Gang Busters 45-09-22 (0400) The Case Of The Red Evening Dress

Summary

Gang Busters: "The Case Of The Red Evening Dress"

Podcast: Harold's Old Time Radio
Episode Date: September 9, 2025 (original broadcast: September 22, 1945)
Host: Harold’s Old Time Radio
Summary prepared for: Listeners seeking the dramatic, crime-driven content of the Golden Age of Radio

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Episode Overview

This episode of Gang Busters tells the gripping true-crime story of William Harlan Crane, a career criminal, his loyal yet tragic girlfriend Juanita Hanson, and their ill-fated criminal gang, as recounted by law enforcement officials from the era. The narrative, dramatized in the style of vintage radio, unveils how a desire for a red evening dress leads to a wave of violent crime and ultimately, tragedy for all involved. The episode highlights the post-war rise in American crime and aims to underscore the message that “crime does not pay.”

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Key Discussion Points & Story Breakdown

1. Setting the Stage: San Quentin & Criminal Reentry

[00:01–04:03]

• Commissioner Valentine and Sheriff E.W. Bisquelose introduce the story from the infamous San Quentin Prison.
• William Crane, described as “one of the toughest, most dangerous criminals in San Quentin,” is released after completing his sentence. His girlfriend, Juanita Hanson, has waited five years for him.
  • Memorable Quote:
    • “Ms. Hansen, you. You’ve only one life. You’re young, beautiful. Your whole life is before you. I’d think it over, if I were you.” (A, 03:36)

2. Juanita’s Ambition and the New Gang

[04:56–06:46]

• Juanita proves central to gathering the gang together, including Shaky O’Leary.
• She insists on a “new deal”—her own plan for heists, motivated by her desire for money, attention, and, especially, good clothes.
  • Notable Exchange:
    • A: “What new deal? What do you mean?”
    • B: “Juanita, this time you’re doing as I say. I’m laying the plan.” (B, 06:00)

3. The Crime Spree Begins

[06:56–09:11]

• The gang commits a string of robberies throughout Los Angeles, their crimes distinguished by a “beautiful girl” as the getaway driver.
• Juanita’s singular motivation emerges: her longing for a red evening dress seen in a shop window.
  • Crucial Dialogue:
    • B: “In the window of the cleaning shop, there’s a red evening dress. It’s the most beautiful evening dress I ever saw. ... I want that red dress.” (B, 08:43)

4. The Red Dress - An Empty Dream

[09:34–10:21]

• The gang robs a cleaning store for clothes (a means to avoid recognition), with Juanita eagerly searching for her coveted red dress—only to find it is torn and unwearable.
  • Touching Moment:
    • B: “Oh, Crane, look at this. Oh, it’s the most beautiful gown I ever saw in my life.” (B, 09:47)
    • B: “Look all the way down the back. It's torn. I can't wear it.” (B, 10:13)
    • B: "But it’s no good. I just want what other people have. But nothing ever turns out right for me.” (B, 10:21)

5. Escalation to Murder

[11:14–12:19]

• The gang targets a gambler at a roadside stand, resulting in Crane shooting and killing a man during a robbery.
  • Critical Reaction:
    • B: “You killed him. No, no. Don’t say you killed him.” (B, 12:19)

6. Juanita’s Breakdown

[15:19–16:26]

• Now anxious and traumatized, Juanita seeks medical help for her nerves. She receives sleeping tablets, while hiding the true nature of her distress.
  • Striking Dialogue:
    • Doctor: “Young lady, you’re in bad shape. Your whole nervous system, you’re burned out.” (A, 15:23)
    • B: “I’ve got to have something.” (B, 15:57)

7. Tension & Betrayal Among the Gang

[16:48–19:21]

• Crane manipulates Juanita, feigning affection as cover for disposing of the murder weapon.
  • Memorable Scene:
    • B: “You might hate me and want me out of the way.” (B, 18:32)
    • A: “That’s why I wanted you close, like we were making love. ... The gun I killed the guy with.” (A, 18:54–19:04)

8. Police Closing In

[19:28–21:43]

• The police tighten their search, heightening the paranoia among the criminals.
• Juanita offers to distract the police to help Crane and Shaky escape, proposing to call in a false lead after they leave.

