21st Precinct 56-08-30 (151) The Ledge

Summary

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Podcast Summary: Harold’s Old Time Radio

Episode: 21st Precinct 56-08-30 (151) "The Ledge"
Host: Harolds Old Time Radio
Original Air Date: August 30, 1956
Podcast Release Date: February 28, 2026

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Episode Overview

This episode of "21st Precinct," titled "The Ledge," brings listeners into the heart of a tense and emotionally charged day at the New York police precinct. The story centers on the department’s coordinated efforts to prevent a troubled woman, Mrs. Elizabeth Shayer, from jumping off the ledge of her 11th-floor apartment building. The narrative captures the methodical, compassionate, and inventive approaches the officers take, weaving in themes of alienation, loneliness, and the daily realities of police work.

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Key Discussion Points & Insights

Everyday Precinct Business and Opening Scenario

• [00:00–02:45]
  • The episode opens with the daily operations of the 21st Precinct. Captain Keogh oversees morning duties, including discussing mundane matters like subpoenas and desk assignments with his officers (Lt. Snyder, Sgt. Waters, and others).
  • A humorous-yet-pointed encounter occurs when Ms. Hoyer comes to retrieve the keys left in her car overnight, only to be served a summons for violating the law—a glimpse into the balance between public service and enforcing rules.

Quote [03:55, Captain Keogh]:
“And this is for you, too, Ms. Hoyer.”
“A summons? For what?”
“Any person that leaves their motor vehicle standing unattended on the street for more than three minutes with the ignition key in the lock is violating the law.”

The Crisis Call: Mrs. Shayer on the Ledge

• [05:20–06:35]
  • The tension rises when a call comes in about a potential jumper: a woman sitting on the ledge outside her 11th-floor apartment on East 66th Street.
  • The episode demonstrates police procedure: assigning roles, crowd control, communication with emergency services, setting up rescue equipment, and the vital focus on protecting both the subject’s and bystanders’ safety.
  • [07:40] Captain Keogh, Lt. King, and patrolmen gather information from neighbors, coordinate entry into adjacent apartments, and strategize rescue options without escalating the situation.

Humanizing the Emergency: Insights into Mrs. Shayer

• [09:33–19:41]

  • Mrs. Lanigan, a neighbor, provides limited information; Mrs. Shayer is described as isolated and troubled, heightening the stakes of the incident.
  • The officers alternate attempts to engage Mrs. Shayer, speaking to her from a nearby window. She seems resigned to her fate and highly distressed:

    Quote [11:39, Mrs. Shayer]:
    “I’m gonna jump. I don’t care to live anymore. There’s nothing left, so I just don’t care to live anymore.”

  • Repeated, gentle efforts are made to converse with her—offering empathy and looking for any spark of hope.

• [16:04]

  • Mrs. Shayer voices her deep loneliness and sense of worthlessness:

    “Nobody wants me. Nobody that needs me. This wouldn’t make any difference to anyone.”

  • Details of Mrs. Shayer’s life emerge: she has not seen her son Ernest in years and was recently disappointed by a telegram stating he cannot visit.

Strategic Response and Rescue Plan

• [21:13–22:41]
  • After deducing the precipitating cause—her son’s cancelled visit—a plan is devised to lure Mrs. Shayer inside: the officers ring her telephone, hoping she’ll re-enter to answer a call she might believe is from her son.
  • Coordination is meticulous, with men standing by to break in the door as soon as she’s inside.

Resolution: Rescue and Aftermath

• [24:26–25:15]
  • The tactic succeeds; Mrs. Shayer re-enters her apartment to answer the phone and is safely restrained by police.
  • She experiences distress, still expressing her longing to see her son and disappointment at his absence.
  • The episode closes with a return to ordinary precinct activity, signifying the never-ending, varied demands on police service.

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Notable Quotes & Memorable Moments

• [04:32, Captain Keogh]:
  “Well, you won’t forget next time, will you?” (responding to Ms. Hoyer’s protest over her summons)

• [11:39, Mrs. Shayer]:
  “I’m gonna jump. I don’t care to live anymore. There’s nothing left, so I just don’t care to live anymore.”

• [12:19, Captain Keogh]:
  “Ah, that’s not so, Mrs. Sher. It might be a worse problem for many people.”

• [16:04, Mrs. Shayer]:
  “Nobody wants me. Nobody that needs me. This wouldn’t make any difference to anyone. No one at all.”

