21st Precinct 54-07-21 (054) The Ledge

Summary

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Podcast Summary: Harold's Old Time Radio

Episode: 21st Precinct 54-07-21 (054) The Ledge
Date: February 24, 2026
Host: Harold’s Old Time Radio
Original Air Date of Show: July 21, 1954

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Episode Overview

This episode of "Harold’s Old Time Radio" features a broadcast of the classic police procedural radio drama, "21st Precinct." Titled "The Ledge," the story centers on Captain Frank Kennelly and his squad as they respond to a tense suicide attempt involving a distraught woman sitting on the eleventh-floor window ledge of her apartment. The episode offers a gripping, humanizing look at police work, emphasizing both the emotional challenges and methodical procedures officers faced during emergencies in New York City.

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Key Discussion Points & Story Breakdown

[01:01] Start of the Police Procedural – A Day Begins at the 21st Precinct

• Captain Frank Kennelly sets the atmosphere, describing the start of his shift, the routine of turning out the platoon, and administrative tasks.

  • “My name is Kelly Frank Canelli. I'm captain in command of the 21st... it was a clear sunny day and pleasantly cool for the time of the year...”
    (D, 01:01)

• Typical Inner Workings: Small administrative discussions, referencing court subpoenas, and shifting desk responsibilities.

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[02:26 – 04:37] The Forgetful Motorist

• A local woman, Ms. Giesham, enters the precinct after her car keys were found left in her locked vehicle. Officers explain the policy—removing keys as a theft deterrent—and issue her a summons despite her protests.
  • “I think it's a lot of nerve to give me a ticket over something like that. After all, it's my car. If I wanted to leave my keys in it, I could do it.”
    (A, 04:10)

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[04:37 – 09:25] Emergency: Woman on the Ledge

• Serious Call: Captain Kennelly is alerted about a woman, Mrs. Elizabeth Woolsey, threatening to jump from her eleventh-floor ledge at 781 East 66th Street.
• Police Response: Emergency Service squads, sector cars, and patrol officers quickly mobilize, clearing onlookers and strategizing around the building.
  • “Suicide or attempted suicide is a serious problem. But its seriousness is multiplied several times because an individual in that frame of mind generally has no regard for other lives…”
    (D, 04:39)

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[10:25 – 14:08] Inside the Scene: Persuasion and Despair

• Mrs. Woolsey's Isolation: Neighbors and officers reveal her as a reclusive, troubled widow. The team attempts to talk her inside, only able to approach from a nearby window.
• Human Connection: Police try various approaches, from offering coffee to empathizing with her struggles, but she remains determined yet wavering.
  • “Sorry to cause you all this trouble, Captain. That's all I wanted to tell you.”
    (A, 13:07)
  • “No, I've got to jump. I don't care to live anymore.”
    (A, 13:14)
  • “It would be a great favor to me if you didn’t.”
    (D, 13:48)

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[14:08 – 19:43] Life on Hold – Talks, Telegrams, and Reflection

• Emotional Engagement: The team takes turns conversing with Mrs. Woolsey, learning about her loneliness and recent heartbreak—a telegram from her son, Ernest, who couldn’t visit.

  • “Nobody that wants to, nobody that need to. It wouldn't make any difference to anyone. No one at all.”
    (A, 17:28)
  • “For my son, Ernest... He wanted me to come out to California. I would have gone too quick. And I’m afraid to fly... I just can't ride on a train.”
    (A, 19:12)

• Practical Precautions: Police have strung up life nets below but know they're dangerous and insufficient.

• Attempting Distraction: The Captain tries to steer the conversation to everyday topics, inviting her to share more about her life and grievances, like soiled curtains.

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[19:43 – 24:02] Shifting Strategy – The Phone Call Ruse

• Key Realization: The team suspects that her son’s failed visit is central to her despair.

• The Plan: Using a neighbor’s phone, officers decide to call Mrs. Woolsey’s apartment in hopes she’ll re-enter to answer the phone.

  • “Do you think it would take more than 10 seconds to get that door open after you hit it?”
    (D, 22:44)

• Cooperation: Everyone, including neighbor Mrs. Westall, becomes part of the quiet orchestration to resolve the crisis.

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[24:02 – 26:47] Resolution – Action and Aftermath

• Dramatic Climax: As the phone rings, Mrs. Woolsey moves inside to answer it. Officers immediately break down her door, rush in, and bring her to safety.