9. Juanita's Tragic Fate

[22:57–23:30]

• While the men flee, Juanita takes her own life, overdosing on the sleeping pills at the hideout. Her death is broadcast via police radio for both escapees to hear.
  • Haunting Moment:
    • Police Radio: “The body of a girl has just been found ... death was due to the overdose of sleep tablet. Juanita’s dead...” (A, 23:04)

10. The Downfall & Final Capture

[23:30–end]

• Crane and Shaky’s flight ends in a violent chase and police roadblock. Outgunned and exhausted, they surrender.
  • Closing Note:
    • A: “Come on, get going. There’s a couple of cells reserved for the both of you back in San Quentin.” (A, 24:29)
• Epilogue: O’Leary is sentenced to life in prison; Crane awaits execution. One final reminder echoes: crime does not pay.

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Notable Quotes & Memorable Moments

• On Juanita’s dreams:
  • “I’ve been waiting five years, Crane. ... I want the things I’ve been dreaming of. ... But not this time. I’ve got everything planned. ... no more penitentiaries.” (B, 06:11)
• On lost hope:
  • “But it’s no good. I just want what other people have. But nothing ever turns out right for me.” (B, 10:21)
• On death and regret:
  • “Juanita’s dead and she’s here in the air. ... She knows how we wanted to kill her. She’s laughing at it...” (A, 23:12)

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Key Timestamps

• [00:01] – Introduction, setting, and parole scene
• [06:46] – “A new deal” for the gang; Juanita takes charge
• [09:11] – Juanita expresses longing for the red dress
• [10:12] – Realization the red dress is torn; emotional letdown
• [12:19] – First killing of the crime spree
• [15:19] – Juanita’s breakdown; doctor’s advice
• [18:54] – Crane disposes of the murder weapon on the pier
• [22:57] – Juanita’s death and the police broadcast
• [24:29] – Capture of Crane and Shaky, case conclusion

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Tone, Style, and Closing Reflections

The episode unfolds with stern narration, clipped dialogue, and a relentless tone, echoing mid-century anxieties about crime and the moral consequences of bad choices. The melodrama is real but so is the underlying tragedy, especially in Juanita’s story—a woman whose longing for luxury and love leads directly to ruin.

Moral Conclusion:
The recurring theme, voiced in both narration and dialogue, is clear: “crime does not pay.” In true Gang Busters fashion, the case is resolved with justice served and explicit condemnation of the criminal life.

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For Listeners New and Old

This retelling, rich in its period details and emotion, offers a quintessential Gang Busters drama. Listeners hear not only the mechanics of crime and pursuit, but also the heartbreak and desperation that can drive people to such desperate ends—embodied in the red evening dress, forever out of reach.

Transcript

[A]

And now, in cooperation with police and federal law enforcement departments throughout the United States, Waterman's pens and Waterman's ink present Gangbusters. Out of the foxholes of Europe, from the steaming jungle swamps of the Pacific, our men are now coming home to a new America. A wave of crime has followed every war, and we must not allow lawbreakers to tear down here at home the very ideals that our men have fought to preserve. Tonight, Gangbusters presents the authentic inside facts about a gun mall who wanted a red dress more than anything else in the world. And so Louis J. Valentine, former commissioner of the largest police department in the world, takes over to interview By Proxy Sheriff E.W. bisquelose of Los Angeles County, California. Commissioner Valentine. Sheriff Bisquelose, I know you want to start tonight's case from inside San Quentin Prison. Yes, Commissioner Valentine. San Quentin is one of our largest and oldest penitentiaries. With steel and concrete walls 18ft high and 3ft thick at the bottom. They're impossible to undermine, and guards constantly patrol the top of the walls. How many killers and criminals are there in San Quentin, Sheriff? Some 3,500, Commissioner Valentine. Or there were on the first Saturday afternoon of last October, 1944, when a prisoner knocked on the door of the warden's office. Come in. Oh, yes, Connors. There's a girl in the waiting room, Warden. Is she a beauty? She's sweet and young and fresh. Oh, that must be Ms. Nelson from the Red Cross. Pick up my donation. Tell her to come right in, Connors. Okay, miss. Would you come in and see the warden, please? Won't you come over and sit down? I didn't expect you so soon. I'll have the Red Cross check made out in just a moment.

