21st Precinct 54-03-03 (034) The Door

Summary

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21st Precinct: “The Door” (Episode 034, aired 1954-03-03)

Podcast: Harold’s Old Time Radio
Host: Harold’s Old Time Radio
Episode Date: February 22, 2026
Summary by: Podcast Summarizer AI

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Main Theme & Purpose

This classic episode of 21st Precinct, “The Door,” immerses listeners in the intricacies of police work in 1950s New York City, focusing on the collaborative efforts of officers and detectives to apprehend a group of expert safe burglars caught in the act. The story highlights themes of duty, trust, the challenges of law enforcement, and the nuanced interplay between criminals and the police who pursue them. The episode emphasizes the day-to-day realities and personal stakes for the precinct’s staff, set against the tense backdrop of a live stakeout and eventual capture of a criminal gang.

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Key Discussion Points & Insights

1. Opening: Introduction to the 21st Precinct

• [00:35] Listeners are brought directly into the “muster room” of the 21st Precinct with a phone call about a possible shooting, offering a glimpse into the hectic, unpredictable world of a New York police precinct.
• Captain Frank Kennelly, narrating, introduces the area, the staff, and the ethos of their work: “Most of the 173,000 people wedged into the 9/10 of a square mile … wouldn't know if you asked them … but the security of their homes … is the job of the men of the 21st Precinct.”

2. Personal Stakes: Officer Hanneman’s Garnished Wages

• [01:45] Captain Kennelly and probationary officer Hanneman discuss payroll deductions. Hanneman’s co-signing a defaulted loan prompts discussion about trust and personal responsibility.
  • Memorable exchange about living off a half-paycheck and the pitfalls of trusting family with financial matters.
  • Captain’s advice: “You ought to see what a man’s prospects are before you go on his note.” (02:46)
  • Hanneman: “There’s nothing else I can be, Captain. The check couldn’t get any lower, only higher.” (03:32)

3. The Safe Burglary Case: Surveillance and Set-Up

• [04:03+] Detectives brief Captain Kennelly on the ongoing surveillance of three skilled safecrackers: Eddie Dorkin, Phillips ("Spiggio"), and “Mac,” with additional details about their recent activities and criminal records.
  • The detectives have trailed the suspects for over two weeks, watching failed attempts and planning.
  • The criminals plan to hit a loft building on 84th Street. Officers want to catch them “in the act” to ensure a solid case.
  • “I want those boys, Captain… I want a good case against them!” – Detective (06:51)
• Officers and detectives coordinate positioning around the building, planning tactics for both rooftop and street-level coverage.

4. The Stakeout & The Decoy

• [10:57+] Upon arrival, they discover a fourth individual: a woman (June Keishen, Eddie's friend), whose role is to act as lookout from a nearby bar.
  • The officers approach her under the guise of casual customers, seeking information without tipping her off.
  • Entertaining dialogue as the officers try to get her to reveal what floor the burglars are on:
    • June: “What do you think I am?” (12:57)
    • Officer: “But he has to be for conversation.” (12:58)
    • She admits to being the lookout, describing her instructions to warn the burglars by starting the car or making a coded phone call if police appeared. (16:56-17:50)
  • June confesses she doesn’t like guns and doesn’t believe Eddie wants to hurt anyone: “All he wanted out of there was the money from the safe. He don’t want to hurt anybody. He wouldn’t shoot anybody. Not Eddie.” (18:47)

5. The Raid on the Loft Building

• [20:00+] Using June’s information about the floor and phone number, the officers prepare to storm the building, meticulously assigning positions and responsibilities.
  • The building is covered from all sides, including adjacent rooftops and exits.
  • “There’s no elevator. Gotta walk up. If we turn on the power for the elevator, they’ll know we’re coming…” (22:30)

6. Tense Confrontation & Arrest

• [24:00+] Officers stealthily move up the building. A suspenseful firefight erupts as they surprise the burglars mid-job.
  • “[Gunfire] Watch him. Please stop that out of your life. I see him. There he is.” (24:11)
  • A gunman is shot and goes down; another surrenders: “Listen, I had enough. I was good anymore.” (26:03)
  • The officers secure the surviving suspects, ensuring compliance at gunpoint.