• [19:41, Captain Keogh]:
  “Why don’t you go back inside, Mrs. Chayer? We can sit down and have a nice long talk about this and the soot on your curtains. Everything else?”

• [24:29, Mrs. Shayer]:
  (After being rescued) “I thought it was my boy... That's why I came in to answer the phone. I thought it was him. I really did.”

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Timestamps for Key Segments

• [02:45] – Ms. Hoyer’s car keys incident: highlights routine law enforcement and public reaction
• [05:20] – First news of Mrs. Shayer on the ledge
• [07:40–09:26] – Police gather info from neighbors, plan rescue
• [11:33–19:41] – Ongoing negotiation with Mrs. Shayer; her story unfolds
• [21:13–22:41] – The rescue plan is set into motion
• [24:26–25:15] – Execution of the rescue; aftermath with Mrs. Shayer’s emotional reaction

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Episode Tone & Style

The narrative is factual, methodical, and imbued with a calm, persistent empathy. Officers are depicted as neither heroes nor bureaucrats but as steady public servants facing the complexities of real human crises. The episode balances procedural detail with human emotion, reflecting the character-driven drama iconic to mid-century radio police dramas.

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For listeners seeking a vivid window into 1950s New York policing and an emotionally resonant story, “The Ledge” stands out as both a suspenseful procedural and a compassionate portrait of those whom society might otherwise overlook.

Transcript

[A]

They put hot honey sauce on the snack wrap. McDonald's outdid themselves again. The classic snack wrap we all know and love. Paired with the sweet heat of hot honey sauce. Just what we needed to make it even more perfect. You know the drill. So go to McDonald's and try it today. 21st preaching. Sergeant Waters. He's jumped as he's gonna jump. Yeah, what floor? Yeah, where is it? I'll get somebody to pull her inside. You are by transcription in the muster 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. Just do what you can until the officers get there. Yeah, that's right. They're coming right over. Okay. 21st Precinct. It's just lines on a map of the city of New York. 173,000 people wedged into 9/10 of a square mile between 5th Avenue and the East River. The security of their homes, 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 Keogh. Thomas P. Keogh. I'm captain in command of the 21st Precinct. I was doing day duty 8am to 6pm it was a clear, sunny day and pleasantly cool for the time of 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 over 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 posts. I remained behind the desk for a few minutes talking to Lt. Snyder, who would be desk officer during the tour. The sergeant on TS duty sat at the switchboard several feet away. What time do you have to be there, Harry? Well, the subpoena said 10:00am, Captain. That'll leave here about 9:30. I don't know what they had to subpoena me down to grand jury for in that case anyway. Well, I suppose they want to definitely establish what property he had on this person when he was searched before the desk. Yes, sir. Who's taking the desk when you leave? All right. Well, Captain, Sergeant Waters Will supervise patrol. Sergeant Collins is taking the desk, and we're bringing in Underwood for TS duty. Okay. I should be back before noon.

[B]

Oh, excuse me. Who am I supposed to see?

[A]

What's the trouble, Matt?

[B]

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 and I forgot to take the keys out. I really appreciate the police doing something about it. Leaving a tag like this is a very good idea.

[A]

May I see the tag, please?

[B]

Oh, sure. I'm glad it says on there where to come. I've lived in the neighborhood for four years. I always thought the police station on 51st street was the one for my house.

[A]

You have the registration for your car?

[B]

Oh, yeah, I got it. Right.

[A]

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

[B]

Oh, I keep them both together on the other side of that plastic thing.

[A]

Thank you.

[B]

It's a wonderful service of the police to take the keys out of the car and leave a tag like that so that people won't get worried.

[A]

You mind signing your name on this pad, Ms. Hoyer?

[B]

Why?

[A]

Well, I just want to compare the signatures with those on your license for identification.

[B]

Oh, of course not. I agree with you that you can't be too careful there. You can't just give the keys to anybody who walks into the police station and asks for them, can you?

[A]

No, we can't. Now hear your keys.

[B]

Oh, thank you. I'm much obliged to you. This is a real fine service on the part of the police. I appreciate it.

[A]

And this is for you, too, Ms. Hoyer.

[B]

Huh? What's that?

[A]

That's a summons for you to appear in court next Wednesday morning at 10am Summons for what? Well, any person that leaves their motor vehicle standing unattended on the street for more than three minutes with the ignition key in the lock is violating the law.