[B]

Red Cross check?

[A]

Why, yes.

[B]

I don't understand.

[A]

Aren't you Ms. Nelson from the Red Cross?

[B]

No.

[A]

Oh, I see. Who are you?

[B]

Juanita Hanson.

[A]

I'm sorry, Ms. Hansen. I was mistaken.

[B]

I was waiting for William Crane to be released.

[A]

William Crane?

[B]

Yes.

[A]

Why? You related to Crane?

[B]

I'm his girlfriend.

[A]

Just a moment, please. Warden speaking. William Crane is in the outer office, sir, ready to be released. All right, Connors, send him in. Are you really William Crane's girlfriend?

[B]

Why not?

[A]

William Crane is one of the toughest, most dangerous criminals in San Quentin.

[B]

But he's being released?

[A]

Yes. He served his time for the crime he was convicted of.

[B]

But I've been waiting five years for him.

[A]

Ms. Hansen, you. You've only one life. You're young, beautiful. Your whole life is before you. I'd think it over, if I were you. Hello, Warden. Oh, come in, Crane. Hi, kid.

[B]

Hello, Crane.

[A]

Well, Warden, looks like this is where you and me part company. Crane, I hope I don't see you here again. Remember this. Hard work never hurt anybody. That's what the warden and Joliette told me before they turned me loose. I see. Well, good luck, then. No, I ain't shaking hands with you, Warden. You've got a good girl there, Crane. Think it over. That sermon through. Yes, it's true. Come on, kid, let's blow.

[B]

Crane. Can you imagine that, Warden? Calling me a good girl?

[A]

What do you got fixed, Winnie?

[B]

Then if this cab driver doesn't fall asleep, we should be there in half an hour. It's a place at Cobblestone Cabins just north of Bakersfield. Shaky o' Leary's out of the jug. He's up there waiting.

[A]

Okay. Things are going to start popping and popping fast. Your dame done okay, Crane. We're going to be healed right with this artillery she got for us. Let's see that.38, shaky. You can have the.38. Give me the sawed off shotgun every time. It's a swell hideout, huh, Crane? Yeah, Juanita did all right. Imagine her putting up white lace curtains. Well, good looking herself. You got us some good rods here, Juanita. But what's eating you?

[B]

There's gonna be a new deal in this gang, boys.

[A]

What new deal? What do you mean?

[B]

Juanita, this time you're doing as I say.

[A]

What?

[B]

I'm laying the plan.

[A]

Oh, no. There ain't no woman telling me what to do. I've been in this game too long.

[B]

And you ended up in San Quentin. Shaky and Crane.

[A]

Now, wait a minute.

[B]

I've been waiting five years, Crane. I'm young. I've got a right to live and be happy. Have money, attention, good clothes. I haven't gone places. I've been waiting for you to get out of the penitentiary. Well, now you're out. I want the things I've been dreaming of. You've both tried your ways and the cops got you. Put you behind bars. But not this time. I've got everything planned. We'll have everything, but no more penitentiaries.

[A]

I don't know, but maybe she's got something. Shaky. Well, maybe.

[B]

Maybe it's a new deal, boys. A new deal. From now on.

[A]

To all cruising police cars. Farmington Hotel. 3974 Wilshire Boulevard. Just robbed by two gunmen and beautiful girl, man. Just held up by two gunmen at 1516 Sunset Boulevard. Third. Hold up by these Gunmen today. Emergency grocer on Breed Avenue just held up at gunpoint. Large sum of money taken. Girl driving black sedan. Warning, these gunmen are heavily armed. What are you pulling up here for, Juanita?

[B]

I've got another job lined up across the street.

[A]

Hey, not bad. The bank over there got it all cased, huh?