7. Aftermath & Reflection

• [27:00+] The raid is successful, but with serious consequences—one or more dead burglars.
  • Moment of dry dark humor between the officers about “winding up on the wrong side of the door.”
  • Captain Kennelly reflects on the carousel of police work: “So it goes around the clock, through the week, every day, every year. A police precinct in the city of New York is a flesh and blood merry-go-round. Anyone can catch the brass ring — or the brass ring can catch anyone.” (27:57)

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Notable Quotes & Memorable Moments

• On wage garnishment and personal troubles:
  Captain Kennelly: “You ought to see what a man’s prospects are before you go on his note.” (02:46)

• On catching criminals in the act:
  Detective: “I want to let them go into the building, get in whenever they're going and start working on the safe. I want a good case against them.” (06:51)
  Captain Kennelly: “If they’re unlucky enough to be caught in the act of committing a crime… it’s seldom due to chance.” (18:53)

• Humor during the stakeout:
  June (the lookout), defensively: "What do you think I am?" (12:57)
  Detective: "But he has to be for conversation." (12:58)

• On the dangers and absurdities of police work:
  Captain Kennelly: “If there's any fireworks, the ranking officer would look awfully silly waiting down on the street, wouldn't he?” (23:40)

• On the cycle of precinct life:
  Captain Kennelly: “Anyone can catch the brass ring — or the brass ring can catch anyone.” (27:57)

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Important Timestamps for Segments

• [00:35] Intro to the 21st Precinct, Captain's monologue
• [01:45–03:40] Hanneman’s pay and personal subplot
• [04:03–08:25] Briefing on the safe burglary case and surveillance
• [10:57–14:10] Stakeout and approach to the female lookout
• [15:10–18:53] Interrogation of June; details on the burglars’ plan revealed
• [20:00–24:11] Officers set up and move in for the raid
• [24:57–26:45] Confrontation, firefight, and arrest
• [27:00–28:14] Reflection and closing thoughts on police life

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Episode Tone and Language

The episode is delivered in the brisk, clipped cadences of 1950s police procedurals—serious, methodical, occasionally laced with dry wit, and always tightly focused on procedure. Dialogue is crisp, natural, and often tinged with cynicism or gallows humor common to classic noir storytelling.

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In Summary

“The Door” exemplifies the tension, camaraderie, and grit of mid-20th century law enforcement drama, with a plot grounded in day-to-day realities of police work. The story combines procedural detail, realistic dialogue, and moments of dark comedy, providing modern listeners with a vivid sense of the golden age of radio and the enduring appeal of character-driven crime storytelling.

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Transcript

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[A]