[B]

You mean it? You're giving me a ticket?

[A]

If that's what you want to call it, yes. Ms. Hart.

[B]

Well, I like that.

[A]

Well, it's an offense to leave the keys in your car.

[B]

I think I just forgot.

[A]

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

[B]

Well, 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.

[A]

Well, you won't forget next time, will you?

[B]

I don't see why I have to go into the Trouble and pay a fine and everything like that. How about taking the keys out of a car and bringing them to the police station was just a service.

[A]

It is a service, Ms. Hoyer. We probably prevented your car from being stolen.

[B]

Well, I call it anything but a service.

[A]

You're welcome, Ms. Hoyer. Well, I thought we gained a friend, Skipper. You did, until you handed her the summons from hero to bum. And one easy lesson or one hard summons. Who's the 124 man on the jobless tour? Fallon, Captain. You tell him to come to my office. Yes? Is the emergency squad on the way? I got to send a 49 down to the license division. How about an ambulance? Okay, Skipper. I'll send him right in. All right, Captain. Yes, Sergeant? We got a leaper. Where is this? 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. CB Got the call tonight. All right. Have a car come by for me. Okay, Captain. Marta Wayne. Suicide or attempted suicide is a serious problem. But its seriousness is multiplied several times. Because an individual in such a 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 suicide. To the police, the problem is as much protection of the general public as rescue of the person intent upon destroying himself. For this and other rescue work, the police department maintains 10 emergency service squads. Assigned to each of these 10 squads are three sergeants and 24 patrolmen specially trained for the work. Each squad is equipped with two radio emergency patrol cars and a truck, all constructed according to specifications. The cars, which carry light rescue equipment, are in constant patrol of the districts to which they are assigned. The 10 trucks garage throughout the city respond to the scene of an emergency whenever heavier rescue equipment or additional men is needed. When the RMP car which had picked me up at the station house arrived in the block, one of the radio emergency patrol cars was already on the job. There 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 Patrolman Coley, the operator of my car, to pull in. Get busy over there, Coley. I'll Keep those people back. Sergeant. Sergeant Waters. Now, go on. Get across the street. This is no place for you. Get over there. Hello, Captain. How long has she been sitting there, Sergeant? Since ten after eight, Captain. What floor is that? Eleven. What about lightsmith? I just came downstairs to check and see what's holding up the emergency truck, Captain. We'll get the nets up as soon as they get here. You want to come up? Yeah. My name is Mrs. Elizabeth Sher. Neighbors tell me she's about 50 years old. All right. Get on the job over there. Don't let the people walk down this way, will you? Go on. Go ahead.

[B]

Ken.

[A]

She's a widow who lives here alone. The elevator's back there. How close can you get to her? 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? Locks on the inside. Going up? Yeah, we're going up. Some excitement around here this morning, huh? Glad every day isn't like this. 11. Dame is bugged. I could have told you she was bugged. Plain nuts. She's a rectus, like, 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. Takes like a crowbar to get a good morning out of her. Who's on the job up there? Well, Meister was the first man here. He started a sort of. He's still doing it. So Lieutenant King, he was out on patrol and responded. He came up. He's talking to her too. You think they'll be able to talk her back in? Believe me, you're gonna have some job. Helen, who are those men? Some of ours, Captain, and some from the Emergency Service Division. All right, you men, get it down. Now, just keep it quiet. You make too much noise out here in the hall, she's liable to hear you and jump. Okay, Captain. Okay, Captain. This way, Captain. All right. That's her door, Captain. All right. Keep those men posted here. Yes, sir. As soon as the emergency truck comes, we'll have men with bars and axes here to break it down if we have to. Okay. Next door There is Mrs. Lanigan. That's where we are. We're talking to her through Mrs. Lanigan's front window. In here, sir. That's Mrs. Lanigan, ma'.

[B]

Am.

[A]

Mrs. Lanigan?

[B]

Yes.

[A]

Mrs. Lanigan, this is Captain Keogh, commanding officer of the 21st Precinct.

[B]

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

[A]

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

[B]

Oh, that's all right. I'm glad to do what I can. That poor little thing. I never knew she was so troubled. I never had any idea.

[A]

Do you know her very well?

[B]

No. Hardly more than to nod to 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 her.

[A]

I see.

[B]

You think you're going to be able to do something? I mean, it'd be awful if she jumped.