[B]

Well, no, not exactly.

[A]

Can't knock over a bank, kid, unless you've cased it. Know how everything is.

[B]

But it's not the bank.

[A]

Not the bank? There's no other place over there. Just that little cleaning stall I know.

[B]

That's the place I've got picked out for us.

[A]

What, you nuts? You're not figuring for us to take over that little joint one either.

[B]

Crane, you don't understand good planning. You see, you all need different clothes. The cops are giving out descriptions of what you're wearing. Now, you can't go out and buy clothes. You'd be recognized.

[A]

How about a cleaning store this time, Juanita?

[B]

No, but you've got to. You've got to.

[A]

What is this anyhow?

[B]

For my sake, you've got to Please.

[A]

What's back of all this? Why have we got to crack that cleaning store? Come on. Why have we?

[B]

I told you, Creed, I've been wanting clothes all these years. I've been waiting for you. Now I can't get out and buy any. I'd be recognized. In the window of the cleaning shop, there's a red evening dress. It's the most beautiful evening dress I ever saw. I've never had an evening dress. I always wanted one red just like that one. Oh, please, please. I've waited so long. I want that red dress.

[A]

Can you beat that? All right, kid, we'll crack the cleaning store. We'll get her some different clothes and maybe the red dress. Come on, Shaky, over to the cleaning store. We'll let Juanita have it there. We sure brought back a mess of clothes from that cleaning store.

[B]

Oh, there's the red evening dress at the bottom of the pile.

[A]

Hold on, will you? We're getting to it. Take a look at Shaky and that soup and fish.

[B]

Please, please, I want to see the dress.

[A]

Okay, okay, I'll pull it out.

[B]

Oh, Crane, look at this. Oh, it's the most beautiful gown I ever saw in my life.

[A]

All right, now shut up, will you? Oh, I love you all.

[B]

It's beautiful. It's what I always dreamt of.

[A]

Drama, Dame skin. You like?

[B]

Oh, Crane, I'm going into the other room and get all dressed up. Then you've got to. You can take oh. Oh, look, look.

[A]

Will you stop?

[B]

Look all the way down the back. It's torn. I can't wear it.

[A]

It's not. Oh, shut up. You're getting me down.

[B]

No, I've got it. But it's no good. I just want what other people have. But nothing ever turns out right for me.

[A]

Listen, Queen, I've been wanting to talk to you about Juanita. Yeah? She has too much to say around here. I know what I'm doing, Shiggy. When I want your advice, I'll ask for it. A slug between her eyes is what she needs. I said I know what I'm doing. Juanita's tired, on edge. I'll handle her. All right. Okay. Just don't wait too long. I got my plan shaky. Don't worry. As long as Lenita's helping us, she stays around. I'm telling you, Queen, a roadside stand like this, it's nothing but peanuts. Juanita's put her finger on a bankroll here.

[B]

He's that tall man at the far table, a big time gambler from Denver. He's got a roll of three or 4,000.

[A]

Says who? I sent her out alone last night. She lent them.

[B]

I'll go out and have the car running.

[A]

Yeah, look at your dame, Crane. She's got the jitters. Waste than ever. Never mind that. Okay, this is it. All right, folks. This is a stick up reach. Pipe down. Oh, what do you mean? I said pipe down. Get out of the way, you. No. I said get out of the way. No. Maybe you didn't see this rod. Yeah, I see it. You can't bluff me, Doctor. What's that chug of all his throat? Where you live? You're in safe. Make for the car, pal. Get going. Juanita. I just bumped a guy.

[B]

You killed him. No, no. Don't say you killed him.