  • “I didn't want to come in. I wanted to jump. I still want to jump. Please let me go.”
    (A, 26:08)

• Afterword: Mrs. Woolsey, distraught and disoriented, shares her longing and disappointment about her son. The captain consoles her.

  • “I haven't seen him in four years... He could have come to see me...”
    (A, 26:30)

• Reflection on Police Work: The episode closes with a narration about the daily unpredictability and emotional labor of police work at the 21st Precinct.

  • “And so it goes around the clock through the week, every day, every year. The police precinct in the city of New York is a flesh and blood merry-go-round.”
    (D, 26:47)

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Notable Quotes & Memorable Moments

• On Bureaucracy and Care
  • “It's an offense to leave the keys in your car.” (D, 04:04)
• On the Human Risk of Suicide in Urban Spaces
  • “Suicide or attempted suicide is a serious problem... generally has no regard for other lives.” (D, 04:39)
• On Personal Pain and Isolation
  • “No, I've got to jump. I don't care to live anymore. There’s nothing left at all.” (A, 13:14)
  • “It would be a great favor to me if you didn’t.” (D, 13:48)
• Dark Humor / Police Camaraderie
  • “You did, until you handed us a summons from hero to bombing. One easy lesson. Oh, our one hard summer.” (D, 04:32)

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Timestamps for Important Segments

• [01:01] – Start of the day at 21st Precinct, Captain Kennelly’s monologue.
• [02:26] – [04:37] – Police interact with a motorist about keys left in car.
• [04:37] – [09:25] – Suicide attempt report, police mobilization.
• [10:25] – [14:08] – Engagement with Mrs. Woolsey, attempts to talk her in.
• [19:43] – Discussion about Mrs. Woolsey’s son with the emotional root of crisis revealed.
• [22:44] – The phone call plan is set in motion.
• [24:02] – Resolution, officers burst in and save Mrs. Woolsey.

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Tone & Style

The episode maintains a classic, measured, and compassionate police procedural tone—methodical, direct, but marked by empathy and flashes of fatigue and wry humor. The original dialogue is naturalistic, reflecting the era's radio style, characterized by brisk exchanges, respectful address, and efficient crisis management.

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For Listeners

This episode paints a vivid, human portrait of mid-century police work—its routine frustrations, sudden emergencies, and the emotional complexity of dealing with citizens in acute distress. It’s a thoughtful, suspenseful window into both a bygone era and timeless challenges, handled with sensitivity by the 21st Precinct team.

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Transcript

[A]

I'm gonna pull over and ask that man for directions. Hi there. We're looking to get to the campground.

[B]

Well, you're gonna take a left at the old oak tree end of this here road. No, I'm just kidding. Let me get my phone out.

[A]

How are you getting a signal out here?

[B]

T Mobile and US Cellular decided to merge. So the network out here is huge. We're getting the same great signal as the city and saving a boatload with all the benefits. Oh, and a five year price guarantee. Okay, here's those directions.

[A]

Actually, can you point us in the direction of a T Mobile store?

[C]

America's best network just got bigger. Switch to T Mobile today and get built in benefits the other guys leave out plus our five year price guarantee. And now T Mobile is available in US Cellular stores. Best mobile network based on analysis by Oogle of Speedtest Intelligence data 2H2025 bigger network. The combination of T Mobile's and US cellular network footprints will enhance the T Mobile network's coverage. Price guarantee on talk text and data exclusions like taxes and fees apply. CT T mobile.com for details.

[D]

My name is Kelly Frank Canelli. I'm captain in command of the 21st. I was working my day tour 8am to 6pm it was a clear sunny day and pleasantly cool for the time of the year when I came into the station house at 7:35. I went directly into my office and changed a uniform. Then I sat down at my desk to go about reports and communications that had piled up since I was last on duty 24 hours before. Sharply At 8 I got up and walked out into the muster room where I turned out the platoon for the day tour. After the men who would patrol the precinct for the next eight hours marched out the front door to take over their post, I remained behind the desk for a few minutes talking to Lt. Gorman who would be desk officer during the tour. The sergeant on PS duty sat as a switchboard several feet away. What time will you have to be there then? The subpoena said 10am Captain, I leave zero about 9:30. Don't know what they have to subpoena me down to the grand jury for that case anyway. Well, I suppose they want to definitely establish what property he had on the person when he was arrested. Yes sir. Who's taking the desk? You leave. Okay. Well, Captain, Sergeant Collins is taking the desk. Sergeant Mor will supervise patrol when we're bringing in under with the psc. Okay. I should be back before noon.