21st briefing. Sergeant Burns. Shooting. Where? Well, who shot? Then? How do you know there's a shooting? Yeah. Yeah, I see. Well, who told you to call the police? You are in the muscle room at the 21st Precinct, the nerve center. A call is coming through. You will follow the action taken pursuant to that call from this minute until the final report is written in the 124 room at the 21st Precinct. All right, Wait there for the officers. Yeah, right there where you are. No, you don't have to call for an ambulance. I'll take care of that. You just wait there for the officers, okay? Yeah. 41st Precinct. It's just lines on a map of the city of New York. Most of the 173,000 people wedged into the 9/10 of a square mile between Fifth Avenue and the east river wouldn't know if you asked them if they lived or worked. Whether they know it or not, the security of their home, their persons and their property is the job of the men of the 21st Precinct. The 21st. 160 patrolmen, 11 sergeants and four lieutenants, of whom I'm the boss. My name is Kennelly. Frank Kennelly. I'm Captain in command of the 21st. I was working my night tour 4pm to 8am At 11:15, I returned to the station house from patrol and after signing the blotter, went directly to my office to read and approve a file folder of reports that had accumulated during the tour. I had also instructed the 124 man to post on the bulletin board the names of two patrolmen working the 12 to 8 informing them to see me on their arrival at the station house. Yes? Come in. You want to see me, Captain? Oh, come in, Hanneman. Close the door, Captain. Yes, sir. Captain Hanneman. I got a 49 from the Chief clerk concerning you today, Captain. And after I got the 49, I asked to see the payroll sheets. I just want to know how you do it. Do what, Captain? After deductions for federal withholding tax, the pension fund, the uniform Loan account, insurance and the garnishment. The chief clerk's Office sent the 49 up about the city. Will give you exactly $52.20 for a half a month's pay. I'd like to know how you're going to live on that. I'd like to know too, Captain. What's this garnishment about? Who'd you owe? Nobody, Captain. Well, you must have owed somebody or they wouldn't have garnished your wages. I went co signer on a note, Captain, for my brother in law, my sister's husband. And he defaulted? Yes, sir. Why did you let it get to court? The garnishment doesn't look good on your record. Well, sir, when I got served with the complaint, I called him up and he said, don't worry about it. He'd take care of it. He'd get it straightened out. So I didn't worry about it. You ought to see what a man's prospects are before you go on his note. My sister married him, Captain. I figured that was good enough. Excuse me, Captain. 21st Precinct. Captain Kennelly, Sergeant Burns. The judge King want to know if you're in so he could talk to. Yes, put him on, Sergeant. I told him you were. He said he was coming downstairs. Oh, all right. Tell him to come right in. A $52.20 paycheck. You'll have to do better than that, Hanneman. Yes, sir. But don't worry about me, Captain. You see, I'm single and living at home with my folks, so I'm not in too bad shape. You still have to do better. I expect to, Captain. This is my last month as a probationist, so I get more money there. Plus the fact I lost two days when I went sick in the seat. My brother in law says he'll get the whole thing straightened out by next week. Well, at least I'm glad you're optimistic. There's nothing else I can be, Captain. The check couldn't get any lower, only higher. See that it does. Get rid of that garnishment. Yes, sir. All right, get under guard. We've got to talk to the detective Commander. Yes, thank you, Captain. Hello, Lieutenant King. Hannahman. Glad, Russ? Oh, yeah, thanks. All coming, master. Shut the door, Handeman. Yes, sir, Captain. You know Acting Captain Russell Larkin was afraid to lost one. Oh, yeah, sure. Isn't that. How are you, Larkin? Fine, Captain. Sit on. Pull that chair over, man. Yes. Well, what have you got, man? We think we've got a deal on 84th Street, Captain. You give us about six men right now. I hope soon. Captain. What is it, man? It's a safe and lost squad case, Captain. We just got in on it ourselves. Russ. Well, we've had these three boxmen under surveillance for more than two weeks, Captain. Two of my detectives made this. One boy, his name is Eddie Dawkin. As he was walking down the street in the Garment District a week ago Tuesday. I see. They recognized him as a space burglar and took out after him to see where he'd lead them. I kept him under surveillance all that day. Nothing. After he went home that night, I sent two more men to relieve them and instructed them to keep up the surveillance. Captain, Ms. Hetty Dorking is a pretty good boy. Just finished the. Been up there since 1946. How many deals were the right end when you got him then, Russ? Well, we caught him in the act of burglary and he admitted to three more, so this time I figured we had something. I told him to stay with him. They did. All last week, nothing. Last night he went to a bar down in Greenwich Village, Sullivan Street. He walked into the place and went right to a booth. There were two boys waiting in there. One of them we made right away. Phillips, we handled him before. The other one we don't have a complete line on yet. They call him Matt, and that's all we know about him until now. Three of them had a couple of beers apiece and sat and talked for nearly two hours. Well, this Philip Spriggio, was he whip docking on the fields in 46? No, no, captain. The two boys