[A]

Get gone, will you? When I got a gun, no guy is gonna stand up to me. Rem Crane made his getaway. Sheriff Bisque. Louis. Yes, Commissioner Valentine. He literally was riding at the crest. But something which Crane hadn't counted on soon took place. And now, Commissioner Valentine, I'd like to ask you a question. Isn't it true that one of the hardest things a police officer has to learn is. Is to spot the difference between the guilty and the innocent, between the false and the genuine? That's right, Mr. Gardner. But modern scientific research and equipment have made it a lot easier to tell the difference. Yes, friends. And modern research methods have also made it easy to prove the difference between one ink and another. To prove A difference that is truly amazing. For example, recent tests of nationally known inks show that Waterman's Blue Black gives you up to 6,500 extra words every time you fill your pen. Think of it. Up to 6,500 more words per filling than any other nationally known ink. That means you save all the muss and bother of frequent refilling. You save time, money, and that annoying loss of thought continuity. That's fine, Mr. Gardner, but what makes such a big difference? Well, simple enough, Commissioner. It's because Waterman's Blue Black ink is all ink. No solvents, no dilution, no added chemicals. Every drop is packed with true ink quality, the kind that writes on and on and on. And because it's all ink, Waterman's Blue Black is second to none in resistance to air, light, time and moisture, suitable for all types of pens, for all kinds of paper, leaves no blurry line, has no unpleasant odors. So switch to Waterman's Blue Black and get just what you ask for. Ink. Remember, too, that Waterman's Ink comes in seven other pleasing and distinctive colors, all in the amazingly convenient tip fill bottle only 10 cents. And now back to tonight's case of William Harlan Crane and Commissioner Louis J. Valentine, Sheriff Bisquelose. With William Holland Crane shooting a man and apparently riding high and wide. What was the next development in this case? Well, it was the day after the shooting, Commissioner Valentine. A woman was sitting in a chair. A spotlight was on her face. Her whole body trembled, and she nervously clasped and unclasped her hands. Finally, she turned to the man who was quietly watching her.

[B]

Tell me, Doctor, what is it?

[A]

Young lady, you're in bad shape. Your whole nervous system, you're burned out.

[B]

What'll I do?

[A]

You must have lived a pretty, well, unusual life.

[B]

Yes. Yes, I have.

[A]

Whom do you live with?

[B]

Why, just some people.

[A]

That bruise on your face?

[B]

Oh, it's nothing.

[A]

You have a boyfriend?

[B]

Yes.

[A]

Young lady, I know more about you than you think I do.

[B]

What do you mean?

[A]

I thought so. Well, I'm going to give you some tablets for your nerves.

[B]

I've got to have something.

[A]

One of these tablets should put you to fast asleep. Take only one at a time. I'm giving you five extra ones. But don't use them unless you have to.

[B]

Thank you, Doctor.

[A]

When you get home, take one and hide the others so no one can get to them. Accidentally. Improperly taken, the tablets can be dangerous.

[B]

Yes, sir. And thank you, Doctor. Thank you. And you won't tell anyone I was here, will you?

[A]

No, now, young lady, you've got to learn to relax. Make things easier. A lot easier.

[B]

I've never even been on the pier here at Long beach before, Crane.

[A]

Keep walking, Juanita. Right out to the end of the pit.

[B]

Everybody seems so happy, laughing and everything.

[A]

I'm not hearing any laughing matter. Keep walking.

[B]

I guess those two over there are in love, aren't they?

[A]

Mm.

[B]

I wonder what makes them so happy.

[A]

Nuts. I guess.

[B]

We'Ve passed everything now. There's nothing way out at the end of the pier, Crane.

[A]

Keep walking.

[B]

What are we coming out here for?

[A]

I'll tell you when we get there. Come on over here by the rail. Now lean over the rail. Put your arm around me.

[B]

Green. You mean it?

[A]

Sure, I mean it. Look.

[B]

Look at the moon.

[A]

I see it.

[B]

And the water.

[A]

Come closer.

[B]

Yes. I've got a confession to meet, Crane.

[A]

What's that?

[B]

I was afraid. Afraid as I was walking out here with you. You? Well, you might hate me and want me out of the way.

[A]

You're nuts. Come closer.

[B]

Yes.

[A]

Now lean over.

[B]

Yes. What was that?

[A]

That's why I wanted you close, like we were making love. I didn't tell you we had a little trouble in that liquor store job tonight.

[B]

Oh. What did you drop in the water?

[A]

The gun I killed the guy with.

[B]

Oh.

[A]

It's 35ft deep out here off the piers.

