Calling All Cars: Caliente Money Car Holdup

All cars. A copyrighted program transcribed and dedicated to the prevention of crime. Calling all cars, attention all cars, broadcast for, received at once to central police stations. The man and the chief's office threatening to blow up the building, and is all caught.

That law enforcement departments are better equipped to fight crime than crime is to fight them. The departments are furnished with every time saving device and reinforced by modern science.

Peace officers are trained by experts skilled in every phase of police investigation. investigation. And last but not least, the men who protect society are willing to give their lives in performance of their duties. In the story you're about to hear, a police officer made a decision that took the kind of courage for which our law enforcement agents

are noted, took a chance with the odds of 100 to 1 against them. Listen to the true story of the human mom. Reach far back in the police records to bring you a story of one of the most daring and desperate clots ever attempted by one man. A dynamite terrorist held an entire

to the police force of Thay and threatened to blow the city hall to it, as he calmly sat in the chief of police's office with his infernal machine on his lap. One morning a strange apparition looking like a man from Mars appeared at the chief's office. Space was completely covered with a sheepskin hood which was pierced in two places by ghostly green

goggles. But up the hood he wore a battered soldier's campaign hat. He carried a large box painted blood red. One hand he held inside the box. The other, supporting the box on the outside was also painted blood red. The chief secretary amazed at his appearance accosted him as he pushed through the swinging gate into the office.

Who did you wish to see? I want to see the highest office of the city. Well, you're in the wrong place. Let me buy. I'm going in there. You'll have to take your business. Let me buy if you know what's good for you. This man, why? Let me buy.

Let him in. I want to see the highest office of the city. Are you Kim? Well, I'm Chief of Police. That's what you mean. Are you the boss around here? Well, this building is. Where did you come from?

Ancy Dressball? It don't make no difference where I come from. Well, who are you? That is my business tool. Well, maybe you'll tell me why you're dressed up like this, are you, huh? Advertising something?

No, I'm not advertising anything. I mean business. I came down here for a reason. And I got something here that's going to make you do as I say. Well, that all depends. Depends. And what?

Depends on what you got there. Oh, it will do the business. And what do you want me to do? What's in the box? A machine that will blow this building and everyone in it to be.

What did you say? I said a machine that will blow this building and everyone in it to be. Indeed. Yeah. Indeed. You want a demonstration? Oh, no, thanks. Perhaps there's no need for it. Now maybe you'll tell me what's on your mind.

I want to descend for Paul's Shoeop, the president of the Pacific Electric Railroad, and make him come down here. I want to talk to him. Paul's Shoeop, yeah. Paul's Shoeop. That's the man I mean, get him down here.

Oh, whatever in the world you want for Paul's Shoeop. That is my business. He's the whole Shoeop and Max down at the railroad company, and I want to talk to him. But he couldn't help you. He doesn't own the railroad. He's just the president.

You hurt me. I wanted to get Paul's shoot down here. I got something to say to him. Remember, all I have to do to set this thing off is to jerk my hand out of the bar.

Yes, yes, that's all right. Now we'll try to get in touch with him. Just a second. Oh, snively. Yes, sir? Get in touch with Paul's shoot. President of the Pacific Electric Railway and ask him to come down here at once.

Yes, sir. And show him in the moment you get here. You're not going to call him, are you? Didn't you see the Chief Wink? I'm going to take the call. I'll go into my desk in the Chief's office. You ring him, switchboard, and I'll answer on our deadline.

Yes. But I'm scared. Who's I say? All right. They're ringing him now, sir. Oh, that's good, good. Now, look here. Did it ever occur to you that you'd blow yourself up as well as the building if you left that thing, bro?

That is my business. I thought it all out. I'm going to see that those railroad men get a swear deal or die chime. There's a call, Chief. I'll get it. Hello, Pacific Electric. Mr. Shoe, please.

Chief Sebastian calling. Oh, he's not there yet. Well, just as soon as he comes in, ask him to come down to the Chief Police's office. Yes, it's very important. Thanks. Goodbye. Well, Ben will he be here?

Well, they said they expected him any moment. Good. But that guy gets here, he'll listen to me. He'll give those poor air roadmen the wages they should get. Or ant. Good morning, Grace. Good morning, Lieutenant.

Who's the scarecrow on the chief's office? He said he's going to blow up the place with that box. Oh, is that so? Oh, it's terrible. I'm so scared. Maybe he really will, Lieutenant. Well, just to be on the safe side, maybe you'd better get the other girls and get out of the building.

Where are you going? I'm going in there and see if I can get them out of it. Good morning, Chief. Oh, yes, it's a sign. I want to speak to you about that concernless case and...