[A]

Excuse me, who am I supposed to

[D]

please what's trouble, man?

[A]

Well, I found this tag on the steering wheel of my car. I want to thank you very much. I parked my car last night. I forgot to take the keys out. I really appreciate the police doing something about it. Reading a tag like this, a very good idea.

[D]

See the tag, please?

[A]

You glad it says on there way to come?

[D]

Yeah.

[A]

I've lived in the neighborhood for four years. And I always thought the police station on 51st street was the one for my house.

[D]

You have the registration for your.

[A]

Yeah, I got it right here. Old carrier, my place.

[D]

I'd like to see your operator's license too, please.

[A]

Well, I keep them both together on the other side of that plastic, wouldn't it? Service of the police. Take the keys out of the car and leave a tag like that to people won't get worried.

[D]

Would you mind finding your name on this pad, Ms. Pen?

[A]

Why?

[D]

I just want to compare the signatures with those in your license for identification.

[A]

Oh, of course not. I agree with you. Can't be too careful.

[D]

Yeah.

[A]

Can't just give the key to anybody who walks into the police station and asks for them, can you?

[D]

No, you can.

[A]

Thank you. I'm much obliged to you. That's on the part of the police. I appreciate it.

[D]

And this is for you too, Miss.

[A]

Oh, okay.

[D]

There's a summary for you to appear in court next Wednesday morning at 10am. Leave the motor vehicle standing unattended three minutes for the commission to the lofty. The violation of the administrative code. That's what you want to call it? Yes, Mr. Oh, I like. It's an offense to leave the keys in your car.

[A]

I just forgot.

[D]

You forgot. And someone might have stolen it if the officer hadn't picked him up first.

[A]

I think it's a lot of nerve to give me a ticket over something like that. After all, it's my car. If I wanted to leave my keys in it, I could do it. But I didn't want to. I just forgot.

[D]

You won't forget next time, will you?

[A]

I don't see why I have to go to the trouble and pay a fine and everything like that. I thought taking the keys out of the car and bringing them to the police station just disabled.

[D]

It is the service, Ms. Giesham. We probably prevented your car from being stolen.

[A]

Yeah, I call it anything but a service.

[D]

You're welcome, Ms. Kiesham. Well, I thought we'd gained a friend, Captain. You did, until you handed us a summons from hero to bombing. One easy lesson. Oh, our one hard summer. Who's the 124 man on the job this tour. Will you tell them to come into my office? I've got to send the 49 down to the license division. Okay, I'll send them right in, Captain. All right. Captain. Yes, Sergeant? We gotta leave her. Oh, where is this? Well, she hasn't jumped yet, Captain. She's sitting on the ledge of her apartment building outside the window. 781 East 66th street. Is the emergency squad on the way? Yes, sir. Communications bureau got the call direct. All right. Have a car come around for me. Yes, the captain. Right away. Suicide or attempted suicide is a serious problem. But its seriousness is multiplied several times because an individual in that frame of mind generally has no regard for other lives. In the city of New York, it is not unusual for an innocent pedestrian to be killed or injured when a suicide leaps from a high building. Still more common are explosions resulting from gas suicides. To the police, the problem is as much protection of the general public as rescue of the person intent upon destroying himself. For this end and other rescue work, the police department maintains 13 emergency service squads. Assigned to each of these 13 squads are three sergeants and 24 patrolmen especially trained for the work. Each squad is equipped with two radio emergency patrol cars and a cuff, all constructed according to specifications. The cars, which carry light rescue equipment, are on constant patrol of the districts to which they're assigned. The 13 trucks garage throughout the city respond to the scene of an emergency whenever heavier rescue equipment or additional men are needed. When the RMP car which had picked me up at the station house arrived in the block, one of the radio emergency patrol guards was already on the job. So were sector cars number two and number five. And the sergeant's car from the 21st. Two men had been assigned to keep the sidewalk in front of 781 clear. But a crowd of people was beginning to gather across the street. Their eyes were fixed on the 11th floor of the apartment building. I instructed for Clement Coley, the operator of my car, to pull in. All right, get busy over there. Coley. Help keep those people back. Go on, get across the street, Sergeant. Sergeant Waters. Go on, get across the street. This is no great for you. Get over there. Hello, Captain. How long has she been sitting there, sergeant? 10 after 8, captain. What floor is that? 11. What about life Net? I just came downstairs to check to see what's holding up the emergency Club, Captain. We'll get the next upper as they get here. You want to come up? Yeah. My name is Mrs. Elizabeth Wolsey. Neighbor tells me she's about 50 years old. All right, get on a job over there. Don't let the people walk down this way, will you go on? Okay, Captain. Go ahead, Captain. She's a widow, lives here alone. The elevator's back there, Captain. How close can you get to us? We're in the next apartment, Captain. We can get close enough to talk to her, that's about all. Looking out the window, that is. What about her front door? It's locked in the inside. I see. Going up, gentlemen? Yeah, we're going up. Some excitement around here this morning, huh? I'm glad everything isn't like this, 11. This famous Bugs. I could have told you she was Bugs. Plain nuts. She's like a recluse, you know. You mean she never comes out of the apartment? Oh, she comes out all right. She just don't talk to nobody. When she does, it takes like a crowbar to get a good morning out of her waters. Who's on the job up there? Well, Meister was the first man here. Started assault. He's still doing it. I saw his lieutenant, King. He was out on patrol and responded. He came up, he's talking to a soup. You think they'll be able to talk her back in? You're going to have some job, 11. Who are those men? Some of our captain and some from the Emergency Service division. All right, two men get her down. Just keep it quiet. You make too much noise out here in the hall, she's liable to hear you and jump this way. That's her dog, Captain. All right, keep these men posted here. Yes, sir. As soon as the emergency truck comes, we'll have the men with the bars and axes here to break it down if we have to. Okay, we're lost.