[A]

Well, we're going to try. Want to take a look at. Yeah. Excuse me, Mrs. Lenny.

[B]

Yeah, of course.

[A]

Now, aren't you getting hungry out there, Mr.

[B]

Chair?

[A]

Hello, Matt. Come here.

[B]

Captain.

[A]

What about the emergency truck, Sergeant? Gone away, Lieutenant King. Are you doing any good? Well, I tried. Now Meister's trying again. It's kind of hard to get her to answer us. You really ought to have some. How far away is she? Well, it's about eight feet, Captain. I started to climb out on the ledge of this window once. She said if I came out any farther, she'd jump. Told me not to come any farther. Mm. You think we can string life nets below? Don't you think so? I've got a. I've got men down on the ninth floor, skipper. 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. Then you'll be able to get the nets up right away, huh? What are you saying? Yes, sir, as soon as the truck comes. All right. Let's see how he's doing now. There's something bothering you. There's something on your mind. Just come on inside. We'll talk it over. I tried that before. We'll get it straight in the house. You've got the whole police department on your side, Mr. Chair. All of us. If you've got any real problems, we can even get the commissioner up here. You see, the captain came. The captain came to help you. He's here now. Would you like to talk to the captain? Maybe he can help you. All right. Just a second. Captain Keel, I think you'll talk to you. All right. Here's the captain, Mr. Chair. And this is the boy, Captain Keel. Now, he can solve all your problems for you. Go ahead, Captain. I got your legs. Yeah. Watch it, Captain. Hold on. I'm all right. Mrs. Schaer, this is the captain, the boss of this whole precinct. How do you do, Mrs. Schaer.

[B]

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

[A]

Now, why don't you come inside? We'll talk about it. No.

[B]

I'm gonna jump. I don't care to live anymore. There's nothing left, so I just don't care to live anymore.

[A]

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

[B]

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

[A]

Yes, I think so.

[B]

So much trouble. There's a problem. I just have to jump. If I jump, I won't be anymore.

[A]

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

[B]

I'm going to jump. Goodbye. Goodbye, Captain.

[A]

Mrs. Shayer?

[B]

Yes, Mrs. Shayer.

[A]

It would be a great favor to me if you didn't.

[B]

But I should.

[A]

It would be a great favor to me.

[B]

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

[A]

All right, Mrs. Sheaer. You go ahead and think about it. Mrs. Shaya, apparently demented, remained on the ledge outside her apartment on the 11th floor of the East 66th street building. Her door was locked on 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. Lieutenant King, Commander, the 21st Detective Squad, solemn Meister and I talked to her in shifts, attempting to coax her back into her apartment. All our pleas was fruitless. In the meantime, specially constructed rope life nets, 20 by 25ft, are strung from windows on the ninth floor of the building, directly below the point where Mrs. Shayer 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, 19th precinct, traffic precinct C, 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 Mr. Shea'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. Our patrolman, Meister, leaned way out to talk to the woman. She might sit there all day, Captain. Well, that'd be better than jumping. Matt. Yes? Do you smoke, Mrs. Chair? The last leaper we had was that one on Fifth Avenue. Remember that one, Captain? Yeah, I read about that one. What kind do you smoke? Captain Keough? Yes, Hawkin. Come on over here.

[B]

Harry.

[A]

The elevator main, captain. All right. Yes, what is it? She got a telegram this morning. Mrs. Shea, wouldn't you like to go? Well, why didn't you tell us this before? I just remembered. How'd you know it was for her? Western Union boy asked me where she was. Mrs. Elizabeth Shaya. You took him up there? Yeah, sure I took him up. It'd be kind of hard to like. I'll get one of my men on the job. Let him check. Western Union. That's a good idea, Matt. You can try. Sergeant, grab hold of Meister's legs here with him. Yes, sir. You better get back in the elevator, Harry. Okay. Yeah, I'm going. I'll get someone right on it, Captain Whiting. Stay there. I want to talk to him. This is getting to be a rough one, Captain.

[B]

Yeah? Who?

[A]

He wants to talk to somebody else, I think. Yeah, he's right here, Mr. Sheriff. You want him to come out? All right, you stay there. I'll get him to come out. Now, you say that it's your move.

[B]

That's right.

[A]

He wants to talk to you again, Captain. Okay, he's coming out, Mr. Share. I got you, Captain. Go ahead. You want to Talk to me, Mrs. Shayern?