Oh, I'm sorry I didn't know you were busy. Oh, for the love of... What's this? Keep your distance. What have you got there? Shoe shining outfit? You won't think so. About the time I pull a tiger inside this bark.

Well, that's all. What is it? One of those infernal machines? Yeah. That's what it is. Fine. I've always wanted to see one of those. Eh, you mind if I look, wait a minute. I'll show you something.

You see this? Mm-hmm. That dynamite. There are 59 sticks like it in here. Enough to blow this whole building into a cloud of time. Now, do you believe me? No, I think you're joking. Listen, we've got a jailer here named John Shams who knows all about that stuff.

I'll let him have a look at the box. And if he says it's dynamite, we'll all believe it. Okay. Tell him to come ahead. But if he ties anything funny... Oh, he won't. I'll see if he's around.

Oh, John! John! John! In the sea top for the carrier! Stupid, better hurry. I'm getting tired of holding this trigger. And all I need to do is let it go. And I don't get excited.

Good morning, Chief. Did he call? Oh, yes, there are brown here, Coach. Yes, sir. Oh, this man here claims he's got dynamite in that box. and I doubt him, John. I want you to tell me if it's the real start.

Here, let me have that sample. Here you are. You'll find out quick enough. Yeah. Well, down, what about it? It's the real thing, all right. It looks like about 80%. Yeah? He says he's got 66 there.

Seems that's enough to blow us the bits, is that right? Blow us the bits. I didn't say it would. And scatter the bits over the county. Room must wet like wildfire through the downtown district.

There's a maniacal. He's going to blow off the police station. We're at the police station. Murder. Holds them. Murder. There's a madman in the police station. Turn up to the police station. Crowds have been pruning people bare down on the police station, mill around the entrance on first street.

Mounted police drive vainly to push them back to a safe distance. Get back there! Back there! Move back! You got it? Let me get some more men and I'll see you. And in the jail on the third floor, the excitement of the crowd informs the 260 prisoners of their hopeless flight.

As a sergeant rushes through the building, warning the city employees to get out at once. Get out of the building, folks. What's the matter? There's a man in the Chief's office with a bomb. Everybody out of the building.

There he goes. Get out as fast as you can. I'll be right back. Where are these men? You get them out all right. Get some of the boys and help me. Hurts them into the drunk tank.

They've sent for the streetcar. It'll be waiting by the time we get them out the back way. Good. Okay. Paint down. Paint down. We can't get in our place with all of this noise. Now listen to me.

I'm unbarring the doors. Fylop, marring the doors. Fylop, march down to the drunk tank. the drunk tank and don't try any funny business. All right, boys, get along there. Make it to Mambi. Come on, boys, we have no day.

Now listen, gentlemen. Down in the Chief's office, there's a nut with a lord of dynamite, threatening to blow up the building. I am serving honey days for people, my old lady. I wasn't given a touch, I'm sorry.

All right, all right. Put down now and listen. The boys are stalling this for the lungs, trying to get him out of it. Let them be heroes if they want to get away from me.

Yeah, I mean, we'll cut like that, Smith. Bye, bye. That's what I'm trying to tell you. If you'll all be quiet, we'll be out of here in five minutes. Oh, God! Now listen, we've taken you out the sideways and we're putting you into a streetcar.

Now for the next few minutes, act like men, not co-workers. Okay, Bob, get him into the handcuff chain. All right. We'll get you out of here in no time, boys. Under the watchful eye of Gailershen, The 260 prisoners rammed it from the jail, loaded on the waiting street car and transported to the East Side Station.

In the Chief's office, Sebastian and the terrorist face each other silently. The hooded man keeps his hand within the blood red box, bailfully watching the Chief through his green goggles. The outer office's detective has discussed the situation in hushed poems.

Could you use an ammonia gun on him? Yeah, that other work from the claims of the thing goes off when he releases his hand. If we use ammonia, then the relaxation of his hand would blow us up.

up. How about clapping a horror form sponge on his face? Well, that's how good it's gonna get behind him. He's sitting plumb against the wall. And remember, he's wearing that sheepskin mask. Oh, well done. Get the business out okay?

Yeah, they're all gone. Thank you. Any change up here? No. We're trying to figure out how to get that box away from the guy. See here, I could draw a bead on him from where I'm standing with his coat of mine and he'd be dead before he knew it. He answered what you probably went too late now. Anyway, you just

moved his chair. Say, I got an idea. That's telling that Paul chupl, meet him at the corner of First and Broadway. I have them when you get him down there and that maba beetle, what then?

Well, we can clear the streets first. They're calling out the National Guard. Wait a minute. We could try it. Get him out of the building and then make a break to get out of the way and take a pot shot on him from the same table.