[A]

I'm gonna pull over and ask that man for directions. Hi there. We're looking to get to the campground.

[B]

Well, you're gonna take a left at the old oak tree end of this here road. No, I'm just kidding. Let me get my phone out.

[A]

How are you getting a signal out here?

[B]

T Mobile and US Cellular decided to merge. So the network out here is huge. We're getting the same great signal as the city and saving a boatload with all the benefits. Oh, and a five year price guarantee. Okay, here's those directions.

[A]

Actually, can you point us in the direction of a T Mobile store?

[C]

America's best network just got bigger. Switch to T Mobile today and get built in benefits the other guys leave out. Plus our five year price guarantee. And now T Mobile is available in US Cellular stores. Best mobile network based on analysis by ookal of speed test intelligence data at 2H2025. Bigger network. The combination of T Mobile's and US Cellular's network footprints will enhance the T Mobile Network's coverage price guarantee on talk text and data exclusions like taxes and fees apply. See t mobile.com for details.

[D]

Next door here is Mrs. Whistall. That's where we are through Mrs. Westall's front window. In here, That's Mrs. Westall. Lamp. Mrs. Westall. Mrs. Westall, this is Captain Cinelli, Commanding Officer, 21st Precinct.

[A]

Oh, how do you do, Captain? This is awful, isn't it?

[D]

Yes, it is. I'm sorry to have my men going through your apartment.

[A]

That's all right. I'm glad to do what I can. Poor little thing. Only when you feel so troubled. I never had any idea.

[D]

You know her very well?

[A]

No, hardly more than tonight at her. We've been living here four years and she's here longer than that. She's never been in my apartment. I've never been in hers.

[D]

Okay.

[A]

You think you're going to be able to do something and we'd be awful if she.

[D]

Well, we're going to try. You want to take a look at. Yeah. Excuse me, Mrs. Westall.

[A]

Yes, of course.

[D]

Now, aren't you getting hungry out there, Mrs. V? And Cold. Now, why don't you come inside and get a nice cup of coffee? Hello, man. Captain. Nice cup of coffee and some hot. What about the emergency truck, Sergeant? Trying to wait. Lieutenant King. How you doing? Any good? Well, I tried. Now, mister's trying again. Kind of hard to get her to answer. Look, you really ought. How far away is he? About eight feet, Captain. I started to climb out on the ledge this window once. Said if I came out any farther, she'd jump. Told me not to come out any farther. You think we can string life nets below? I got men down on a nice door, Captain. They're there with the manager of the building. They're going in every apartment and opening the windows. They're getting ready for the emergency truck. What are you saying? You'll be able to get the mess up right away? Yes, as soon as the truck comes. Let's see how he's doing. There's something bothering you. Now, if there's something on your mind, just come on inside and we'll talk it over. I tried that before. We get it straightened out. Now, look, you've got the whole police department on your side, Mrs. Woolsey, all of it. Now, if you've got any real problems. Why, we can even get the commissioner up here. You see, the captain came. The captain came to help you. He's here now. Look, would you like to talk to the captain? Maybe he can help you, huh? All right. Just a second, Captain. Millie, I think she'll talk to you. All right. Here's the captain. Mrs. Wilty, this is the boss, Captain Kennelly. Now, he can solve all your problems for you. Go ahead, Captain. I got your leg. Okay. Watch it, Captain. You better hold on. Come on. Mrs. Woolsey, this is the captain, the boss of the whole crew precinct. How do you do, Ms. Wilsey?