[B]

I got tired of talking to him.

[A]

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

[B]

I really don't want to go back inside. I really want to jump. That's all I want to do is jump. And I'm scared. I want to die, but I'm scared.

[A]

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

[B]

Nobody wants me. Nobody that needs me. This wouldn't make any difference to anyone. No one at all.

[A]

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

[B]

No, it wouldn't even make any difference to me. I'm gonna jump. I mean, I'm gonna jump right now. Right now.

[A]

Now, wait a minute, Mr. Shayan.

[B]

I'm wasting your time. Wasting everybody's time. Just making a fool out of myself. That George are playing full right now. Goodbye, Captain. Thank you.

[A]

Who is the telegram from, Mrs. Share?

[B]

What telegram?

[A]

The one you got this morning.

[B]

You know everything, don't you? You know I got the telegram. You know not to put those ropes down there. The person wants to do away with themselves, he's just let them go ahead and do it. I don't see what business it is at the police anyway.

[A]

They're only trying to help you.

[B]

You're not trying to help me. You're trying to keep me from doing what I want to do. It's not help. Do you know I got a telegram?

[A]

The detectives found it out.

[B]

How'd they find it out?

[A]

Well, it's their job to find out things.

[B]

Oh, that's right, I forgot.

[A]

Who was it from?

[B]

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

[A]

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

[B]

From my son, Ernest. Oh, I don't know why you're making such a fuss about it. Because I'll be dead. The whole thing will be all over. What are all those people doing down there? Can't they leave someone alone? They haven't any respect for someone's privacy. Precision. The way they make a spectacle out of themselves, isn't it?

[A]

Yes, it is.

[B]

Standing on the street like they're just making a spectacle of themselves. My son isn't coming here, Isn't he? No. It's what he said in the telegraph.

[A]

Oh, I see.

[B]

He lives in California, you know.

[A]

Uh huh.

[B]

I haven't seen him in four years. He wanted me to come out to California. I would have gone so, except that I'm afraid to fly. I don't like the trains either. I just can't ride on. I get sick riding on trains. Sicker than I'd be in an airplane, I guess. Only I've never been in one anything like this looking down. Now this isn't so bad looking down. It's really very nice.

[A]

Well, an airplane is a little bit more comfortable, I think. Mrs. Shea.

[B]

I couldn't fly. I just couldn't fly.

[A]

You're okay, Captain? Yeah, I'm okay.

[B]

The smoke coming out of the chimneys over there. They ought to do something about that because it ruins my curtains. You know how much soot there is in my curtains all the time?

[A]

I'd like to see those curtains, Mrs. Sher. My wife complains a lot about soot on hers too.

[B]

Just terrible.

[A]

Look, why don't you open the door and let me look at them?

[B]

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

[A]

Four years since you've seen your son, is that right?

[B]

Yes. How did you know? Telling 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. He's got to fly back to California, to earth. Telegram said if he could come, he'd telephone from the airport. You won't call? You're not going to. Do policemen make a lot of money?

[A]

Not very much, no.

[B]

How much?

[A]

Why don't you go back inside, Mrs. Chayer? We can sit down and have a nice long talk about this and the soot on your curtains. Everything else?

[B]

No, no. Tell me how much you make. I'd like to know.

[A]

The captain makes $7,130.

[B]

Are you here?

[A]

Yes. That all right? Not very much, is it? It's all right.

[B]

How much does he make?

[A]

Who's that, Mrs. Shayer?

[B]

Policeman. The one who was just talking to me.

[A]

Patrolman Marks there.

[B]

I don't know what his name is. I guess so. How much does he make?

[A]

Well.

[B]

No, no, don't you tell me. I'd like him to tell me himself.

[A]

Well, I can tell you.

[B]

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

[A]

All right.

[B]

Come on,

[A]

mister.

[B]

Come here.

[A]

She wants to talk to you. All right, Mr. Chair, I'm here. What is it you want, Mr. King? I got you, mister. Have any luck with the captain? What was it? Oh, she talks about everything but going in. We're working on that telegram, Captain. It was from her son. Oh, was it? He can tell you that. Yeah. He was supposed to come visit her and can't make it. Oh. Can you handle him there, Sergeant? Yes, sir. I got a good hold on. Do you think that's the reason she went out on the ledge, Captain? Well, could be. Matt. She 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 from the airport. Uh huh. Matt, I think I've got an idea. What, Captain? Whose apartment is this? Mrs. Lanigan. Oh, yes. Mrs. Lanigan.

