Jim Harold's Crime Scene runs on a simple setup. Jim Harold, who introduces himself at the top of the program, talks with a guest, and the guest has often written a book. The opening lines name what the show is after: the crimes, the criminals, why they did it, who got hurt, and whether they met justice or pulled off the perfect crime. What follows is conversation. The first thing to notice is the range. A run of episode titles takes in 'The Man Who Shot JP Morgan', 'How Key West Killed JFK', 'True Crime Stories of the South', 'Cruel and Unusual Punishment' and 'Flirting With Danger', which puts a Morgan family story, assassination, outlaws, prison and espionage side by side. In the Morgan conversation, a guest describes reading letters at the Morgan Library that Jack wrote to his mother from the time he was sent away to school, and sketches a quiet son beside a boisterous, bigger-than-life father. Key West goes somewhere else entirely. Harold asks about a chapter called 'Hoffa and Heroin in Key West', and the guest traces Teamsters pension fund money into island property, including the La Concha and Casa Marina hotels, suggesting the mob hoped to turn them into casinos after losing Cuba. Harold makes no secret of his own position. He counts himself in the camp that believes the JFK assassination was a conspiracy. Other conversations test popular images. A guest discussing Bonnie and Clyde grants that they were seen as Robin Hoods but calls them hard-up cases, then corrects the legend of John Dillinger's soap gun: it was carved from wood and blackened with boot black. In 'Cruel and Unusual Punishment', Harold raises the 'Camp Cupcake' picture of minimum security, and a guest who has been on the inside calls it wrong, adding that the wildest prison stories tend to come from inmates themselves. Janet Wallach brings in espionage with her book on Marguerite Harrison, the socialite spy, a subject Harold welcomes as something different. In 'Out of the Woods', Greg Olson talks about the book he made with Shasta, who suffered trauma as a child, and about why victims need someone willing to listen. Most of these conversations end the same way, with Harold telling listeners to be careful out there. He is also candid about what the show is not. It is not blood and guts, he says, and it may draw a smaller crowd for treating crime as something that affects real lives. That trade is the clearest reason to choose it.