[A]

Sorry to cause you all this trouble, Captain. That's all I wanted to tell you.

[D]

Well, why don't you come inside and we'll talk about it?

[A]

No, I've got to jump. I don't care to live anymore. There's nothing left at all. I just don't care to live anymore.

[D]

Well, I don't think there's any problem. It can't be straightened out.

[A]

Not mine. I just don't know what to do about mine. What's that, Moose?

[D]

Yes, I think so.

[A]

So much struggling, such a problem. I just have to jump. If I jump, I won't be any more of a problem.

[D]

Well, that's not so. It might be a worse problem for many people.

[A]

No, I'm going to jump. Goodbye. Goodbye, Captain.

[D]

Miss Rosie? Yes, It's. It would be a great favor to me if you didn't. But I still would be a great favor.

[A]

I have to think about it. But I can't promise you anything.

[D]

All right, Ms. Woolsey, you go ahead and think about it. You are listening through 21st Precinct a factual account of the way police work in the world's largest city. Mrs. Woolsey, apparently demented, remained on the ledge outside her apartment on the 11th floor of the East 66th street building. Her door was locked from the inside, and we feared an attempt to break it down would cause her to jump. Officers could get only within about 8ft of her by leaning out the window of the apartment next door for nearly an hour. Lt. King, commander of the 21st Detective Squad, Patrolman Meister and I talked to her in shift, attempting to coax her back into her apartment. All of our pleas were fruitless. In the meantime, specially constructed rope life nets, 20 by 25ft were strung from windows on the ninth floor of the building directly below the point where Mrs. Woolsey was perched. If she jumped, she would hit the net. But the sergeant in charge of the Emergency Service Squad on the job informed me there was considerable chance that the nets would not hold because of lack of adequate support from above. 38 police officers from the 21st detective squad, the 21st precinct, the 19th precinct, traffic precinct f and the emergency service division were assigned to various tasks both on the street and in the building. For instance, four ESD patrolmen stood at the door to Mrs. Woolsey's apartment with axes and crowbars ready to break the door down. An ambulance from metropolitan hospital was standing by in the apartment next door. Lt. King and I were close to the window while patrolman meister leaned way out to talk to the woman. You might sit there all day, captain. Well, that'd be better than jumping. Man. Last sledge we had, we lost, didn't we? Yeah. It was that one on fifth avenue, wasn't it? Yeah, I think so. Yes, sergeant. Come on over here, Harry. All right. The elevator man, Captain. Oh, what is it? We got a telegram this morning. Why didn't you tell us this before? I just remember. How'd you know it was for her? The western union boy asked me where she was. Mr. Elizabeth Wy. You took him up there? Yeah, sure I took him up. Well, it'd be kind of hard for the light sitting out there. Get one of my men on the job. Let him take western union. Yeah, that's a good idea. Magic. And try. Sergeant, grab hold of marsh's legs here. Will. Yes, sir. You better get back to the elevator, Harry okay? Yeah, I'm fine. I got something right on it, captain. Daddy. Stay there. I want to talk to you. This is getting to be a rough one, captain. Y. Who? She wants to talk with somebody else. Yeah, yeah, he's right here, Mrs. Wolsey. Do you want him to come out? All right, now you stay there. I'll get him to come right out. Now, you stay there. Just don't go. That's right. He wants to talk to you, captain. Okay, he's coming out, Mrs. Woolsey. I got you, captain. Go ahead. You want to Talk to me, Mr. Woolsey?

[A]

I got tired talking to him.

[D]

Well, why don't you go back inside and you can talk to all of us?

[A]

I really don't want to go back inside. I really want to jump. That's all I want to do is jump. But I'm scared. But. But I'm scared.

[D]

Well, that's a good sign that you're scared. Nothing to be ashamed of.