who were with him then are still up there. But Spriggio was in while Dorkin was, and that's where they probably got together. What's this deal on 84th Street? This afternoon, about 5. At 5 o', clock, they all three met again, this time in a bar in 86th Street. They had a beer and talked. Then they all left together. They walked around the corner and down to 84th. They stood across the street from this seven story lock building. Must be Splidgio's job. He was talking, the others were listening. Everything seemed to be okay, so they walked toward Lexington Avenue and went down to the subway. On the train, one of the detectives got right up close to them. All they were talking was baseball. Dawkin got off at 14th Street Bridge. Neil and Mack rolled out to Brooklyn. When Dawkin got off, he said, I'll see you tonight. Tonight? Up on 84th street, you figure? Yes, sir. Got the building planted. Now, four of my men and four Of Lieutenant King. All they gotta do is show up. It's getting kind of late, isn't it? It's almost a quarter to 12. They'll be there, I think. All right, what do you need from us? Math. We'd like about eight patrolmen. The sergeant, sir. Are you anticipating a lot of trouble with them? You want to be ready for it, Captain? I want those boys, Captain. I want to let them go into the building, get in whenever they're going and start working on the space. I want a good case against them. We grab them at the front door in the hall. Before they break into the offices, they'll have to squeeze out of it with unlawful interest. I want them in the act of committing burglary. So we need the street well covered and we need men on the roof to the adjoining building. All right, you get the men. Yes, sir. Excuse me. 21st. Bracing. Captain Konami, Sergeant Burns from Seattle. Is Captain Larkin on the safe lost? Yes, he is one of the detectives bringing him from the oper. Oh, all right. Look, see you. Oh, thanks, Captain. Captain Larkin he'll be turning out to, huh, Captain? Yeah, in a few minutes. Yeah, Away. Sawyer. Yeah. What? Have you ever seen her before? Where? Are they now? Yeah, they're all right. We'll be right over. Yeah. Yeah, that's right. Okay. Well, they got there. All three of them, right? Yep, all three of them, plus another. A girl. A girl? Yeah, they drove up in Spiggio's car. They parked it down the block. Spriggio, Dargan and Mac took the tools and walked down to the building. They left the girl sitting in the car. They went around to the side and started to work on the door to the loading dock. They just got in. What floor did they go to? I don't know yet, Captain. Let's go and find out. Before I left the station house, I told the desk officer, Lieutenant Snyder, to replace Sergeant Burns on telephone switchboard duty. Sergeant Burns was then instructed to select eight men from among those who were reporting for the 12 to 8 tour. He was told to take these men to a point around the corner, out of sight from the loft building until he received further instructions. Then, with the two detective commanders, I rode to the opposite end of the block, where it had been arranged that we meet Detective Morton Little of the Safe and Loft squad. There he is. Thanks, man. Must come. Mort. Get light. This is Lieutenant King, Captain Kennelli. Second limit. There he is. Where's the car that came in? Mortgage starts the street there, about 45. Six feet down the block. Oh, yes. Another two door. I don't see the girl in there. Oh, she isn't in there, Captain. As soon as they got inside the building, she left the car and went to the bar and grilled there. She's been sitting in there at the bar ever since. How long? Well, she may think she's alone, but one of the men from the squad here thinking be right next to her. Kenny. Is that right? Kenny? Damn. Kenny. Oh, yeah. How'd you got the black planter, bro? There was four men in cars in front of the building. They're sick. Captain Sawyer and Dick Schreiberg over a few minutes to go there and try to go. Oh, good. There's two men on foot close to the loading dock. Two men in the doorway down the street. Are they still there? Yes. You know what floor they went to? No, sir, not yet. We haven't seen any lights flashed on the building. They might still be working on the floor from the hall to the offices there. Can the girl see the front of the building from where she's sitting in the bar? Yes, sir. I guess that's the idea of her going in the bar. She can see everything. Well, what do you say we talked to her? Matt, you can tell us what floor they're heading. All right with me, Captain. Well, you better lead me out of it, ma'. Am. If I walk in there with the uniform on, it'll skip with cops right away. You might not want to do that. Yes, sir, we might not. Mort, will you stay here? Yes, sir. Okay, ma'. Am. All right. I'll see you. You got a good skipper. This we think, man, he knows what the score is. Well, he came up to the detective division. He was a squad commander before the war. Oh. Now, let's see what we can get out of this girl before we tip over the law. We're the law, huh? Okay. Okay with me. There's two men planted at the loading platform. Yeah. Those boys come out, they won't know what hit them. Don't expect them to come out for a while. You have to. Not if they're after safe. You're a man, skinny in the bar. He won't tip anything when we walk. Walk in, will he? He won't even know it. Good. Well, I got a string of about 11 safeguards. I hope this clears. Hope so, too. It's all right with me. Okay. That's her, I guess. Yeah. Maybe the lady would move over once and we could sit together. Would you, lady?