[B]

So? So that was why you wanted me to be close to you. To make love to you. So people couldn't see you drop the murder gun.

[A]

You're getting bright, aren't you? Come on, we'll leave him. Come on.

[B]

Just a few minutes.

[A]

I said we're leaving. The cops are closing up. California tightening a drum. State police, federal guys, hundreds of them. We're going back to the hideout and figure a way of getting out. I'm going nuts, I tell you, Crane. Nuts. This hideout's bad as a cell. Stop blowing your top shaky. You got to listen to the short wave and hear what the cops are doing. Police control cars. Attention. This is Lloyd Smith, night dispatcher. You're to act upon the orders of Captain C.W. ellison. Have your guns ready and patrol all highways. The men we are after are killers. They don't know where to look. Deputy Sheriffs Thompson, Rayner, Murphy. Proceed to cobblestone cabins with riot guns and tear gas bombs around to our cabin. Hyr. We can't beat it for that, Crane. I can't take it. We're like rats in a trap. I'll kill you. Shut up. Tell me, Juanita, what's the latest police report? They got us trapped in. All right. It's your fault, Juanita, we're in this jam. Shut up, will you, Shakey. Juanita, I saw that box you had the sleeping pills in the doctor gave you. It was on a washboard.

[B]

Yes.

[A]

Was empty?

[B]

Yes. The doctor said they'd be good for my nerves.

[A]

All of them at one time?

[B]

Yes. That's the way I was supposed to take them. They were all different kinds, and I had to take them all together for them to do any good.

[A]

Kqbv. Kqbv, That's a secret code. They're gonna rain. Kqbv. Answer your call letters, please. Kqbv.

[B]

Those are just the call letters of the police radio.

[A]

It's like we were rats being trapped.

[B]

I think I know how to help you boys.

[A]

You keep your nose out. I had enough of you, Juanita.

[B]

I think I can call the cops off you.

[A]

What do you mean?

[B]

You and Shaky get in the car. Start driving towards San Fernando. Fifteen minutes after you've left, I'll call the cops and tell them there's been a killer on the other side of town. I'll describe you two, and all the cops will go racing in the wrong direction.

[A]

Yeah? Yeah. What are you willing to do that for? If you stay here, you'll get caught.

[B]

I can slip through alone and meet you next week.

[A]

Hey, maybe that's a good idea. Yeah, it's the best idea we got. Sure. Wait a minute. How come you're willing to take this chance?

[B]

Juanita, Crane is my boyfriend. Aren't you, Crane?

[A]

Sure, baby, sure. You know I love you.

[B]

Then why shouldn't I take a chance?

[A]

Come on, Shaky, we gotta get going.

[B]

I'll sit down here by the telephone and in 15 minutes I'll call the cops.

[A]

Hey, I ain't getting sleepy. Are you kidding?

[B]

No. No, I'm not getting sleepy, Crane.

[A]

Okay, we're leaving. Good luck. You.

[B]

You want to give me a kiss before you go, Crane?

[A]

None of that stuff now, kid. The time's too short.

[B]

Yes, but time's too short.

[A]

Come on, Shaky, get going. We'll be seeing you, Juanita.

[B]

Yes, I'll be seeing you.

[A]

