: Tom, how did it go in the city? Did the police accept the fact that Laura bought the car and the clothes with the welfare fund money? Stevens: They swallowed it hook, line, and sinker! The blonde wig was an inspiration, Paula. Buying stuff in Paula's name wouldn't have been enough if you didn't fit her general description. Paula: So, they accepted the story exactly as we built it up. Stevens: Yes. I heard from that newspaper photographer, Casey, that the police are convinced that it was Laura who bought the car and the clothes with the fund money. Paula: Good. And now, when Laura is found dead— Stevens: Paula! We have to kill the girl? After all, it's not her fault that I carelessly left my second set of books on the desk. Paula: What difference whether it's her fault or not?! She did see the books and she does know that you didn't pay nearly a million dollars income tax. Stevens: I wish I hadn't listened to you, Paula Paula: Don't be a fool, Tom. They'll send you to jail. And think of me. Stevens: But to kill? Look, Paula. That's murder. Paula: Tom, we can't take chances. If you had to pay fines on the million you held out, we'd be ruined. And you'd go to jail. Oh, no, Tom. I couldn't stand the disgrace. Stevens: Well I don't like it! Paula: Are you falling for her babyface, too? Well, I'll take care of her. I've got too much to lose to— SFX: pounding on the door Paula: Tom, what's that? Police: Alright. Put up your hands and— Paula: Tom! Police: Sergeant Hart, State Police. Keep them covered, boys. Look in the back room. SFX: footsteps Police: A guy named Casey said we'd find a beautiful blonde around here. MUSIC Tony: We'll join the crowd at the Blue Note in just a moment. You know the old adage, the pot calls the kettle black? Well maybe you think it's natural for all cooking utensils to become scorched, blackened, and hard to clean. Well, that's because you've been using ordinary pots and pans. Now, when you use Fire King Oven Glass that just doesn't happen. Fire King Oven Glass is a special non-porous service that's literally mirror smooth, it doesn't absorb baking stains or odors, and it's amazingly easy to clean. And because you bake, serve, and store left-overs all in the same Fire King dish, you save hours of kitchen drudgery. Now you'll find a wide variety of Fire King casseroles, pie plates, and utility dishes at chain and department stores and wherever household glass is sold. You'll be surprised at the amazingly low prices. Be sure to ask for Fire King Oven Glass by name. Fire King is a product of Anchor Hocking—[commercial tone]—the most famous name in glass. MUSIC SFX: piano bar music behind Ann: Casey. I'm just about to bust with curiosity. Ethelbert: Yeah, me too. Casey: Goodness, Annie. Does your feminine intuition supply the answers? Ann: Alright! So, I was wrong about Laura. I know that Mr. and Mrs. Stevens are under arrest and Laura is coming back with the money for the city welfare fund. Ethelbert: Casey, Miss Williams, here comes Laura now. Laura: Mr. Casey, you saved my life. You got the police to Stevens' cabin just in time. Why, I could kiss you! Casey: Ah, well, uh... Ann: I was just getting ready to like you. Laura: I'm so excited I don't know what I'm saying, Miss Williams. I sure thought I was a goner when I laid there tied up and Mr. and Mrs. Stevens talking about killing me! And everybody thought I had stolen the fund money! Except Mr. Casey, of course. Casey: Well, there were moments when I had my doubts. But to give credit where it's due, it was Ann who spotted the lipstick and the perfume odor in Stevens' house. Ann: Which started you off on a train of thought. Casey: Sure. That, and the fact that when we came back with a phony excuse, I saw that Stevens' bag was packed for a trip. So, I decided to see where he went. Ann: And that reminds me...when you left me you said that you had to prepare a speech for a tough guy— Casey: That's right. Ann: --buy a can of paint. Now what did you mean? Casey: Well, I knew we'd make Stevens suspicious if we followed in a car, so I had to get a plane. Now who would you say is the toughest guy in the world, Annie? Ann: (chuckles) A city editor. Casey: That's right, Burke. Well, I got our city editor to authorize the use of our news plane. And once I had that, I needed the can of paint to mark the top of Stevens' car so we could follow it. Ann: Oh, I see. Casey: A cub reported phoned the airport when Stevens left. Well, we spotted the marks on Stevens' car from the air and followed him to his summer cabin in the woods. From above, we could see the blue convertible, hidden from the road. So, I knew that Laura was there. Ann: Well how did you let the police know? Casey: Annie, have you forgotten? Our new morning express plane is equipped with two-way radios. Ann: Oh, of course. Casey: Well, there's your story, Annie. You'd better get back to the office with it. Ann: Oh, there are a lot of other things I don't understand yet. Casey: Yeah? Ann: How about coming up to the office while I write the story, Casey? Just to help a slow-witted pal? Casey: Sure. Laura: Oh, Miss Williams? I don't think you're slow-witted at all! MUSIC Tony: Crime Photographer starring Staats Cotsworth as Casey is brought to you each Thursday by the Anchor Hocking Glass Corporation, makers of Fire King Oven Glass [commercial tone] Anchor glass containers [commercial tone] Anchor caps and closures [commercial tone], all products of Anchor Hocking, the most famous name in glass. MUSIC Applause MUSIC Tony: Crime Photographer is directed by John Dietz. The original music is by Archie Bleyer, and the program features Miss Jan Miner as Ann, and John Gibson as Ethelbert, Herman Chittison as the Blue Note pianist, and tonight's story was written by Milton Cramer. MUSIC Tony: This is Tony Marvin saying good night for the Anchor Hocking Glass Corporation of Lancaster, Ohio, with offices in all principle cities of the United States and Canada. This is CBS, the Columbia Broadcasting System. Applause