[D]

Would I what?

[A]

Would you move over to school? So, my friend And I could sit together.

[D]

Yeah, I can. Plenty of room down 7.

[A]

Oh, thanks. Majority? I'd just like to be near the door. I've got a phobia about these things. What'll it be, gentlemen? Got any beer on draft? Just some bottles. Okay. What kind? Any kind. Two. Okay. Any kind. I. I didn't mean to be a nuisance and put you out, lady.

[D]

What's that?

[A]

So I told him, I don't care if it's triple time, I don't want to work Saturday. Five days enough for me. Yes. Won't be overtime during the week. Oh, yeah. Second, they're winning.

[D]

Ms. Me?

[A]

Yes. You're not waiting for anyone, are you?

[D]

What's up to you?

[A]

Well, I just figured if you've got nothing to do, neither of we.

[D]

I've got something to do.

[A]

No harm in asking.

[D]

Yes, sir.

[A]

Well, how's this? All right? That's fine. 60 hours. Well, how about a little conversation until you're. Something to say? Dude shows up.

[D]

What do you think I am?

[A]

But he has to be for conversation.

[D]

I'm sie. I told you. I realize it if I told you I'm busy. Just run me alone.

[A]

Hey, that kind of stuff don't go in here, fellas. What kind of stuff? You don't know the lady. Don't talk to her. You'll talk to her. We're detectives. Talk to me. Talk to him.

[D]

What would you.

[A]

What floor, Eddie? D Street.

[D]

What do you mean?

[A]

What floor are they on?

[D]

I don't know anybody across the street.

[A]

Look, we're not kidding you. Why don't you kid us? What floor are they on? Over there. Listen, let me see that badge again, will you? Yeah. Mr. Wheel, he'll stand over at that end of the car and be quiet. Yes, sir. I'll be quiet. Where are you? What floor?

[D]

I don't know what floor. They talk something about clean shop, that's all I know.

[A]

There are two printing shops. One on the 5th, one on the 7th. Which one?

[D]

I don't know.

[A]

Honey girl, are you ready?

[D]

Yeah, Ready. Know anything to do with me now, will it?

[A]

Well, I'll put it this way. Let's say won't have much time for you. You are listening to 21st Precinct, a factual account of the way police work in the world's largest city.

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[A]

The young woman friend of the safe burglar Eddie Dawking, identified herself as June Keishen. She gave her address as 334 Perry Street, Granite Village, while Acting Captain Russell Larkin of the safe and loft squad moved her to a booth in the bar and grill for further questioning. Lt. Matt King, commander of the 21st Squad, instructed Detective Kinney, who had been in the place, to inform me and the safe and lost detective Mort Little that the girl was in custody. The detectives and uniformed officers on the job were to move in closer as planned while all the information available was obtained from the girl. All right. Sit down there in the booth.

[D]

Where? Which side?

[A]

Either side. Take a picture. Now, you're not going to waste any of our time, are you, Joan?

[D]

No, I don't want to waste some time.

[A]

What are you doing here? Why'd you come along?

[D]

He said he asked me.

[A]

He asked you to commit burglary and you're just doing it Too much like him A lot.

[D]

I didn't know anything.

[A]

Come often, will you? You know why they're here and you know why you're here. You're not baby.

[D]

I'm not coming anywhere, Billy, am I?

[A]

What are you getting out of it? I don't know.

[D]

He's in promising anything.

[A]

What'd you get last time?

[D]

How'd you know?

[A]

I did it before, I guess. Okay, Ralph. He's on his way. They'll get pissed. Good. Did Eddie tell you to wait in the car or in here?

[D]

Oh, yes.

[A]

Listen, how's that thing st up? I put a nickel in it. Pull out the plumb? Yeah. Why in him?

[D]

He thought if I was sitting in a car, a cop or something might pass by and start asking questions. If I was in here having a drink, I'll Leave it asking questions.

[A]

And you could see the front of the building across the street in the loading dock, couldn't you?

[D]

Yeah, I could see it.

[A]

You were supposed to watch the weren't you?

[D]

Yeah.

[A]

What were you supposed to do if you saw the cops come up? Now look, told you to stop kidding around. Got no time to play. What were you supposed to do?

[D]

I was supposed to sit in the car while they were working on the door behind the wheels. I saw a cop car down the street. I was supposed to turn on the headlights and start the motor cuz I saw a cop walking down the street.

[A]

Yeah, then what?

[D]

After they got inside I was supposed to get out of the car and come in here and sit at the bar and have a drink.

[A]

Had to watch the building and where's

[D]

the God for anything? It didn't go like somebody going inside for instance. Knockback.