[A]

Nobody that wants to, nobody that need to. It wouldn't make any difference to anyone. No one at all.

[D]

It would Make a difference to you, wouldn't it?

[A]

No. Wouldn't even make any difference to me. I'm gonna jump. I think I'm gonna jump right now. Right now.

[D]

Wait a minute.

[A]

I'm wasting that time. I'm wasting everybody's hand. Making you a fool out of myself. I throw you the plane school right now. Goodbye, Captain. Thank you.

[D]

Who was that telegram from? Mrs. Woolsey.

[A]

My telegram?

[D]

The one you got this morning.

[A]

You know everything. You know I got this telegram. You know enough to put those ropes down there so a person wants to do away with them. So you should just let them go ahead and do it. I don't see what business it is as a police anyway.

[D]

We were only trying to help you.

[A]

They're not trying to help me. Trying to keep me from doing what I want to do. They can't help it. How did you know I got a telegram?

[D]

Oh, the detectives found it out.

[A]

How did they find it out?

[D]

Well, that's their job, to find our things.

[A]

Oh, right up for God.

[D]

Who is it from?

[A]

No, I'm not going to tell you that. I don't have to tell you that. It's none of your business.

[D]

All right, if that's the way you feel about it.

[A]

For my son, Ernest. Oh, I don't know why you make me such a fussy body. Because I'll be guilt. The whole thing will be all over. What are all those people doing down there? If I leave someone alone, don't they have any respect for someone's privacy? It's a thing the way they make a spectacle out of themselves, isn't it?

[D]

Yes, it is.

[A]

Standing on the street like that. Just making a spectacle of themselves. My son isn't coming here.

[D]

Isn't me, no.

[A]

But he said in a telegram.

[D]

Oh, I see.

[A]

He lives in California, you know.

[D]

Oh yes.

[A]

I haven't seen him four years. He wanted me to come out to California. I would have gone too quick. And I'm afraid to fly. I don't like the train, dude. I just can't ride on a train. I get very sick riding on trains. Especially when I'd be in an airplane, I guess. Only I've never been in one. Do anything else. Looking down now this isn't so bad. Looking down through be very nice.

[D]

Well, an airplane is a little bit more comfortable. I think Mr. Wool couldn't find.

[A]

I just couldn't find out of the ceilings over there. They ought to do something about that cuz it ruins my curtains. You know how much teeth there is in my curtains. All the Time.

[D]

Well, I. I'd like to see those curtains, Ms. Woolsey. My wife complains about a lot of sugar on hers, too. Well, why don't you open up the door and let me look at them?

[A]

No, I couldn't do that. I. I'm gonna jump.

[D]

It's four years since you've seen your son. Is that right?

[A]

Yes. How did you know? Don't tell me the detectives found that out, too. He was in Washington. He was coming to New York to see me, especially to see me. But he said he couldn't. Got a fly back to California to hurt. Telegram said if he could come. He telephoned from the airport, but he won't come. Not going to make a lot of money?

[D]

Not very much, no.

[A]

How much?

[D]

Well, why don't you go back inside, Ms. Woolsey? We can sit down and have a nice long talk about this and the soap and everything else.

[A]

Tell me how much you make. I'd like to know.

[D]

Well, Captain makes $6,800.

[A]

That all? Not very much, is it?

[D]

Oh, it's all right.

[A]

How much does he make?

[D]

Well, who's that? Mr. W. Le.

[A]

The one who was just talking to me.

[D]

Oh, patrolman, my.

[A]

I don't know what his name is. I just know. How much does he make? Well, no, don't you tell me. I'd like him to tell me himself.

[D]

Oh, I can tell you.

[A]

You might lie to me. I want him to tell me. I'd like him to tell me.

[D]

All right, my friend.

[A]

Tell me the truth now.

[D]

He wants to talk to you. All right, Mrs. Wy. I'm here. What is it you want, Mrs. Woolsey? I got your Michael. Go on. Have any luck with her, Captain? No. She talks about everything but going in. We're working on that telegram, Captain. It was from her son. Oh, was it? Did he tell you that? Yeah. He was supposed to come visit her. And he can't make it? No. You handling there, Sergeant? Yes, sir. I got a good hold on him. You think that's the reason she went out on the lead? Could be, man. He said she hasn't seen him in four years. He was supposed to come visit her today. The telegram said he couldn't. But he tried to let her down lightly. He said if he could make it, he'd call her from the airport. I've got an idea, man. What happen? Whose apartment is this? Mrs. Westall. Oh, yeah, Ms. Westall. What's the idea, Captain? Well, maybe investigate. Can I see your telephone book?