[B]

Yes. Is there any news, Captain?

[A]

Maybe.

[B]

Oh, go ahead.

[A]

Can I see your telephone book?

[B]

Well, yes, it's right here. I keep it in the cabinet there. Right here.

[A]

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

[B]

No, I don't.

[A]

Good idea, Captain. Well, maybe. Next page. Yeah, here it is. Butterfield 81598.

[B]

What do you need a phone number for?

[A]

Can we use your phone? In a minute.

[B]

Oh, you can? Sure, if you want to.

[A]

Okay, Matt. Come on, let's Go talk to those emergency service men in the hall. All right. Might work. Well, something has got to you. You men. Yes, sir. Now, listen, we're going to try something. We think the reason she's doing this is connected with a telegram that was delivered to her 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. Now, do you think it would take more than 10 seconds to get that door open after you headed? Not that long, no. All right. I'm going back into the Lanigan apartment. I'm going to ring the phone with Mrs. Shayers. If she goes back into her apartment to answer it, you'll get a signal from Lt. King, who will be standing there in the door. As soon as you get that signal, you hit this door and get inside fast. That clear? Right. Get in there fast and grab her. Okay. It might work, Captain. I don't know of anything else that will. Now, you stand right here at the door, Matt, okay? Yeah, sure. Captain Meister will pass the word to Sergeant Waters. He'll pass it to me, and I'll give it to you, okay? Yes, sir. Okay. All right, get set with those bars.

[B]

Is something going to happen?

[A]

I just want to use your phone, Mrs. Lanigan. Now, you better stand over there. Get out of the way and keep quiet, all right? I'd appreciate it.

[B]

Oh, yes, anything you say.

[A]

Good. Sergeant Waters. Yes, sir, Captain. I know it's not much, Mrs. J. Tell meister we're going to try something. It might bring her back into the room. When she's completely inside, you tell Meister to give you a signal, all right? The PBA is working on it. I hope so. Tell me, how come. Meister, listen to me. All right, now, everybody quiet. Keep quiet in the room. Not a sound, please. Are they set out in the hall, ma'? Am? Yes, sir. Everybody's sick. All right, now, wait until you get the signal from me, Matt. From me, not Sergeant Waters, okay? Okay, Captain. Sergeant. Yes, sir. Okay. Okay, Captain. Now, everyone quiet and stay quiet. Sam, My sister says she's going inside. Hold it, Matt. Not yet. She's in, Captain. Okay, Matt, hit it. All right, hit the door.

[B]

Ernest, I'm just so glad you came.

[A]

Hush.

[B]

Stay out of there, please.

[A]

No, they're in. No.

[B]

Stay away from me. Please. Let me go.

[A]

Come on, Sergeant. Yes, sir.

[B]

You all right, Candy?

[A]

All right, now, sit down there, Mrs. Jer.

[B]

Please.

[A]

Please sit down.

[B]

I didn't want to come in I wanted to jump. I still want to jump. Please. I may. Don't. Please, Sergeant.

[A]

Yes, sir.

[B]

Please let me send him up here. I thought it was my boy. He said he would call. That's what he said in the telegram. That's why I came in to answer the phone. I thought it was him. I really did.

[A]

All right, Ms. J.

[B]

You'll be all right. I haven't seen him in four years. Not in four years now. He came to Washington. He didn't even come to New York to see me. He's not very far from Washington to New York. He could have come to see me.

[A]

Don't Worry about it, Mr. Shayer. I'm sure he'll come to see you. Now, 21st Precinct, Sergeant Waters. Well, who got bitten? Oh, how old? Four. Where's the dog now? Is the dog there now? Where is it? Oh, yeah, but what's the name of the girl that got bit? How do you spell that? All right, you just wait right there in the emergency room. Yeah, right there. I'll have an officer come over there and talk to you. Yeah, right away. You're stay there. 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 transcribed a factual account of the way police work in the world's greatest 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. Les Damon in the role of Captain Teo. Ken lynch as Lieutenant King, Harold Stone as Sergeant Waters. Featured in tonight's cast were Frank Barrons, Lawson Zerby, Briana Raven, Elaine Ross and Frank Campanella. 21st Precinct is written, produced and directed by Stanley Nist, George Bryan Speaker.