[A]

What are you supposed to do? Well fellas, you got your beer sitting there, want me to bring it over? No, just get over there behind the bar, will you? Hey, whose place of business is this anyway? Keenan, we appreciate the flavor. Now what were you supposed to do, Jim?

[D]

What was I supposed to do? When?

[A]

If you saw the police coming up to the bank. Oh well, curious.

[D]

Yeah, if I saw the cops or somebody I was going to to go to the phone booth and call the number.

[A]

What number?

[D]

The number Eddie gave me.

[A]

What number is it?

[D]

Aldrida Fossil name.

[A]

All set outside? Within a minute. Mor, you were supposed to call that number and what?

[D]

I was supposed to call that ring two times and hang up to announce a warning.

[A]

That's the phone number up in the place. They're making the place.

[D]

There it is.

[A]

Entertain mortgage scarec they're making one of the printing shops either the fifth floor or the seventh floor. The number up there is El Dorado 52098 check it out and see which floor the phone is on with him. Yes sir, right away.

[D]

He's gonna be mad, he's gonna be awfully mad.

[A]

Yeah, I wouldn't be surprised.

[D]

He's gonna blame me, he always does.

[A]

Wouldn't that be just like him? I think I guns Eddie Amending me. That's blame me.

[D]

Well I don't know about the others that Eddie has I think don't you know? Yeah, he's got one.

[A]

What kind? A gun, a pistol like this one?

[D]

Yeah, something must add which is thing that's spins around where the bullets go in like that. He always wants me to learn how to shoot it but I'm scared of guns. I don't like them.

[A]

What about Mack and the sill? You don't know whether they have guns?

[D]

I'm not very well acquainted with them. Eddie is my friend. I wouldn't know if they had guns. They don't go around showing them to me, you know.

[A]

Yeah, we know.

[D]

But you don't have to worry about Eddie. All he wanted out of there was the money from the Saints. He don't want to hurt anybody. He wouldn't shoot anybody. Not Eddie.

[A]

Now take it from me, Jim. There's only one reason a man carries a gun. That's the user. Burglary, defined as breaking and entering with intention to commit a felony is one of the most difficult crimes to prove. The big time burglars, the safecrackers, are so law wise that a conviction against them is seldom possible unless they're unlucky enough to be caught in the act of committing a crime. They are often caught in the act, but it's seldom due to chance. The safe Lawson Truck squad. A group of specialists in the Detective division of the New York City Police Department charged with the supervision and investigation of this type of crime have developed a technique of catching burglars in the act. The girl, June Feesham, already in custody, was taken to the station house. The telephone number was checked and it turned out to be that of the concern on the seventh floor. Officers were posted on the roofs of the two adjoining buildings, both only four stories high. All doors and exits from the loft building were covered. We waited until 12:30, then 1 o', clock, 1:15. At 1:20am Acting Captain Russell Larkin of the Safe and Lost Squad, Lieutenant Matt King, commander of the 21st Squad and I held a conference in a doorway across the street from the Lost Building. Well, what do you think? Man, I don't know. They're having an awful time getting that face ripped as they spotted the activity on the street. They're not gonna come out if they know we're down here waiting for them, Captain. Well, they could be taking this long with the safe, couldn't they Rock? Yes sir, they could. These boys know their business. They wouldn't tackle anything. It would be too tough. Pocket. They want something that can rip fast, rip it fast and get out. Well, you think we ought to go get em? Yes, sir. I think it's about time to get it. Okay. There's no elevator. Gotta walk up. We turn on the power for the elevator, they'll know we're coming. If they don't know it already. If they don't know there's no Sense in telling them that. Agreed. Now, we've got to cover the inside fire stairs. The heroes coming up the main stairs are liable to head down the others. Now, we'll detail four men to start at the fire stairs the same time we start at the main stairs. Five stair doors are left on the stair side all up and down the building. So are the main stairs. Well, how do we know we're going to be able to get on the seventh floor from the stairs? And that's the way they went up. They give me the door. If they're nowhere down here, they might have left the seventh floor and gone to some other. Yeah, possible. Captain, we'll examine all the locks and try the doors on the way up. Okay. Matt, you leave the detail up the firewall. All right. Well, okay. You take one of my men, one of yours, and two uniformed officers. You'll instruct somebody to open up and let it on the floor the first thing as soon as we get up. Okay. I'll take two of my men. Two of yours, Matt, and two patrolling up the main stairs. What about me, Ross? Do I go with you? Well, sure, Captain, if you want to. I want to. That's the building manager just got here, Captain Larkin. Oh, good. What does he say about the layout? Pretty much as we understand it. Yes. Three separate. It's unoccupied, all right, but there are a lot of shipping crates on the floor. Okay. Has he got the keys to the doors all up and down on the main stairs? Yes, sir. He's got a master key. Good. Tell him I'll be with him in a minute, huh? Yes, sir, I'll tell him. All right. I guess that's it. Except. Except what? One of us ought to stay in charge down on the street. Who do you suggest? Us? Well, I know what's on your mind. If there's any fireworks up there, you don't want the ranking officer to get hit. Well, if there's any fireworks, the ranking officer would look awfully silly waiting down on the street, wouldn't he? I'm sorry, Captain. Forget it. I would have tried the same thing if there were an inspector on the job. And it wouldn't have worked either. The men were given their assignments and told of their duties. At 1:28am we crossed the street and entered the building via the main door. Lt. King and his detail went to the rear and started up the firewall. Acting Captain Larkin, Detectives Mort Little and Richard Schreiber of the Safe and Lost squad. Detectives James Kinney and Daniel Goldman of the 21st Squad, Patrolman Hanneman, Sergeant Burns and I started up the main stairs toward the seventh floor. En route, we examined the doors and locks on each floor. The second and third floor doors had not been tampered with. Neither had the four nor the fifth. With guns drawn, we continued up to the six. Hold it. Okay, Now let's explore. Quiet. Let's take a look at that. Do. Work on it? Yep. That's in four building cabin. You want to take a look on the floor? Yes. Then there's one of murders. Watch him. Please stop that out of your life. I see him. There he is.