[A]

Yes, it's right here. I keep it in the Cabinet? Right here, Captain.

[D]

You don't happen to have Mrs. Woolsey's telephone number, do you?

[A]

No, I don't.

[D]

Good idea, Captain. You might have it. Maybe. Next page. Yeah, there it is. Butterfield 8. 1598.

[A]

What do you need a phone number for?

[D]

Well, we don't have time to explain it now, Mr. Weston, but can we use your phone? In a minute?

[A]

Yes, Phil, if you want to.

[D]

Okay, Matt, come on. Let's go talk to those emergency service men in the hall. All right. Might work. Well, something's got to. You. You, man. Yes, Captain. Now, look, we've got to try something. We think the reason she's doing this is connected with a telegram that was delivered this morning. It was from her son who was supposed to visit her in New York. He said he wasn't going to, but if his plans were changed, he'd call her from the airport. Do you think it would take more than 10 seconds to get that door open after you hit it? Oh, no, not that. Well, all right. I'm going back into Mrs. Westall's apartment. I'm going to ring the phone in Mrs. Woolsey's. If he goes back into her apartment to answer it, you get a signal from Lt. King, who will be standing there in the door. As soon as you get that signal, you hit Mrs. Woolsey's door and get inside fast. Get in there fast and grab her. Okay, Max. Might work, Captain. I don't know of anything else that will. All right, you stand right here, Matt. Okay. Yes. Look, Meister will pass the word to Sergeant Ward. You pass it to me and I'll give it to you. Okay? Okay. All right, let's set for those bars down there.

[A]

Something going to happen?

[D]

Well, I just want to use your phone, Ms. Whistle. Now, you better stand over there, get out of the way and keep quiet. All right? I'd appreciate it.

[A]

Yes, anything you say.

[D]

Good. Sergeant Waters. Yes, sir, Captain. I know it's not much, Mrs. Waters. You tell Meister we're going to try. It might bring her back into the room. When she's completely inside, you tell Meister to give you a signal, all right? I hope so. Tell me. Yes, sir, I'll tell him. Meister, listen to me. The captain's going to try something. All right, now, everybody quiet. Keep quiet in the room. Not a sound, please. Let's set out in the hall, man. Yes, sir. Everybody. All right. Wait until you get the signal from me, Matt. From me, not from Sergeant Waters. Okay? Okay. Sergeant Waters. Yes, sir? You tell Micah. Yes, sir. I told Him. All right now, everyone quiet. Stay quiet. It. Michael Fish is going inside. Hold him, Matt. Not yet, He didn't happen. Okay, Matt, hit it. All right, Matt, hit the door. All right, come on, Sergeant, let's go. Carol J.

[A]

Let's go.

[D]

All right, now sit down there, mister. Please. Please sit down.

[A]

I didn't want to come in. I wanted to jump. I still want to jump. Please let me go.

[D]

Get. Get that out of there.

[A]

I thought it was my boy. He said he was cool. I could have sent him a telegram. So I asked her. Minda, answer the phone. I thought it was him. I really did.

[D]

All right, Mr. Wilson. You'll be all right.

[A]

I haven't seen him in four years. Only four years now. I came to Washington. He didn't even come to New York to see me. My very father. Washington from New York. They could have come to see me.

[D]

Don't Worry about it, Ms. Woolsey. I'm sure, sure he'll come to see you. Now, 20 first person sagging waters. Yeah. Well, where is he? What was he, son? Yeah. Yeah. He's dead, huh? Well, I got to send the ambulance anyway to pronounce some doh. Was there a weapon around here? And so it goes around the clock through the week, every day, every year. The police precinct in the city of New York is a flesh and blood merry go round. Anyone can catch the brass ring, or the brass ring can catch anyone. 21st Precinct. A factual account of the way the police work in the world's largest city is presented with the official cooperation of the Patrolman's Benevolent association, an organization of more than 20,000 members of the Police Department, City of New York. Everett Sloane in the role of Captain Canelli. Ken Links is Lieutenant King. Featured in tonight's cast were Briana Rayburn, Doris Paget, Harold Stone, Santa Sotega and Frank Mark. Written and directed by Stanley Nist. Produced for CBS Radio by John Ives. Art Hannah Stevens.