Well, okay, we've got to try on it. All right, go ahead tonight. Give him a message. A big pardon, Chief, but Mr. Chup just called and said he'd meet you on the corner of First and Broadway in five minutes.

Very well. Shall we get out and meet him? You think you're pretty smart, don't you? Don't you think I'm wise or Dutch like that? Well, I am, and it won't go. Here I am, and here I say it till soup shows up.

And what's more, I'm getting tired of waiting. I've been here a half hour now. If you don't show up in 50 minutes, I'm gonna jerk my hand off this box. Now, think that over. But that wouldn't accomplish your purpose? You said you wanted to talk to Shoop.

Something about the railroad men's wages. Oh, that doesn't concern us. Now, if you let that thing go, you'd kill a lot of policemen and yourself as well. There wouldn't be any point to that. where I don't count and I don't like policemen.

Minute after minute picks on us. The grotesque, lick-lad-gill, faces the chief of police and shared a fine seated stiffly upright, the skin hood outlining his nose and mouth. He looks like some brooding, odd-promise of the Syrian temple.

Outside, held in check by policemen and jail trusses, the mob grows by the hundreds every minute. While the detectives ponder some sort of solution to the dilemma, a newspaper photographer at risk of his life Or is this his camera for a picture of the terrorist?

What was that? Oh, a picture. That is alright. Put it in your paper as a letter to the exploiters of the working man. And you'd better get that camera out of your tap because I'm yanking my hand out of here in just three minutes.

Alright, now wait a minute. Look, I'm going to use some common sense of our... Oh, be quiet. I'm ready to die even if you're not. Get soup over here in the next three minutes. You got that? He's going to set it off in three minutes.

He will too. We've got to do something. I can't figure that thing out. Are you game to go in there with me? I am game to go in with you anywhere, anytime Sam. He's been in tough spots before.

Alright. You got a blackjack? Yeah. Now we're going there and asking about the thing and then... Hey, let me do a wish for him. If you're ready to put that guy out. Count me in on it.

We don't need you, John. Sam and I can pull it okay. We're using anyone else risking his neck to view together and I'm big enough to keep me out. Alright, here's the plan. You crown him, Jim, and I'll grab the box and run to the street.

I'll grab the... No, I don't know why, Bill Fitz. Listen, Jim, you got a wife to think about. Cut the argument. I ain't grabbing the box. If we don't get in there in a minute, he's going to let that thing go.

Okay, let's go. I'll set you. Mr. Shoop will be here any minute now, but whether you come to an agreement with him or not, I wish you'd give us all the time to get out of here before you set that thing off.

When Shoop gets here, I don't care what to do. Pretty neat little contraption you got there. I've got there. Not to take you quite a while to rig that up. Now, what's this thing for...

What thing? This gadget down here. Got it, Jim! They've got it, Jim! As the terrorist plump forward both Fitzgerald and Brown grab at the box. Brown yanks at from Fitzgerald and runs down the stairway.

Seeing a fuse sizzling within the infernal machine, he plunges his hands through the glass tub of the box, extinguishing the flame. Down the stairs, he leaps and out the front door at the police station.

A cameraman has set up his tripod in front of the entrance. Hurting out of the door in his headlong, slight brown stumbles over the tripod. He has the presence of mind to throw the bomb from him.

Six of dynamite spill from it as it careens down first street, scattering the frightened crowd. Jumping to his feet, brown runs to the smash box and holding it high over his head, smashes it again and again on the cobblestone.

All right. All right. All right. All right. Well, now let's all over. Great work, Sam. All right, you. Hey, Brown, you're bleeding. Oh, that's funny. I did notice it before. I must have kept myself and I had jammed my hand in there to fit that fuse out.

You mean you actually stuck your hand in the thing and put it out? Sure. It was the only thing to do, wasn't it? Certain that no damage could come from the infernal machine. The broken parts are collected from the street and carefully pieced together by police experts attempting to discover how the apparatus was to work.

The machinery sent us round a gun hammer mounted on a base, under the hammer is a shotgun shell. Evidently when the terrorist released the hammer, it would explode the shell. This explosion would ignite a slow burning fuse leading to the 66th of dynamite.

One stick of this dynamite tested in a lesion park blew a rock the size of an automobile into tiny bits. A few hours later Brown and Fitzgerald visit the human bomb in the receiving hospital.

Well, how is he, Doctor? He'll fall through, I think. He's semi-conscious now. For a while there I was afraid we'd lose him. And don't lose him, Doc. You want to talk to him. and you can go in now.

Oh, I'm hit. Oh, I... Hello, my friend. How do you feel now? Well, I... Am I? You're in the hospital. Yeah, mighty lucky enough in the morgue. Oh, well, it's my machine. It's been taken all apart, and it did blow us the bits like you promised it would.