[D]

He's down.

[A]

Watch out. Stare up the stairs. I can see to the top. He was the only one. All right, Mort, go ahead.

[D]

Yes, sir.

[A]

I'm going. Burns. Kidding? Yes, sir. Go up with him. Take a look around on the floor. Yes, sir. Okay, Captain, let's try the door here. All right. He threw us water up. Come on, quick. Hey, Craig, drop behind us. You think they're here? Beats me. Look, I want to get behind that pillar. You're covering me from here, huh? Okay. Here. Go.

[D]

That's why I'm Ghost.

[A]

Ghost. Okay, Rush. Okay. Over in that corner over there to your left. Okay, what do you say? You want to walk away from here or not? We'll walk away. L. I can't get a shot at him from here. Cover me. I'm coming over. Okay, ready? Come here. Okay. Yeah. Okay. All right. Now what do you say? This is what we say. You hit one of them back your life. Matt, stop calling. He's not going to answer you.

[D]

Listen, I had enough. I was good anymore.

[A]

All right, stand up where we can see him.

[D]

Yeah, okay, just. Just don't get anymore.

[A]

I'm standing, see? Throw that gun out here. Over here. Over this place. All right, get those hands way up over your head. Step over there and follow that window. Yes, that's right. I'll lean up against the window. Come on. Both hands against the window. Here. There's the other one. He's not gonna bother us, Captain, as he's done. Get him. All right, now just stay like that. I got nothing else. All right, sit on the floor against the wall. Yes, sir. Now sit there. Everything okay here, captain? Yeah. Give Captain Larkin a handle here, mister. All right, just still there. That's Matt, king of the. I'll better let him in. Yes, sir. Be a good idea. Look, I'm not going to tell you a gap. All right, Just a minute. Everything all right, Captain? Yeah, I think we've got a couple of dead burglars. Matt. All right. Come on down this way. Well, I sure wound up on the wrong side of the door, didn't I? Have patience, Matt. You're moving up higher on the captain's list all the time. Time. When you get made, you can be on whichever side of the door you want. 21st Precinct. Sergeant Burns beating up a girl. Where on the street between 82nd and. So it goes around the clock through the week. Every day, every year. A police precinct in the city of New York is a flesh and blood merry. Go on. Anyone can catch the brass ring or the brass ring can catch anyone.

[B]

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[A]

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[C]

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