Will you pass that car in front of us, Crane? We've been trailing it 20 miles. It's doing 40. Shaky. I don't want to to take a chance of being picked up for speed. No cops gonna take me. I'll blow my brains out for you. Cars 47 and 2, that's state police. Be ready for instructions. You suppose the cops will get Juanita back There. Yeah, they will. You can't tell nothing. Should have pumped a full of lead weeks ago. Attention. Attention all police. There anybody living but police. The body of a girl has just been found in a house on the outskirts of Long Beach. Juanita. She's dead. This girl was sitting by the telephone. Death was due to the overdose of sleep tablet. Juanita's dead and she's here in the air. Examination of the house leaves no doubt, but it was occupied by the gunman. Cartridges were found and fingerprints of Shaggy o'. Leary. And it's me and the prince of William Harlan Crane. That is all. Crane, she's dead. Stop shaking, will you? She knows how we wanted to kill her. She's laughing at it. Sure, that's what she thought. She's laughing at it. 42 calling headquarters. That sounds awful loud. I'm getting you, 42 and proceeding 40 miles an hour along Highway 19 where we are, Crane. We're directly back of killer's car. Car 29 directly in front of them. We have them hemmed in. Grant, there is another car right in back of us. Break out that back window and use your shotgun. Shoot to kill him. Go on, shoot some more. I couldn't hold the shotgun. It flopped out the back window. Stupid fool. Start shooting with your rod then. There's a roadblock up ahead. Now we are caught. All right, you men. Come out of that car with your hands up. Yeah, yeah, yeah, yeah. Coming. We're coming. Don't shoot, copper. Don't shoot. Here's my run. So you're a Crane, huh? And the fellow doing the shakes must be o'. Leary. I said don't shoot, copper. I'm all in. Bites all out of you, eh, Crane? Yeah. Come on, get going. There's a couple of cells reserved for the both of you back in San Quentin. And that, Commissioner Valentine, is the factual case history of William Harland Crane, Shaky o' Leary and the beautiful Juanita Hanson. O' Leary was sentenced to life imprisonment tonight. Crane is in a cell alone, sitting, thinking, listening to the clock ticking away the minutes before he is to be led into the gas jam to his death. Thank you, Sheriff Fiskerlase. All of us who listen to this case must realize again that crime does not pay. Commissioner, before broadcasting our last minute police bulletins on persons wanted tonight, I'd like to say a word to Sheriff Biscayloos. Sheriff Bisque. Luce. It's a pleasure at this time to thank you and your fellow police officers for your splendid work as illustrated by tonight's case in recognition of your courage and devotion to duty, Sheriff, please accept that this Waterman's deluxe pen and pencil gift set with your name engraved on the gold cap. Why, thank you, Mr. Gardner. That's a present I'll certainly be using for a long time to come. Now to our radio listeners, we'd like to make a suggestion. Before you buy a fountain pen at any price, consider carefully its features. Does it have a hand ground 14 karat gold point that exactly suit your writing style? Waterman's does. Then how does the ink feed compare with Waterman's exclusive inquaduct feed? Is it marvelously responsive to every writing need? Well, Waterman's is. And what about filling? Is there bother with plungers or pumping instead of Waterman's? Remarkably simple and easy one stroke filling. You see, it's the quality that's built into every part of a Waterman's pen which provides so many extra advantages, so much long lasting satisfaction which makes it a pen you are always proud to own. Remember too, it was Waterman's who invented the first practical fountain pen more than 60 years ago. Throughout the world, millions of satisfied users will tell you for finest pen performance, just look for the name Watermen. And now, Gangbusters nationwide clues. Richard H.G. warden, Nevada State prison wires gangbusters that three convicts have escaped by overpowering a guard and making their getaway in a prison truck. The escaped convicts are described as. Leo Young, 23, 5ft 8 inches, 160 pounds, red hair, hazel eyes, medium build. Tattoo word Leo, left forearm. Word Leo, left forearm. Escape. Earl Russo, 31, 5ft 11 inches, 157 pounds, brown hair, light hazel eyes, two scars, left side of face, scar, back of neck. Escaped. William Russo, brother of Earl Russo, 33, 5ft 10 inches, 152 pounds, brown hair, blue eyes. Walks awkwardly. Watch for Leo Young, Earl Russo and William Russo escape Nevada State Prison. If you have any information concerning these clues, notify your local police, the Federal Bureau of Investigation or Gangbusters at once. Now here's Commissioner Valentine to tell you about next week's case. Our case next week concerns the magician of the prison cells. A gangster who laughs at steel locks, electric eyes and listening devices. For the thrilling, authentic case history of this magician of the prison cells, Listen next week, same time, same station to Gangbusters and anytime, anywhere, when you were buying a fountain pen or when you're buying ink, just look for the name Waterman Gangbusters Factory. Actual case histories is a Phillips H. Lord production. This is abc, the American Broadcasting Company.