Oh, yeah, yeah, I remember. Now, you guys sneaked up on me and plugged me. But I can't understand why it didn't work. I must have made the food too long or something. It should have gone off.

Well, it didn't. Thanks to the bravery of Sam here. Oh, come on, Sam. Come on, come on, come on. Now look here. We want to find out something about you. Well, firehead. What's your name?

Carl White, age of 35. What do you live? Hope on Lake Street. Tell us what was the big idea of that show you put on today. Well, I thought the railroad men ought to have a little more money.

I told you to send for Paul Shoop. I thought I could scare him into promising to raise their wages. Besides, lots of men are out of work now. Have you got a job? Yeah. I do a little carpently work now and then I work for the railroad company once. That's when I got the idea that they didn't get

enough paid. Oh, you thought you'd do something about it, eh? Well, I tried. What do you think we should do with you. Don't you realize what a terrible thing you were going to do? No.

I don't think I committed any crime. I kept telling you men to keep away from me. If the machine had gone off as I expected, what's that for? You committed a bigger crime than I did. Well, I don't follow your reasoning. Let's hear how that machine was to operate.

Well, it was fixed with shotgun caps with powder connecting up the dynamite cap. I had a fuse in there and while I was arranging things inside the box to get it connected properly, I made a mistake and put the cap in the wrong place.

Yeah. So in order to hold a powder, I used a little dynamite to fill up the hole. I guess that's why it didn't burn fast enough. You guys didn't give a time to burn through.

Well, we didn't be quiet. You see, this machine was different the most. Instead of having to pull the trigger to make it go off, I had to hold on tight to keep it from going off.

You see, I can't understand what happened when you hit me over the head. I thought sure the minute my fingers let go of that trigger, the thing would explode. It should have, because it was a beautiful machine.

It was a beautiful piece of workmanship. Well, I can't show you admiration for the thing, but I would like to know what was the idea of the two red wooden fingers we found on the street near the box.

Oh, damn. Ah, well, you see, I got two fingers missing on the right hand, and I knew if you ever looked in the box and saw them you could identify me. Why? Have you ever been arrested before?

Yeah, fun. You got me in the Rokes Gallery. I look here. Why did you go to the police station after Mr. Shuke? You knew you wouldn't find him there. Because I was afraid if I went to the railroad office the bomb I called the panic. And some of those poor workers might get hurt.

But you didn't worry about killing a bunch of policemen. Huh. Well that wouldn't have mattered so much. Well, I don't know about that. Why have you got it in for policemen? Oh, nothing in particular.

Only they're always going around asking somebody. And anyway, I didn't think you'd be foolish enough to monkey with the box. I was just getting ready to yank my hand out when you started asking fool questions.

I don't know why I didn't see that blackjack in time. I don't know what other part of your scheme didn't work. Well, the railroad man didn't show up. What if he had shown up and refused to do what you asked?

We found a pair of handcuffs on me, didn't you? Yes. Well, I intended to handcuff Mr. Shook to me, then I was going to make him walk out to the station with me like he was an officer and I was a crazy man.

I was going to make him keep walking until we got out into the open country somewhere and I just kept him right there until he did what I said. And if he'd still refused, you were going to shut off the dynamite.

He'd have promised got right, and I'd have given him six weeks to make good. What do you mean? Well, if he hadn't given the men a raise in six weeks, I'd have come back down to the police station again.

But I wouldn't have waited. I'd have blown it up as soon as I walked into the place. I intended to see that a working man got a square deed. It didn't seem the very effective way to see it done.

I guess it was as good as any. Don't you think it was pretty brave of Sam here to grab that box from you? No. I don't see where it deserves any credit. You had no right to hit me.

I was only trying to get a raise for the railroad man. Have you ever been concerned when insane asylum? An insane asylum? Yes. An insane asylum? You don't think I'm crazy. Do you? Why I'm perfectly sane?

I'm alright. It's you people that can't see the injustice and suffering in the world. It's you people. That are crazy. In just a moment you will hear the summation of our story. The insanity in a criminal case is whether or not the accused is conscious of the difference between right and wrong.

If he is conscious of this distinction, then he is not legally insane. This test was applied to Carl Weiss. He reacted to it just like an average intelligent person. Therefore, from a legal standpoint, Karl Weis was sane, though he did suffer from the Martha complex, but this did not be clouded his mind as far as knowing right from wrong.

He was perfectly aware of the distinction. Karl Weis was then duly tried on the charge of illegally transporting and depositing explosives in a public place, in this case a police station. The jury found him guilty, and the court sentenced him to prison for twenty years.

No, crime does not say. Attention all cars, cancellation broadcast, or suspect now in custody. That is all, Gordon.